Ghosts in Pocket

The atmospheric post-punk sound revived by Interpol, the Killers and Editors in the early- to mid-Aughts won’t go away, and Los Angeles quintet Ghosts in Pocket are the latest to drink from its well. It’s found in the pleading urgency of “Barberton,” the title track from the band’s new EP, out Oct. 9 The group — Keith Beshwate, Zach Mullen, Chris Pulley, Nick Hartman, and Eric Atkinson — tell the story that they played their first gig to a bunch of sixth-graders at a pancake dinner fund-raiser, but there’s nothing syrupy about Beshwate’s stentorian vocals, the stabbing guitars, brawny bass or the hard-charging rhythms. The song is a nod to the town of Barberton, an old gold rush town in mountainous eastern South Africa, where, ostensibly, they might have pancake dinners too. The EP, meanwhile, was produced with John Glenn Kunkel of the New Division, and recorded both in his home studio and the C4 Music Lab in Eagle Rock. - Buzzbands.la

Ghosts In Pocket has just independently released new record Barberton, and today we’ve got a free download of the head-banging title track. The song sounds like a more pristinely produced version of something from the National’s Alligator, a dry baritone lamenting the little tragedies of nightlife over a post-punk barrage of guitars and a punchy drum kit. Download it below. - MAGNET Magazine

The location and audience of Ghosts in Pocket’s first show says a lot about who they were and continue to be; a pancake dinner fundraiser for a local conservatory. The raw melancholy of Ghosts in Pocket’s sound was first heard by a swarm of sixth graders drunk on maple syrup and rock music. Looking back, Keith Beshwate, Zach Mullen, Chris Pulley, Nick Hartman, and Eric Atkinson would happily return, as they would any venue, for one specific reason: they love playing their songs for people who love hearing them.

And they’ve got something new to offer. Since the release of their first album Shadowbox in 2013, GIP has been recording, mixing, mastering, and praying that their new EP, Barberton, can make some new friends. After many long hours of work on this labor of love, they’re ready to present what they feel is the culmination of their sound: hard guitars, intricate drumbeats, and thoughtful lyrics, with a synth and trumpet or two.

Beshwate, the band’s singer-songwriter, found inspiration for the title Barberton after a momentary interest in basic geography led him to the discovery of the town of Barberton in Mpumalanga, a province of South Africa, with mountain ranges 3.5 billion years old, amongst the oldest in the world. He adapted this concept to the songs in what he feels is the firm root of the band’s sound; the title-track speaks to this very beginning, both in the lyrics and the song structure (a simple synth tone, bass bellowing, and an explosion of sound).

Raising the DIY-bar, GIP enlisted production savvy from John Glenn Kunkel of The New Division to accurately situate their National meets Interpol meets Killers sound. Recording was split between C4 Music Lab in Eagle Rock, CA and Kunkel’s converted home studio, allowing for an even blend of polished and raw sound. Additionally, hours were spent on drums with co-producer Israel Medina in order to fully realize GIP’s live resonance. This combination created the most accomplished work of the Ghosts career.

No one particular song on Barberton was written the same. At any given moment, a particular drumbeat, vocal melody, or guitar hum served as inspiration for a larger concept, and was taken to its fullest potential. The major consistency in the songs is the mood, evoking the intensity of thought on the work’s subject. The lyrical focus revolves around meditations on isolation, desire for change, and an understanding of bizarre, often dream-like scenarios. The compositions are both sweet and raw, shifting seamlessly between moments of weighted noise and engaging hooks. Every song benefits from the craft of time, care, and effort that connects the members to their music.

Ghettoblaster spoke with members on the band about their latest EP, which was self-released in early October.

When did you begin writing the material for Barberton?

Keith Beshwate : Some of these songs are actually a little more than two years old now. All of them were written in 2013, sporadically, so we’re VERY familiar with them now.

Which of the songs on the EP is most different from your original concept for the song?

