Pale Rider Discuss Their Influences, Writing Process, and Bands They Dig

Sophomore albums are often defining moments for artists, and Pale Rider has come up big for their second effort. Titled 1to0, the record was released last month via Coming Home Records, a sonic journey travelling through love, loss, and “the transition from one to none,” as singer Rus Martin puts it. Each of the album’s nine tracks is a reflection of the unpredictable high points and low points of life. Pale Rider was originally the solo project of Martin. And since the beginning, he has really striven for the music to explore the depth of the human experience.

From Redlands, California, Pale Rider transitioned into being a full-fledged band in 2023. Thomas Kraus, Jon Santana, and Joe Ramos were all longtime friends of Martin. And they fit the bill for the group thanks to their longtime experience as musicians. As seasoned musicians, Martin and his bandmates demonstrate great versatility on this new record. They are not constrained by loyalties to specific genres and can combine different sounds to create an immersive experience. Their sound is rather avant-garde, with respect paid to ambient rock, post-punk, and classic shoegaze.

Today, we are joined by both Martin and Santana to talk about influences, their writing process, newer bands they admire, and more.

Who are your biggest influences?

Rus Martin: “Right now, it’s Collapsing Scenery. Don Devore is just in another world musically, and this project really showcases his mastery at the art. From where he’s come from in the beginning stages of punk/hardcore to today… it’s really how all musicians hope to progress I think, who are looking for that progress.. I mean, some people get to a place and are happy with it and stay in that comfort zone. And it works well for them. Other people, like Don, are constantly pushing those boundaries for better or worse and taking the results as what they are and using it to his advantage in new ways.”

Who would you most like to collaborate with?

Jon Santana: “Simon Rayonde of Cocteau Twins and This Mortal Coil fame. He’s an incredible producer that cut his teeth on some of the most important records that shaped, if not saved my teenage life. Ken Andrews has done some incredible stuff, and I hear he lives a few miles from me. Talk to me, Kenny! Brian Eno would be the ultimate. I might freeze up, though. If a homeboy pulls out those Oblique Strategies cards, I’m cooked.”

If you could change anything about the music industry, what would it be?

Santana: “I would build a time machine and go back to 1993 and, in the name of Steve Albini, blow the whole thing up. Fight Club style.”

Pale Rider ‘1to0’ album artwork

What’s your favourite city or venue to play?

Santana: “Can’t say it was my favourite, but certainly one of the most entertaining cities was one in the north of Florida. A bunch of goth kids showed up in full regalia. It was like 90 degrees, and their face makeup started to melt onto their doily collars. They had Southern accents and chewed cigarettes instead of smoking them. Just ate them!”

Which do you enjoy the most: writing, recording, practicing, or playing live?

Santana: “Recording for sure. Writing is a blast as well, but there is something really special about the recording process, about laying down a great take and listening back over the monitors. It is both magical and humbling.”

What is your writing process like?

Martin: “It really starts with just trying new things on the instruments you’re familiar with and seeing what happens. Whenever something sticks out and has the ‘IT Factor,’ I usually tend to put two to three days into it and see if a complete song can be developed from it. Sometimes it happens, other times it falls on its face. But that’s the beauty of the whole process because you really begin to tap into that inner sense of what you believe sounds good versus bad. And even when you think something sounds good, you bring it to the guys in the band, and they either greenlight it or red light it. So songs for us have a certain workflow they go through, making sure everyone in the band believes it’s strong.”

What are some of the newer bands that you are listening to or enjoy?

Santana: “Ross J Farrar, the singer of Ceremony, (which I also adore) has been making some really great stuff. Very thoughtful and intentional. LA LOM, or the Los Angeles League of Musicians, which is a rad three-piece that bangs out some classic Latin jams with super behind-the-beat drums, ripping guitar (dude seriously shreds) and rock-solid bass playing. Comes together with a little surf rock overtones. Chef’s kiss. Doechii because she rules and makes me giggle. Viagra Boys because they don’t give any effs.”

If you were stranded on a deserted island and could only take three CDs with you for eternity (assuming there was a solar-powered CD player), what would they be?

Santana: “Music For Airports by Brian Eno. First two seven-inches by Minor Threat. Faith by George Michael.”

Do you use the same gear when recording as you do when playing live? If yes, what and why? If not, why not?

Santana: “Mostly, yes. I have a heavily modified Rickenbacker 4003. The secret sauce is the jazz bass pickup in the bridge. Sounds magnificent—like a piano when clean. Most producers do a facepalm when I pull that thing out of the case, but by the end of the session they are on reverb looking for one to buy. RIP Cliff Burton.”

Politics and music. Yay, nay, or what the hay?

Martin: “Big fat yes. Never forget what Woodie Guthrie wrote on his guitar. I think we need to have the youth of today listen to The Clash and, well, Youth Of Today. Our music isn’t the kind of stuff generally associated with political upheaval, but how cool would it be if there was a seminal political shoegaze album?”

How did you link up with the label for this release, and what about them was attractive enough to make you sign?

Martin: “Erik at Coming Home Records has been probably my longest-known friend. We’ve grown up going to punk shows together, playing in bands, and releasing stuff on his label back in the early 2000s. So, he heard the record and was into wanting to release 1to0, so it was like a no-brainer.”