The songs of Hide and Shine seem unusual but feel so familiar—like nostalgia that you can’t quite put your finger on. The band’s first cryptic description was “An Art Death Indie Post-Punk Rock Alternative.” Record store addicts determined that the music had the raw, literary punk of The Replacements, the sweet 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 hint heavily of esoteric themes like interdimensional consciousness, alchemy, virtual reality and UFOs. There is also a deep note of social empathy, but it never emerges as “political.” It’s more concerned with the  love of humanity and buried under poetry. 

Emerging from a glorious tear in the time-space continuum in 2020, Hide and Shine started with a “psychic download” of 50 songs. NYC indie rocker Chris Kelly (Ferdinand the Bull NYC) captured the songs in little “sketches” and casually presented them to drummer/producer Michael Chambers (Kids soundtrack). They began documenting these songs in the studio and a strong feeling of “Hmmm. What’s this?” grabbed them. The songs took on a life of their own and the “band” was somehow led to the late, legendary Steve Albini, who worked this collection into the band’s first double-album: “Soft Machines.” Albini’s masterful approach nurtured the band’s initial raw and diverse expressionism, and gave back something pure, honest and cohesive. 

Hide and Shine’s second double-album, “The Red Core,” produced by Wizard Matt Wallace (of The Replacements and Faith No More fame), was another outpouring of tough and tender, dark and enlightening tracks that spoke to a broad range of listeners — from hardcores to hippies, artists to average Joes. It featured both “radio friendly” songs like Can’t Wait to Catch Fire, and thunderous alternative anthems like Hemorrhage and Heal.

Songs don’t come from people, they come through people.

The band’s third release, “9 Seconds Before Revolution,” added David Andersen on bass. He also provided analog recording wizardry that allowed the band to record and mix themselves. This record is their most strikingly distinct and opinionated work to date. The social empathy and spirit behind the music is fully established — as is the sound. It hovers like a dark, sometimes stressful, angular punctuation to 2026 society and a foreshadowing of its potential near future.

The band has been graced with good luck, good energy and the honor of sharing the stage with the likes of Lou Barlow (Dinosaur Jr., Folk Implosion) and Steve Shelley (Sonic Youth). Both of these artists share a connection to Hide and Shine’s home planet, Kingston, NY—the former capital of New York and the current creative capital of the universe.