KB: Hmmm… I’d probably say “Statue’s Pulse.” The horns and synth were written and added after the initial demo, and the ending is much bigger than before. Probably my favorite development of a song as far as realizing its potential.

It’s been two years since the release of Shadowbox. How do you feel you’ve changed, musically speaking?

Zach Mullen: Shadowbox was developed over various times in the first three years we had been together, so looking back, I think we almost see it as the prologue to what we are now. At the time we were testing the waters with a few different ideas and styles. I’m not really sure we knew what kind of band we were yet and Shadowbox was a way for us to figure that out. I think in that sort of process you learn a lot about yourself and we took as much as we could from that experience. The Barberton EP is our first project where we really feel that we’ve found our sound; it feels much more focused and cohesive. Shadowbox was our first baby, and we’re proud of it, but Barberton is a real introduction to Ghosts in Pocket.

“Make It Break” has some really beautiful lyrics. But they’re also quite vague. Can you give us some insight into what that song’s about?

KB: Thanks! As impossibly cliche as it sounds, the lyrics are based on what I can remember from a series of dreams. A lot of what I write is a combination of recalling the dream scenario and working through its meaning. The track title references Gillian Welch’s “Elvis Presley Blues” (a personal top ten), which is also used in the song’s lyrics, and I think I was connecting with that feeling of awe one gets when you realize you’re in the presence of something special, and how it almost punishes you to look back at it with a present-mindedness. A trip back through the “100 pages” to fully comprehend how you got to “now”.

We’ve heard you brought in John Glenn Kunkel to produce. How was working with him? Did you know him already?

Nick Hartman: We were beyond fortunate to get him. We had an opportunity to open for The New Division at their Night Escape EP release in 2013 and met in passing. To be honest, our big fear was that he might pass. He’s very selective about his projects and we knew that, so when he said “yes” there was definitely some Napoleon Dynamite style celebration at headquarters.

Working with John was educational on a number of fronts. First, we wanted someone who was invested in the material, but objective enough to call us out when something wasn’t working – someone hands-on. I think the perfect example is, Barberton, the title track itself. He listened to several run-throughs in the studio rather pensively and then just came out with something like, “This is a single that’s two minutes too long. Cut four measures here, jump into the next verse, go straight from the last verse to the chorus, outro.” We managed to pull it together and that’s the version you hear on the EP. He absolutely nailed it. He also brought in Israel Medina to work specifically on drums and Israel is another wunderkind. I don’t want to give away any trade secrets, but John is very visionary and process oriented. He made sure we were on the same page long before he sat down at the mixing board.

What are your touring plans for fall?

ZM: We are doing our best to make it up north later this fall or early next year. We’d like to make it to the Bay and maybe even further. Nothing has been set on that front as of yet, but in the mean time, we’ve got a few shows in LA coming up in the next few months that we’re really excited about. - Ghettoblaster Magazine

OK, this new video from Ghosts In Pocket is fairly unsettling. Directed by guitarist Zach Mullen and bassist Nick Hartman, it does not have a happy ending. But the song, from the band’s upcoming EP, Barberton, touched us with its bleak danceability, harkening back to Interpol (and by extension, Joy Division) as well as contemporaries The National and Killers. “Everything about my love is always harmful,” mourns singer/songwriter Keith Beshwate as he steps into the surf. Happy Friday, everyone! - The Big Takeover

Southern California quintet, Ghosts in Pocket released their debut album Shadowbox back in 2013. Since that release they have been writing and recording their new EP, Barberton. Surviving the Golden Age is pleased to offer you an exclusive stream of the album.

