Silver Relics

When you think about what makes your favorite song your favorite, what qualities come to mind that separate it from the rest? Is it the magnetic rhythm that reflects upon your soul? The captivating sound that your body seems to have been born to sway to? Perhaps it’s the lyrics that leave their lingering mark? Combining all these elements in hypnotic harmony, Alex Sepassi (vocals, guitars, synths, programming) and Justin Alvis (drums) of Silver Relics have released their debut album generic. featuring 12 tracks that are anything but.

Formed in 2017, the band relocated to New York City after Sepassi was introduced to producer Howie Beno at South by Southwest in Austin, TX. Prior to their move, Silver Relics began recording their material with the help of Beno and has continued to collaborate with him ever since.

Turning Inspiration into Innovation

Initially inspired by his youth spent listening to Britain’s songwriting pioneers of the 60’s and 70’s, Sepassi later discovered the synth and psychedelia of 80’s rock which would prove influential to his own musical style and development. At the age of 10 he began to hone his vocal skills and by his late teens Sepassi was growing into an innovative songwriter. Complimenting Sepassi’s skill set, Justin Alvis garnered his experience as a drummer through time spent touring with a number of Drum and Bugle Corps across the United States and Europe. Together, the talented duo Silver Relics has been performing across New York and winning crowds over with their electrically infused songs that resonate uniquely with each individual listener.

Acting as a window into the band’s experience of making a major move to pursue their passions, generic. offers a glimpse into the highs and lows of uprooting your life that listeners all over the world can relate to. The opening songs of the album mark the start of a journey full of optimism and kicks off with an upbeat, electronic flair. As with any new venture, the excitement of jumping into the unknown typically comes along with a certain degree of struggle and insecurity.

Progressing into the fourth track, “Gridlock”, these themes begin to emerge with a noticeable shift in sound featuring heavier guitar riffs and sharper vocals. The lyrics “need to take it slow, find a way around the obstacles” reminds listeners to allow themselves time to breathe so as to not be dragged under the rapids of life’s many challenges. Despite the trials and tribulations that may emerge along the path to success, out of chaos comes clarity and resolution. The album resolves in a tribute to release and acceptance throughout the final tracks such as the synth-fueled “Small Talk” whose lyrics reiterate the idea that “it’s better late than never” to embark on a journey of your own.
Garnering a host of positive attention since the release of generic., Silver Relics will continue adding to their extensive repertoire of live performances as the summer continues.

With only one final New York show coming up, Silver Relics is taking generic. across the pond to experience the inspiration of Britain’s music scene from the stage. The trans-Atlantic tour features five shows starting in Ireland on June 28th and concluding in London on July 2nd.

Upon their return, American listeners should stay tuned for new dates and announcements which will hopefully include a number of shows in New York and across the rest of the US. As dedicated as they are to their art, Silver Relics is sure to continue their journey of innovative exploration with generic. being an auspicious hint to a successful future ahead. - Indie Band Guru : Anna Ernst

Day 1: Drop Dead Twice : Dublin, Ireland : 6.27.19

Today Justin and I are running around city centre looking for a voltage adapter after we absolutely fried the shite out of our rack late last night. Complete with smoke and sparks by the way. 7 shops later, we’re back on track. Also, something we noticed was how helpful every single shop owner/worker was to us. If they didn’t have it then they pointed us to a place they thought might. So we were a little thrown off by that level of kindness. Not exactly something New Yorkers are used to but we but love everything about the welcoming aspects of Dublin. We arrived for our first show at Drop Dead Twice. Here are a couple of shots of Justin and me at the venue:

We sat around with our new friends from the Dublin quartet Magazines before we went on. These guys have an amazing sound and we can’t wait to see what happens next for them. Overall, the night was fantastic and I really don’t think we could have had a better experience for our first show.

Our dear friends Dermot Lambert and Craig Kingma at Garageland Ireland set us up at all three venues in Ireland. They’re amazing guys and we can’t thank them enough. Here’s a quote about the show from Derm:

“It can be quite difficult for an artist to win over a new audience, especially in a faraway land which they’ve never been to before, but the room came alive when Silver Relics took the stage in Dublin on that beautiful June evening. Heralded only by some specialised radio play from their tracks Time Bomb (T2), and Generic, the band found themselves in the company of a room full of instant fans, as the smokers came in from the beer garden and the private party-goers came down from the upstairs club to see who was driving the bass and killing the tunes. Justin swaggers and Alex swoons as the whole room became transfixed, hypnotised by proceedings. A set list of 7 songs disappeared all too fast in a haze of blistering anthems and killer hooks, delivered by actual real life rock stars. On this occasion I am happy to report ‘I was there’. ”

-Dermot Lambert

Day 2: The Sound House : Dublin, Ireland : 6.28.19

Today we’re over at the Garageland RTE2XM station for a live broadcast with Dermot, Craig and our producer, Howie Beno. We talked a lot about a little of everything. How the record was made, how we got to where we are and where we want to go. Always a pleasure to sit around with these guys. Here’s a shot of Justin and me in our new Garageland tees.

We got to the venue for soundcheck and right away we knew it was gonna be a good night. The venue overlooks the river and the space itself is gorgeous.

But this wasn’t an easy show. We were the first to go on and there weren’t a lot of people there when we started our set. These things happen from time to time but it never changes how we actually play. So we gave it everything like always and we started to see more and more people pile in by the time we were close to finishing out the set. The other bands were fantastic just like the night before at Drop Dead Twice. There’s an incredible amount of talent in Dublin. Every single group/artist has something to offer. They play together and you can feel how important it is for all of them to be up there.

Day 2: success.

Day 3: Pharmacia : Limerick, Ireland : 6.29.19

On the road to Limerick with Derm, Howie and Brandt. Before we even got to the venue we stopped off at Cashel somewhere between Dublin and Limerick. This was an experience along the way that made us realize exactly where we were. This is the type of place that makes you shut the fuck up and appreciate what’s right in front of you. The castle and the landscapes are incredible. We walked away grateful knowing that we had this to remember.

We didn’t get to see as much of Limerick aside from the ride through the city and the spots surrounding the venue. First thing’s first, Pharmacia is a great spot. It’s quirky and tasteful. The lineup was fantastic thanks to Garageland. The Revolators, In The Black and Norma Manly have amazing energy. They’re bold and it’s evident they felt right at home, which made the night a lot of fun. This was a great show that was worth the midnight journey back to Dublin without an ounce of sleep before we jumped on a flight to Manchester.

Stay with us for Tour Diary Part 2, the UK!

@gargelandireland

@rte2fm

@howie beno

@brandtgassman

@farmadelicasound

@dropdead_twice

@thesoundhousedublin

@pharmaciabar - On The Back Edge Of The Beat

Once again, I am beyond excited to exclusively present another guest post for the band Silver Relics as they documented some of their experiences on a recent international tour. I have to give a big thanks to both Alex Sepassi and Justin Alvis as well as their crew for wanting to help create this, would love to do plenty more of this in the future!

Day 4: Night and Day Cafe : Manchester, United Kingdom : 6.30.19

Justin caught an early flight ahead of Howie, Brandt and myself into Manchester. We headed straight to our hotel to try and get some rest before our first ever UK performance. It was only about a 5 minute walk to the venue so we had plenty of time to explore the Night and Day Cafe located in the center of the city. This venue is spectacular. The type of place that makes you want to take photos.

Soundcheck was relaxed which gave us plenty of time to get to know a great group of guys and a fantastic band, Electric Cheese. The overall feeling I had from this place was that everything has to be earned. It’s not a very forgiving city until you’ve gained the respect of the locals. I don’t need to get into how many brilliant artists originated from Manchester. It’s understood. And if you aren’t aware of that then you sure as shit will once you walk by any venue. This city is home to many of my biggest influences, so to be a part of it, even for a day is amazing.

Shortly after soundcheck, in walks Mark Burgess and friends. Mark’s an extraordinary artist, writer and the frontman of The Chameleons, a legendary band with roots firmly planted in this city. It was a privilege to perform on this stage. Afterwards we received this review from Mark that we’ll forever appreciate:

Silver Relics

Manchester Night & Day cafe

“On the recommendation of a friend I caught Silver Relics performing a set at Manchester’s Legendary Night and Day Cafe. Playing a debut show in the centre of Manchester is never easy at the best of times and Sunday nights are the not the best of times, but Silver Relics from New York definitely lit a flame under those present. I was pleasantly surprised and deeply impressed by this duo, comprised of real drums, and talented drums at that, a rock and roll guitar worthy of the name and some soulful vocals, what’s more there were a few seriously impressed Mancunians around me that shared that view. Some great, vibrant original songs augmented by a really fun cover of Depeche Mode’s ‘Never Let Me Down ensured that everyone ended the night in good spirits and with huge grins on their faces.

Well played Silver Relics.”

-Mark Burgess
The Chameleons

Day 4: Success.

Day 5: Green Door Store : Brighton, United Kingdom : 7.1.19

We’re starting to get our asses kicked at this point. Not a lot of sleep and we’re about to do our 5th show in 5 days. Here we are on our way from Manchester to Brighton:

Everybody loves Brighton. We arrived when it was 75 and sunny. We linked up with our brilliant photographer, Kevin McGann, who happens to be one of our favorite people, so we already knew it was going to be another good night.

Green Door Store is below the train station in an old refurbished stable-turned-venue. The sound in this place was spectacular. Our label mates, Autorotation, put on an amazing performance to start off the night. They’re moody, sophisticated and inviting. We loved everything about this night, especially when we met with Chemlab frontman Jared Hendrickson. This man is amazing. He embodies everything I respect in a musician with the same type of confidence found in Mark Burgess. Here’s what he had to say about the evening:

“I just saw the Silver Relics, a band from New York, play their first show at the Green Door Store in Brighton, about an hour south of London. They’ve been playing dates around the UK and dropped into Brighton just before heading up to play the Old Smoke. I knew their songs from listening to their Generic album, but I really didn’t know what to expect from them live. Having performed in bands for years myself, a good live show is important to me.

