Photo courtesy of Tears Run Rings
Consisting of Matthew Bice on vocals and guitar, Laura Watling on vocals and bass, Ed Mazzucco on guitar, and Dwayne Palasek on drums, Tears Run Rings has a history stretching back over 15 years and three previous albums. The quartet’s latest effort ‘Everything In The End’ (Shelflife Records), marks a significant return for the band. After a ten-year gap, a 2018 live performance served as a creative spark that led to a renewed chapter of musical inspiration. Interestingly, ‘Everything In The End’ was largely a long-distance collaboration, recorded across home studios in Portland and San Francisco, though the band did convene for in-person songwriting sessions. This effort culminated in a conceptual double LP, structured across four distinct sides, each with its own specific tone and feel.
The lyrical depth of the record is striking. Driven by poignant questions such as, “What if this is the end? What if this is the last music we ever record together?”, the album’s lyrics—contributed by both Matthew and Laura — are an intricate push-and-pull between loss and hope, sadness and joy. Tracks like the single “Lost Touch,” the longing in “How Will We Know?,” the lament of “Since You’ve Gone,” and the simple clarity of “Nothing More” all tread upon this melancholic, introspective ground. Matthew and Laura expertly swap or share lead vocal duties, with Matthew often treating the melodies with a reverence that allows them to transform into a musical instrument in their own right.
Musically, the album stands firmly in the band’s shoegaze roots but demonstrates a new level of maturity and finesse. It showcases their most intricate sonic tapestry to date, featuring soaring harmonies, Ed’s swirling guitars, and Dwayne’s strong drumming backbone. However, the hallmark of this record is a newfound subtlety and restraint, where the soft, dream-pop moments shine just as brightly as the noisier ones, perfectly embodying the band’s signature blend of dream pop, both in spirit and in sound. Welcome back Tears Run Rings.
My thanks to the band for their time and patience!
James Broscheid: Tears Run Rings has been active for over 15 years, releasing three albums prior to ‘Everything In The End.’ How has the band’s dynamic and creative process evolved over this decade and a half?
Laura Watling: We have always been a long-distance project, but sharing music files has become simpler and faster so over time, we have been able to collaborate on songs with more ease. This doesn’t mean we get things done faster, but we are able to go back and forth with ideas a lot more which allows for more feedback within the band. We still try to get together in person for initial songwriting sessions and mixing sessions, which hasn’t changed. I think creatively, we are also more inclined to just write the songs we like rather than try to conform to what we think people want to listen to.
There are also normal life dynamics that have changed over time. Kids growing up, jobs changing, etc… these things all affect our processes as well.
JB: The live show in 2018, after a decade-long hiatus, reignited the band’s musical inspiration. Can you describe that experience and what specifically about it made you ready for a “new chapter”?
LW: Well, there’s a certain energy that is generated from playing live. It means we get together in person to practice which is awesome, and we get to relive some of our older material, which is pretty inspiring in a way. We get to interact with people who connect with our music as well. All of these things contribute to that feeling of regeneration as a band, and motivates us to keep going. Playing live is a lot of work though, so we don’t do it often. We prefer to channel our time and energy into creating new sounds.
JB: Your latest record was written over several years and was largely a long-distance effort with recordings in Portland and San Francisco. What were the unique challenges and perhaps unexpected benefits of this distributed songwriting and recording process?
LW: It’s challenging to write songs as a band when you aren’t together. But as previously mentioned, file sharing has become pretty seamless so that aspect isn’t too tricky. We also met regularly on video to talk about the songs and the structure of the album. We have been doing it like this for so long that I think we have it pretty dialed in.
JB: With those challenges in mind, could you share an example of a specific song on “Everything in the End” where the back-and-forth collaboration due to file sharing particularly enhanced its development?
LW: “Another Life” was the song that had the most added back and forth, and each time it was exciting to hear what the other person had done! It was always a darker song, but it took on a new personality throughout the file-sharing process. It was a fun one to work on!
JB: The concept of a double LP, with each side having its own feel, is central to ‘Everything in the End.’ Can you elaborate on the creative process of developing these distinct tones and how they fit together to form a cohesive whole?
LW: It’s really important to us that our records listen well as a cohesive album. We also realized that logistically, ‘Everything In The End’ was not going to fit on two sides of vinyl. When we decided to release it as a double LP, we really had to craft the track list in a way that would make each LP side sound complete on its own, but also have the album as a whole sound cohesive if listened on CD or digitally. We added the tunes between songs in some places to aid with that. I feel like we succeeded personally, so hopefully the listener gets that feeling as well.
JB: That decision to release ‘Everything in the End’ as a double LP with distinct tones for each side is fascinating. When you were initially drafting the songs, did you already have these specific “tones” in mind, or did they emerge as you started arranging the tracks?