Begin with the titular track, Ghosts in Pocket deliver a brand of indie rock that sounds like an episode of Maury where it will be revealed who the band’s real father is: The Killers, Interpol or Arcade Fire. With a penchant for synths and a dignified usage of horns, the music is dark but energetic with themes of isolation and desire for change. The EP ends with perhaps its best track “Keep the Heat Coming,” which is so catchy and infectious that it makes you want to listen to the whole album all over again. Get ready to endlessly loop this record. - Surviving the Golden Age

Ghosts in Pocket are a raw, passionate five-piece that holds an open-hearted rock sound with just a dash of brooding post-punk attitude. Their latest single, "Barberton", has a driving, rhythmic energy with a sustained melodic intensity that soars with warm expressiveness. If the song immediately strikes a chord it's because of its sweet expansiveness, bolstering the kind of hook that engages despite its familiar trappings.

"Barberton" can be found on their latest EP of the same same, which the band will self-release on October 9. - Juan Rodríguez - The Deli Magazine

A Friday Fire Track and Premiere all wrapped up into one is exactly what we have for you today. The special double fun is from Southern California’s Ghosts In Pocket with their new song “Make It Break.” The track is off their forthcoming self-released EP Barberton, which is due out next Friday October 9th.

As you will hear, “Make It Break” has a completely satisfying Interpol vibe as it kicks off with a pulsing robotic drum beat. When singer Keith Beshwate’s slightly drawn out vocal enters the mix the comparison is confirmed. The track keeps its even pace and tone throughout and delivers an edge of intensity that will have you craving more! - The Fire Note

Being uninitiated to Ghosts in Pocket and their music, I clicked on “stream” and released the flow of their musical creation. The bass line sawed away, the drums tapped and then, the lyrics sang, my mind opened, and I felt refreshed. Focusing in, I submerged for a closer look.

For me, Ghosts in Pocket’s new release “Barberton” is not unlike a child’s finger painting. It is heartfelt and elegant in it’s simplicity and clarity. The lyrics can be heard clearly by virtue of the excellent production. The overall sound is complementary, rich, and as great music will do- it takes you there. Where ever there is, …for you.

I would highly recommend “Barberton” as a fine addition to the soundtracks of your life. It is a worthy addition. Given a chance, I believe you will look upon it, and, grinning, reflect- “Well aren’t you something special?” - East Portland Blog

Off of their latest album Barberton, “Make It Break,” from Los Angeles based outfit Ghosts in Pocket relishes in the same purposely-monotonous pace as The Weakerthans’ “Civil Twilight” all while managing the maintain the sort of edge that errs on the side of a band like The National. - A Journal of Musical Things

‘Barberton’
Ghosts in Pocket (self-released)
3.5 stars out of 5

Los Angeles-based quintet Ghosts in Pocket seem poised to expand their fan base considerably with the release of new EP “Barberton.” The five-track release comes on the heels of 2013 full-length debut “Shadowbox” and has earned the band comparisons to the likes of The National, Interpol and The Killers.

Ghosts in Pocket CDGhosts in Pocket — Keith Beshwate (vocals/guitar), Zach Mullen (guitar), Chris Pulley (drums), Nick Hartman (bass) and Eric Atkinson (kyboards/horns) — formed in 2011 and the SoCal band really come into their own on this 20-minute short player.

The clear-cut highlight of “Barberton” is the set-opening title track, but Ghosts in Pocket also score with “Separated By Ice,” “Statue’s Pulse” and “Keep the Heat Coming.” Remaining tune “Make It Break,” while not a stinker, pales in comparison to the rest of the record.

If these guys can build on the EP’s solid foundation and continue to evolve and mature as a band, Ghosts in Pocket may well deliver a truly special album one day. (Jeffrey Sisk) - Pittsburgh in Tune

Comprised of Keith Beshwate (vocals, guitar, primary songwriter), Zach Mullen (guitar, vocals), Chris Pulley (drums), Nick Hartman (bass), and Eric Atkinson (keys, guitar and horns), the Southern California-based quintet Ghosts in Pocket formed in 2011. The quintet released their debut effort, Shadowbox in 2013 but it’s the forthcoming release of their follow up EP, Barberton, which takes its name from the town of Barberton, in the Mpumalanga Province of South Africa, best known for some of the world’s oldest known mountain ranges. Beshwate, the band’s primary songwriter had stumbled onto Barberton and adapted the concept to the EP’s material in what he feels is the root of the band’s sound with the title track reportedly speaking to a beginning — both in the lyrics and the song structure.