Being able to perform with intensity and brio no matter the attendance is crucial too, and Brighton brought the challenge because the audience, though very enthusiastic, was small. Lame bands underperform when in-front of a small audience, but the Relics displayed utter professionalism by stepping up to the mic and ripping the lid off the Green Door. From their opening number, Fame, to their raucous closer, Cardiac, they roared through their tight set as if they were playing to an audience of a thousand.

The lights hazed and the colours boosted and the audience was hooked, cheering and whooping up a storm. Justin pounded his kit with a combination of precision and abandon that was a delirious pleasure to watch. Drummers aren’t always worth watching, but this guy was a show all on his own, ranging from delicate, intimate moments to all-out Grohlian bludgeon. Alex Sepassi is the perfect front man, simultaneously inviting and yet wrapped up in the world of his songs, his voice just the right mix of sandpaper and silk as he sashayed and swayed around the stage like the missing link between Keith Richards and the unbeatable Wilko Johnson.

With a sound that sets the pop perfection of The Kinks and The Beatles on a hard collision course with the dark dreams of “Pornography”-era Cure, the gorgeous sonic wall of bands like My Bloody Valentine and a lick of The Verve before they went right up their own asses, Silver Relics are perfectly poised to take the UK by storm.

Bring them back soon. I can guarantee the room will be packed after that show!”

-Jared Hendrickson

Day 6: The Islington : London, United Kingdom : 7.2.19

1 a.m. train to London with Brandt and Howie. Justin’s staying the night in Brighton , which was a smart move by the way. London was the perfect place for our final show on this run. The Islington is a gem. We showed up to deliver the best of what we had. This performance was a challenge since we knew this one was going to be the last one until our next trip over. Justin and I love everything about the stage, so you can imagine how happy we were after 6 shows in 6 days. We were joined by our friends, Autorotation and Cyberwaste. It sounded and felt fantastic and we couldn’t have asked for a better spot to perform.

We learned so much on this trip. Performing “Generic.” in front of the people and the places that have influenced me since the beginning was so important to me. Important for us. Something happens when we strip away everything and we’re left with ourselves, our instruments and the people in front of us. We walked away knowing that this record and these songs are something we absolutely need to keep sharing with all of you.

Thank you to every one for your support and to those responsible for getting us here.

@howiebeno
@brandtgassman
@farmadelicasound
@garagelandireland
@craigkingma
@nightanddaycafe
@greendoorstore
@theislington

We’ll be back there and to a place near you soon.

Silver Relics - On The Back Edge Of The Beat

Silver Relics is a New York City duo comprising singer/multi-instrumentalist Alex Sepassi and drummer Justin Alvis. The two musicians each harness nuanced and diverse backgrounds, Sepassi through the complementary sounds of 60s pop and 80s indie rock, and Alvis through his formative touring stints alongside various drum and bugle corps. In 2016, Sepassi and Alvis linked up with New York producer Howie Beno during his South by Southwest showcase. They would eventually relocate there the next year, at the same time crafting a collection of original songs.

Last Friday, the band released their debut full-length, generic. Right off the bat, what’s on offer here is a complete contrast from the album’s title, not to mention utilized exceptionally. The album opens on “Fame,” a synth-oriented track bolstered by a groovy pocket, deep bass foundation, and clean guitar accompaniment. Sepassi’s vocal tonality is sharp and direct, giving the involvement distinctly contemporary pacing and punch. Considering these factors, I appreciate how the general mix is contained further on as if it doesn’t have to necessarily jump out at the listener to garner their attention. Both the titular and following track, “End of Zero,” continue to employ a similar dynamic where the instrumentation is vibrant and layered, yet keeps a steadiness throughout. From a thematic sense, there’s focus on staying true to your roots when all has been lost, and the subsequent striving to persevere through such circumstances. The album then heads into rockier territory, carried by “Gridlock” and “Time Bomb,” the album’s carrier single. I found the stylistic and thematic implementation of the two tracks interesting. The initial track is of a hard-edged, straightforward variety and centers on careful thinking to move forward, while the other emphasizes clean melodies and a contrasting notion of impulsiveness. Ultimately, both mindsets come into play on side one’s capping song “Wanderlust,” which sees balance between clean harmonies and heavier textural nuances.

The latter half of the album begins on “Submarine,” a catchy, melodic track that gives off the feeling of being submerged underwater. I enjoyed how the verses featured a grungy guitar tone, while the chorus offsets it with clean chord sequences enveloped in cave-like reverb. The pacing of this section works much the same way as the previous, with the tracks “Cardiac” and “Colours” continuing to channel sensation-based imagery. On “Yellow Master Motive,” the focus shifts to how that longing for adventure can push one to act based on their environment, and the struggle to stay grounded in the midst of it. There’s noteworthy involvement between the gentle initial phase, the crunchy mid-section, and the subtle key change toward the end of the song, all of which earn the song potential as a follow-up single. By the penultimate song, “Small Talk,” I felt an honest sense of growth in the subject’s perspective, wherein their initial disenchantment from being routinely kicked down matures into a state of humility, in that they no longer dwell on their shortcomings. The newfound perspective is further expressed in the album’s closer, “Postscript,” which acknowledges that in one’s pursuit of their dreams, they tend to lose themselves in the fight through barriers, and hope to eventually transcend them through whatever means possible, no matter how extreme.

Overall, I was impressed with how well Sepassi’s and Alvis’s abilities translated in a full-length setting. Their balance of heavy, clean, and electronic elements works effectively, especially when set as the backdrop to a clever narrative about the human experience. I’m already looking forward to Silver Relics further expanding their creativity next time around.

Silver Relics Socials:

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After reviewing generic., the debut album of emerging New York-based band Silver Relics, I decided to follow that up by interviewing their frontman, Alex Sepassi. The band held an album release party last week, with several European dates lined up for June and July. Among the essential topics, we discussed how Sepassi’s current environment still holds resonance, the concept behind generic, as well as his enduring partnerships with bandmate Justin Alvis and their producer, Howie Beno.

ME: How was your record release party?

Alex: It was great! It was a nice gathering of everyone we’ve been seeing at the shows lately — basically our entire extended team. We just booked one of our favorite bars in the East Village, played the record a few times, and talked about it and anything else, really. Yeah, it was a lot of fun!

ME: What are you looking forward to most about your upcoming dates?

Alex: That’s a great question! A lot of things, but mainly performing alongside who I’d consider my heroes on some level. The places we’re playing are where a lot of these guys come from. Just to get an idea of what the environment is like over in Europe is what I’m really looking forward to, and sharing the stage with these artists. This is something that I’ve wanted to do from the beginning.

ME: As far as your influences go, you tend to showcase a lot of alternative rock and shoegaze in your sound. Did you take to those sounds immediately, or was it a while before they grew on you?

Alex: I wouldn’t say I took to anything immediately. With a band like Depeche Mode, for example, I wasn’t alive when their very early records came out, and to be honest with you, they’re not the type of band I’d normally listen to, so I’m going through their discography and kind of warming up to them that way. While writing generic., that’s the approach I took with the album. I’d gotten a lot of recommendations from friends and from Howie, and I started essentially living in the decade of those alternative rock artists.

When I was growing up, it started with listening to a lot of 60s bands. Stuff like The Beatles, Led Zeppelin, The Who, and The Doors, were what my parents liked a lot back then, so I’d gotten pretty familiar with those bands early on. The shoegaze elements are there, too; I’m glad you hear them. Certainly, the heavy guitars are akin to My Bloody Valentine. When you start looking at these arrangements and the production style as a whole, I think that they take a lot from these alternative influences like you’re talking about, more than anything else.

ME: In forming Silver Relics, you moved to New York City to get that going. Where were you guys from originally?

Alex: We were from Austin, Texas. I met Justin there years before at South by Southwest through some good friends of ours. He showed up one day, was like, “Hey, you need a drummer?” and I said, “Of course, who doesn’t need a drummer?” We’d gotten along very well, and have probably known each other for about 8 years at this point. We’ve always played together in some form during that time, and I was actually in New York initially before moving to Austin. I knew I was going to come back here at some point, so when that time came, we knew we needed to have the album completed.

ME: This album would become the basis for generic., is that right?

Alex: Pretty much — with the exception of the first song, “Fame,” which was done in October. Back in Austin, I had New York in the back of my head the entire time while writing the record. New York never really leaves you, and you never really leave it. Everyone has their own city or place to reference, and I thought the songs were representative of that. After being there, I felt as though this record took on an urban identity, but I didn’t have a way of knowing that otherwise.

ME: I know what you mean, man. I’m originally from Hawthorne, New York, and I moved to Florida recently. There’s a nostalgic aspect to it, not to mention a lot of stress from moving far away, but as long as you stick to your drive, you can make it happen.

Alex: Absolutely. Where are you in Florida?

ME: I’m in Tampa, but I still think about New York a lot.

Alex: Yeah, and I don’t think it really leaves you. You can certainly channel it in different areas. If you’re an image-oriented person, you’re going to figure out a way to keep yourself busy working toward something — possibly multiple things at once. With this record, it was about focusing, writing the best songs I possibly can, and getting the best drummer. That was my goal, and there wasn’t anything else on my plate at the time, so I feel lucky that I was able to stay focused through such an intense process.

ME: How did the concept for the album come about?

Alex: What’s funny is that I don’t really know the answer to that question, but I should; it’s a good question. In terms of concept records, Pink Floyd’s one of my favorite bands, and they make a pretty strong case for that. They make some of the best concept records, for sure. Because of that, I gravitated toward them.

For this record, the goal was more along the lines of, “I need to write songs that Justin and I will be excited about, and will be equally excited about playing on stage.” We wrote 12 songs, and we had to be proud of each and every one of them, without exception. I think it was the period of time when we were about to move, and everything around that, that really shaped the album’s themes. In a way, all of that became a concept — that small window of time that you’re capturing song by song. In every recording session, it was done in real time. Was it planned? I can’t really say. Maybe subconsciously on some level, but I don’t think there was anything pre-ordained in that sense.

ME: Tell me about “Time Bomb,” how it resonated with you to the extent of becoming a single.

