The Fourth Wall is a rock band originally from Hawai’i consisting of members Stephen Agustin, Kasey Shun, Paul Brittain, and Max Lilien. Originally a solo project, Agustin wrote and recorded alone in his home for a year and a half, following the break-up of his previous band, Our Distance (who had been the support act for the Kooks in 2008 and Of Montreal in 2009). These demo recordings were kept relatively secret, being handed out only to a few close friends. With growing encouragement from these friends, Stephen sought to form a band in order to perform these songs live. In the fall of 2010, guitarist Kasey Shun, Bassist Paul Brittain, and drummer Kimo Short joined Stephen to form The Fourth Wall. Their style is primarily lyrically driven and draws from a wide range of musical influences including Neil Young, The Band, My Bloody Valentine, and Sonic Youth.
In February of 2011, the band went to Los Angeles, California for six days to record with producer Manny Nieto (The Breeders, HEALTH) and his partner Shane Smith. Their debut album, Motion and Rest was recorded mostly live with minimal overdubs. The album was released in January 2012 and consists of eleven songs concerning the illusory nature of time and the imaginative properties of the reflective consciousness. Sonically, Motion and Rest has a strong melodic presence upheld by a steady rhythm section, a deluge of big electric guitar chords, and an array of atmospheric noises. Vinyl and CD versions of Motion and Rest were released under Hungry Ear Records.
Following the release of Motion and Rest, The Fourth Wall became one of the more notable acts in Honolulu's music scene. During their time in Hawaii, The Fourth Wall was the premier support act for visiting artists, Menomena, Andrew Bird, and The Shins.
In the summer of 2012 The Fourth Wall (with the exception of Kimo Short) relocated to Portland, Oregon, where they currently reside. Former drummer of psych/garage band The Sun-Birds and indie/pop group Southern Belle, Max Lilien joined The Fourth Wall in the fall of that year. Their latest album entitled, Lovely Violence, was released on July 31st, 2015. The album's songs deal with freedom, moral solitude, and the beauty and terror of an unconditional commitment.
Paste Magazine named The Fourth Wall as one of the 'Nine Hawaii Bands You Should Listen To Now' as part of their 50 states project.
Broken Arrows blurs the lines between the tactile world of analog output and the otherworldly space of digital sound. Existing somewhere between these realms, their music lives in a territory of its own.
Like many of their influences, Broken Arrows create an environment of tension and release – of dynamism and contemplation. In the vein of artists such as Depeche Mode, Björk, David Bowie, Massive Attack, and others, they craft music that is evocative and compelling. While exploring new and traditional forms Broken Arrows define their style by exploring limitation and plasticity, using live instrumentation and real-time sound manipulation.
Since the core duo’s fortuitous meeting in 2013, after leaving other projects, they have produced an eight song EP (to be released Fall 2015) with the production assistance of Brandon Eggleston (Dandy Warhols, Modest Mouse), meanwhile honing their live performance in numerous local venues in the creative hive of the Portland music scene. The EP follows the nascent three-song release by singer/producer/arranger Emmett Lindsay. Multi-instrumentalist Dylan Burke expands on Lindsay’s lyricism and sense of groove. The two work together to create danceable soundscapes. They have since added drummer Bob Gibbs to expand the band’s live sound and bring out the dynamic variation and risk present in the recordings.
From hip-hop breaks to four-on-the-floor dance tracks, Broken Arrows work seamlessly incorporates live musicianship, improvisation, and detailed production – a synthesis of sounds that is provocative and cinematic.
At the heart of Mothertapes' music lies vivid melodic themes, heavy beats, and lush layers of programmed and live-looped instrumentation wrapped around intense guitar hooks and vocals. A live Mothertapes performance is an impressive show of workmanship in which Bosack and Franzen build each song from the ground up, creating the sonic footprint of a much larger band. Rather than ceding control to the bloodless clockwork of sequenced loops, the band breathes life into the technology, eliciting an elastic, dynamic quality that has drawn the admiration of critics and earned the band a loyal following.