The EP’s first single, EP-title track “Barberton” is comprised of the sort of angular guitar stabs, four-on-the-floor drumming and crooned vocals that bear an uncanny resemblance to Joy Division, Interpol and countless others; however, lyrically, the song covers unusually strained interpersonal relationships with a mournful, melancholic feel and a desperate desire to connect with someone that reminds me quite a bit of the work of The National. It possesses a frank, emotional urgency that’s rare in a day of sneering and defensive irony. - The Joy of Violent Movement

Ghosts In Pocket hail from the City of Angels and are primed to release a new EP Barberton on October 9th. The EP’s title track “Barberton” hearkens comparisons to Interpol and The National among others, and it’s echoed out of my rather beat up headphones the last two days as I eagerly soaked up the clamoring guitar and ringing chords. Previously unknown to me, I have to ponder the evolution of the name Ghosts In Pocket. It’s certainly unique. - Sirens of Decay

Driving bass line and scuzzy guitars make Ghosts In Pocket’s new tune Barberton immediately hooking, while its darkly infectious melody and baritone vocals sink the song’s fangs ever deeper into my soul. Barberton is an atmospheric, expansive post-punk explosion of sharp percussion and complex layers of bold instruments. It’s a song for those of you, who like me, love music from bands like Interpol and Editors (particularly earlier Editors). Barberton is the title track from the Los Angeles based rock band’s new EP, due out October 9th. The song is named after a town in South Africa, with mountain ranges 3.5 billion years old, among the oldest in the world. There’s indeed a certain a worn and archaic quality to Ghost In Pocket’s new song. - I Heart Moosiq

MEMBERS: Keith Richard Beshwate (vocals/guitar/keyboard), Zach Mullen (guitars), Nick Hartman (bass) and Chris Pulley (drums).
CITIES OF ORIGIN: Riverside.

KINDERED SPIRITS: Elliott Smith and The National.

RECENT RELEASES: Shadowbox (June 2013).

WEBSITES: www.ghostsinpocket.com.

FREQUENTS: Back to the Grind (Riverside), dba256 Gallery Wine Bar (Pomona), Mission Tobacco Lounge (Riverside), Rack’s (Corona), Sevilla (Riverside) and Worthington’s (Riverside).

There’s nothing the Weekly loves more than a local unsigned indie rock band with a great sense of humor. Yeah, the music they play is obviously just as important to us—but we also like to have fun and laugh a little bit. This band’s ‘about’ section on Facebook definitely had us LOLing, saying they want to rock our balls, even if we don’t have any. The band also explains that its goal is to make us (the fans) think, love, dance and drink when enjoying Ghosts in Pockets live. Feels like a match made in heaven . . . because that’s exactly what we want to be doing, all at the same time. For our featured Band of the Week, Ghosts in Pocket, writing relatable and passionate music is clearly a strong point for this group of guys. Releasing an album entitled Shadowbox this last summer, we recommend you check out our favorite songs, “Brainwave” and “Hallway.” It could be the passionate and clever lyrics or the tunes that are reminiscent to some of our favorite bands that make the music so relatable and really drew us in. Ghosts in Pocket has the tunes you’re missing on your iPod. Don’t just take our word for it—go and download this 10-track vehicle of amazingness, and you won’t be disappointed.

How did your band get together?

Zach Mullen: Keith and I met through mutual friends while we were both attending UCR. He kept it hidden for a while that he could play, but once I finally got him to get together with me, I found out he actually had some songs. I was already jamming with Chris and Nick at the time, so I thought it would be a good fit. We got together one rainy evening at a practice studio in Hollywood, laid down some crudely recorded demos, and the rest is in the books.