Alex: I’d like to think of this song as a kind of slingshot. It’s the shortest song on the record, but it moves, you know what I mean? I think that feeling is enough to convey something like, “Hey, here we are; here’s our first single.” In the context of the entire record, I like to think that, lyrically, it’s pretty open, and not too obscure. If I had to summarize it, it represents a time when you ask yourself some questions, trying to figure out what the answers are, and not having anyone else around you to listen to you. Sometimes, you might not even want someone else there, and you strive to figure it out without waiting for their input. What you’d end up doing is just shouting at something — shouting at the sky, or whatever it is — and the next thing you know, it’s like a release. Every time I listen to that song, it’s like that, and I still feel like that sometimes. I think I probably will. I know I’ve felt like that before, but I feel lucky to be able to get this down. For me, it’s like getting an old Polaroid photo — something immediate.

ME: What resonated with me about the album was the pacing of each song. It’s a battle between patience and impulsiveness and trying to find that level ground, and I think you capture that very well.

Alex: Thank you. That really is the struggle, and I don’t think I’ve known anything else.

ME: In a way, each song represents a different aspect of that struggle. You have songs like “End of Zero” and “Time Bomb” focusing on someone’s actions amidst those circumstances, while “Cardiac” and “Colours” dive into more about the emotions and sensations a person feels while carrying out those actions.

Alex: That means a great deal to me to hear you say that, and based on what you gathered from the album, it feels like mission accomplished on some level. I think one of the other components of Silver Relics was to function as a kind of art project. It mainly centers around music, of course, but from that, there are other forms of expression. It’s about trying to paint this picture of what life is like, and this real-time feeling of what we’re all going through. Like you’d said, it’s patient, but at the same time, impulsive. With this record, it’s the closest I’ve ever gotten to capturing that feeling. The less you dwell on, the better the turnout, and from that whole experience, I think I have a lot left to share.

ME: When it comes to working with Howie, what do you notice about his style?

Alex: I don’t want to speak for Howie, of course, but at least in the studio, he’s quick. He’s intelligent and incredibly gifted, and he and I work extremely well together. And by the way, Justin shares those qualities, too. You have three people in the room together, with the common goal of fleshing these ideas into songs, and Howie has the ability to not only keep up with that, but refine those ideas — or feelings, or sentiments — that we’re trying to convey to anyone. Because if we don’t believe in them, how do we expect anyone else to? He seems to get that out of people, and his pace and our pace match; it’s just the right combination. We talk with each other almost every day, and see each other often, in order to keep this thing going.

ME: Overall, what have you learned from the experience of writing your debut album, putting it all into perspective?

Alex: I think what I’m most proud of is the risk involved. It can be intimidating when you’re starting out, but then once you complete the album, it’s a strong sense of accomplishment to have 12 songs that fully represent a part of your life. It’s documented, and anytime I want to reference it, I can pull it up. My hope is when other people listen to this, it’s something that resonates with them, and it’s something that they’ve gone through. I think this record not only encapsulated an idea of openness but in the way that I wanted it to. In that sense, the biggest accomplishment is being able to put that into words. Whenever it feels right, then it’s right. I’m glad for having taken that risk because I don’t think there would have been an option not to.

ME: The other part of the lesson is that when the music is ready, it’s ready. If it’s not, then it’s not. Another side of it, too, is that sometimes once you put something out, you start hearing something that you think shouldn’t be in there, but after a while, it grows on you. Did you ever have those moments?

Alex: Absolutely. I find that many musicians I know tend to not be the greatest judges of their own work. After a certain point, you have to have someone who understands what you’re about come in and say, “Hey, this is actually good! This is good enough, and this is what we’re working with, so shut up about it.” Up until that point, you start listening for what may seem like huge mistakes at first, but over time, they absolutely do grow on you and become an actual part of the art. It’s not just about living with them; it’s learning to appreciate them and feeling good about something you otherwise used to cringe at. There’s a big element of trust, too. If I have someone like Howie telling me if a song or idea is the right one, it’s my responsibility to recognize that and trust his insight. A lot of that had happened in the album, too — someone being able to create that filter and say, “Hey, enough’s enough; we’re good!” and then move on. It’s like a period at the end of a sentence.

ME: Lastly, anything you’d like to say to your fans?

Alex: We’re going to be in Dublin, Ireland on June 28th, and the other dates are on our social pages. Ultimately, I just want people to know how much it means to us that they’re listening in the first place. We put something out there, and for it to resonate with them is the single greatest feeling. I’m incredibly grateful and lucky to be talking to you right now about this. It’s what I’ve always wanted, and what I hope will continue, honestly.

Silver Relics Socials:

Official Website|Facebook|Instagram|Twitter - Music Existence

Alex Sepassi and Justin Alvis combine forces to form Silver Relics and to create an infectious brand of indie rock. With heavy influences spanning from the ‘60’s, ‘70’s, and ‘80’s, the pair recently released their debut album, generic., followed by a run of shows in the UK and Ireland.

Originally from Austin, TX, Silver Relics are now based out of NYC, which is the perfect place for a duo with such high art-rock energy. I recently chatted with Alex and Justin about finding balance when writing together, touring overseas, setting yourself apart in the city that never sleeps, and more. Continue reading down below to learn more about Silver Relics, and to give their new album, generic., a spin!

Q: Generic. pulls inspiration from a wide variety of 60’s, 70’s, and 80’s music. Growing up, who was your favorite artist, and more recently, who’s the last artist that you listened to?

Alex: My parents grew up around that time so I was introduced to ‘60s and ‘70s at an early age. I especially appreciate the limiting aspects of the recording process by today’s standards. The Beatles are a great example of what you can do with four tracks. It’s all about the progression and melody. The song. The ‘80s influence came a bit later on when I started to listen to more synth-oriented bands like Depeche Mode, Duran Duran, New Order etc. Groups like The Cure, Joy Division, The Stone Roses and Nirvana help to glue the classic and contemporary aspects for me. Right now I'm listening to The Chameleons.

Justin: I was way into Rage Against the Machine. My first band played mostly RATM covers, actually. Still into it. I’ve been into lo-fi hip hop lately. There’s hours of playlists out there of just lo-fi beats. Perfect for the subway.

Q: What are your favorite venues in NYC, both to perform and to catch a show at?

Alex: We’ve done a number of shows at The Bowery Electric and Rockwood Music Hall so those have to be on the list. Favorite venues I'd recommend to check out your favorite bands are Warsaw, Baby’s Alright, Gramercy Theatre and Brooklyn Steel.

Justin: We’ve played some fun gigs at The Bowery Electric — great sound and a lively audience. Can’t go wrong catching a show at Brooklyn Steel.

Q: It’s no secret that NYC is home to countless musicians. What would you say is the most important aspect of making a name for yourself in the city that never sleeps?

Alex: Community and practice. The art scene is expansive in this city so developing relationships helps us become aware of what’s actually happening here. It’s certainly not an easy place to conquer but making those strong personal connections makes you realize there are common goals among us. And rehearsals are of most importance to us.

Justin: Work. Just work. What you do between gigs is critical. If you get that part right, the show takes care of itself.

Alex: Exactly.

Q: You recently played a run of shows in the UK and Ireland. What were you most looking forward to when it comes to performing internationally? Were there any special places you wanted to see while there?

Alex: I've been influenced by so many amazing artists/bands from the UK and Ireland so to have the opportunity to perform in these spaces has been a goal of mine since day one. It's a privilege to experience the people, culture and landscape and to have a strong understanding of where these iconic artists have their roots.

Justin: Getting to meet and connect with other musicians, and sampling as much local beer as possible.

Q: As a duo, how do you find balance when working on new music?

Justin: I’ve found great success just shutting up and letting Alex write. Jokes aside, Alex makes great demos with drum ideas that make it really easy for me to expand on and refine.

Alex: Gotta love his honesty. I think we've been able to navigate through our process by listening to each other first and foremost. The demos are the best way for me to establish where I'd like for us to take it initially so writing is a combination of regiment and fluidity for us. Justin picks up on the rhythmic components very quickly and always finds a way to make them stronger.

Q: What can fans expect from Silver Relics in terms of future plans after your UK and Ireland shows?
Justin: Not sure how to answer this one - just make something up, Alex.

Alex: Glad you asked. We’re absolutely planning our return trip back to each of those places among other spots where we'd like to perform. We have a video scheduled to film in the fall and we absolutely have more NYC dates to announce as well. More music. More art. Lastly, thanks so much for having us! - Written by Kayla Albee

I love being able to delve into a lot of different tones and types of music on this blog. As my tastes advance, branch out and find new avenues in the cracks of this genre highway, it continues to be refreshing to be able to share what moves me and fascinates my ear. And it’s time to do that once again, this time in the form of a New York City-based alternative-rock band and their new record “Generic.”

Silver Relics begin their journey on this newly-released LP with the computery, electrified “Fame”, a song ruminating on the topic in a musical descent reminiscent of Bob Mould’s “Workbook” mixed into his later album “Modulate”. With drummer Justin Alvis providing Phil Collins “In The Air Tonight” thunder downs from behind the kit, lead vocalist and songwriter Alex Sepassi brings an almost industrial-sounding Gothic, Smashing Pumpkins-processed gloom within his Billy Corgan-splashed vocals on this track.

“Generic” meanwhile has a more Depeche Mode, stadium rock 80’s ambition that soars with a psychedelic expanse, while “End of Zero” is an acoustic-shaded dance beat of a song. “Time Bomb” wades into cutting guitar lines reminiscent of Sonic Youth, and “Wanderlust” abruptly turns from that musical thought into something resembling Duran Duran.

Silver Relics certainly comes as catchy as some of my prior references advertise, with track after track hitting ear-worms and hooks with a regularity requiring repeat listens just to break down the layers.

“Generic.” is an LP that doesn’t hesitate to move and get loose around the space it creates for itself and its melodic character, while still staying a bit more dark and digital with its soundscapes. The record title may imply something common or easily passable, but Silver Relics has done anything but that here in this expanse.

Check out the album below, as well as a few tour dates when Silver Relics may be in your neck of the woods! - Review

IF YOU’RE A FAN OF NIRVANA OR THE CURE, YOU HAVE TO CHECK OUT SILVER RELICS.

The New York-based band comprised of Alex Sepassi and Justin Alvis recently released their debut album Generic., and the album is anything but!

