Hiroe’s second single, “Dancing at the End of the World,” arrived back in May with a video that pairs the Philadelphia quintet’s shimmering guitars to what they call “an act of defiant optimism”, and it it hinted at a full-length that promised a fresh, dynamic take on post-rock—bold enough to challenge the notion that the genre has to be predictable or dull.
Today, with the full early listen of Wield (the record lands officially tomorrow via Pelagic Records), I can say the experience doesn’t disappoint. What we’re dealing with here is something genuinely adventurous.
Formed around guitarist-composer Eric Kusanagi, Hiroe broke out in 2022 with the EP Wrought, a record he now hears as “very much a product of the pandemic.” Wield revisits that emotional weight but shifts the perspective.
“If Wrought was about creation during a chaotic, isolating moment,” Kusanagi says, “Wield is about what you do with that creation—how you move forward with purpose, shaped by the past but not bound to it.”
The band tracked the album once again with producer Mario Quintero. During the sessions Jill Paslier moved from bass to third guitar, joining Kusanagi and Brian Kong up front while Jon Seiler took over bass and Dan Sagherian handled drums.
“We wanted to show a larger range of musical themes on this record,” Kusanagi explains. “You’ll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up.”
Across six songs—“The Calm,” “Tides,” “Collider,” “Dancing at the End of the World,” “The Crush,” and “I’ve Been Waiting for You All My Life”—Wield traces the peaks and valleys that follow collective trauma. Kusanagi identifies introspection, aggression, grief, and love as its main coordinates, framing the record as “a journey through the emotional peaks and valleys that mirror the complexity of life.”
Where Wrought carried the sound of confinement, Wield is restless, alternately expansive and crushing, intent on turning residual anxiety into forward motion.
Although Wield introduces synths and piano, Hiroe still build songs around weighty guitar figures. The opener “The Calm” acts as a quiet intake of breath, the sludge-leaning “Tides” immediately shatters it, and the ten-minute “Collider” stretches Hiroe’s dynamic range the furthest. The closing pair—“The Crush,” a physical, 7/8 grind, and “I’ve Been Waiting for You All My Life,” a sweeping slow-burn—bookend the album’s push and release.
Wield arrives June 20 on Pelagic Records in digital and physical formats/ Ahead of the release, Hiroe will play a couple of shows and a hometown date at Philadelphia’s Kung Fu Necktie (June 27), before heading to Indianapolis for a Post-Fest pre-show on July 23.
For listeners who want the deeper dive, Kusanagi’s full track-by-track commentary—detailing Godzilla-scale riffs, “Michael Myers” motifs, and more—is available alongside our special album stream. Dive into it below.
The Calm
We open the album with “The Calm,” a piece that functions like a deep breath before the plunge. It’s a gentle invitation—a palate cleanser into the album. It’s a slow burn that begins with a single, repeating guitar line meant to ground you in a moment of introspection. As it evolves, the other two guitars gradually join in, layering the atmosphere and expanding the soundscape. It’s a slow build—intentionally restrained—that gradually gains momentum, setting up a stark contrast to the next track. True to its name, “The Calm” is peaceful, pretty—and purposefully deceptive. It’s the stillness before the storm.
Tides
Originally titled “Sludge City” (which felt a little too on-the-nose), we opted for “Tides,” which I thought still captured the song’s essence. Coming out of “The Calm,” “Tides” is intentionally jarring. We wanted to immediately throw you off any expectations you might have formed. The goal with this track was to create the sonic equivalent of an unstoppable force colliding with an immovable object. Our studio intern once described it as “a soundtrack for Godzilla fighting King Kong”.
The track kicks off with a punishing, slow riff rooted in doom and sludge metal infused with our own flavor. Midway through, we detour into a brief, jazz-tinged break—a sudden shift that cracks through the heaviness before diving right back in. It ends with relentless chugging rhythms that are meant to feel both claustrophobic and propulsive. Emotionally, “Tides” is about frustration and the unyielding grind of life’s challenges—a universal feeling of being overwhelmed by forces beyond your control.
Collider
“Collider” is a sharp turn from the chaos of “Tides.” It opens with intricate guitar tapping that always reminds me of a summer party—playful, spontaneous, and a bit unpredictable. There’s a section I like to call the “We Will Rock You” part, where the guitar and bass cut in and out against the beat, creating a percussive, push-and-pull dynamic.
At 10 minutes, it’s our most ambitious track. We spent a lot of time shaping its structure,—refining the rises and falls so that every shift felt natural and earned. There are moments of tension, release.
It’s become a crowd favorite in our live shows and I think it’s because there are a lot of guitar theatrics.
Thematically, “Collider” represents the feeling when all of life’s responsibilities and pressures convergence at once—work, relationships, dreams, fears,—all colliding and you’re forced to find a way to balance it all.
Dancing at the End of the World
This track was actually written during the Wrought sessions, but it never quite fit at the time. I kept returning to it, reworking it—obsessed with capturing a very specific feeling. This one kept me up at night.
It opens with synths that feel like a cross between Radiohead and Portishead—dreamy yet foreboding. There are delayed, dissonant notes that feel unresolved—intentionally so. The drums alternate between driving grooves and half-time sections, adding to the song’s tension. While each individual guitar part is relatively simple on its own, together they create a rich and layered texture.
To me, “Dancing at the End of the World” is about transforming pain and vulnerability into something profound and meaningful. The title captures that duality—celebration and crisis, light and darkness. It’s an act of defiant optimism: choosing to find hope, even when all hope seems lost—even when it feels like it’s the end of the world.
The Crush
“The Crush” was one of the last songs written for the album, and it feels right that it lands near the end. I wanted to write something aggressive and unrelenting—something you feel in your chest. All three guitars lock into a unified chugging rhythm, but each plays a slightly different voicing or movement, creating a dense, grinding wall of sound that never really lets up. I wanted you to feel this one physically—tapping your foot, nodding your head.
It opens in 7/8 with a repeating guitar phrase that gradually layers into a harmonized, almost prog-like progression. The bass line anchors everything, leading with a chord progression that provides both context and forward momentum. Traditionally, bass is treated as a supporting role in rock music, but here it’s the backbone—guiding the entire arrangement.
Thematically, “The Crush” is about the need for release—to give voice to bottled-up aggression and pressure in a cathartic, physical way.
I’ve Been Waiting for You All My Life
This was the final song written for Wield, and it’s probably my favorite. To me, it’s beautiful song—a slow, sweeping, emotionally rich piece that’s both tender and dramatic.
The title might suggest it’s about a person, but for me, it’s not—it’s about a moment. It’s about longing for something just out of reach—a fleeting sense of wholeness.
The song features soaring guitar melodies and delicate turnarounds. Toward the end, there’s a section we jokingly refer to as the “Michael Myers part,” and when you hear it, you’ll understand why. It’s paired with a piano line that adds a haunting sense of beauty.
The word that best describes this track is “sweeping”. It brings the album to a close with emotional gravity—like the end of a long journey, the moment when you can finally exhale. I think traditional post-rock fans will especially connect with it.
HIROE live shows:
6/20 – Harrisburg, PA – JB Lovedraft’s
6/21 – Lancaster, PA – The Upside
6/27 – Philadelphia, PA – Kung Fu Necktie
6/28 – Pittsburgh, PA – Ormsby’s
7/23 – Indianapolis, IN – Black Circle (Post-Fest Pre-Show)
