Oh, Are They? never shied away from weighty themes, but their latest release, Guilt, cuts deeper than ever. The Philadelphia-based indie post-hardcore outfit, comprised of scene veterans from projects like Krhissy, Zolof The Rock & Roll Destroyer, I Am Alaska, and The G, turns its lens inward on this record, moving away from the technology-driven narratives of i and ii to something rawer, more personal.
Themes of self-harm, substance dependency, anxiety, and identity run through every track, and the writing process itself reflects that struggle.
“Writing the music usually comes first. Well, maybe that’s not entirely true. I keep a running note of short journal entries, sometimes I just jot down phrases or short ideas that I use as reference. The vocal melody is usually ‘stream of consciousness.’ Once we’ve got the melody, I’ll go back and firm up the lyrics, usually agonizing over every word and syllable,” the band explains. “Some people will tell you that the lyrics don’t matter to them, but that’s not me. One little word can change the entire meaning of a line or song. It’s really important to me to get it right.”
The subjects on Guilt were particularly difficult to navigate—self-harm, self-medicating, anxiety, and behavioral disorders—so the band took meticulous care in crafting the right words.
Produced by J. Robbins, whose resume reads like a post-hardcore syllabus, Guilt is a sharp shift from Oh, Are They?’s previous conceptual projects. i and ii were built around a framework of unexplained events, tech paranoia, and cryptic connections—stories bolstered by sonic Easter eggs like samples from the Max Headroom signal hijacking and Cicada 3301 puzzles.
“The intro of ‘Polybius’ (on our first record), I envision as booting up the machine. Polybius was a fabled arcade game used by the US government as a psychological experiment,” they recall. “But I think that intro also kind of represents us becoming a band.” Those records carried the weight of external mysteries. Guilt, however, is about confronting the ones we carry inside.
The album opens with “Movable Headstones,” setting the tone immediately. “It’s about having the courage to acknowledge something that’s haunting you, what’s been unspoken for a long time, then being brave enough to be honest with yourself and your loved ones to say it out loud,” they explain. But there’s hesitation built into that courage—”Maybe the use of the telephone is my way of distancing myself from it, but also a way to have this personal conversation with myself, and my friends and family. Confront my demons, admit my problems, finally say what’s been left unsaid and apologizing for taking too long to say it.”
Tracks like “Stop Hitting Yourself” and “Mistaken Identity” dig into isolation, self-perception, and disillusionment. “I thought you would miss me, but it turns out you are glad I am gone,” one line admits bluntly. “Impostor syndrome, uncertainty, insecurity, identity. Am I who I think I am, or am I what others perceive me to be?” the band asks on “Mistaken Identity.” There’s no neat resolution—just the ongoing battle between self-doubt and defiance.
“Coup de Grace” centers on the idea that wasted time is time devalued, while “Perfect” pauses in the eye of the storm—an appreciation of what’s fleeting and precious when faced with irreversible change. “Everything The Light Touches” and “A Stranger Revelation” deal with longing, with the latter tracing a desperate need for reassurance: “I want to know that you’re alright. I need to know that you survived.”
“Long Live the New Flesh” throws another layer onto the record’s narrative—this time, not personal torment, but an indictment of control and permission. “It’s easier to beg for forgiveness than it is to ask for permission.” It’s a statement that lingers. “Dweller (On The Threshold)” takes that idea and pushes it into myth—referencing the esoteric legend of the ‘Dweller,’ the embodiment of unresolved darkness that must be confronted before entering enlightenment. The album closes with “Re-movable Headstones,” stripping everything back to the core message: “It’s up to each of us to decide for ourselves what matters.”
The album cover—a 19th-century illustration by W. H. Trood, found at a flea market—reflects this theme of guilt and consequence. “Something about the subject matter immediately spoke to me. It’s so provocative. Who is to blame and who gets to decide? I think it perfectly fits the record.”
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Beyond Guilt, the band is looking ahead. A 2025 east coast tour is in the works, alongside a break to focus on their next record. They’re also helping to curate a compilation of local artists, an effort to document and uplift the Philadelphia scene. “There are so many great bands in our area, and we just want to lift each other up.”
That local scene remains a driving force for Oh, Are They?, and they’re vocal about the venues, zines, and bands that shape their community. Here’s a rundown of shoutouts and recommended places and bands curated by the band.
Nomad Supply Co.
Hands down the best venue in our area. Chris is the best dude and does so much for us and all the bands in our community.
Rivot Magazine
Brand new zine showcasing all the creative and talented people in Bucks County, PA. We can’t thank James enough for all his support!
Off Kilter
Incredible skate shop in Ambler, PA. Check ’em out!
Psychic Wars
Collingswood, New Jersey
5 Piece Heavy Fuzz Post Punk about goblins, witches and thieves.
Whimsie
Philadelphia, Pennsylvania
Love this band. Can’t wait for them to blow up in 2025.
Shame Chamber
Canton, Ohio
We had the pleasure of playing with them on the Philly date of their east coast tour and they blew us away.
Applied Knowledge
Philadelphia, Pennsylvania
Looking forward to the release of their new record, also recorded at the Magpie Cage by the legendary J. Robbins!
Soft No
Philadelphia, Pennsylvania
Space Rock
Omit All
Philadelphia, Pennsylvania
FFO all our fav hardcore bands: Poison the Well, Botch, Hope Conspiracy, Ken Mode, Snapcase, Cave In, Knocked Loose, Jesus Piece.
Desperate Living
Philadelphia, Pennsylvania
Ex members of Ladder Devils and The Minor Times. See recent IDIOTEQ feature HERE.
King Slender
Philadelphia, Pennsylvania
Emotive hardcore. See IDIOTEQ features HERE.
noyeahno
Philadelphia, Pennsylvania
3 piece from Philly/Jersey. Instrumental jams that are equal parts Faraquet, The Meters, James Gang, Sly, & J Dilla.
twentytwo.
Lansdale, Pennsylvania
