The songs of Hide and Shine seem unusual but feel so familiar—like a nostalgia that you can’t quite put your finger on. They have musical sensibilities that span seven decades of American and British rock, but songwriter Chris Kelly believes that “It’s the people we’ve played with throughout our lives that have the most influence on our sound. The sound is more than just a reflection of what we listen to. It includes the people and experiences that are absorbed along the way.”
The first description made of Hide and Shine was “An Art Death Indie Post-Punk Country Rock Alternative.” Record store people were most helpful in relating Hide and Shine to other bands. They determined that the music had the raw, literary punk of The Replacements, the sweet yet monstrous attack of Dinosaur Jr., the dark introspection of Radiohead, and noticeable nods to grunge, classic metal, classic country and classic rock. The music is “laden with a punk attitude, but nonetheless spiritually inclined.” The lyrics often hint at esoteric themes such as alchemy, UFO/religious experiences, lucid dreaming, inter-dimensional existence. There is a deep note of social empathy as well, but it never emerges as “political.” It’s more concerned with humanity, and it’s buried under poetry.
Taylor McLam“It’s like Radiohead and Dinosaur Jr. fucked something.”
Orange 9mm
Tristan GearyA volatile powder keg of overdriven power trio music. Laden with a punk attitude, the music is nonetheless spiritually inclined.”
chronogram.com
Klemen Breznikar“Enigmatic blend of energy, moodiness, and a touch of the esoteric.”
It’s Psychedelic Baby Magazine
The work began in 2022 when songwriter, Chris Kelly, received “a psychic download of 50 song ideas.” He shared them with drummer Michael Chambers after their first “random” meeting—a dinner set up by their wives. Kelly assumed they might “make a little noise,” record a few songs together, have a little fun. The concept of “band” was not in the consciousness of these veterans of New York City’s 90s/2000s post-punk/art rock/alt-country scene. Upon hearing something striking and interesting in the demos, Chambers began feverishly churning out drum tracks to all 50 ideas. As the two began translating these musical sketches into songs, two things began to be apparent: that each song seemed to have a life of its own, and that they all sounded pretty good! The idea of forming a band started as a series of questions: “A band? Really? Do we really want to start a band?” There was a powerful feeling of positive energy and movement that came with the songs—like the music wanted to say something and go somewhere. And so, it was decided.
The sound is more than just a reflection of what we listen to. It includes the people and experiences that are absorbed along the way.
With the addition of Knoxville-native, outlaw-country-man Chris Ferguson on bass, the band began work on its first album, Soft Machines (released June 2024). The band recorded and produced the album, but it was the late, legendary Steve Albini that brought all the raw material into its final state of cohesive magic. The band considers themselves supremely lucky to get the chance to work with Albini at his Electrical Audio studios. It was a master class in audio engineering, artistic generosity, and underground music ethos. This debut record was well received across a broad spectrum of audiences.
As the basic tracks for Soft Machines were being finished in 2023, the band began work on its second album of fourteen songs: The Red Core (2025). This collection of music refines the most successful elements of Soft Machines and continues to help the band defy categorization. This time it was Matt Wallace (The Replacements, Faith No More) performing his wizardry on the band’s sound.
Songs don’t come from people, they come through people.
In December 2024, David Andersen, analog sorcerer, joined as the band’s bassist. He had worked with Hide and Shine doing studio and live sound work and expressed interest in working with the band on the other side of the mixing board. The trio melded quickly into their new sound—absorbing the spirit and experiences of the new member. A more clarified and deliberate version of the band was being heard.
In the middle of recording the band’s second record, Kelly made demo recordings of 19 new songs. The decision to abandon the remainder of the original 50 songs was made. These new songs were part of a fresh “psychic download” that occurred after the band had been playing together. It was apparent that the other players were being absorbed into the songwriting.
Hide and Shine are just stewards of music, like all bands, tasked with translating the images and commands of the unconscious world, into the words and sounds of this world. It is incredibly important work. Listening is also important work. By relaying and listening to these messages from the other side, we are all restoring some harmonic balance to humanity.
Hide and Shine resides in and around Kingston, NY—the former capital of New York State, and the current creative capital of America.