Waterloo, IA — April 25, 2016 — There’s no way around it: The road to create TWINS’ third LP, Square America, was a rocky one. It’s a small miracle it was ever completed.
TWINS scrapped an entire album it had recorded at a Chicago studio — they even threw the master tapes onto the tracks of The L for good measure. A discarded record, a divorce, a near death in the family (three of the four members carry the surname, Sires) and a few deep depressions later, TWINS was in a dark place.
And then there was the question: In a world full of the reverb drenched, cotton ball sound of today's indie mainstream, is it even COOL to make a rock & roll record anymore?
TWINS realized that the answer is actually an emphatic, “NO” … but they’re OK with that. In fact, they embrace it. This isn’t a band that is trying to be cool — or even IS cool.
This is a band that only knows how to cope within the traditions of creating a rock & roll record. But it’s also a band that only knows how to operate within those traditions on its own terms.
The primary stroke of luck that helped guide TWINS through its dark times to make this album was teaming with its rock & roll soulmates, producer Patrick Tape Fleming (Gloom Balloon, The Poison Control Center) and engineer Matt Sepanic (Slipknot). They instantly clicked and understood the kind of sound the band intended to capture.
While you’ll certainly hear echoes of a laundry list of rock & roll icons (Big Star, Bruce Springsteen, The Replacements, The Rolling Stones, T-Rex, Weezer, Wilco, AC/DC, The Beatles, Cheap Trick, etc.) throughout the record, you’ll also witness rock & roll moving in new directions — far away from what’s happening in the "cool" indie rock world today.
From the bombastic, over-the-top opener, "Hot Stepper" to the blistering, sing-along closer, "Teenage Grenade" — and everything in between — TWINS’ brand of rock & roll oozes with all the swagger, hooks and wild abandon a music fan could ask for. The songs were written on the road and were meant to be played on the road. Square America is tighter and louder than anything the band has done before. The album was basically a live set captured at the Sonic Factory Recording Studio in Des Moines, Iowa. Overdubs were minimal.
Square America HAD to happen — it gave TWINS the chance to stretch out, add some surprising new elements to its sound (pedal steel guitar and saxophone, anyone?) and shake off any and all expectations. What are expectations worth if you’re not even concerned with being cool?
Something this square might actually be what we need to SAVE ROCK & ROLL. Regardless, that’s the mission with which TWINS has charged itself. And it couldn't come at a better time.
released July 1, 2016
Produced by Patrick Tape Fleming
Recorded at Sonic Factory Recording Studio in Des Moines, Iowa
Engineered by Matt Sepanic
Guitar tech: Ian Williams; drum tech: Trent Derby
Mixed by Matt Sepanic with Patrick Tape Fleming and Ian Williams
Mastered by Doug Van Sloun at Focus Mastering, Omaha, Nebraska
Additional musicians: Nathan "The Boy" Emerson plays pedal steel on “Lovesick Romeo,” “Everything Blue” and "Changin';" Kyle Gowin plays saxophone on “Hot Stepper,” “I Came For Candy,” “Schoolboys ‘N Luv” and “Teenage Grenade;” Chris Ford plays piano on “Everything Blue;” and Trevor Treiber sings on “Lovesick Romeo.”
All songs written by Joel Sires except: “Breakin’ Up,” “Take That Gurl,” and “Changin’,” written by Harper Sires; and “Mary’s Sister Margaret,” “Schoolboys ‘N Luv,” and “Everything Blue,” written by Joel Sires and Devin Ferguson. All songs arranged by TWINS except “Don’t Wanna Talk,” arranged by TWINS and Nathan Cook.
For more information and a complete list of TWINS tour dates, visit TWINSTHEBAND.com.
TWINS' Square America LP will be available via maximumames.com, iTunes and all other digital platforms.
“Dream On is an album with complexity, demonstrating the band’s ability to stretch beyond the sparkling guitars and harmony
juggernauts of their previous albums to reach a distinctive roots rock sound. TWINS are maturing as a band, and in doing so are writing songs that their audiences and fans will increasingly identify with.” - Michael Roeder for LITTLE VILLAGE Magazine ...more