absolutepunk.net
There’s something undeniably old school about Horace Pinker. Maybe it’s because they’ve been around since 1991; maybe it’s the maturity gained through
years and years of playing with bands like Jawbreaker, Bad Religion, At the Drive-In and Fugazi. It could be any number of things, but in the end it doesn’t
matter. As a band sometimes described as pop-punk, they offer so much more variety than most of what that genre has to offer today; no, Horace Pinker are
throwback punk: back to a time of unattached fun and expression, where the punks were just that and didn’t care what they played and how. Okay, so maybe that
is just a distant dream, but nonetheless, this album breathes life into a standard sound, expanding it to encompass multiple styles and emotions.
It’s quite amazing Horace Pinker still remain in relative obscurity. Their fun and energetic style of punk can be ear-grabbing at moments but genuinely
aggressive and heartfelt at others. Accessibility is kept without compromising their gritty background and long-running history. What’s even more entrancing
about the album is the ease with which they switch styles and moods. The album opener “Polischi 101” rips through at just over a minute with shouted, heartfelt
vocals over an aggressive backing, immediately bringing up the energy and announcing their presence. Even so, the next song, “Morning Sunshine,” opens with smooth
singing harmonized with more laid back, catchy riffing. The movement never seems forced or contrived, however; their ability to play either style provides the glue
which holds it all together. Later on, the title track showcases an even more extreme shift. “Texas One Ten” is an all-acoustic piece grounded with a simple, yet
endearing main line over which the sullen, mature and tempered vocals truly define the song. Instead of the cheesy, obligatory acoustic song, HP offer a highlight
with an edge more towards a folk-influenced acoustic sound.
Horace Pinker’s maturity shines through their ability to not only change sound slightly throughout the album, but to make it all seem appropriate. “Morning Sunshine”
and “Penny Serenade” offer some smooth and catchy songs, placing much emphasis on the soothing vocals and catchy arrangements before moving into “Exhale to Asphyxiation,”
which offers a build-up into the muddied yelled vocals that match the crashing drums and wall of guitars. Even within this one they make room for sung, give-and-take vocals
that further express the grief and emotionality running through the song. The end of the record offers some good old, true-to-roots punk—something so simple, yet feels so
fresh at times.
Horace Pinker is an old band in a new game, but with their old years they bring a cultivation of sound not seen readily amongst younger bands.
They move smoothly through aggressive passages filled with emotive shouts and pleas into an acoustic, heartfelt ballad and, of course, never stray
to far from the catchy punk sound you would expect. It’s a shame they remain hidden from so many listeners today: They may not offer anything extremely
innovative, but they have a genuine humanness surrounding their music that is often lacking today, and it never ceases to pull the listener in.
pastepunk.com
HORACE PINKER have a kind of punk rock history that is plentiful, but I would be hard-pressed to describe it as one that has been appreciated en masse. It has
been nearly nine years since the band arguably reached the height of their popularity, with their 1996 full-length, Burn Tempe To The Ground (One Foot Records), and
an almost 15 years since the group got underway. The band hit a momentary surge in the press in 2000 when former JAWBREAKER bassist Chris Bauermeister joined the group,
but things were soon to be tempered again in a spate of line-up changes, and quietly released EPs. In this entire time-span, careers, academia, and so forth have kept
HORACE PINKER to be a mostly part-time endeavor, but through it all, the band's classic, slightly-heavier-than-most pop-punk sound has persevered, and on Texas One Ten,
it feels stronger than ever.
