Feature • At Intervals, “Hinges”

May 08, 2013
tlohrmann13@yahoo.com

At Intervals, At Intervals Interview, Hinges, At Intervals Hinges

Originally Posted: January 28, 2014

At Intervals is the studio project of Solomon Adams and JJ Wilchester. The band enlisted Dwight Baker from Matchbox Studios in Austin to track drums on each of the songs as well as mix the entire project. Check out the band’s debut release “Hinges” on iTunes and follow their latest updates on Twitter. ‘Chariots’ opens “Hinges” with an intriguing beginning; drum rolls enter softly, conjuring up images of a marching band meeting with respected artists like Explosions In the Sky (musically) and Minus the Bear (vocally). Everything guitar-related on this track was absolutely outstanding, the two guitars working seamlessly together to create an overly-ethereal mood. The vocals were impressive as well, with every note on pitch; the overall mood of the song begins to change around 3 minutes in with a few dissonant notes after verses, full of vocals and synthesizers, played out. The drums were very complimentary and supportive throughout, but especially emphatic as the song began to build in the bridge. This began with palm muting and was mixed with distorted signals and soaring vocals, taking listeners on a journey up to the song’s most climatic point. This huge bridge precedes the song’s final chorus, each section very appealing lyrically, emotionally, and musically, powerful overall in its musical message. The song plays out similarly to how it came in, and quickly leads into ‘Off & On’, which begins with drums and an acoustic guitar; the vocals come in shortly thereafter accompanied by a piano, all in all making for a softer feel. The story line is easy to follow here, and the song’s strong chorus, featuring drums and two separate piano parts (melody and low end), is memorable and inspiring. Much of the song’s running time contains only an acoustic guitar, with an electric guitar finally joining, quietly in the background at that, around 3:45 for the bridge. The song’s title ties in well instrumentally, as much of the song showcases a more reserved, less full sound, while alternating to larger sonic levels in the bridge, becoming fuller with group vocals. The song features solid, interesting rhyme schemes and closes with this bridge section, fading out over an extensive time until ‘No Goodbyes’ begins in ambience. 

‘No Goodbyes’ contained synthesizers and a piano, along with a captivating vocal performance in the first verse. Drums, an acoustic guitar, and electric guitar enter for the second half of the first verse to urge on the song’s approaching up-tempo chorus. The drums and guitars again were silenced in the second verse, and listeners were given a jolt when a very strong chorus entered quickly without notice. The bridge was softer but stayed up-tempo, building energy as it moved forward. The drum performance here on this extremely likable track was stellar, showcasing the strong writing style and solid story lines found in much of At Intervals’ material. ‘Leave What You Need’ followed, opening with a spoken word, speech-like introduction combined with a guitar to create a similar experience to something created by Angels & Airwaves or U2. Group vocals and two electric guitars played out over a jungle beat, backing a new female vocalist who joined the mix for the first time during the song’s opening. There was also a new time signature added in the verses, providing further differentiation to an already unique composition. Male vocals joined on the large choruses to compliment the female vocals, and while all the vocals competed for attention, they did so in a complimentary manner. The drums held the attention of the listener, and the bridge built on its strengths well with a sturdy helping of sound. I’d like to have heard further instrumentation in the verses, and the bridge chords chosen here were a bit cliche, but those were two of my only complaints throughout the whole EP. ‘Desperately Clear’ closes the album with a soft first verse (a piano, synthesizer, and vocals). The band’s male vocalist took back lead duties, leading to an outstanding chord progression in the pre choruses. The track was very ambient and spacious with great vocal harmonies around 2:20. Later, drums joined, coupled with both the male and female vocals, making for one of the more powerful sections on the album. This pattern builds to the final note of the song, somewhat surprising listeners who might have been expecting a larger final chorus to close: regardless, the band’s instruments were faded out over time, interspersed with technological glitches. “Hinges” is an extremely strong album full of introspective, personal writing. I would love to hear more of the up-tempo material that the record featured, and absolutely loved the direction of where that certain style was going. While their softer material was good, their more up-tempo material was even better, showcasing post rock and  alternative rock influences while still maintaining a smooth, polished sound. The whole album was mixed and produced well, each song written in an intelligent and cohesive manner, many of them featuring choruses with great messages and lyrics. The dynamics were crucial to each of the songs and were done so well in their own right. The drum parts throughout were captivating, both performance and mix-wise, and did a fantastic job of laying a foundation for the exceptional lead guitar melodies.

At Intervals, At Intervals Interview, Hinges, At Intervals Hinges

How did you all meet and begin playing music together?


“JJ and I previously played in the Texas indie/emo band To Say the Least, so we have some history, and working together in the studio just seemed to bring back those old bonds and breathe life into our collaborative creativity. While tracking other studio projects, inspiration would arrive and we’d just hash it out until we felt good about it. Often, we’d return to the tunes that were calling out to us and get some of our friends to accompany us.” 

How has the Houston music scene influenced the band? Has the band performed around the city or around the state of Texas at all?

“Honestly, the Houston indie scene is fairly nonexistent: great city, just not for indie music. JJ and Dwight live in Austin, so we divide our time between Houston and Austin. We have not begun performing yet; once the album picks up steam we will play some regional shows around Texas in support of our friends’ bands.” 

What life experiences or events inspired the writing and recording of “Hinges”?


“(Our album) “Hinges” is a melancholic album that celebrates the lessons learned from hard times, the grace afforded us while wading through them and the realization of certain ideals as we age. One specific inspiration was my wife’s battle with cancer. Obviously, a cancer diagnosis is a horrific ordeal and introduces a slew of trials and tribulations. One of the least talked about is its ability to breed fear into the lives of its victims and their families. ‘Desperately Clear’ is about how being forced to come to terms with mortality is, in some ways, very freeing.”

What do you all hope to accomplish with the release of this new record, and throughout 2014 in general?

“We feel like the journey of a song is completed in the relation to its listener. We just want to get the tunes out there and let the chips fall where they may. “Hinges” is atmospheric and emotive, so some of the tunes may have a place in film: who knows what may develop.” 

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