Together, Sepassi on vocals and Alvis on drums combine technicolour instrumentals and “brooding 80’s indie rock.” The duo moved to New York in early 2017, where they had a dream reminiscent of many that move to the Big Apple.

When composing the 12 tracks that make up Generic., Sepassi explains that “the lyrics point directly towards where he is in life at that exact moment.”

“What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time…the excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful. […] I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this concept. It’s very human.”
– SEPASSI

Silver Relics are currently on a small accompanying tour for the release of the album. Stay tuned for more from them coming later this year!

The Bowery Electric : New York City – June 13
Sound House : Dublin – June 28
Pharmacia : Limerick, Ireland – June 29
Night and Day Cafe : Manchester, UK – June 30
RTE Radio 1 : Dublin – July 1
Green Door Store : Brighton – July 1
The Islington : London – July 2 - KELSEYN

Fresh off the release of their new album Generic., New York rock newcomers Silver Relics are trying to make a name for themselves in a crowded music scene. However, the album title is certainly one that does not actually fit the bill for the duo, who formed just a couple years ago. Drawing lots of influence from past eras of music as well as the likes of The Cure and Depeche Mode, it’s likely that Silver Relics will make their way into your playlists.

Even better? Silver Relics’ Alex Sepassi, one half of the duo, has stopped by to discuss the enduring influence of Depeche Mode – specifically their Music For The Masses and Violator records. Read the whole thing below, and stream their entire new record as well.




Depeche Mode is the type of band whose career was built on great records. So when I was asked to pick a favorite album, I had a hard time naming just one. Always a good problem to have. These guys shifted direction frequently and built their sound throughout the early ’80s their own way. A Depeche Mode album is the sound of a band writing exactly what they want to play, no compromises. Which is actually much more difficult than it sounds.

The year 1987 has a lot of amazing things to offer musically, but for me Depeche’s album Music For The Masses has to be one of the best of that time.

I like listening for growth. That’s what I look for first in the bands I’ve come to love. Depeche’s 1986 album, Black Celebration was a strong indicator that things were getting a bit strange… the inky palette and the gloom anthems. But it still connects to their previous records.

Music For The Masses, however, is a clear break, a statement of intent. The songs are reaching way into the rafters, and the production (by Tears For Fears producer Dave Bascombe) is all new territory for the band. It’s not about better or worse, it’s about the profound risks they took to break from their previous records and start a new era. It becomes apparent that there’s something sustainable less than 30 seconds into the first track, “Never Let Me Down Again,” which is undoubtedly my favorite. “Strangelove” and “Behind The Wheel” are additional proof of the album’s scope. There’s also a continuation of their orchestral compositions heard on “Little 15” and “Pimpf,” paired with the experimental components on “Nothing” and “I Want You Now.” And as you move through the album, you hear how this collection of songs can fill an arena. Just reference the title of the record while you listen to and/or watch their documentary 101 to get an idea of how well it all fits.

Again, this is 1987, when the Dirty Dancing soundtrack, Whitney, and Bon Jovi are best sellers.

I have to admire the shite out of their ability to create something so wonderfully dark with multi-layered ambition. This was the sixth studio album they released in seven years. After this run, they took nearly 3 years to construct one of their most successful albums, Violator (1990). As a listener, Violator is the reward that we collect and share based on the risks taken on Music For The Masses. Without it, we probably wouldn’t have songs like “Personal Jesus,” “Policy Of Truth” and “Enjoy The Silence.” And we absolutely need these fucking songs. - New Fury Media

Get to know the NYC rockers Silver Relics. This duo AND full-blown art project recently released their debut album called “Generic.”

Whether it’s painting, fashion, poetry, or photo and film in their live show—they are all about creating risks and opportunities to explore every option.

“Generic” is throbbing with urgency. It is a thrilling collection that focuses on change and all of the complicated feelings that go with it. Drawing influence from the iconic British songwriters of the 1960s and 1970s and brooding ’80s rock, Silver Relics deliver a psychedelic sound that simultaneously smolders and electrifies with fierce energy, conjuring vibrant technicolor dreams and scenes of breathtaking adventure.

Listen to album’s lead single “Time Bomb” here.

Learn more about Silver Relics in the following All Access interview:

Thanks for your time! What is on tap for the rest of your day?

Justin: Probably a lot of walking and waiting on trains. Living that best NYC life.

Alex: Sounds right to me and thanks very much for having us!

Now that we are into the 6th month of the year, how would you say that 2019 is treating the band so far? What have been some goals this group has had this year? How close are you to reaching them?

Alex: We started off 2019 with a record deal with our label Farmadelica in January. Since then we’ve focused on getting everything ready for our debut album release “Generic.” (May 17) as well as our first run of dates in Ireland and the UK.

Justin: It’s been a great year. As Alex said, we’ve signed with Farmadelica and established connections with promoters and bands in the UK and Ireland. It’s been wild. Lots more to come and we’re excited to share it all with our fans.

Can you recall the moment when you thought you could be in this group together? Was it hard to think of a name that you could agree on? Has anything surprised you about this musical journey so far?

Alex: Honestly, we’ve been working together for a while at this point and it was very easy to get to work on this record. Recording is a really fun part of the process for us. Band names can be extremely difficult but this was an easy decision once I put it out there. Justin was all in so I consider us lucky to have a name we both love.

Justin: If I remember correctly, it involved Jameson and darts. We met through a mutual friend and ended up driving around Austin, Texas listening to Alex’s demos. I think we hit it off pretty quick, and later Alex asked me to drum for him. Easy to say yes. As for the name, when Alex first said Silver Relics we agreed immediately. It just fits. And I don’t think there’s been many surprises so to speak, but I think for me it’s because I don’t really have any preset expectations. Not to get too heady, but its just… things happen, so react and adapt. Take new information as it presents itself and figure it out.

How do you think your hometowns have influenced the sound and how you all carry yourselves in this group? If not, what do you think does influence this group?

Justin: I’m originally from Detroit, which obviously has a storied musical history. I can’t say that is specifically an influence, though. I’ve been lucky enough to live in a lot of great cities and meet a lot of great people with various tastes in music. I think you just listen and take what you hear and use what you like.

Alex: I’m a bit of a nomad so I can’t say there are any specific hometown influences. I think it’s more along the lines of being aware of what was circling around me as far back as I can remember. I think I’m influenced most right now by the conversations, thoughts and experiences of the people around me. I like to write about how all of these themes and topics tie in with my own to make it relatable.

I always like to ask bands if you all hang out socially apart from the music? In other words, when you aren’t working on music, do you guys enjoy hanging out for fun?

Justin: We do not, and I think that space is important. We have our own separate lives outside of the band, so when we do get together we can focus on the work. We all have heard those stories of great friends becoming roommates, but then end up hating each other. This is a scenario we actively avoid. We just got back from a tour of Ireland and the UK, and this would be the most consecutive time we’ve ever spent together. Happy to say, we only kinda hate each other now.

Alex: Absolutely not, we hate each other.

What was it like recently putting out your debut album, “Generic”? How did you celebrate the release of it? Did anything surprise you about the overall process of putting this collection together? How long did it take?

Alex: As soon as the deal was signed we pretty much buried our heads and pushed forward to make sure we had everything in place. What continues to surprise me the most about it is how fast it all happened. It was 31 days across 3 sessions with brand new material in between each session. Couldn’t have done it without our producer Howie Beno, who captured all of it.

Justin: It’s great to just see that it’s out. It takes a very long time. We had a great listening party at The Scratcher in NYC. Fun night and great to see everyone come out and support it.

How do you think your single “Time Bomb” prepares listeners for the rest of “Generic”? How did this song come together?

Justin: I think the writer can give you the best answer here.

Alex: Oh wow. Okay. Well as a writer, “Time Bomb” is one of those songs you hope to have happen. It took about 30 minutes so it feels to me like you have this quick and urgent message you need to get out immediately. I also think “Time Bomb” thematically ties in a lot of the sentiment involved in this record in that sense. It’s quick, exciting, urgent and honest.

While it’s difficult to choose, can you pick out a few of your favorite songs on this album and talk about how they got to be on this collection and their inspiration?

Alex: I love all of them so let’s ask Justin.

Justin: My favorites are “Fame,” “Generic,” “Cardiac,” and “Time Bomb.”

Alex: Nice one.

Generally, how do you go about writing your music? Do you write together or separately?

Alex: It starts on my acoustic or piano. Once that’s in a good place the idea becomes a demo, which I send over to Justin and the rest of our team. Justin and I get together and work it out at rehearsal until it’s ready for the studio. So I’d say it’s a bit of both honestly. A bit of everything before they’re committed to tape.

Justin: Alex writes the songs and typically has an idea for how the drums should feel. I take the beats and run with them. See what I can get away with.

Where do you think you are all happiest- in the studio recording new music, on stage performing or elsewhere?

Justin: On stage, for me. The live set is my favorite part. I like the nervous energy before the gig, and that release when you finally start the first song and get to lay into a heavy chorus. The best.

Alex: This is a really hard one for me since performing any of the above is where I feel I’m at my best. I think the sense of pride and release I get from a new demo is just as strong as recording it in the studio or on the stage. It’s the whole process for me.

Where can fans see you perform next? What do you think makes for an ideal show for this group? What has been a favorite show of yours in the past?

Justin: I don’t know, what are we doing next, Alex? As for an ideal show, we don’t need much — give us a decent PA and competent engineer and we can light up the room. This sounds really cocky, but we’ve played in a wide range of rooms now. You always want to play the great rooms of course, but you can’t let that be an excuse if it’s less than perfect. There’s still people there and you can’t waste their time. My favorite show so far was probably our gig in Brighton, UK. The sound was outstanding, and the fans were great. They really gave it up for us.

Alex: We’re working on securing local dates to round out 2019 and also plotting for another run in Europe at the moment. I love the challenge of figuring out how to make a space sound its best and how to draw in the people in it. And Brighton is a great example of what that looks like for us.

How has social media impacted this band? How often are you all on your different sites interacting with fans?

Alex: Social media impacts this band and everything else. We certainly have more visibility because of it and we love to hear that people are listening. It’s an amazing feeling.