With the help of producer Mass Giorgini, HORACE PINKER have held on tightly the punk rock sound of their Chicago roots. Fluid, melodic lead vocals lead the charge
with driving dual guitars, dark bass lines, straight-forward percussion, and simmering harmonies. It may be considered as a minimalist approach to songwriting today,
but HORACE PINKER's stripped down efforts sound far more complete than a band trying to figure out how to sequence a bag of tricks. Texas One Ten follows a songwriting
pattern of much of the band's earlier works, with keeping the lead vocals low in the mix, behind big, screamin' guitars and bruising beats. Tracks like "If You Fall,"
and "Retrospective," rip at your nerves with dour, but infectious rhythms. Mid-tempo is mostly where it's at with Texas One Ten but the flair of the recording style gives
it plenty of punch, so the band never languishes in stagnation. Whereas so many contemporary bands feel the need to place themselves among extremes in terms of thematic
emphasis, HORACE PINKER meander through greys and paleness. The band's lyrics fight for your attention through honesty and real world reflection - not vivid, but contrived
strings of impressionable college poetry. In an enjoyable twist, Texas One Ten ratchets up the memorability scale as the disc burns through all 12 tracks, and as its
subtle, but well-heeled hooks sink in, this one gets better with every listen.
The liner notes to Texas One Ten bring out the fact that the recording process for this release began shortly after May 2002, after one of the founding members'
Mother died of cancer. The band goes on to note how important this woman was in its earlier, heavy-touring years and how her life (and death) inspired so much of
this record, which in total, took more than two years to finish. It's that kind of genuineness that truly puts HORACE PINKER's hardworn sound in perspective, and
perhaps explains why in the band's 15 years, their unique twist on midwestern pop-punk still sounds so refreshing. Review by Jordan A. Baker
splendidezine.com
Leaning heavily on the punk side of the pop-punk equation Arizona's Horace Pinker have made a name for themselves with critics but remain among
the deserving forgotten as far as audiences are concerned. However, with the recent success of The Futureheads and the continued interest in
Jawbreaker (former bassist Chris Bauermeister was a member of that venerable outfit), the group may at last be primed for success.
Starting strong and short (at 71 seconds), "Polysci 101" establishes the Pinker game plan: let Bryan Jones hit 'em hard with the drums, Scott
Eastman hit 'em hard with his sharp guitar, and bassist Greg Mytych snake along beneath. Then, once the audience is wary, all three players, plus
keyboardist Don Meehleis, join in tight vocal harmony. Thrash, stop, repeat.
It's a good plan, and it makes for a propulsive album; cuts like "More At Home", "Scene One, Take Two", and "Half Way" ably showcase the band members'
ability to inject their recursively annoying genre with energy and verve. Texas One Ten is a fine effort; let's hope it finds an audience. Review by Tyson Lynn
punkinternational.com
It's nice to see a flow of good releases coming from Chicago's Thick Records. Hanalei, the Methadones, Fingers Cut Megamachine, and now Horace Pinker sure beats
the days when the best thing on Thick seemed to be Vortis. "Texas One Ten" is a very smart piece of music, like so much of what the label puts out nowadays,
that effortlessly eludes categorization by blurring the lines between a good half-dozen or so different genres. Horace Pinker textures are coarse, their melodies
are rugged, and their craftsmanship is complex. It's like they took some cues from Hot Water Music, some from Whippersnapper, and then upped the melodic attributes
a few more notches. The songs turn out catchier than they feel like they should be.
"Texas One Ten" is a prime example of a record that requires several listens before maximum appreciation is possible. Because the pop factor to these songs
is next to nil, the melodies bounce off the skin the first couple of times. Keep letting Horace Pinker work their magic, however, and the stuff begins to stick.
A few times I've seen this band described as pop punk. I disagree, because pop punk in my mind is music you can sing along with. Horace Pinker gets my foot tapping
and concentrates my attention on their carefully-constructed arrangements. What exactly to call it, I'm not sure, but it's good. by Tim Krysko
punkupdates.com
My Chicago pals, for whom I set up one of my first shows back in 1995, are finally back with a new album, again recorded with Mass Giorgini.
