How Comic Books, Dario Argento, and Vaporizers Influenced Phoenix's Take Over and Destroy

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As Heinekens are cracked open, Hoag describes scenes from a '50s TV show that dramatized the lurid appeal of spooky comics on children. After a few minutes of exposition, he declares, "Oh, we've just gotta watch it," and directs the group to the control room, where he queues up a YouTube video, a black-and-white "reenactment" of a group of neighborhood kids torturing a buddy, influenced to the act by comics.

Keyboardist Pete Porter leans over and says that the evening's activities thus far serve as a good indication of how the recording process for the band's latest album, Vacant Face, scheduled for release on August 19, went down. The band would gab, peruse Hoag's comics, movies, Space Age gizmos, guitars, and amps, decamp to the lounge to watch horror flicks, and at some point in the night -- usually very late -- head to the studio's "A" room to record.

The band has done all its records with Hoag, starting with 2011's Rotten Tide EP and continuing with 2013's full-length Endless Night, and on to Vacant Face, which finds the band dropping the acronymic version of its name, TOAD. The records have been received tremendously: Blogs including Stereogum, Lambgoat, and Metal Sucks have lauded the band, and Pitchfork's Kim Kelly praised the band, singling out the "strong groove coursing within their veins." The band's toured with Swedish doom outfit Agrimonia and opened local dates for Ghost B.C. and Dillinger Escape Plan. This year, the band is part of the three-day Southwest Terror Fest in Tucson, where it's billed alongside the Atlas Moth, Pelican, the Body, Neurosis, Sunn O))), and dozens more.

Hanging out with the band (Porter, guitarist Alex Bank Rollins, vocalist Andrew Leemont, guitarist Nate Garrett, drummer Jason "The Creature" Tomaszewski, and bassist Dylan Thomas) is like stepping into a pop culture whirlwind. While ostensibly trying to discuss the musical content of Vacant Face, we touch on the idea of a collective unconscious, ZZ Top, Slayer, Metallica, Converge, Goblin, Blue Cheer, Michale Graves-era Misfits, Bruce Springsteen, Jack White, Dwight Twilley Band, Neil Young, and spend a disproportionate amount of time arguing about Weezer. It's not impossible to hear touches of most of those artists in the band's third album, which blends big melodies with the group's black metal influences, hard rock bravado, punk propulsion, and elements of '70s and '80s horror movie soundtracks -- think John Carpenter and Goblin's scores for Dario Argento.

Hoag's interaction with the band is so loose and freewheeling that the studio begins to feel like a clubhouse, stuffed with a bunch of excitable dudes. Hoag's time with the band stretches back to mid-2000s recordings by pre-Take Over and Destroy band Slut Sister, and it shows: surrounded by toys and pulpy inspiration, the band members treat Flying Blanket like home.

Hoag primarily is known for the indie rock and punk records Flying Blanket has pumped out --- albums by the Ataris, Gospel Claws, the Love Me Nots, Dear and the Headlights, and Black Carl -- but despite his lack of fanaticism regarding heavy metal, he acts as something of a seventh member of Take Over and Destroy during the recording process. Vacant Face cements his role as guru; he contributed a song to the record, a Carpenter-esque segue called "The Fly Is Awake," which he wrote and performed with the album's final sequencing in mind.

Hoag is "never satisfied," Garrett says, "and that's what we have in common."

"I don't want to do the same record all the time, because that's boring," Hoag says. "I try to throw in some little experiment on every record I make."

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Jason P. Woodbury is a music and pop-culture writer based in Phoenix. He is a regular contributor to the music blog Aquarium Drunkard and co-host of the Transmissions podcast.