Sunday Drive Records was built upon a community of artists/musicians and have actively used our small platform to defend human rights, help protect minorities and fight against injustice. This is a work in progress page we've added to list out resources to make it easy to find charities and organizations you can help directly.
As of May 30, 2020 our focus on this community page is on specifically Black Lives. This weekend, we're doing our part to push 100% of proceeds to Black Visions Collective (BLVC) who “believe in a future where all Black people have autonomy, safety is community-led, and we are in right relationship within our ecosystems”.
It's been about 3 years since TITD has released new music. What have you all been up to? We all graduated college and are all basically in the process of being based in San Antonio. It's been kind of like this by the moment thing, but in the last three years it's been on focusing on whatever goals we had planned out already. When we started TITD, I remember it being like "We just started college, let's do some shows, let's do this and that"— and after we recorded our first three projects, it was still like "we gotta get these other things out of the way" and things were kind of changing. I'm glad me and the guys finally got that one big obstacle out of the way—which is school. I know there's varied opinions on a formal education and is it worth it, but before the band started, we were all pretty much based on getting a formal education, and I'm glad they've made that happen for themselves. We've all been very flexible about it too, there's never been an argument of there not being enough time or other things going on—that just is how it is for us. To pad out the time, it's been on focusing on our own personal goals—just trying to get out and dealing with whatever setbacks have come our way.
Come 2020, you all are ready to release a new song. How are you feeling about putting out a song at this time? I feel like the band would know if I'm being dishonest—for the most part I feel like when I'm making music, there's always this back and forth of making something we wanna hear—something I wanna listen to, something that is objectively good to me, but also I'm trying to make something that people will enjoy. That's where I can gauge what I'm doing is good enough. Right now, I'll consume the song like twice a day, just so I can hear it, but until the song comes out, I don't know how people are gonna feel about it. It's that little feeling of I can't wait for this to come out, but at the same time, I really hope people like it. It's just a part of me to have that little doubt, because with that, I gauge what I did right or wrong, or what I want to do different next time. As it is, we already want to write more music, because the way we wrote and recorded this last song, it worked really well with all of our lifestyles and with everything that's going on right now. For the moment, we're really excited to put it out—I'm looking forward to seeing how people react to it.
You mentioned how the recording was different than last time. Could you explain more on how it was done differently than past recordings? Tell me more about the process. All of our projects prior, we had college going on in the background. So we'd take advantage of the summer, the winter breaks and schedule some studio time with Phill back then when he was based in Austin. It worked with us, cause as much as as we had going on, we can meet together and write and play some shows. When we can grind, we could put in that time, and we'd just settle on dates, having the music ready—the music sometimes wasn't even finished but that's what kinda kept us going—setting the deadlines. Like with most things—setting a deadline, it will push you. We all went through college—the fact that there's a deadline, you can work on something and then last minute it will change to something else. So it gave us that options to compromise with what everything that was going on. With the way the world has changed over the last few months, coincidentally, when we recorded the song in January, we were trying to figure out if it would be best to travel somewhere, or to try to bring Phill to us. At the time, I believe I replied to one of his Instagram stories, because he mentioned he wanted to record out of Philadelphia. He was gonna come down to Texas and was trying to record music and mentioned how he had gone mobile and could fit all the gear in his car, and he could basically bring the studio to where it would need to be. I brought it up to the guys, and it was an immediate "oh yeah, let's do it". We didn't even have a song down, I had been playing parts of a song, but as soon as I talked to Phill, I talked to the guys and they said yes, and next weekend I would go up and start writing a song. Throughout all of maybe November–December, we had a good 4 weekends where I'd drive up to San Antonio where we'd meet at Marcus' place and we just fleshed the song out, leading up to when we recorded it on January 5th. You see how I'm going with the whole deadline thing, but now it's different, because I made an appointment with Phill to drive down here, because he's doing some sessions with some other bands and wants to include us as one of the projects he's doing like that. Come January 5th, we practiced at Marcus' house and we wake up that morning, run down the song a little more, Phill pulls up and we start unloading all the gear. Those pictures (shown above/below) kind of illustrate the setting best, we all had a good thousand pounds—probably more—worth of gear. We just set up base and for the next 10+ hours, it's just tracking and dubbing and dubbing again, and doing a million takes of one thing. The whole process repeats itself, but now we brought it to us and it kind of felt more honest, because we had been doing things one way and now it turns out we can very much take this wherever. That was the main difference—the fact that we brought it to us—it became more of an intimate thing between us and worked with everything that was going on. That was back in January, before the shut down, we were talking to Phill and were talking about recording new music soon. The energy after recording that was a nice experience and we should work toward more things like that. Right after we recorded, come 2 months later, the shutdown happens, things start to change and now it seems that we adapted—I guess we see this becoming more of a routine, like something we can actually do. It falls more into place with everything that's going on
Can you talk through the ideas you had with this release and how it's different than what you've done in the past? Since I knew we were only working with one song, I wanted to package the song like that. I feel with previous stuff, we were usually working with 2–4 song EPs, we figured since this was gonna be a single, we should package it like it's all going to be promotional material for this one thing. We went back to 90's band t-shirts, how all the typography benefits this one particular thing. That's something I had never done, I never put the band underneath that scope. We always thought the shirts look like this and then the album art looks like this. But for this song, we tried to package itself around all the other items we were trying to put out with it.…with what we did, it kind of highlights the whole physical aspect of the Flexi we're putting out plus a physical image that gives off the aesthetic we're trying to put out, plus the song itself that was recorded in such a way—it benefits the whole thing. It's all very personal to us and it all connects.