It’s been 5 years since I heard new work from them, although they had an EP out in 2003 through their own Offtime label. This new one got released
on Thick Records who signed them recently. Let’s hope this finally gets this band where it should be, because I really mean it when I say that this
is probably the most underrated band ever. It took them over 2 years of recording. Not really abnormal, if you look at these guys’ personal busy schedule:
Scott (vocals) teaches and is still aiming for his Ph.d. and Bryan (drums) is an IT-guy building websites for large companies. Kids were born, marriages
been celebrated… so the recordings were actually done in different sessions over these 2 years.
The transformation that this band had gone through from their debut 1994 album “Power Tools” over 1996’s “Burn Tempe To The Ground” to 2000 album
“Pop Culture Failure” was pretty impressive, evolving from a crunchy technical guitar-punkband with an at that time sometimes daringly difficult
sound into a much more complex yet fluent, Jawbreaker-like songbuilding. The only constant for me in these last 10 years seems to be Scott’s ability
to give this twisted guitar a unique Horace Pinker sound. When I met them the other day Bryan explained that with “Pop Culture Failure” the band actually
felt that this was the sound they had been in search for for nearly 10 years, and when I listen to this new album, I have to confirm that these songs have
a pretty similar foundation as on that last album, although there’s 2 new members aboard (who both also play in Stereo South).
In the first half of the album there’s some kind of a drop of pace and more emotions in a couple of songs. The passing away of Bryan’s mother in 2002
after a 2 year long battle against colon cancer was an important inspiration for this album with 2 songs specially dedicated to her: “Morning Sunshine”
(a beautiful dragging song with great higher vocals in the chorus) and the moving acoustic title track “Texas One Ten”, magnificently sung by Don,
gradually spiced up with subtle percussion and a cello, and named after the highway that runs through a small town in East Texas where she grew up and
was burried. Music just can’t get more expressive than this.
Anyway, if you like your punkrock more spicy, don’t let this scare you, as there’s enough of that driving Jawbreaker-power in the rest of this album,
and you even get a few vocal powerblasts like in the opening track “Polisci 101” or “Exhale To Asphyxiation” where they take a yelling detour. Also more
worked-out than previously are the 3-way vocal harmonies, especially in songs like “Retrospective” and “Half Way” and I have always been a sucker for that.
“Resonate So Real” uses the vocal distortion, which in conjuction with the guitars make it a somewhat At-The-Drive-In related song. Closing song “Still Life”
is maybe one of the most powerful, driving songs on this album and finishes off in great guitar-extravaganza. A nice exclamationmark to this terrificly
textured album that requires of a listener to dig in for a while, because there’s not the shout-alongs and poppy tunes that will immediately grab you, which
is probably the main reason for them being so underrated. Once you explored this album thoroughly though, take in consideration which emotions inspired some
of these songs and read along these well-written lyrics that at times even have a clever political message, you’re in for a treat that will definitely last
for more than a few listens.
How I’d really love to see these guys finally get what they deserve. In these last 20 years I met bands, I never came across more kind, down-to-earth and
grateful people like them. I know I’m complaining and bitching a lot lately, but it’s people like Bryan and Scott that keep me going in this scene. They
really have meant a lot to me over the last few days. Thanks guys for fueling that spirit again. Review by: Hein Terweduwe
acclaimedpunk.com
Since 1991, the Chicago-based Horace Pinker has been touring, making records, and sleeping on floors around the world. Despite being active for over a decade and containing an
ex-member of Jawbreaker (bassist Chris Bauermeister), your average music fan probably hasn't heard of this quartet. They've bounced around smaller labels over the years and recently
found some stable ground when Thick Records came calling to release their latest effort, Texas One Ten. On the record, the guys play melodic punk with a little bit of pop, a little
bit of rock, and a very genuine approach.
