Of Wires, an alt post-punk trio based in Portland, Oregon, are streaming their full self-titled debut EP today as part of this exclusive feature premiere—two weeks before its official release on June 14, 2025.
The band—formed by Ian Forrester, Ben Schlotthauer, and Andres Cendoya—recorded, performed, and mixed all four tracks themselves, with drum engineering by Pedro Mancillas and mastering by Brad Boatright at Audiosiege.
The band came together during and after pandemic isolation. Forrester relocated from Seattle to Portland to find distance from tech-driven urban growth and reconnect with songwriting on his own terms. Schlotthauer brought experience from booking and playing in Northern California’s DIY scenes, while Cendoya added his background in session drumming across punk and hardcore bands in Southern California. Before ever stepping on stage together, they were already tracking this record in a rehearsal space in southeast Portland.
Built on their frustrations and observations, Of Wires taps into modern themes of emotional disconnection, ecological collapse, and media-induced paralysis. “We are not against tech or anything,” Forrester explains, “but there is a consequence to any imbalance, and the songs we write are a reflection of what comes with less human compassion. We want this band to be an act of resistance to emotional isolation.”
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The EP’s visual identity was shaped by Portland artist Lezlie Dorcus, a tattooer and printmaker whose work addresses dysmorphia, queer love, and courage through gritty, layered motifs. “The art we commissioned from Lezlie was a play off a style they already lean into in their work, but with the twist of synthetic materials interwoven into the body horror,” Forrester says. “We couldn’t have asked for a better partner to help us make the image come to life.”
The opener “Apnea” deals with the mental drain of constant availability in the digital age. Guitars drag and bend as Forrester sings, “When I sleep I hold my breath,” pointing to the sense of tension that builds when communication never fully stops. The track doesn’t resolve that tension—just amplifies it.
“Add to the Pile” draws from the band’s experiences living near West Coast wildfires. The song’s bass-led intro slips into a noisy, dissonant chorus where Forrester howls against systemic neglect and climate inaction. It’s a direct swipe at how those with wealth can shield themselves while others burn—literally and figuratively.
“Histories Song” turns toward internal loss. It’s slower, more spacious, but no less heavy. Forrester reflects on a fractured past friendship and how emotional baggage haunts his current attempts at connection. “Why do we hold on to the things that hurt us the most?” the track asks, with slow-blooming guitar feedback and a tense rhythm driving the point home.
The final track, “Idiot Box,” hits harder and faster. It’s a critique of passive consumption and screen addiction, written from personal experience. “The song is a call to self betterment,” Forrester says, “addressing my own ability to ignore personal growth and productivity just by watching too much TV.” Off-kilter riffs and shouted vocals make it the most direct moment on the EP—and its most cathartic.
Forrester, Schlotthauer, and Cendoya operate with intention but without polish. Just volume, friction, and pointed reflection. Their sound leans into post-punk, doomgaze, and noisy rock in a way that feels lived-in and grim without posturing.
You can hear shades of Metz, True Widow, Fugazi, and early 2000s noise-punk, but the band’s message is their own.
Of Wires is available to stream in full now. Official release June 14 on cassette and digital platforms.