How did the song get to the point of having Will Yip master it? After Phill came back from interning with him, we were curious to see how Phill had advanced in the craft of recording. It's funny, because we brought that to a home setting, so it was like—we're comfortable, but at the same time it's this full day thing—lifting gear, setting stuff up, tracking for as long as you need to until it comes out right. Right after we did that, Phill mentioned that now he worked with Will Yip, Will can take some of his projects to master, and that was up on the table. So we said yes, definitely.
You decided you wanted to contribute to a charity to help out at the time. Can you tell me about the charity ya'll chose and the goal of this song? I talked to a friend that's really involved in Laredo, who I have really high regard for. I previously worked with her at the Center of the Arts here. We were co-workers, and I found out how much she was invested here in civil works. I had told her we were putting out a song, but wanted to contribute to anything, because with everything that's going on—you just can't ignore it. So I talked to her about a few charities that we can send some funds to at a time like this. The first one she mentioned was the South Texas Food Bank or the Sacred Heart Orphanage. She mentioned the South Texas Food Bank, obviously because of the food shortages or lack of supplies, and also the Sacred Heart Orphanage because she explained that they're being sued for their land, since it's on the border, since Laredo is a border city and the orphanage is located close to the border. The border wall that they're trying to build—you'd have to surrender the land because fo the wall. That's obviously bullshit, so we thought wherever we can lend a helping hand financially, that would at least help us feel like we're not just totally ignoring an issue here and bring light to the fight they're going through. With everything that's going on, it's easy to feel isolated and disconnected. But yeah—the South Texas Food Bank or Sacred Heart Orphanage. We're talking about which one to donate to now. [Update: The band chose to donate 25% of physical merch proceeds to South Texas Food Bank and 25% of digital proceeds to Minnesota Freedom Fund.]
We're excited to announce our new reading section today. SDR Reading will consist of distributed titles from zines we are fans of and future SDR zines that will be announced soon. To start off, we're featuring select titles from Shining Life Press and Inside Knowledge Fanzine.
Shining Life Press is run by a collective—led by Crucial John (Give). They've made it very easy for new readers (like myself) to get into zines by releasing anthology series while still featuring new bands. They do a great job with the printing and layout of each issue and SDR is excited to feature some of our favorites from them so far.
Inside Knowledge Fanzine is run out of our hometown of San Antonio, Texas. They're done a great job of documenting the hardcore scene in SA, so it was important for us to shine light on their work.
You can browse the selected titles below. We've tried to add a bit of links and info for each issue to make it easy to listen to the bands featured in the issues as well.
We are pleased to welcome New Jersey's singer/songwriter, Sergio Anello to Sunday Drive Records. Sergio recently wrapped up recording at The Lumberyard Recording Studio with Ace Enders & Dom Maggie and will be releasing the album with SDR later this summer. Today, you can hear a raw recording of the self-titled track, ’No Heavier Burden’.
After years of playing bass and touring with The Early November, Sergio began writing songs after the bands' hiatus in 2007 without any intention of releasing them. Years later in 2016, Sergio found himself writing more seriously and met guitarist, Joseph Sipala. After demoing tracks, Sergio formed, Everyone Knows. Sergio’s first solo-effort was heard on Everyone Knows’, Tell Or Be Told, released in 2019. The album consisted of nine tracks ranging from alternative-country to jazz—pulling in influences from The Avett Brothers to Elvis Presley.
By the end of 2019, Sergio decided to move from the moniker, Everyone Knows and began releasing music under his own name with the Christmas track, Santa, For What It’s Worth. For his next release, No Heavier Burden, Sergio finds himself writing much more stripped-back songs. The album is a strong collection of six, raw songs, influenced by 50/60s rock & pop, similar to contemporaries like Shakey Graves, Andy Shauf, and Alexandra Savior.
No Heavier Burden is out this summer on Sunday Drive Records.
We are pleased to welcome Toronto's post-hardcore/emo band, Hesitate to Sunday Drive Records. Having many years in Toronto's local music scene established with previous bands, plus a background in hardcore/DIY ethics has helped to inspire Hesitate's powerful and unique sound. They've taken many influences from their environment and music tastes and have combined them to create songs that blend various genres of post-hardcore, alternative-rock, shoegaze, emo, punk, etc. The result is a strong sonic landscape of music you would enjoy if you like any one of the genres above.
Initially released in 2019, Counting Sheep / Doomgazer is a double single release. On these tracks, the band really hones in on their sound established on their first EP,Hopeless, Happily, and delivers their strongest songs yet. 'Counting Sheep' delivers a faster-paced, post-hardcore track similar in sound to early Basement and Superheaven, while 'Doomgazer' perfectly contrasts with a strong shoegaze/alt-rock sound inspired from 90's bands like Far, Swervedriver, or The Smashing Pumpkins.
SDR is reissuing both singles today on one release. You can stream the singles and pick up the 7" vinyl—as well as a special test press variant w/ alternative-art below. New music coming soon.