A handful of the tunes on this album display Horace Pinker's keen sense for writing classic pop-punk. This is best heard in a track like "Morning Sunshine". It is driven by thick bass,
steady drumming, and regular rock riffs. As the guys play, the vocals are tuned down a bit in order to put more emphasis on the "easy listening" nature of the song. "Penny Serenade"
continues with this sound while "More At Home" showcases a slightly more upbeat sound. "Exhale To Asphyxiation" has a different kind of sound from the band as it focuses more on a mix
of melodic and distorted riffs as well as grittier vocals. "Resonate So Real" is similar to the previously mentioned as the band plays the heavier sound quite well. Throughout the album,
no track stands out more than "Half Way". It starts off with a few guitar hooks before they take a decidedly punk rock approach to the verse while the chorus is a bit more poppy. About
half way in the guys build things up before ending with the chorus once again.
One thing that is consistent throughout Texas One Ten is the genuine approach from Horace Pinker. It is hard not to listen through the twelve-tracks and not picture the guys having a
great time playing them. This fact gives the album an added edge. While they are definitely sincere in their songwriting, they are more than a few tunes that lack something to make them
memorable. Some do stand out and make for good listens but for every solid tune there is one that just doesn't have it. Even though Texas One Ten isn't the most balanced of releases, I
still wouldn't hesitate to recommend it for anyone looking for a slightly heavier approach to pop-punk done the real way.
Standout Tracks:
"Half Way"
"Resonate So Real"
"Exhale To Asphyxiation"
Reviewed By: Corey
AMP online
HORACE PINKER
“Texas One Ten” CD
HP have been doing it since '91. It being that particular brand of moody, introspective 'pop-punk' popularized by the likes of JAWBREAKER and KNAPSACK. They've produced a slew of records, including 3 of the really long ones. This is the fourth, and while darker than the aforementioned JAWBREAKER, is up there with their first 2 efforts. It's certainly never too late to catch on. (RK)
(Thick Records/www.thickrecords.com)
HORACE PINKER
“Texas One Ten” CD
First off, even if you don’t like this band, they deserve your respect. They’ve been together for nearly 15 years, they’ve put out six full-lengths, countless 7”s, and have made tons of appearances on comps. That kind of longevity isn’t too common, and the fact that they’re still putting out quality music is rad. So that brings us to the disc in question – Texas One Ten was recorded over a two year span, and shows that while HORACE PINKER’s sound has evolved and changed over the years, they’ve still got what it takes to put out a quality punk rock CD. (MWB)
(www.thickrecords.com)
lostatsea.net
Horace Pinker has been kicking around for ages, demonstrating a longevity not typically reserved for punk rock outfits. Starting in 1991 in Arizona and finally settling in Chicago in 1996, Texas One Ten
is their fourth full length release in roughly 15 years, joining a variety of seven inches, countless compilations, and endless touring.
[Double take]: 15 years? Thatıs more than half my lifetime! Horace Pinker existed before, and has since outlived, my obsession with punk rock. I remember the weekly trips to Record Breakers,
rummaging through every single new and used CD shelf for punk bands worth listening to - my record collection saturated with over 100 bands on approximately five record labels, and only slight
variation between their sound and talent.
It was during the tail end of my young, directionless punk rock existence that I finally stumbled upon Horace Pinker, after discovering that Chris Bauermeister (former Jawbreaker bassist -
and anyone that doesnıt think Jawbreaker is still the best punk band on the planet is a communist) joined, and since left, their ranks. It was a pleasant relationship between Horace and me,
and here we are again standing before each other, shuffling our feet and wondering what to say.
With five years passed between releases (their most recent full length being Pop Culture Failure, debuting in 2000), Horace Pinker seem to have altered their sound only slightly.
Where as Pop Culture Failure was polished, melodic and driving, Texas One Ten is a bit rougher - but no less melodic - and slightly more paced. The album brandishes moments
of the energetic emotional punk that made their previous efforts appealing, but the pace is slightly slower, with their energy somewhat diminished by the daily continuation of their marathon career.