How do you describe your music?

Nick Hartman: We just tell people “indie rock,” and then go from there; gauge the audience, and supply the appropriate sample. But we’re most often compared to Interpol and Echo and the Bunnymen, which is high praise as far as we’re concerned.

What is the story behind the name of your band?

Keith Richard Beshwate: It’s from Dave Eggers’ A Heartbreaking Work of Staggering Genius, and it’s a phrase that’s always stuck with me. I think it relates to our music in that, unlike having skeletons in the closet, your ghosts are always with you. Also, skeletons in the closet is just a skoch too punk for us.

What can fans expect from a live Ghosts in Pocket performance?

Hartman: Just four dudes playing some killer tunes, rockin’ the same amount of energy for five people as we would for 50. The music is high energy, heavy and atmospheric . . . If we’re not sore the next morning, we didn’t show up the night before.

Is there anything else you’d like us to know?

Richard Beshwate: We live our band life by a motto that we set way back when, when we were first hanging out in the shop: “Love each other, have fun” . . . The unspoken third to that is “and make good music.” It’s simple, but it works for us. - Inland Empire Weekly

Everything you need to know about Ghosts in Pocket can be gleaned from the “About” section on the band’s Facebook page.

Don’t take that the wrong way. The description is a beautifully written piece of prose that had me wanting to be 20-something again so I could enjoy them properly. The Southern California indie-rockers play tonight at Visalia’s Cellar door. I did an email back and forth with singer Keith Beshwate.

Start with the basics: Who does what in the band? How long have you been playing and how did the band come together?

I play guitar, keyboard and lead vocals. Zach Mullen plays guitar, Nick Hartman plays bass and they both step up to the mic every once in a while. It’d be rude to say Chris Pulley plays drums; he is a drummer. For now it’s a pretty standard unit, but we’re trying to add a couple members of the synth and horn variety. We’ve been playing since early 2011, but I think the moment we knew we were a band: Our first show at the West Palms Conservatory Pancake Dinner. Literally performing for elementary children strung out on maple syrup screaming for “Mr. Hartman” speaks for itself.

Tell me about the band’s name.

It’s actually a concept from Dave Eggers’ A Heartbreaking Work of Staggering Genius, as horrifically pretentious as that sounds. It’s the idea that your past is always with you, serving as a constant reminder, and is a lot closer than you think. Plus, skeletons in the closet just sounds like an awful band name. But mostly I feel like it suits us well, and makes for a lot very interesting interpretational typos (I’ve taken to adding the tagline of “plural, not possessive” during our shows, but it doesn’t seem to be sticking).


You Facebook description is wonderful as a piece of prose and feels like an accurate description of the scene (as opposed to a single band). Not sure if there is a question here. Maybe … Who wrote it?

That’s all Nick, and he’s honored to hear your appreciation. I don’t think any of us feel comfortable with writing about ourselves, so it just made sense to write about the response we’re looking for and the feeling we’re trying to get across.

That description aside, how would you describe the band? In like, one sentence.

At the end of the day, we’re just trying to play the type of music we’d like to listen to ourselves, and do it well. If people enjoy it, so much the better.

The description also mentions driving long distances to practice. Are you guys in different cities? How does the distance (literal and figurative) affect the band dynamic?

We’re all in Southern California, but we’re spread out over the expanse of 120 miles (admittedly Google-mapped). It gets tough planning practices and shows and traveling, but it honestly makes it so much better when we get together. That kind of distance has really conditioned us to make the most of our time together, and it shows both on and off stage.

Because it’s festival season: You’re putting together the ultimate festival lineup. Give us the top five slots.

After some not so careful deliberation, our top five slots (in no particular order) would be:

My Morning Jacket
Radiohead
The Hives
Wilco
The National - The Fresno Beehive