We are currently living through a very trying and politically charged time right now so I am curious to know how you all think being musicians and in this band still gives you the most joy in life today? Do you find that your music is an escape to all the current events?

Justin: No, I don’t think there is an escape to it. You have to keep your eyes and ears open at all times. It’s important to be an active citizen, and that requires paying attention and being informed.

Alex: Writing is something I do regardless of the climate.

What musicians have really been inspiring you since you first started making music?

Alex: So many. The Beatles are the first that come to mind. I remember asking my parents a lot of questions about them because I needed to figure out how and where all of those harmonies were coming from. I also had a Beach Boys tape, which is all harmony, so I’d say that had a big impact early on. But overall I think curiosity is what brought me here.

Justin: Bonham, of course. I’ve always been a big fan of Jimmy Chamberlin. I think right now, my favorite drummer is Benny Greb. So smooth. And if you haven’t had the pleasure, search “Purdie Shuffle” and just watch. Legend.

What do you hope is the message of your music? What do you hope people continue to take away from your songs?

Alex: These songs are completely open to absorb however you want. It’s not really up to me to tell people how to interpret them but the most important thing to me is that you’re listening. And there will be plenty more of them.

Justin: To me, I hope people can connect with it and find something meaningful in it. I don’t think it’s our place to tell them what that is. Art should be personal, and every reaction is valid. But I hope it does carry weight.

Is there anything else that you would like to share with our readers about this group?

Justin: Follow us on our socials and come out to a show! We’d love to meet you and hopefully put on a show worth remembering for you.

Alex: Yes! Thank you so very much to all of you for hearing us!! - All Access Music

Silver Relics are a duo from New York who ply a kind of synth- and rhythm-orientated take in classic American rock song-writing. Consisting of songwriter Alex Sepassi on guitar and synths, amongst other things, and Justin Alvis on drums, they formulate a sound that is redolent of the sort of film imagery that anyone could recognise from the last thirty years; those enormous storm drains that run through California or a night-time drive through an illuminated tunnel. These timeless and classic images run through the album and project an unexpectedly filmic quality.

The precision of drummer Justin is uncanny; at first I assumed that the beats were synthetic, as on opener “Fame”, and there is a space-age feel to the gliding rhythm. The voice somehow also sounds synthesised, giving it an unnatural smoothness that doesn’t affect the overall positive sentiments of the song, a kind of philosophy for life evinced by the lines “You should be happy, take what you need”. There is something sun-blinded about the sound with chiming guitars lurking in the background, only clearing when the synth-pop rhythm takes a backseat.

The voice is intriguing; I can’t help hearing Trent Reznor, but there is none of the negativity or frustration, and there is a half-croon delivery at times that allays any darkness. There is a purpose to the voice, and it feels as though the construction of the songs is all about putting the message across. “Generic” itself is a bit darker, a bit more strident and the chiming guitar sparkles like barely glimpsed stars; the overall sensation is that of striving for something. The guitar is like a gem that can only be shown at special moments, and the vocals can be processed and underplayed if a change of emotion needs to be employed. The observation of a friend in the lyrics of “End Of Zero” (“It’s like you like to lick the metal of a loaded gun / It’s easier than looking in the mirror”) shows a willingness to tackle a subject head-on.

Throughout the album, the snatches of guitar give the songs a different feel; there is a touch of blues on “Time Bomb” and the stratospheric soar on “Wanderlust” revels in the extra space as gentle electric piano takes the basis of the song. It is on “Gridlock”, though, that you catch a glimpse of the bones of the songs. Underneath the heavier than usual guitar, which vies with a high-pitched synth-like sound, there is a pretty acoustic guitar form that shows through only when the rhythm drops out briefly, showing itself naked and unadorned. Once the songs are built up, these sketches disappear under the carefully placed layers.

There are dark images here, but they are diluted by the feelings of the music. In a keening voice that is as American as Bruce Springsteen, Alex sings: “I told you so, now I’m gonna watch you sink in the spotlight”. It sounds harsh and the sentiments are rough, but still the sun is shining over the soundscape. There might have been a touch of ELO in the layered voices and the synths on “Cardiac”, and even a hint of modern R&B in the multitracked vocals of “Yellow Master Motive”. The R&B feel is offset though by what sounds like an unexpected bossa rhythm running through the track.

There are a few surprises lurking through the album that don’t always have the opportunity to shine through due to the strict crafting of the songs, but when they do — as on the dropping of all vocal effects on closer ‘Post Script” — they are all the more effective for it. The vocals become shrouded again as the track charges towards its dramatic denouement, but we have seen the chink in the armour and feel all the better for it. The songs feel utterly American, but contain transatlantic influences that prevent them from falling into a generic trap. Sepassi is a skilled songwriter and with Alvis at his side, they lay open the heart of the American dream and show us glimpses of what beats beneath.
-Mr Olivetti- - Freq Magazine : Mr. Olivetti

New York City-based rock band Silver Relics releases their debut album Generic.

Comprising songwriter/vocalist/guitarist Alex Sepassi and drummer Justin Alvis, the band is heavily influenced by the iconic British songwriters of the 1960s and 1970s, as well as brooding '80s rock. The result is a vibrant technicolor sound that boasts electric energy, smoldering melodies, and ultra focused writing.

Released via the label Farmadelica and produced by Howie Beno, Generic. is a thrilling collection that throbs with urgency while exploring the themes of change and transition, more specifically in regard to the band’s move from Austin, Texas to New York City. “What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time,” Sepassi says. “The excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful. I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this record. It’s very human.”

In addition to penning exhilarating music, Silver Relics also serves as a full-blown art project. Whether it’s painting, fashion, poetry, or photo and film in the live show, they are all about creating risks and opportunities to explore every option. Even the album’s cover art was painted by Sepassi himself.

Silver Relics have been performing on New York stages since 2017, drawing comparisons to the artists who have influenced them: Depeche Mode, The Cure, Nirvana, Pink Floyd, The Verve, and more. They will celebrate the release of Generic. with a listening party at The Scratcher in New York City on May 28 at 7PM and will soon embark on a tour through the United Kingdom and Ireland.

Drop Dead Twice : Dublin - May 27
RTE Radio 1 : Dublin - airs July 1
Green Door Store : Brighton - July 1
The Islington : London - July 2
Additional dates TBA

Generic. is now available to stream and download on digital music platforms. - Grateful Web

NYC Rockers, Silver Relics have just released their debut album "Generic". Throbbing with urgency, it is a thrilling collection that focuses on change and all of the complicated feelings that go with it.

Drawing influence from the iconic British songwriters of the 1960s and 1970s and brooding '80s rock, Silver Relics deliver a psychedelic sound that simultaneously smolders and electrifies with fierce energy, conjuring vibrant technicolor dreams and scenes of breathtaking adventure.

Stream the album below! - Insane Blog

I started Silver Relics to function as an art project centered around the music, so it's been DIY since day 1. As soon as we decided on ‘Generic’ as the title of our debut release, I knew I had to create an original piece for the cover.

I already knew I was going to go with paint, but my biggest challenge was sorting out what ‘Generic’ looks like in the context of the record. It’s a snapshot of all the things that surround a life-changing move like uncertainty, excitement, urgency, and risk. A how-to on navigating the grey areas in your life through observation and acceleration.

What I love most about painting is that it helps me to stop thinking. It’s not about the outcome. The approach is entirely different than songwriting, in other words. It’s fast, simple and abstract. Actually, it’s always abstract. So when I was ready to paint the cover, I started without intent and sat on my kitchen floor with a roll of rug tape and a block of hand-cut wood I found lying around the kitchen.

As I painted, I came to a stopping point in my thoughts, which allowed me to realize some things. Skewed black & white parallel lines paired with the linear strip of red acrylics seemed to sum up a lot about how I felt while writing this record. It started to make more sense after dissecting it a bit more. Red and generic go well together. I took a few photos and sat with it for a while before sending it out to my team. We all agreed that this was the one we wanted to go with for the album cover. - Behind The Artwork

1. Fame:

This looks at the motive and ambition surrounding the idea of fame. How it can serve as a purpose to many instead of an outcome based on one’s purpose. I wanted to break this concept down into what someone might experience or ask themselves while they’re in pursuit of trying to get to that place they’ve always imagined.

2. Generic:

The initial mix was much different than what you hear on the record. My producer, Howie Beno, thought to strip away a good amount of guitar layers, which really brought out the cinematic components of the synth. The theme running through this one is how to allow yourself an opportunity to allow others a chance to be in your life. It’s in the context of courage (which only strengthens as you continue to build).

3. End of Zero:

How to accept the current state of things without facing it until the day it all catches up with you.

4. Gridlock:

I was frustrated when I wrote this one. I had a lot of frustrating things going on around me and knew I had to write it out. So it’s basically a list of things that I didn't have or thought some people might want. It’s both extravagance and conservation. It’s about moving on physically and emotionally while you level mental blockades.

5. Time Bomb:

Written from an addict’s perspective, it's about going after something you refuse not to have while you willingly lose your mind to take it. That something is different for everyone. Of course, you can chase multiple things at once, but it usually falls under the scope of the one thing that's most important once you've circled back.

6. Wanderlust:

This one explores the grey areas in your life. You’re in the process of figuring it out. And your mind puts you in unpredictable spaces.

7. Submarine:

I wrote this one in different pieces. The lyrics were always there but it really came into its own in the studio. Mostly, it was really important to me to use submarine in a song.

8. Cardiac:

This one’s bright and it moves. It’s a way of letting people know you’re there. The same way you know they are for you.

9. Colors:

An anthem for when life just makes sense for no particular reason. It's a clean start in a chaotic environment.

10. Yellow Master Motive:

A bold, strange and honest way of saying that you’re aware you’re being observed. And I think these types of things are definitely worth a song. I always pictured it being sung in an empty elevator for some reason.

11. Small Talk:

Letting go of a life you knew to go pick up where you left off.

12. Postscript:

The chorus “Everybody’s on a mission for a name…” is surrounded by many many layers of words, guitars, drums, and synth. It’s a final thought and it also bookends this album. There are hints of a solution, but it’s also asking you to go back and listen to everything that was said all over again. - Track by Tracks

Stream - 'Generic' - The Buzzing Sound

Meet Alternative Rock band Silver Relics. I chatted with them about their debut album, Generic., the duos music influences, and their creative processes. Check it all out below!