Relying more on distortion most notably vocally the album produces a harder sound and edge. Itıs not indistinguishable from previous material, however, since Scott Eastmanıs melodic vocal drone,
one of Horace Pinkerıs strong points, is still on display for many songs.
³More At Home,² and accompanying track ³Retrospective,² are pedestal songs on Texas One Ten, showcasing some of the albumıs, and the bandıs, stronger points: they create emotionally driven
punk songs with catchy hooks, powerfully melodic lead and backing vocals, and songs that are made to hum along to. These are the moments that keep Horace Pinker in my record collection, and while
they seem a bit sparser in 2005, theyıre no less compelling to listen to. Reviewed by David Spain
skratchmagazine.com
While Horace Pinker has been around the block a few times, TEXAS ONE TEN was my first exposure to them. To sum it up, I was kind of bored during the first few tracks. Musically,
those songs offer up slow and melodic rock music with hints of pop-punk. While I sat and listened to the album, those tracks seemed to gel together and form one unforgettable track.
It wasn't until "Exile to Asphyxiation" that the tempo, pace, and enjoyment of the album started to pick up. If it were up to me, I would have dropped the first three tracks from the
album completely. Despite the weak opening, TEXAS ONE TEN picks up steam and begins to be a great album filled with melody and catchy power-pop hooks. While I'm not sure how old fans
will like it, I do know it's inspired me to search out more of the band's music. Reviewed by Dane Jackson
alarmpress.com
Before I listened to this CD, I read the liner notes and found that Texas One Ten was inspired by and dedicated to the mother of Bryan Jones (drums, vocals), who had passed away just before
the recording process. I already felt like a cloud would be raining depression over every track, but as I listened, I realized that the album was not a train wreck, but a celebration of life and
everything that comes with it. “Penny Serenade” was one of my favorites lyrically and instrumentally, although every song on the CD breathes its own life into the album. Horace Pinker manage to
keep a rawness to their recording that gives it the feel of a live performance. It works well with their lyrics, which are thoughtful, inspiring, and well written – if the CD were really polished
in post-production, the words might sound insincere. The tempo of Texas One Ten is pretty upbeat, but the guitars and lyrics give it a sad quality that, when mixed together, will make you want to
tap your Converse to the beat while wiping a tear from your cheek. The songs range from gritty rock to the acoustic tearjerking title track. Horace Pinker create music that is true to itself.
There aren’t any facades or annoying guitar hooks. The music speaks for itself and stands on its own. With the help of four talented musicians, that is. Reviewed by Genevieve Wolff
All Music Guide
Over a dozen years on, Horace Pinker (a poorly named band, not an unfortunately named solo artist) has stayed remarkably close to its original sound and
artistic intent, which is often harder to accomplish than one might think. Texas One Ten, the band's fifth full-length album in an on-again, off-again
career, bristles with the same sort of jangly-noisy energy as their previous efforts, this time captured with perhaps a bit more clarity by producer Mass
Giorgini. In his mid-'90s heyday, Giorgini was known in some pop-punk circles for making his clients sound worryingly similar, but then, the bands in
question included the Queers, Screeching Weasel, and his own group, Squirtgun, all of whom sounded uncannily alike to begin with. Giorgini (now more
preoccupied with his day job as a college professor) doesn't impose his familiar bubblegum-punk sound on Horace Pinker, letting the quartet's own
mixture of '70s British and early-'80s California influences predominate. Songs like "Polysci 101," with its unison vocal hooks and Buzzcocks-like melodic
economy, are par for the course; the band's impressively tight vocal harmonies, rarely a concern for punk bands, are showcased handsomely throughout. Hardcore
detractors might find Horace Pinker's tuneful harmonies and uniformly melodic songwriting too polished for their tastes, but those who don't mind a little
power pop with their punk (Methadones or early Green Day fans, for example) will find the album's charms easily enough. Reviewed by Stewart Mason
