On their latest EP, Total Sorry, Trembler moves between the static. From the opening notes of “Like Sugar”, we’re wrapped up in the sound with them. There’s an ever-present energy across the release. It’s almost like a ghost–one that appears in and out of view. In reality, it’s constantly there, you just don’t always notice it.

It’s easy to lose track of time while listening to the record. More than seven minutes pass before we hear any semblance of drums. When they arrive, they come in at a ritualistic pace, leading us somewhere unknown.

There’s an equilibrium of intensity and calm on Total Sorry. It slowly unravels before our eyes, asking us to acknowledge forces that we can’t deny. On “Like Sugar,” the words draw a picture in the sand. For a moment the image stands still, until the static comes and rearranges it into something unrecognizable. On “Wilt”, Gonzales sings about the impermanence of beauty and imperfection. No matter what, they both die. The band closes with “Love Leave the Body,” a song built on a forceful rhythm. This is where Trembler has been leading us.

This is not a background record. It’s about facing things head-on in order to grow.

We connected with Trembler’s Luke Gonzales about the shoegaze label, vulnerability, experimentation in the studio, staying open to collaboration and more.

1/SOUND

At it’s core, Trembler is a rock band. Alternative, maybe more specifically. Across the discography I have been influenced by rock, metal, post-punk, ambient, slow core, classical music, electronic music, a whole lot of stuff. But it starts with rock. :-) A lot of people label us as shoegaze, which hasn't ever made sense to me, although I adore quite a few shoegaze bands.

2/COLLABORATION

So far, I act as sort of the leader in the songwriting. Especially now that I am the sole founding member left, I try to keep the band glued together in a way that makes sense. I bring ideas to the ensemble and we flesh them out; however, there have been a few instances where somebody contributed something that pretty much made it in the work unchanged. My primary concern is that it feels like Trembler, that it moves the band in the right direction at the right time and that there is some sort of idea behind why we are doing it. That being said, I intend to open up to more collaboration with the current lineup to see where it goes. So far every member past and present has contributed a whole lot.

3/CREATIVE EVOLUTION

I change every day and I carry a great concern with trying to be honest with my music. Whatever it is I am trying to say, I will follow the sonic palette and required techniques to achieve that.

4/ADVICE

Musically? I would say to be vulnerable. The best art is genuine.

5/STUDIO TIME

In the past Trember has recorded live, overdubbed, built entire pre-written songs in the studio before we ever play them, improvised on the spot, a whole bunch of stuff.

6/GATEKEEPING

I think respect goes a long way; like, I don’t wanna be around people who are being dicks, predators, abusers, anyone with bad intentions. I think most people agree with that, no brainer. That’s the only thing I’d be confident in saying should be blocked off. Otherwise, if theres a band that kinda sucks, or you just don’t like them, you can choose to either pay attention to it, offer positive reinforcement or just move the fuck on and focus on your own stuff. Idk if that answers the question really, but just don't be prick and things are typically pretty chill. Music should be fun.

Total Sorry is out now on Rite Field Records. It can be purchased on vinyl, CD and cassette through Bandcamp.

Features

6 Things W/Trembler

There’s an ever-present energy on Trembler’s Total Sorry — like a ghost moving in and out of view. It unfolds slowly, but it never lets go. We connected with frontman Luke Gonzales about experimentation, collaboration, gatekeeping and more.