Pittsburgh's own 156/Silence are now standing on the brink... having released their fourth full length studio album titled, People Watching. Coupled with the anticipated arrival of the record, the band's is currently trekking on one of the most varied, diverse bills of heavy music's 2024 slate, flanking Signs of the Swarm, Ov Sulfur and Cane Hill.
On People Watching, 156 dare to explore previously uncharted territories - expanding their repertoire in a way that builds on their previous efforts, while ensuring not to repeat it. Working with producer Jonathan Dolese, the album proves especially pivotal in nont only its stylistic leap, but more importantly, the band's willingness to evolve for the sake of creative growth.
Referring to the presentation in no uncertain terms, the band has emphasized how People Watching is in fact the culmination of the last nine years of grind and grit - a testament to the band's inability to compromise by resting on their laurels artistically. The goal, from the very beginning, was to never do the same thing twice and for 156y/Silence, People Watching not only establishes a new precedent, but positions the band on a whole new tier of potential.
Speaking on the turning point that is People Watching, guitarist Jimmy Howell offered his assessment of the record, his reservations about straying too far creatively and the agony it has been sitting on these new songs for so long - and the elation in finally being able to share them with the world.
This is your fourth full length studio album and arguably your most focused. Is it accurate to say that People Watching is the result of 156/Silence maturing musically?
Howell - I think you could say that, going into People Watching we had a sound in mind and did our best to execute that. In the past it wasn’t as thorough and we kinda just figured out what the direction would be after writing a few songs.
The band has discussed how you sought out to never repeat yourself by making the same record twice. On People Watching, how difficult was it to remain authentic to yourselves creatively, while ensuring you didn’t revisit what you had already done in your previous albums?
Howell - I personally don’t think we struggle a lot with remaining authentic in writing because we’re always just going to write something we like and want to hear. Each album I love to incorporate a new element or style that we haven’t really explored in the past. But there’s always going to be elements of what came before because we’re the ones writing it, so it’s impossible to have something truly different.
Given that your sound has progressed and evolved with each record, can you pinpoint what you learned from Undercover Scumbag, Irrational Pull and Narrative that impacted you as songwriters. What about those records ultimately led you to the place where People Watching is even possible?
Howell - Each record definitely taught us a lot of lessons as a band. With US I think we hadn’t really figured out what we wanted to do yet, we tried to incorporate elements of heavier stuff we liked at the time but it felt forced. Going forward I never wanted to force the heavier part of our band because it just doesn’t feel right sometimes.
With IP we wrote that album specifically to be played live, it was all written in person together as a group. Then Covid hit and we didn’t play most of the tracks live other than the singles. While that was a fun experience I tend to not look as fondly at a lot of the songs when listening because the songwriting was not as thought out as I thought it was at the time.
And finally with Narrative it was actually the opposite problem from IP, a lot of the songs didn’t feel good in a live setting because it was written during Covid and we didn’t ever play a majority of the songs live because of it. A lot of the songs from that record are also on the longer and slower side which I tried to stay away from as much as I could on People Watching.
This particular album is arguably the most metalcore the band has even leaned. There’s melody, there’s moments of catchiness, there’s even some obvious post-hardcore worship. Was there any concern about straying too far from what you have established as 156/Silence with this record?
Howell - That was very much a concern throughout the process, even up to the release of Product Placement we were nervous about the reception. But to be completely honest we just don’t care if it strays too far, we’re gonna make the music we want to make. We make music for us and whoever wants to listen.
What was the determining factor in choosing to work with Jonathan Dolese (D.R.U.G.S., Emmure, Attack Attack!) as your producer? How did his oversight impact the final product and do you think you could have achieved the same potential with him?
Howell - Our manager had been suggesting him for a long time and with the direction of the album it felt like it made sense. We just wanted to get out of our comfort zone and work with somebody new for this one. We absolutely loved working with Andy at Bricktop but we felt after recording 5 releases with him we needed to push ourselves and I think it paid off.
You are currently on the road with two deathcore bands and a modern nu-metal band. What has that tour been like given such a broad stylistic showcase? Do you think this kind of varied bill is indicative of the current health of heavy music and culture?
Howell - Going into the tour we genuinely had no idea how it was gonna to go given the wide array of genres but it has been one of the best tours we’ve ever done. Mixed bills are becoming more and more common and I think it shows that people just love all kinds of heavy music and it doesn’t have to be a tour where every band sounds exactly the same.
This album has some very specific special appearances in Craig Owens, Carson Pace of Callous Daoboys and Trae Roberts of Mouth for War. Do you go into the studio knowing who you wre targeting for these songs or did these collaborations happen a bit more organically?
Howell - For the most part we had the features figured out before the studio. Jack wrote the lyrics with them in mind so it was a pretty smooth process.
What has it been like finally sharing these songs in the live set? Have the fans embraced them like you had hoped and have the songs evolved at all going from studio renditions to featured in the set list?
Howell - It has been an absolute nightmare waiting to play these songs live. The album has been mostly written since 2022 other than changes in the studio so sitting on it for so long has been tough. The fans have embraced the songs in a way we never thought possible, seeing people screaming the words to songs that just came out has been such an amazing feeling.
People Watching is now available via SharpTone Records. Order the album - HERE
Be sure to catch 156/Silence on the road on the Decade of the Swarm Tour with Signs of the Swarm, Cane Hill, Ov Sulfur and A Wake in Providence. Remaining dates of the tour, as well as the band's date at Furnace Fest can be found below.
156/SILENCE Tour Dates w/SIGNS OF THE SWARM, CANE HILL, OV SULFUR & A WAKE IN PROVIDENCE
Sep 13 - Roseville, CA - Goldfield Trading Post
Sep 14 - Anaheim, CA - Chain Reaction
Sep 16 - San Diego, CA - Brick By Brick
Sep 17 - Mesa, AZ - The Nile Theater
Sep 18 - Albuquerque, NM - Launchpad
Sep 19 - Lubbock, TX - Jake's Sports Cafe
Sep 20 - Dallas, TX - South Side Music Hall
Sep 21 - Austin, TX - Come And Take It Live
Sep 22 - Houston, TX - Scout Bar
Sep 24 - Atlanta, GA - The Masquerade (Hell)
Sep 25 - Greensboro, NC - Hangar 1819
Sep 26 - Philadelphia, PA - Underground Arts
Sep 27 - New Kensington, PA - Preserving Hardcore
Sep 28 - Lakewood, OH - The Winchester
Oct 4 - Birmingham, AL - Furnace Fest