TRB: Coffee or tea?

JUSTIN: Coffee.

ALEX: Coffee.

TRB: What’s a typical creative process like for you guys?

JUSTIN: Alex writes the songs and generally has an idea for how he wants the drums. I listen to his version as a starting point. From there I just listen and try to just do what feels right. Sometimes if I get stuck I will listen to other stuff for some inspiration. I’ll just be on the train and hear something and just kinda know, “ok that fits.” I work stuff out in my head mostly, but for tricky patterns I might write something out on manuscript paper. What’s most important to me is, by the time we’re doing the damn thing, I know exactly what I’m going to do. I’m not one to make it up as I go—the prep is meticulous once the ideas are there.

ALEX: Songwriting’s an intense process for me. I know there has to be a pattern to it all but I haven’t really been in a rush to figure out how it actually works. I’m pretty sure I made my mind up about that from the beginning.

It starts on my acoustic or piano. Once I get an idea I basically obsess over it until the idea becomes a song. I make sure everything makes it onto a demo and then I send it over to the team to explore. Justin and I work together in rehearsal until it’s time to take it to our producer, Howie Beno.

TRB: How was the recording and writing process like “Generic.”?

ALEX: We broke this into 3 sessions across 5 months, which came out to 31 days in the studio. We had 2 ready for our first session but that was it. So I wrote everything else in between sessions and I think you can definitely hear that level of urgency and focus on this record. It was an amazing experience that pushed us both the entire time. Justin and I have always worked well together under a deadline.

JUSTIN: Fast. But great. We work with a tremendous producer, and he has a way of quickly getting the best out of you. We knew it was a good situation when each session was better than the last, and the prep between the actual recording dates grew exceedingly efficient as we started to understand how these songs would work together.

TRB: Is there a lyric that each of you particularly connect to from ‘Generic.’?

JUSTIN: Alex wrote a few contradictory lines that I particularly enjoy. “Gridlock” starts with, “No guarantees; I promise you.” I like that. “Small Talk” has, “everything and nothing changes.” “Time Bomb” starts with, “I want it so bad, Ifight to lose it.” I think it’s clever.

ALEX: I really like this line from “Wanderlust”:

“Drift with the grey I love the taste I’m close but I’m not near you”

TRB: The album takes inspiration from such bands 80s and 90s like Nine Inch Nails, Joy Division, Depeche Mode, etc. If you could cover one of their songs giving them the Silver Relics treatment what song would it be?

ALEX: We actually have a Depeche Mode cover in our current set so I have to go with “Never Let Me Down Again.” We stripped it down quite a bit so there’s more of a minimalist approach to the synths on our version. We added washed guitars, which gives it a bit more of a softer feel on the verse. Let’s ask Justin.

JUSTIN: Agreed. I think we could pull off “Gone” from U2’s Pop album. Selfishly I would love to cover “You Know What You Are” by NIN. Fast and loud drums. And so aggressive.

RB: Are there any current artists that have been “On Repeat” for you as a band lately? What music have you been digging?


ALEX: Let’s see. In the past year it’s been:

Johnny Marr – Call the Comet
Shame – Songs of Praise
Foals – Pt 1 Everything Not Saved Will Be Lost
Low – Double Negative

JUSTIN: Shame and Foals as well. I’d add Joey Bada$$ – 1999, DrewsThatDude – The Vault, TEK.LUN – ALLOW IT!, and IDLES – Joy as an Act of Resistance

TRB: Dream concert venue you guys want to play at?

JUSTIN: This one is tough. Something outdoors. Red Rocks, or the Hollywood Bowl.

ALEX: Yeah, that sounds right to me too.

TRB: And what’s next for Silver Relics as band?

JUSTIN: Ireland and the UK dates, and more NYC shows all summer.

ALEX: Absolutely. And new songs. More art.

TRB: Anything else you guys would like to add? Thank you for your time!

JUSTIN: Follow us on our socials and if we’re in your neighborhood, come see a show! You’ll have a good time. And if not, Alex will give you your money back.

ALEX: Unbelievable. Thank you for having us!


So that’s all. You can learn more on Silver Relics below, stream their debut album, Generic., as well as check out their tour dates …

Official website: https://www.silverrelics.com/ - Interview

Title - 'Generic'
Artist - Silver Relics

Drawing influence from the iconic British songwriters of the 1960s and 1970s and brooding '80s rock, as Silver Relics, songwriter/vocalist/guitarist Alex Sepassi and drummer Justin Alvis deliver a psychedelic sound that simultaneously smolders and electrifies with fierce energy; conjuring vibrant technicolor dreams and scenes of thrilling adventure through tight songwriting.

Inspired by their metamorphic relocation from Austin, Texas to NYC, Generic - released May 17th, 2019 via their label Farmadelica - is a 12 track collection of songs that came together with the inclusion of New York producer Howie Beno.

1. 'Fame'
2. 'Generic'
3. 'End of Zero'
4. 'Gridlock'
5. 'Time Bomb'
6. 'Wanderlust'
7. 'Submarine'
8. 'Cardiac'
9. 'Colours'
10. Yellow Master Motive'
11. 'Small Talk'
12. 'Postscript'

They begin in fine form with the '80s synth vibe of 'Fame' before floating seamlessly into the trippy Depeche Mode feel of the title track and then the upbeat, free flowing arms open wide on a summer's day catching a breeze sensibility of 'End of Zero.'

The indie rock of 'Gridlock' is up next and that's followed by the late '90s hazy rock of 'Time Bomb' with the laid back sunny drive time melodies of 'Wanderlust' along next.

A heavier drum foot combined with a harder guitar vibe combine for 'Submarine,' which is backed by the gently frenetic 'Cardiac,' with the pop-tastic psych ambiance of 'Colours' easily one of my own personal favorites here.

'Yellow Master Motive' is a delicious work of musical art and then the album rounds out with the punchy 'Small Talk,' and then the aptly titled lo-fi trance-pop of 'Postscript.'

"I started Silver Relics to function as an art project centered around the music," Sepassi explains. "It can be a painting, fashion, poetry on paper, photo and film or through the live show. It's about creating risks and opportunities to explore every option."

“What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time … the excitement, the uncertainty, the risk, the anticipation, the massive f**king anxiety just to name a handful,” he adds.

"I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this record. It’s very human.”

Digital Purchase Link

www.SilverRelics.com

Silver Relics @ Facebook - Anne Carlini

New York City-based rock band Silver Relics have celebrated the release of their debut album, generic. The album is available for streaming now below!

Aside from writing incredibly catchy music, Silver Relics also serves as a full-blown art project - from painting, fashion, poetry, or photo and film in their live show. Drawing influence from the iconic British songwriters of the 1960s and 1970s and brooding '80s rock, Silver Relics deliver a psychedelic sound that simultaneously smolders and electrifies with fierce energy, conjuring vibrant technicolor dreams and scenes of thrilling adventure.


Silver Relics is Alex Sepassi and Justin Alvis. Beginning at age 10, Sepassi actively honed a raw talent as a vocalist, performer, and by his late teens, a prolific songwriter. Raised on the iconic British songwriters of the 1960s and 1970s, Sepassi later discovered the technicolor experiments of the psychedelics and brooding '80s indie rock. He deftly incorporates the best of these influences while adhering to a classical "songs first" philosophy, writing taut, arresting demos on acoustic guitar and piano before sending a song on its trajectory.

“I don’t know if I know what makes these songs, I think it’s different and new every time," Sepassi explains. "The lyrics just point directly towards where I am in my life at that exact moment.”

Drummer Justin Alvis began his career as a member of various Drum and Bugle Corps that toured extensively across North America and Europe. His experience as a rudimental snare drummer molded him into a rhythmic databank. It’s no surprise that his skill set is the foundation of Silver Relics. His power and precision are easily recognizable each time he’s behind a kit.

“Justin is incredibly talented, with a work ethic and consistency that makes him one of a kind.”

Sepassi was introduced to New York producer Howie Beno at his 2016 South by Southwest showcase in Austin, TX. The two connected instantly, discussing a mutual admiration in each others' past work and forging plans to record in the immediate future. Silver Relics and Beno began recording Sepassi's material shortly thereafter.

“Howie’s the director, mentor, facilitator, the boss and our dear friend. He’s just as much a member of this group as we are and we know just how fortunate we are to say it.”

After deciding to relocate to New York in the Spring of 2017, Sepassi and Alvis were determined to record a collection of songs prior to their departure.

“What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time...the excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful," Sepassi says. "I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this concept. It’s very human.”

Silver Relics continue to resonate with their listeners and to extend their reach since they began performing on New York stages in late 2017. Their live performance and style has often been compared to their artistic influences: Depeche Mode, The Cure, Duran Duran, Joy Division, The Verve, Nirvana, The Stone Roses, Slowdive, My Bloody Valentine, The Doors, Pink Floyd and The Beatles. - Press Release

How do you usually write the lyrics of your songs?

Alex Sepassi: It starts on my acoustic guitar. Once I’ve worked out the melodies, I basically commit them to memory and start obsessing about it. I like to step away and go to the park or a coffee shop to figure out which words, themes and phrases are going to stay. It’s always in one of my notepads and it goes everywhere I go. There’s usually a handful of adjustments when my producer, Howie Beno, and I are ready to track vocals.



In your opinion, what is the most important thing in songwriting?

Words. They can be truthful. They can reach you if you allow yourself to listen. And they always seem to do something to you. There’s something about looking back at words on a page. I think it helps set myself up to keep honest.

I lied. It’s melody. Definitely the melody. Melody’s the way we absorb them.

Photo Credits: Kevin McGann
GENERIC. – INTERVIEW WITH SILVER RELICS
ROCKYOURLYRICSMAY 20, 201942 VIEWS
ROCK INTERVIEWS42 VIEWS 34 MIN READ
How do you usually write the lyrics of your songs?

It starts on my acoustic guitar. Once I’ve worked out the melodies, I basically commit them to memory and start obsessing about it. I like to step away and go to the park or a coffee shop to figure out which words, themes and phrases are going to stay. It’s always in one of my notepads and it goes everywhere I go. There’s usually a handful of adjustments when my producer, Howie Beno, and I are ready to track vocals.



