EP is out now.
Post-hardcore/noise rock outfit Coke craft a memorably lo-fi brand of confrontational, angular and tongue in cheek rock. Hailing from San Francisco, their debut EP, creatively titled EP, is a five song blast with songs named after actors, desserts, and wine (maybe).
We wanted to find out a bit more, so we asked the band to tell us! And they did. Topics range from minimalist composers to Japanese bands to Beavis. Good times.
This is one of the first songs that we wrote that sounded like a true “Coke” song. We had been casually making music for a bit, but Ray Liotta was the first time we really embraced the post-hardcore influences that shape our current sound. When writing, we distinctly wanted to have space in the verses.
We originally stayed on the same 2-note “chord” the entire song, only changing the rhythm during the chorus and singing the melody that would later become the guitar melody. Eventually we decided to interrupt the groove with off-kilter bursts to close out the track, as a way to make the song slightly less comfortable. Our original drummer actually misheard an old lyric and thought we were saying Ray Liotta… and we decided to roll with it.
When first writing this song, it was much more head on.. it had a straightforward “rock” feel to it. We never wanted it to be very complicated – we wanted the energy of the track to feel organic and didn’t want to obscure that focus with congested guitar parts….although we did end up making it a bit more abrasive after all.
The second half of the song was one of the first things we wrote collaboratively as a full band, taking it in the direction of some of the Krautrock-inspired jams we’d had for fun. Following the pulse of a Motorik beat, the guitars take a back seat and let the rhythm section take control. Lyrically, the song is clearly about drinking blood out of skulls.
This track had been kicking around for some time. It started out as an exercise in patience; drawing on influences from British post-punk or even minimalist composers we love to listen to, we wanted to see how long we could play one phrase without repeating before it got obnoxious or seemed stale.
It wasn’t until we slowed it down a bit that the song felt like right – it allows room for the track to breathe, making the build more significant and effective. The lyrics were compiled from a bunch of iPhone notes we had written in passing, self-deprecating under the guise of being directed at someone else.
4Out Of My Life
Another song where we thought it fit best with simple composition. We tried taking it in all sorts of directions and were never satisfied. It wasn’t until the guitars cut out of the verses and the erratic drumming took the spotlight that we felt comfortable with the track. Before the EP came out, we played this song at a show, and a friend told us he thought it sounded like Pavement meets psych rock… still not hearing that ha… We like the review given by a local radio station, KZSU, referencing the obnoxious lyrical content: “Palpable Gen X vibe; I can see Beavis headbanging when I listen to this.”
We became really into this record by the Japanese band Bleach – the screams on that album are so jarring and captivating, and we wanted to somehow take that concept and briefly add it to what we were doing.
We had been kicking around a couple songs for a while, and eventually decided to combine them. We absolutely wanted there to be an extended timing hiccup in the breakdown found halfway through, although deciding exactly how many times we wanted to repeat the part was a bit silly – we wrote that together as a 4-piece one day and stuck with it. Oddly enough, the last part of the song was written first, although it wasn’t initially written as an ending part, necessarily.
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