Rising from Nashville, TN, THIRDFACE (featured in IDIOTEQ’s Black Lives Matter mega-interview) will release their full-length debut, Do It With A Smile, on March 5th via Exploding In Sound Records (Pile, Ovlov, Big Ups). The band celebrated the announcement with the release of the album’s first single, “Villains!”, a barnburner of a track that lures in the listener with a swirling bass line before the band’s distinctive guitars and rigorous drumming burst in to display the full power of Thirdface’s grinding hardcore.
Debuted today via BrooklynVegan, Kathryn Edwards (vocalist) said about the meaning behind the track, “When writing Villains! I was watching a lot of Fist of the North Star, which gives the song its title. I wanted to write a song about tearing some evil down from its pedestal like Ken from FOTNS would do. But decided to speak on reality which has a lot more inescapable horrors and villains. This one is about the irons of wage slavery.” The single is also available to stream now on Bandcamp or Spotify and pre-orders for the album are available here.
Nashville, as a music scene, breeds variance. It’s about as unpredictable as Tennessee weather, where shockwaves of different genres create ripple effects larger than a mixed bill. Coming together from different projects and spaces within the DIY community, Thirdface — vocalist Kathryn Edwards, bassist Maddy Madeira, guitarist David Reichley, and drummer Shibby Poole — blends together the resilient work ethic of their surroundings and the guiding principles which allow them to flourish past a night of local sets. Thirdface applies this knowledge through the furrowed brows of hardcore, references to horror films and Black westerns, and an unrelenting approach that saves no breath. And on their debut full-length (and first outing for Exploding in Sound Records), they Do It With a Smile.
While the band’s demo was written entirely by Reichley and recorded by Poole, Do It With a Smile is Thirdface’s first collaborative effort. Poole recorded it in the attic of a standalone garage where the majority of the band lived at a critical point of transition. That said, their record carries with it what was forced into harsh relief that year: frustration at the cyclical torture of wage slavery, ever-present and ever-thin allyship and feminism, and a low hum of negative thoughts, hopelessness, and the struggle to survive in an unforgiving world. Edwards turns those dark moments into relentless examples of catharsis, whether by using Buffy the Vampire Slayer as a stand-in (“Chosen”) or directly addressing evils in a community, like clout-gobbling men (“Local”) or exceptionalizing allies that speak over who they claim to support (“Ally”).