On September 13th, New York based quartet Husbandry self-released their second full length album A Port In A Storm. The album is made up of eight hard-hitting tracks, each with its own unique time signatures, showcasing the band’s ability to marry the dynamics of melodic with the heavy. A Port In A Storm was produced by Husbandry and was engineered, mixed and mastered by Anthony Lopardo and Moon Tooth’s Ray Marte at Westfall Recording Studios.

We caught up with the band and asked them to pick three albums that have influenced them and their music. Three of the four band members picked albums which were most influential during the recording sessions of A Port In A Storm. Below are their picks.

The album is avaiable here: https://husbandryny.bandcamp.com/

Catch the band live at Brooklyn’s Gold Sounds on September 27th for their album release show. More details here.

Jordan – TurnstileTime and Space

The record I was listening to the most at the time of recording APIAS was Turnstile’s Time and Space. This album is unreal with how much groove and power it has. It’s serious but also super fun, and I think what I took from it the most was the immediacy to the riffs and hooks. Turnstile’s songwriting on this LP is top-notch. The transitions aren’t taking you for a ride off-course, it’s a fast drum fill or a guitar break that goes right into the next groove. I’ll admit the last song on APIAS ‘Woke Dreams’ originally had a riff in it that was super stolen from the middle groovy mosh of their song ‘High Pressure’, but was taken out when we started to use the influence of this and many other hardcore and punk bands – trim the fat, get to the point of the song! The production on this record is sick too, and makes me want to get at Will Yip to do a Husbandry record. You never know! I think Turnstile is a special band, and they make me excited to still be playing heavy guitar music in 2019. 

Carina – Ariana GrandeSweetener

My pick for the album I was listening to the most during the recording process for A Port in a Storm was Ariana Grande‘s Sweetener. The album itself is lush with colorful beats and beautiful vocals and harmonies. Listening to what can be considered a very happy, celebratory album and recording one that took a lot out of me emotionally, psychologically and even physically definitely created a healthy balance for me. I think with this album, specifically, I wanted to explore voices and techniques I hadn’t tried in previous Husbandry recordings. I felt it was really important to create moments within the songs that highlighted not only my capacity as a vocalist, but the different characters that exist in my mind for each track. Ariana is quite prone to layering after layering of her own vocals to create these massive choirs that I was pretty inspired by. There can sometimes be a big lack of experimentation with melodic vocals in heavy music, perhaps because there is an element of having to compete, in a sense, with the power and drive of live instruments. I thought it would be cool to create a marriage of sorts between these really heavy, soul crushing themes and sounds with vocals that are spiritually derived from pop music.

Arnau – KralliceYgg Hurr

When thinking about the inception of APIAS, my memory goes all the way back to December 2015. I remember humming parts of what later became ‘Your Weight in Gold’ on my voice memos. That year Krallice put out the album Ygg Hurr, which represented a departure from the atmosphere and expansiveness established on the first few records. It was exciting to see how their original Progressive Black Metal style mutated into something much more complex, frenetic (and mean!). The following album Prelapsarian (2016) is also a good example of this stylistic turn within Krallice’s prolific discography. However, that shift manifested itself in the writing rather than the sound production (always kept natural and raw). These new compositions felt overwhelming, yet incredibly precise. In retrospect, I can see how that allowed me to expand the possibilities of what the four of us could do as musicians—leaving the comfort of traditional formulas aside and seeing music for the abstract art that it truly is. During the writing process we found ourselves pushing our boundaries, adding more and more parts and trying all kinds of arrangements just to see how far we could go before exhausting every possibility. Just like Krallice’s music, the density of the material made it a jarring experience at times but ultimately an extremely rewarding one.

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