LW: The feeling for each of the four record sides definitely developed as we were starting to arrange tracks. There were some songs recorded/finished a bit later in the process (“Since You’ve Gone” and “Tranquilo” for instance) that we kind of shaped into the record.
JB: I read that you and Matthew shared or swapped lead vocal responsibilities with both of you contributing lyrically. Can you discuss your collaborative approach to vocals and lyrics on this album? How do you decide who takes the lead on a particular track, or how do you weave your voices together?
LW: We usually write the music first as a band. Once we have some tunes drafted, Matthew and myself will pick songs that they have some vocal ideas for and take them on for lead vocals and lyric-writing. Sometimes they swap off if the writing isn’t going smoothly or if they want more ideas. Like all of our songs, it’s really collaborative, melodically-speaking. Lyrical duties are almost always just done by me or Matthew. And mixing is always fun, since there are always many many vocal tracks to navigate!
JB: The central questions posed in the bio when writing this record are intriguing. How did these profound questions influence the lyrical content and overall mood of the album? It certainly feels like a different world these days.
LW: It does feel like a different world, one where nothing is guaranteed and everything could just vanish in an instant. We channeled that energy into the album. We still somehow took forever in creating it, but we tried to capture the essence of a fleeting feeling, something precious that you may never encounter again.
JB: The album’s lyrics and music reflect a myriad of emotions. Can you delve deeper into some of the specific themes of loss and hope explored on the album?
LW: We really tried to explore that juxtaposition that most of us have in our lives- happy times and sad times. We had all experienced some grief and loss during the writing of ‘Everything In The End,’ but also enjoy the stability of our home lives with loving families. Keeping all of that in mind, and knowing that everything can be taken from us at any time, we tried to write lyrics that encapsulated those feelings overall. We were fairly content with the results and printed the lyrics for the first time- but we did that mostly so people wouldn’t need to ask us about it. And so we would actually remember what the lyrics are as well!!
JB: ”Lost Touch” is described as treading “hallowed ground,” with Matthew’s vocal melodies transforming into a musical instrument. Can you explain what “hallowed ground” refers to in this context and how you approach shaping vocal melodies to serve the song’s emotional core?
LW: Oh, I don’t know. Matthew came up with the “hallowed ground” thing. He wrote the lyrics, melodies, and harmonies. He is brilliant at crafting vocals that can draw at your heartstrings and make you feel the words. I think he did that here in this song. It was all him.
Matthew Bice: Good catch! We tucked that “hallowed ground” in the description thinking no one would notice. The verse, melody and lyrics in “Lost Touch” actually call back to a line from “Happiness 7,” the final track on our third album ‘In Surges’, (Deep Space Recordings, 2016). I always loved that part, but it’s hidden way deep—like three minutes into the last song of a long album. When we were writing “Lost Touch,” I tried singing that same line over the new progression and it made sense. So yeah, ‘hallowed ground’ is a nod to where we’ve been—keeping the spirit alive.
JB: What personal experiences or observations inspired the human conditions of “How Will We Know?”
LW: I mean, the aging process is part of it on a deeper level. We grow older and we are living and doing things but it’s kind of like, to what end? I’m waiting for this train that doesn’t seem to be coming but I’m hopeful it will arrive. Where will it take me? I don’t know. But that is if you want to really analyze it. The song was actually written about a young couple waiting for a train, early in their relationship. I wrote it really early in the morning when I couldn’t sleep.
JB: With those inspirations of the aging process and the idea of waiting for something undefined, but also a young couple waiting for a train. How do you balance these broader, more philosophical themes with concrete imagery or narratives in your songwriting?
LW: I think the best lyrics are ones that can mean different things to different people. The lyrical meanings can be interpreted by the listener based on their own life experiences. So in “How Will We Know” I was literally in the dark in early morning hours, imagining two people also in the dark in a tangible space waiting for the train…and as the words developed I could interpret it to my own life. When listening to music I always prefer songs with lyrics that are open to interpretation.
JB: ”Since You’ve Gone” laments for a lost presence, and “Nothing More” expresses that “love is the only thing one desires in a vast and empty world.” Can you discuss the narrative or emotional journey these two songs represent on the album?
LW: I think they both represent the idea that love is what really keeps us going. Any kind of love. These two songs show two sides of the emotions that love can evoke. When you share love with someone, it’s everything in the world. When you lose it, it’s devastating.
JB: While the new album does not venture far from the band’s shoegaze roots, it’s noted for its subtlety and restraint with “soft moments shining as bright as the noisy ones.” How did you achieve this balance, and what was the intention behind this more nuanced approach?
