Six records.
Our whole story.

Young One brought us to Sound Emporium in Nashville with producer Eric Arjes and mixer Jeff Braun. The songs were older, more direct and more personal. Making another record together gave us a place for them after our years of constant touring had ended.

This was a reunion as much as a recording project. We already knew Eric from our tours with Camera Can’t Lie, so the Nashville sessions continued a relationship that began on the road. Ten songs became our first new album in nearly five years, followed by a hometown release at Whitewater Music Hall.

This self-titled collection gathered eleven songs from the band we had become across the previous records. It was not simply another release; it was a new introduction—first for listeners in Japan, then Germany and the rest of Europe.

Released through Cars & Calories Records in Japan and AOR Heaven in Europe, the collection connected songs from different chapters of our American catalog. It accompanied the Japanese tour with Schematic and became the release around which much of our international press gathered.

Wanderlust was our sharpest turn toward pop. John Fields and Bleu produced and co-wrote the Los Angeles sessions, surrounding the piano with brighter synths, vocoders and a bigger rhythmic pulse. It sounded like the same band with the windows rolled down.

We had been writing for roughly two years before these sessions. “Impossibly” marked one of the clearest departures from our earlier material, while “I Don’t Feel It” reached MAGNET’s national readership. The band’s interview with Ghettoblaster captures how deliberately we were reaching for a different sound.

Stephen Short produced Under the Weather, with Marty Cheyka engineering at Whitehouse Studios in the Wausau area. The six-song EP brought us back to where everything began, a moodier Northwoods record made in the middle of our heaviest touring years.

Marty was already part of our hometown sound: from about 2008 onward, he ran live sound for every one of our Wausau-area shows. Recording with him connected that live history to the record, while Stephen’s production continued the studio relationship we had begun on Bridges.

Stephen Short produced Bridges at Sonic Ranch, outside El Paso. We crossed into Mexico during the sessions, nearly got stuck there and somehow talked our way back into the United States. That desert-made EP gave us “Fall”—and the video that later reached a national audience on E! News.

The recording trip and the record have become inseparable in our memory: the studio outside El Paso, a detour across the border and five songs we brought home to Houston. Our release show at Fitzgerald’s drew coverage from the Houston Press, which called us “local indie darlings.”

Meet the Tide is the sound of us learning who we were in real time. We worked with producer Robbie Seay at Ecclesia Houston’s in-house studio in Montrose, the neighborhood we called home. David Howard also engineered and co-produced half of the record. Its eight songs carry the warmth, uncertainty and momentum of a band beginning to believe it could go somewhere.

Houston was more than the place we recorded. We were living in Montrose, finding our feet as a working band and building a following around Fitzgerald’s. The songs belong to that time: a new city, an early sound, and the first record we could take out on the road.