In your opinion, what is the most important thing in songwriting?

Words. They can be truthful. They can reach you if you allow yourself to listen. And they always seem to do something to you. There’s something about looking back at words on a page. I think it helps set myself up to keep honest.

I lied. It’s melody. Definitely the melody. Melody’s the way we absorb them.



Are you ever scared of revealing aspects of your personal life/experience to strangers through your music?

Not at all. I like being open on stages and with the people that I meet.



What is the best lyric that you ever wrote (the most meaningful for you)?

“As we question our realities, throw our faith in validation for a chance to wash away. Then we realize we found our place, we embrace hallucinations now that vision has a name.”

“Postscript.” From the last one on this record.



What inspired “Fame”, part of your latest album “generic.”?

The working titles of my demos usually don’t change. That happens about 90% of the time. “Fame.” I named that demo after I felt like the music was in a good place. So I started to think about the things I wanted to say on the matter and stuck with it.

“Another audio cameo

Secondhand facade

All fixed up

Now you’re all in

Oh no something’s not right.”



And “Gridlock”?

I was pretty angry when I wrote this one. I had massive amounts of frustrating shite going on around me and so I knew I had to bookmark it. The verse gets into all of the things I couldn’t have, or thought some people might have wanted.

“No guarantees, I promise you. Crystal locks and velvet doors with secret walls on hollow floors.”

Do you remember the day you wrote “Colours”?

Mostly. This was the last one in the batch written days before our second session. I went into our rehearsal space to demo a bit and ended up writing it all down that day right after I wrote this line the day before: “All the colours that form our reactions, are bolder than we thought. We’ve been frozen to frame our distractions. Let’s pretend we forgot.” It’s not difficult for me to run with imagery when I can calm myself down enough to envision myself at these places.



Is there a link/a common theme among the songs of the new album?

Absolutely. This sums it up for me:

What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time…the excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful. I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this concept. It’s very human.



What is the best suggestion your producer gave you?

Howie pointed out to me, and said ‘get out of the scorpion’s way,’ which was crawling across the studio floor while I was doing a take barefoot. He was completely right.



What are your plans for 2019?

Generic. – May 17

‘Record Release Listening Party’ at The Scratcher, NYC – May 28

Live:

Drop Dead Twice: Dublin – May 27

RTE Radio 1: Dublin – airs July 1

Green Door Store: Brighton – July 1

The Islington: London – July 2

More dates TBA

To conclude the interview a short Q/A session, please answer the first thing that comes to your mind:

Define in one word your album “generic.”: Constant.
The best show you ever played: The last one we did and the one we’re gonna do next.
The one thing that you must have in your backstage: I’m still working on this.
The soundtrack of your childhood: Yanni.
Your favorite song lyrically speaking, but not written by you: Pink Floyd – “Dogs.”
Last question is “unusual”, we want to know your best relationship advice: It seems to work best when everyone knows exactly where the other is going or wants to go. -

Hi guys, welcome to VENTS! How have you been?
Thanks for having us on! Things are going well.

Can you talk to us more about your song “Generic”?
“Generic” was a working title to a demo I did that just ended up sticking. (That happens a lot by the way.) It was the second track we recorded during our first session with producer Howie Beno. The initial mix was much different than what you hear on the record. Beno thought to strip away a good amount of guitar layers, which really brought out the cinematic components of the synths. We worked together to texturize the rest of it and then we knew we had the final mix.

Did any event in particular inspire you to write this song?
Of course. It’s about that small window of time where you allow yourself to allow others an opportunity to be in your life.

Any plans to release a video for the track?
We do have plans to film, but I can’t say with absolute certainty that it’ll be “Generic.”

Why naming the record after this song in particular?
After we finished recording the album, there were several names/ideas that started circulating. I knew it had to make a statement. Once “Generic” fell into my head, I knew I couldn’t let that one go and it quickly became the only option after we had a moment to think on it.

How was the recording and writing process?
This album happened fast. We recorded everything in 31 days, across 3 sessions and over a span of 5 months. I wrote almost all of these songs in that bit of time so the record comes with a certain level of urgency, intensity and focus. I think you can really hear it in Justin’s drumming and in my voice. Beno was instrumental in capturing all of the ideas that kept coming, which really ties this whole record together.

How The Cure and Nirvana has influence your writing?
The Cure has a sound that seamlessly fluctuates between bright and dark. There’s also this theatrical element that really puts me in another space. Especially with their live show. It’s thoughtful, washed and glossy at times. Smith’s a great writer. Nirvana is one of the best examples of how effective simple songwriting can be. The rawness of it all is what I’ve come to love the most about them. It’s honest.

How does all your artistic background comes together into one?
Great question. Silver Relics operates as an art project centered around the music. We’ve been DIY from the beginning so this band really pushes me to explore all art interests. It incorporates painting, fashion, photo & film, poetry, and the live show. I work with an amazing team, and there really hasn’t been a time that we weren’t working together to explore all of these opportunities. In other words, it’s something I’ve never been without.

What role does NYC play in your music?
Many. This city has a cadence of its own and it changes when it feels like it. So as an artist, I try to be aware of what’s happening around me since there’s always something. There’s a ton of incredible shite happening if you open up to let it absorb you. It makes me want to be better. It pushes me. It helps me identify better with myself and with the people around me. I honestly couldn’t be anywhere else right now.

How do you go to blend your classic roots with the much modern influences?
Classic rock finds its way onto every track. It might not always be obvious initially but it’s in the tones, textures and voicing. The harmonies are largely inspired by bands like The Beatles, Floyd, The Who, and Duran Duran as well. The modern influences play a key role in many ways, but it’s there in more of a production aspect. It’s always going to be a blend of each for me.

Where did you find the inspiration for the songs and lyrics?
There was a lot going on during the short block of time we had while recording this album. There usually is and I prefer it that way. I knew I was headed back home to New York, which played a large role in how these tracks developed. It’s a big sound. I pushed myself to write songs that I knew we’d want to play live. I didn’t have any particular agenda thematically beyond making sure they were strong enough to hold up on my acoustic.
I needed this record to be open. Enough to take with you anywhere, and above all, I knew they had to be relatable to accomplish that. Howie came in at the right time and made sure we caught it all in the studio.

Any plans to hit the road?
Absolutely. Ireland/UK dates this summer!
Live: Drop Dead Twice : Dublin – May 27
RTE Radio 1: Dublin – airs July 1
Green Door Store: Brighton – July 1
The Islington: London – July 2
More dates TBA

What else is happening next in Silver Relics’ world?
Music video, touring, festivals. More news on the way and thanks very much again for having us!

The band will celebrate the release of Generic. with a listening party at The Scratcher in New York City on May 28 at 7PM - Interview

Hi guys, welcome to VENTS! How have you been?

Thanks for having us on! Things are going well.

Can you talk to us more about your song “Generic”?

“Generic” was a working title to a demo I did that just ended up sticking. (That happens a lot by the way.) It was the second track we recorded during our first session with producer Howie Beno. The initial mix was much different than what you hear on the record. Beno thought to strip away a good amount of guitar layers, which really brought out the cinematic components of the synths. We worked together to texturize the rest of it and then we knew we had the final mix.

Did any event in particular inspire you to write this song?

Of course. It’s about that small window of time where you allow yourself to allow others an opportunity to be in your life.

Any plans to release a video for the track?

We do have plans to film, but I can’t say with absolute certainty that it’ll be “Generic.”

Why naming the record after this song in particular?

After we finished recording the album, there were several names/ideas that started circulating. I knew it had to make a statement. Once “Generic” fell into my head, I knew I couldn’t let that one go and it quickly became the only option after we had a moment to think on it.

How was the recording and writing process?

This album happened fast. We recorded everything in 31 days, across 3 sessions and over a span of 5 months. I wrote almost all of these songs in that bit of time so the record comes with a certain level of urgency, intensity and focus. I think you can really hear it in Justin’s drumming and in my voice. Beno was instrumental in capturing all of the ideas that kept coming, which really ties this whole record together.

How The Cure and Nirvana has influence your writing?

The Cure has a sound that seamlessly fluctuates between bright and dark. There’s also this theatrical element that really puts me in another space. Especially with their live show. It’s thoughtful, washed and glossy at times. Smith’s a great writer. Nirvana is one of the best examples of how effective simple songwriting can be. The rawness of it all is what I’ve come to love the most about them. It’s honest.

How does all your artistic background comes together into one?

Great question. Silver Relics operates as an art project centered around the music. We’ve been DIY from the beginning so this band really pushes me to explore all art interests. It incorporates painting, fashion, photo & film, poetry, and the live show. I work with an amazing team, and there really hasn’t been a time that we weren’t working together to explore all of these opportunities. In other words, it’s something I’ve never been without.

What role does NYC play in your music?

Many. This city has a cadence of its own and it changes when it feels like it. So as an artist, I try to be aware of what’s happening around me since there’s always something. There’s a ton of incredible shite happening if you open up to let it absorb you. It makes me want to be better. It pushes me. It helps me identify better with myself and with the people around me. I honestly couldn’t be anywhere else right now.

How do you go to blend your classic roots with the much modern influences?

Classic rock finds its way onto every track. It might not always be obvious initially but it’s in the tones, textures and voicing. The harmonies are largely inspired by bands like The Beatles, Floyd, The Who, and Duran Duran as well. The modern influences play a key role in many ways, but it’s there in more of a production aspect. It’s always going to be a blend of each for me.

Where did you find the inspiration for the songs and lyrics?

There was a lot going on during the short block of time we had while recording this album. There usually is and I prefer it that way. I knew I was headed back home to New York, which played a large role in how these tracks developed. It’s a big sound. I pushed myself to write songs that I knew we’d want to play live. I didn’t have any particular agenda thematically beyond making sure they were strong enough to hold up on my acoustic.

I needed this record to be open. Enough to take with you anywhere, and above all, I knew they had to be relatable to accomplish that. Howie came in at the right time and made sure we caught it all in the studio.

