It’s fucking cool, it’s brutal, it’s a little freaky how songs evolve, it’s interesting how they survive in different contexts, but the original meaning still is there.Ĭhris: played a significant part in crafting our set list now. Jared: With the honor of playing material off the first couple albums, have given a lot of flexibility to bring energy to them live that feels different than on the record, but still retains the songs’ integrity. The record we’re working on now is going to be all four of us.Ĭhris: It’s going to get answered in the next year. Selina: Do you feel like the ability to practice and perform together, live, changes the way the record sounds? Especially as you move into your third album?Ĭory: Unknown. Selina: So you were never physically in the same area to practice?Ĭory: The first record, and even into the second record, it’s all remote recording. We just did the thing that a lot of people did and began sending back and forth to develop. had Tubby’s, his whole entire music venue to set up a recording rig in, and I had my own small recording studio situation. We were all sitting around, very little to do. We had gotten momentum going in terms of interacting. We played with Oneida in October or November of 2019, where we first made that linkage. Do you have a band?” And I was like, “What do you want to do?” Cory called me up and was like, “Oneida basically refuses to play unless you’re opening. Selina: Where has been your most unexpected source of inspiration for Rider/Horse?Ĭhris: COVID birthed the project. and I just began playing together, he opened a show for Oneida. We’re trying to create a space where touring bands feel great, mixed with local bands. Selina:, as the owner of Tubby’s, how do you decide what bands end up going through? Is it a combination of booking necessities and time convenience, or a certain style you’re looking for?Ĭory: It’s not a style thing. Bands that are going through Boston, New York, Philly, Pittsburgh, are also going through Kingston because of Tubby’s. Thanks to Cory, a lot of what passes through is more national. Selina: Are you familiar with many venue owners in the city?Ĭhris: We’re in our own little hub in upstate, Kingston New York. Selina: What did you guys think of the show?Ĭory: Tom had been asking us for a long time, and it finally came to fruition. Between their personalities, the perfect cocktail of measured experience and “let’s fucking go for it” mentality.Īfter the set, between a plate of nachos and cans of Modelo, Rider/Horse sat down with Post-Trash to chat about their evolution since the pandemic, philosophy of artwork, dynamic with their local music scene, and sketches for the third album. Translating beyond their music, the dynamic between them was just as active, riffing off each other with the familiarity from hours of jam sessions together. Jared, their protégé, spoke with a deep introspection behind bright body language. Chris, “legend of the Hudson Valley,” with a booming laugh, was brimming with stories. According to a Yelp reviewer, visitors find themselves “shazaming half the night.” Cory welcomed me with a dry, quick wit characteristic of someone who has seen it all. Fresh off opening for Protomartyr at the historic Bowery Ballroom in June, Mama Tried is an unpretentious retro dive, the opposite of the vast stage show I was introduced to.įor Rider/Horse, their home base in Kingston is at Plump’s bar Tubby’s, an inadvertent community music hub. The venue is aptly located under a highway overpass, its metal ribs rattling over us so that passing trains sounded like Rider/Horse improv. Rider/Horse’s atmosphere simmers with tension, the product of antsy masters at work.įor their July headliner at Mama Tried, a Brooklyn bar and patio, Rider/Horse must have programmed the impending thunderstorm. With their second record in 2022, Feed ‘Em Salt, the duo enlisted the talents of Jared Ashdown (bass) and Zoots Houston (pedal steel) to choreograph a desperate drilling disco. The pandemic project of Chris Turco (drums) and Cory Plump (vocals, guitar), every second of Select Trials’ stabbing drum lines and chanting vocals riff off each other without wasting a second, with the mechanical reliability of industrial activity. Select Trials, their first record, personifies the grit of running barefoot over industrial debris. There’s no fat in this wasteland to soften the blows of Kingston’s flagship experimental noise outfit.
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