In the midst of a 13-city cross-country U.S. tour, Brooklyn-based post-hardcore quartet Husbandry were searching for something homey to counteract all the unfamiliar. “Fucking Trader Joe’s: all day, every day,” guitarist Jordan Usatch notes. “I’ll pop a vitamin in the morning too to really get the party started.”
The band utilize soaring melodies—emphasized by vocalist Carina Zachary’s spiritualized chops—to conceptualize the punk, hardcore, metal, and rock the group are rooted in, and there’s a most exquisite energy-booster tucked underneath all the surface. Husbandry write some seriously memorable and varied songs. They sound much older than they really are. “We tend to approach our writing in a way where the listener can find many different things to grab onto,” bassist Arnau Bosc says. “I find that having a variety of tastes and styles can be a really good asset when it comes to crafting a collaborative piece of music. It keeps things interesting and surprising.”
Husbandry’s sound is certainly all over the place in a super nifty way, fusing elements that all have a solid and noticeable purpose. Each song on their newest EP, Bad Weeds Never Die—released Dec. 1 via Aqualamb Records—is crafted in mountainous form, concerned with the hook and the memory while delivering bursts from all surrounding tastes. It’s a record that is both straight and blind, a classic that you can sink into and explore infinitely. It’s varied, yet singular.
“The new record was challenging in many ways, and it was a conscious decision to try tapping into other vocal ranges and delivery, balancing aggression with vulnerability,” Zachary explains. “I was listening mostly to a lot of Soundgarden and Chris Cornell’s solo work. I wanted to channel a lot of the soul of the ‘90s and iterations of rock music I first fell in love with as a kid.”
“My bandmates will laugh at me for saying this again, but for the past [few] years, I’ve been pretty obsessed with everything Colin Marston does,” Bosc notes. “He’s been an incredible influence as a bass player, and it’s inspiring to see the way he comes up with unexpected musical tangents that complement the other parts perfectly.”
“I appreciate any band that creates strictly for the sake of creation and self-expression without any other outside influences or motivation,” Usatch adds. “Dillinger Escape Plan, Converge, and Russian Circles all come to mind. I am also a big Self Defense Family fan who is really always inspired and appreciative of their constant creative output.”
The sound on Bad Weeds Never Die is huge. Clear and full-bodied. It resonates with your memories in a timelessness sort of way. Like a smooth desert, the record drifts like an alt-punk ‘90s classic: reinforcing each member’s mindset and desire. It was crafted in style.
“We got to record in a nicer studio where a lot of legendary R&B and hip hop artists had worked in the past,” Bosc says. “So, I guess that contributed to us sounding good. Also, we have better gear now. Before starting the recording phase, I remember us talking a lot about Shape of Punk to Come by Refused or even Antichrist Superstar by Marilyn Manson. Very iconic records that are known for their raw and aggressive sound, but extremely well put together.”
You can throw Bad Weeds Never Die into that mix. The arrangement is almost frighteningly well put together. Circular and bubbly, it’s totally hardcore, but can sound something like modern-day Faith No More with its filled-out modes and melodic extensions. The album runs quick, five songs that soar and rage: three originals, a remix by John LaMacchia of Candiria, and one awesome Blonde Redhead cover. It’s the perfect little ditty. Punk as hell, with a full sound that’s truly maximized.
“For me, punk is more a state of mind,” Zachary opines. “It’s about not letting people or your circumstances define who you are or who you can become. It’s about choosing to defy the norm and having the ability to bend the rules. If there isn’t a path or a door, you grab a sledgehammer and create one.”
Photo by Christopher J. Harrington