Any plans to hit the road?
Absolutely. Ireland/UK dates this summer!
Live: Drop Dead Twice : Dublin – May 27
RTE Radio 1: Dublin – airs July 1
Green Door Store: Brighton – July 1
The Islington: London – July 2
More dates TBA

What else is happening next in Silver Relics’ world?

Music video, touring, festivals. More news on the way and thanks very much again for having us! - RJ Frometa

New York City-based rock band SILVER RELICS is Alex Sepassi and Justin Alvis.

Beginning at age 10, Sepassi actively honed a raw talent as a vocalist, performer, and by his late teens, a prolific songwriter. Raised on the iconic British songwriters of the 1960s and 1970s, Sepassi later discovered the Technicolor experiments of the psychedelics and brooding ’80s indie rock. He deftly incorporates the best of these influences while adhering to a classical “songs first” philosophy, writing taut, arresting demos on acoustic guitar and piano before sending a song on its trajectory. “I don’t know if I know what makes these songs, I think it’s different and new every time,” Sepassi explains. “The lyrics just point directly towards where I am in my life at that exact moment.”

Drummer Justin Alvis began his career as a member of various Drum and Bugle Corps that toured extensively across North America and Europe. His experience as a rudimental snare drummer molded him into a rhythmic databank. It’s not surprise that his skill set is the foundation of SILVER RELICS. His power and precision are easily recognizable each time he’s behind a kit.

“Justin is incredibly talented, with a work ethic and consistency that makes him one of a kind.”

Sepassi was introduced to New York producer Howie Beno at his 2016 South by Southwest showcase in Austin, TX. The two connected instantly, discussing a mutual admiration in each others’ past work and forging plans to record in the immediate future, SILVER RELICS and Beno began recording Sepassi’s material shortly thereafter.

“Howie’s the director, mentor, facilitator, the boss and our dear friend. He’s just as much a member of this group as we are and we know just how fortunate we are to say it.”

After deciding to relocate to New York in the Spring of 2017, Sepassi and Alvis were determined to record a collection of songs prior to their departure.

“What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time . . . the excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful,” Sepassi says. “I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this concept. It’s very human.”

SILVER RELICS continue to resonate with their listeners and to extend their reach since they began performing on New York stages in late 2017. Their live performance and style has often been compared to their artistic influences: Depeche Mode, The Cure, Duran Duran, Joy Division, The Verve, Nirvana, The Stone Roses, Slowdive, My Bloody Valentine, The Doors, Pink Floyd and The Beatles.

The band released their debut album, Generic, on May 17, 2019. You can take a listen by visiting Spotify HERE. - Press Release

New York City-based rock band Silver Relics has released their debut album Generic.

Comprising songwriter/vocalist/guitarist Alex Sepassi and drummer Justin Alvis, the band is heavily influenced by the iconic British songwriters of the 1960s and 1970s, as well as brooding ’80s rock. The result is a vibrant technicolor sound that boasts electric energy, smoldering melodies, and ultra focused writing.

Released via the label Farmadelica and produced by Howie Beno, Generic. is a thrilling collection that throbs with urgency while exploring the themes of change and transition, more specifically in regard to the band’s move from Austin, Texas to New York City. “What makes these songs different for me is how we were able to capture a snapshot of all the things that surround a life changing move in a very short period of time,” Sepassi says. “The excitement, the uncertainty, the risk, the anticipation, the massive fucking anxiety just to name a handful. I think these are experiences that a lot of people go through often and you certainly don’t have to move across the country to identify with this record. It’s very human.”

In addition to penning exhilarating music, Silver Relics also serves as a full-blown art project. Whether it’s painting, fashion, poetry, or photo and film in the live show, they are all about creating risks and opportunities to explore every option. Even the album’s cover art was painted by Sepassi himself.

Silver Relics have been performing on New York stages since 2017, drawing comparisons to the artists who have influenced them: Depeche Mode, The Cure, Nirvana, Pink Floyd, The Verve, and more. They will celebrate the release of Generic. with a listening party at The Scratcher in New York City on May 28 at 7PM and will soon embark on a tour through the United Kingdom and Ireland.

Dates:

Drop Dead Twice : Dublin – May 27
RTE Radio 1 : Dublin – airs July 1
Green Door Store : Brighton – July 1
The Islington : London – July 2
Additional dates TBA

Generic. is now available to stream and download on digital music platforms. -

Silver Relics
Generic
Farmadelica

Not everybody can sing like Geddy Lee, but that’s why he’s the Rock God he is. But there are always contenders snipping at his heels and Silver Relics poses a serious threat. Lead vocalist Alex Sepassi hits the high notes and energizes the lyrics as well any hard rocking band out there. By track two on this noteworthy debut album, we hear an open lament that applies to anyone with David Lee Roth aspirations: “Save me from myself!” he begs. These guys are early starters, and this hard rocking band is way too good for me to step in and throw a cold, damp bar napkin on its self-destructive triumph.

Silver Relics is the sort of band you can either use to transport yourself back to a post-pubescent memory lane, or an introduction to one of the high points of old school excess. They even squeeze in a call for one of the legendary bar classics from the era: when is the last time you called for a Tequila sunrise? It’s one shot of tequila, one of orange juice, some maraschino, and chaser of regret. And it was the best regret you’ll ever have. I love this album even if it’s an exhausting Listen. Silver Relics rocks you like a hurricane and fits clever lyrics among the oft used but never exhausted power chords. I haven’t looked to see how this band dresses, but its fashion begs for tight trousers, long hair and LOTS of attitude.

This, my friends, is rock and roll as both God and Satan intended.

www.silverrelics.com

Carl F. Gauze - Ink19 Magazine

Silver Relics
Generic

Farmadelica Sound

Silver Relics released their new album on May 17th. - Lindsay Marshall

Spring break. Austin, Texas.

Alex Sepassi and Justin Alvis meet through a mutual friend and bond over darts and Jameson. Sepassi asks Alvis to drum for him, but the offer was turned down due to school commitments. He stays persistent and asks again a year later. This time, Alvis moves down to Texas. Seven years later, and the band now known as Silver Relics can be found in New York City.

“Next time he asks me to move,” Alvis says, “he’s paying for the damn trailer.”

Sepassi was raised on British songwriters of the ‘60s and ‘70s but found himself stuck on an ‘80s influence, especially while recording their debut album, generic.

“The ‘80s influence connects the dots for me,” he said. “Especially with synth-oriented bands like Depeche Mode, Duran Duran, New Order, etc. I listened to a lot of music in this decade while I was writing this record, so it's certainly a blend between classic and contemporary.”

Alvis’ background involves what he recalls as a tremendous experience touring with the Drum and Bugle Corps.

“12-hour days in the sun. Sleeping on buses and gym floors. Stink and sweat and some of the best times I’ve ever had,” he said. “If anyone doesn’t know about it, I’d suggest getting on them internets and searching ‘Drum Corps International’. Ultimately it informed my mindset regarding acceptable preparation for a performance. That whole ‘amateurs practice until they get it right; professionals practice until they can’t get it wrong’ thing.”

When it came time to create their debut album, their two backgrounds gave them the chance to explore their roles and how they play off of each other. They learned a lot about confidence and trust, and how those working conditions create a productive environment. They worked with producer Howie Beno at a rapid pace that gave them little time to second guess what they were creating.

“When you work at that speed you have to have a large level of trust in your team and in yourself,” Sepassi said. “And I think we all feel a large sense of accomplishment creating under those conditions.”

The message behind generic. is one that they won’t easily reveal, but one that they’re sure listeners will connect to and recognize as an emotion or time in their life that they have been through.

“generic. represents hope, desire and expectation among other things,” Sepassi said. “A place to escape without the feeling of abandonment. This record has a message. And it's there to mold however you'd like to make it appear to you. I want listeners to know I hear them too. That's a huge part of what I write so this isn't ever one sided. The conversations, experiences and thoughts we all share will find a way into the music.” - Black is the New AP Style

New York City based duo, Silver Relics, is Alex Sepassi and Justin Alvis. Their latest release, Generic., is anything but what the title suggests. Sepassi started writing songs and singing at the age of ten, and over the years his craft has been incorporating elements of the influences he listens to. This runs anywhere from 80’s indie rock and post-punk, to 90’s grunge. The duo’s songwriting first philosophy lends itself to this easy-listening album. The familiar song structures and melodic phrases give heed to pop-punk, while the instrumentation is rich and intriguing, with aspects of countless genres woven throughout the songs. Each tune brandishes a fun chorus, while the verses and intermittent instrumental parts hash out the soundscapes that Silver Relics build.

The production on this album is a bright spot. Sepassi has worked with New York producer, Howie Beno, since meeting him in 2016. The skills he’s honed in those years, evinced by the loaded yet not bloated instrumentals. The second song, “Generic,” opens with a cinematic string intro that eventually turns into an quasi-prog rock song with shoegaze elements interspersed throughout. Here, the verse and chorus are well defined apart from each other, and flow well in and out. While the songs are not structurally challenging or progressive, the way the atmosphere changes between these parts is noted and appreciated as a transition mechanism.

A standout song with a lot of grit, ‘Timebomb’, offers an edgier look at the band. Much of the song is unrelenting; its furious intro leads the listener into an anthemic chorus, as a beautifully effected shoegazuing guitar outlines the nuances in the chord progression. For fans of shoegaze like My Bloody Valentine or Slowdive, this album provides a shmorgishborg of tried-and-true shoegaze guitar tones that sit well on top of vintage synths and spry drums. The tenth track, “Yellow Master Motive” opens with a very intricate vocal part, performed to great effect. The opening instrumental that follows is lush and sits well behind the spotlighted vocals. There’s a lot of moving parts here, as the song slowly builds up into a rock anthem.

Overall, Generic. was an exciting listen. The energy is kept up, as Silver Relics blast out earworm after earworm while leaving traces of their influences hidden underneath the solid base of the song. The songwriting first philosophy the group took in recording this record really shows. What the songs lack in compositional variety, they make up with instrumental diversity. Huge ranges of tonality come together as a woven basket, with each influence offering an essential purpose to the whole product. Generic. is streaming now!

Key Tracks: Time Bomb, Yellow Master Motive, Wanderlust - NYS Music (By Gabe Birkby)