LW: We did a lot of cutting out. Cutting out of parts, cutting out of whole sections of songs. We tried to simplify a bit. In that way, I think we showed some restraint. We didn’t “go big” at the end of every song. We leaned into being more quiet. That being said, there are plenty of soaring and loud moments in the album. We did our best to balance it rather than going full noise all the time.
JB: Can each of you speak to your individual contributions and how you collaborated to create this intricate soundscape of ‘Everything In The End’?
LW: Well I mainly played bass but I also did some other instruments in there, (guitar, keyboards). We just add parts as we hear them in our heads so in the end we sometimes forget who recorded what! But I always try and find where vocal harmonies can enhance a song, and I’m a huge fan of oooohs and ahhhhs (obviously) so there’s a lot of that in there!
Ed Mazzucco: I mainly play guitar and help mix stuff. I enjoy playing guitars to create textures using a wide amount of different effects. One thing we did differently on ‘Everything In The End’ is that we went with a lot more of a “less is more” stripped down approach to the guitars instead of sticking in a ton of layers as we had done in the past. We really wanted to give the songs more space overall.
Dwayne Palasek: I play the drums and provide input on the other parts and mixing.
MB: Vocals, filler guitars, layers and effects.
JB: Revisiting the wide range of emotions that come through with this record that showcase the band has “always embodied dream pop, both in spirit and in sound.” How do you define “dream pop” for Tears Run Rings, and how does ‘Everything in the End’ specifically exemplify this embodiment?
LW: Shoegaze is typically beautiful but tends to be loud. Dream pop is kind of the softer side of shoegaze in many ways, at least where Tears Run Rings is at. ‘Everything In The End’ is definitely a softer gaze record. While it has an overall darkness to it, the listening experience should feel more light and airy. At least that’s what we were going for.
JB: Were there any new techniques, instruments, or recording approaches you experimented with on “Everything in the End” that contributed to its unique sound?
LW: This was the first time we used electronic drums in our recording. Dwayne came up to Portland and tracked all the drums live, so we could still retain the “live drummer” feel. The electronic aspect gave us the flexibility to easily make changes if we decided to alter song structure post-recording. It was also nice to do the drums at home rather than a need to go into a studio. Drum samples are so advanced and nuanced now that we feel pretty confident that the drums sound live as they were recorded. Also, the tune at the end of “Tranquilo” was recorded entirely with analog synths, which is a first for us.
JB: Looking back at your previous three albums (2008’s ‘Always, Sometimes, Seldom, Never’, 2010’s ‘Distance’ – both released by Clairecords and ‘In Surges’), how do you see ‘Everything in the End’ fitting into and extending the Tears Run Rings discography? What does this album represent for the band at this point in your journey?
LW: In many ways, it’s more of the same from us – really dreamy songs that are carefully crafted. But I think ‘Everything In The End’ has some more dark moments, and more quiet, subdued sound overall. We really didn’t “rock out” much on this record. So, in that respect, the album offers something a little different from our past albums. We also are truly writing songs for ourselves. We play the music we love personally. I think ‘Everything In The End’ is a reflection of how we, collectively, had been feeling musically during the time we wrote the record.
JB: You mentioned earlier that you printed the lyrics for ‘Everything in the End’ partly so you’d “actually remember what the lyrics are.” Was there a particular song where the lyrics evolved significantly during the writing process, perhaps even surprising you with their final form?
LW: Mmm, I don’t think so… I feel like for us, lyrics are important but they are secondary to the actual music. They almost always come last. We aren’t a “singer/songwriter” sort of band. The words are there to support the overall feel of the song, not as a stand-alone thing. This is probably why we never printed them before on our records. But the people want them so we did it this time!
JB: With the experimentation of electronic drums and analog synths used on this record, are there any other new techniques or instruments you’re interested in exploring for future Tears Run Rings projects?
LW: Well, Matthew has a singing saw in his shed that may make an appearance in a future record (laughs). We are also experimenting with open tuning and bending notes.
JB: You mentioned mutual feelings between band members. How do you anticipate your collective musical feelings might evolve, and what might that mean for the sound of future Tears Run Rings material?
LW: I can only speculate, but based on our recent songwriting session, I think we are all feeling more inclined to lean into happiness rather than try and make everything melancholy. We also want to explore the idea of beautiful dissonance, where there are some brief moments of discomfort in the music. But who knows. Making an album is a process for us and a lot can change over the course of creating one.
JB: Given that ‘Everything in the End’ was born from the question, “What if this is the end?”, has working on and releasing this album changed your perspective on the band’s future or potential new music?
LW: We are going to try and work a little more expeditiously and stop trying to make everything “perfect.” It never ends up being perfect anyhow, so I think we will focus more on actually getting it done rather than making it perfect.
Please visit the band’s Bandcamp page and visit Shelflife Records to have a listen or to purchase.
