spoke with four-piece grindcore outfit Transient, a band that’s made a vicious splash
in their native Portland, OR since 2008. Their increasingly long CV features six
EPs and splits, with Elitist, The Communion and others; a compilation from
Intellect Records; and billings with Pig Destroyer, Brujeria, Magrudergrind,
Brutal Truth, and dozens more. This September, they capped it all off with the
release of their first full-length on Six Weeks Records, whose press release
touts the band as “one of the leaders of modern grindcore in the United States.”
Transient’s Krysta Martinez (vox) and Adam Wilson (bass) talked about their
eclecticism, creative energy, and recording the Transient LP.
Brittany Tracy: Why
did you form the band? What is your purpose (not to be confused with cause) in
I think it’s pretty self-explanatory why most people play music: it’s an
expression and a way to release angst. My favorite part has always been playing
live; the energy is like nothing else I’ve experienced. We don’t have any
specific cause we try to promote with our music. I think bands try too hard
often times when attempting to promote their ideals, and it’s just contrived.
you practice as a band and/or individually? If so, what do you practice, and
We don’t really get to have a weekly practice schedule like some bands, as we
are split between Seattle and Portland. It’s nice though–we get a lot more
done when we do practice than a lot of bands who [practice regularly], and it’s
more exciting for us when we do get together.
Yeah, when we practice we have to travel for it so it feels pretty productive
and kind of like ‘tour,’ which is rad. We all practice our instruments on our
own and with other projects but we write together.
One of the things that I like the most about this band is that we all write. Even
Jesse contributes a lot of ideas on the drums, and ¾ of us write guitar riffs.
We had some pretty intensive writing sessions in Seattle for this record. A lot
of our older recordings were either rushed or under budget, so this time it was
nice to have a lot more time and a better budget. We did most of the tracking
in Seattle at Soundhouse, Jack Endino’s studio, with Brandon Fitzsimons
(Wormwood). We took the tracks to Airport Grocery Studio, where we did some
more re-amping, vocals, and mixing. This time around we finally felt like we
were able to capture what was going on and how we like to sound live. The
record was then mastered at Earhammer (in Oakland, CA) by Greg Wilkinson.
said that people don’t have to be grindcore fans to enjoy this record, and I
think that’s certainly true. Did that happen naturally because your
inspirations are so diverse, or did you strive for it to be relatable and, to
an extent, transcend genre?
I think we just have a lot of influences, and since we all write riffs, it ends
up coming out pretty eclectic. A lot of bands are pretty critical of making
sure there aren’t parts that sound out of place for their genre, which we have
done to some extent, but overall, we don’t like to limit ourselves.
there another genre of music you’d like to make besides grind?
We’ve all played in a lot of different bands in the past, and still do, as
musicians it is always nice to mix things up. I don’t think I get the same
energy out of playing other styles, which is what has kept me somewhat hooked
on grind. I do hate that some hardcore grind fans seem to front that it’s
literally all they are in to; I seriously doubt there are many people who only
like one specific genre of music.
currently embarked on their 34-venue Fall 2013 U.S. Tour, which is set to wrap
up on November 8 and 9 at the Six Weeks Records 20th Anniversary concert in
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