Stereo Six: Public Opinion’s Kevin Hart Picks Six Records That Shaped His Sound

Every musician carries a handful of records that never leave them. The albums that changed the way they thought about songwriting, sparked lifelong obsessions, or quietly became the blueprint for everything that followed. For Public Opinion vocalist Kevin Hart, those influences span emotionally charged hardcore, post-punk experimentation, indie rock classics and melodic punk records dating back over twenty five years.

From the raw urgency of End Of A Year and American Nightmare to the genre-defying brilliance of The Dismemberment Plan, Hart’s Stereo Six selections offer an honest insight into the music that helped shape both his songwriting and his perspective as a musician. Along the way, he reflects on childhood discoveries, records that still dominate the van stereo, and the artists whose influence continues to find its way into Public Opinion’s music today.

1. End Of A Year – You Are Beneath Me (2010, Deathwish Inc)

This is my favourite record of all time. One of the many strange experiences that comes with participating in diy / punk music is that you can meet and become friends with your favorite bands. It’s not lost on me that Patrick (who also sings in Drug Church) and I are friends now fifteen years after he released a perfect record that I still listen to on a monthly basis.

At surface level, this is just the best modern version of the Rev Summer sound, taking clear nods from Rites Of Spring, Embrace and One Last Wish. But once you dig deeper, you find a ton of post punk influence here – a lot of Andy Gill from Gang Of Four specifically. Beyond that, the drums feel well within the pocket of Stewart Copeland with swift fills and ghost notes all over the place.

End Of A Year / Self Defense Family is my favourite band. Anytime there’s a PO track with a single note bendy guitar part, it can be traced back to this record.

2. The Dismemberment Plan – Emergency & I (1999, DeSoto Records)

I’ve been trying to get more people to listen to this record for what feels like fifteen years and everyone just assumes it going to sound like Animosity or Incantation thanks to the name. What it is, to my ear, is the meeting point between late-era Dischord Records and the indie rock record store darlings of the time.

I have two people in my life who also love this record and skip tracks on every listen (“Girl O’ Clock” and “You Are Invited”, respectively), so it’s possible that it’s not for everyone. But I recently realized the song “The City” is my favorite song of all time. Maybe someday I’ll learn how to play synth and we will take a crack at this as a cover or something.

3. American Nightmare – Background Music (2001, Equal Vision)

This record blew my mind when I first heard it. I would have to suspect that I’d already heard Jane Doe by the time I received this LP as a gift, so I wasn’t shying away from the more poetic and sensitive lyrics over aggressive songs, but the ability to clearly make out what Wes has to say while also wanting to mosh my bedroom to rubble was shocking as a kid.

I’d have to imagine that this band had one of the biggest impacts on my writing for Public Opinion. It’s not like I was reading through lyrics sheets to lift parts for my own band, but the honesty and vulnerability Wes put into this record that I heard as a kid made me feel less weird about expressing myself more honestly almost 20 years after.

4. Bloc Party – Silent Alarm (2005, Wichita Recordings)

Someone had described Public Opinion as “video game rock” recently, and this is peak “video game rock” to me. In the same way a lot of people got into AFI, Avail, and The Bouncing Souls from Tony Hawk, I got into Bloc Party and Hot Hot Heat from SSX.

I think of all of the bands lumped into the early 00’s garage rock / post punk revival thing, this album stands at the top. I’m not as infatuated with the rest of the catalogue, but for me to stay interested across 50 minutes at the age of 16 was a feat in itself. The way they weave the more wild and intricate drums across verses into parts that are fully pulled back for Kele to sing the chorus was something that really stuck with me. The idea that yes, everyone in this band can shred at their respective instrument, but that’s not always what the song requires. The sheer breadth of songwriting that allows a record to open with “Like Eating Glass” and then close with “Compliments” while not sacrificing quality is beyond admirable.

5. Alkaline Trio / Hot Water Music – Split (2002, Jade Tree)

Yes, I cheated and put a split on here, but it has my favourite Alkaline Trio song and my favorite Hot Water song. Sue me.

I had heard the HWM version of “Radio” as a kid which makes me think one of my siblings owned this in some capacity. When we started touring I was able to explore a bunch more bands discographies since we’d be in the van for thousands of miles either way. This rekindled my love for Alkaline Trio and it also let me give Hot Water Music more of a shot. If I have a short drive across town and I don’t want to listen to hardcore, this EP is a go-to.

6. I Am The Avalanche – Avalanche United (2011, I Surrender)

This is the record that made me want to work with Brett Romnes initially, and a decade and a half later we finally accomplished that. I really enjoyed the self titled IATA record from a few years before this, but I think this is my favourite from their catalogue. In the band I was in right after high school, I believe this was the top played album on every tour.

I find this record to be as good as it gets for a modern punk record. Vinnie’s melodies and performance are the blueprint for what I’m trying to do at almost all times. I can’t begin to count the amount of times I’ve gotten hook stuck in my head and thought “guess I gotta listen to Avalanche United again”. I’m really appreciative Vin was open to singing on our record, and I’m especially psyched he came to our last New York and sang it live with us. Whatever happened to the Brooklyn Dodgers?

Public Opinion ’The Curse of Public Opinion’ Album Artwork