If you're a fan of the more melodic side of the music No Echo covers, you might already be familiar with Squint. The St. Louis, Missouri-based band injects tasty hooks into everything they do, scratching an itch for fans of Seaweed, Drug Church, and Samiam.
Formed in 2022, Squint have so far released two EPs, with an LP called Feel It All Wash Away that compiled both of them appearing in stores last year.
Earlier this year, Squint teamed up with producer Jon Markson (DRAIN, The Story So Far) to record their forthcoming debut album, Big Hand. The band just released a music video for a song from the record called "Pack Rat" to whet the appetite:
No Echo was curious about the sounds that inspired the Squint dudes this time out, and each member of the band indulged us by sending over a write-up about an album that influenced what they did on Big Hand.
Thanks and enjoy.
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Brennen Wilkinson (vocals)
Supertouch, The Earth Is Flat
After much deliberation, I have narrowed my pick down to Supertouch’s The Earth Is Flat. Few hardcore records can evoke in me what this one manages to, even after years of listening. So much uniqueness and swagger. Mark’s voice is constantly pushing the boundaries of his capabilities while remaining unafraid and strong, something I’ve always tried to keep in mind when writing new Squint stuff.
The use of the acoustic guitars on this records adds a whole layer of depth and underlying meaningfulness to everything, even when it is so buried in the mix it’s unapparent it’s even there.
Supertouch opened my mind to so much potential within a hardcore band: showing me how to use melody and emotion without losing any of the groove or real grit that hardcore is. Listen to this record, front to back, and ask yourself: how do you feel?!?
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Dave Shanle (guitar)
Lit, A Place in the Sun
I was juggling between a couple different records when I finally landed upon the one true answer. A record that made me complete. Of course, I’m talking about Lit’s seminal record, A Place in the Sun.
Like many others, I discovered this band through their hit single “My Own Worst Enemy,” but this record is so much more than that. Each song is packed with melodic hooks, huge pop riffs, and punchy basslines.
A visual love letter to 1960s Las Vegas and the Brat Pack featuring tunes that wouldn’t be out of place on an Asian Man Records comp. Throw some dice on that rear view mirror and rev up the Caddy.
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Wil McCarthy (drums)
Third Eye Blind, Third Eye Blind
Front to back, the debut Third Eye Blind album is chock full of hits. Its composition is something to strive toward when wanting to make a “no skip” record. This album holds up immaculately 23 years after its release and brings about a sense of nostalgia for my early days playing the drums.
In addition to writing the drum parts, I help with the arrangement of our songs. This album is a master class in both of those areas. Brad Hargreaves’ grooves and fills help define the songs while respecting the vocal and guitar hooks.
We have a few song arrangements that are influenced by songs on this album. There is something so approachable about this album, and yet it doesn’t feel generic in any way.
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Ian O’Leary (guitar)
Everclear, So Much for the Afterglow
Like so many of our contemporaries, I pull a ton from '90s alt/pop rock bands, my favorite being Everclear. So Much for the Afterglow is an album I revisit frequently and completely burned out while writing and recording Big Hand.
I find the song writing exceptional and the production dynamic and super interesting. From the percussive layering, to the loud fuzzy guitars, to the clean acoustic tones and catchy, but raw vocals, there’s always a new instrumental element to discover no matter how many times I listen. It’s produced, polished and hook laden, but doesn’t lose the grit and grime and realness you get from so many albums of that era.
It’s this sonic juxtaposition of pop sensibilities vs the urgent, unorganized chaos ingrained in hardcore that we attempt to convey with each release in Squint.
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Jake Lindsay (bass)
Dinosaur Jr., You’re Living All Over Me
My bass guitar tone on our new record is inspired by Lou Barlow of Dinosaur Jr. He has powerful and gritty riffs where the bass isn't just a background element but a driving force.
When recording we played around with overdrive pedals and created a sound that channels a similar raw energy. In case you live under a rock, you should check out one of their classic albums, You’re Living All Over Me.
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Big Hand will be out on October 25th via Sunday Drive Records (pre-order).
Squint on social media: Twitter | Instagram
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