Originally Published on August 5th

“At the center of their sound is what has come to be described as ghost rock – a style that feels less like a genre and more like a condition.” (Press Release)

This is the line that got me. Often as I do, I’m listening while I read. It was on my third pass of their new single, On the Rebound, when I read this description and yes, it was at that moment I started writing.

My reviews are really more like journals. On the surface, they probably look like just your average, run-of-the-mill music reviews, but they’re not. They’re unique in how they are inspired and how they are written. It’s what keeps me coming back to write more and it’s what keeps readers coming back to read more. They don’t get this from anywhere else, because it’s me.

The same can be said for Stereoma, an indie band out of Lancaster, Pennsylvania. On the surface, it would be easy to dismiss them as just another post-punk, grunge, alt-rock garage band. It is when we read deeper. When we stop and really listen to the lyrics, the progression, and how the fusion of that energy perfectly conveys emotions we can’t quite explain without a guitar in hand.

Stereoma are Nick Curran, Brad Topping, Mike Heller, Dan Riddle, and Caleb Lewis. They formed after other ventures they were involved in, like Selah, ended. They released their debut album, I Will be Your Friend, in 2014. Since then, they’ve released a total of 7 albums and countless singles and EPs to build a catalog of music spanning more than a decade.

I think the thing that stands out to me is, just when I begin to hear something familiar in their sound, they do something that pulls me away from that game of “they sound like…” I actually like that. I often reference “similar to” artists to help readers connect the dots, in hopes of enticing them to listen.

Here, that feels like a disservice.

I referenced a quote in the title of the article. “Stereoma isn’t interested in chasing nostalgia, even as echoes of post-punk, experimental rock, and underground traditions move through their sound.” Honestly, I totally get that. The caveat to sounding like someone else is that is our originality is compromised. We become derivative (as eccentric artists we hate that).

Originality is everything. The scrutiny over replication is sometimes brutal. It can turn someone from their authentic selves into a disingenuous act and then they’ve lost the podium.

When it comes to Stereoma, they have plenty of originality. I mean, they get it. What are we, if not just a bunch of meat sacks waiting to die? We have this consciousness that lingers within and around us that yearns for purpose in the midst of this borrowed, finite time. In their song, Ark, they touch on some these existential things (whether it’s meant to or not). They may just be talking about hitting the reset button to biblical proportion, or there might be a little bit deeper than that. Like, “how did we let it get here?”

The point I’m trying to make is, Stereoma have challenged me to, once again, not read into something at surface value. Are they perfect? Thankfully, they’re not. They’re well polished musicians. They don’t miss notes, they don’t miss beats. They do it all in their way. In fact, lead singer Nick Curran addresses the production in his pitch for the song: “It’s a dense mix but that’s kind of my style.”

It’s true. If I were there, I’d change a few things. Maybe tweak a dial here or there.

Thank god I wasn’t there. I’m forced to listen to it as it stands. Because of that, I’ve fallen in love with it. Our egos can guide us to do remarkable things. They can also ruin them. Curran and the rest of the band recognize that. We can’t have a healthy ego without balancing it with humility. In abstaining from that perfect mix, he found the most resonating sound to tell their story.

On the Rebound

On the Rebound released on July 13th. It runs at a little more than 4 minutes. It was recorded in Stereoma’s rehearsal studio. They recorded the instruments live, then went back to put in vocals and guitar layers. It was released independently by the band.

The thing that stands out the most to me is the progression of this song. There is a moment that it becomes bigger. That third phrase in the verses, it catches me.

The lead and harmonizing vocals pair very well together. The melody has this build that almost feels ominous until it resolves peacefully. It’s fascinating because it matches the lyrical story of the song.

Yes, there is a dense mix when listening to the song, but it is also at times atmospheric – go figure. I love that they haven’t relied too heavily on plugins in production. The performance is the marquee ticket here. These guys can play their instruments. Can’t say enough in defense of that. Layering the guitars ultimately opened up the density enough to where it fits. So, as creative choices go, it was the right call.

Final Thoughts

In a world where everyone is trying to play make-believe rock star, Stereoma stand out because they’re not. They’re not trying to get signed. They’re not trying to get discovered. I’m not saying they don’t want those things or that they would rip up a contract if UMG dropped one in front of them today. I am saying that’s not what they’re here for. They recognize that we only have so much time.

Their message is one to desire: “Don’t dwell on the past. Don’t imitate. Stop fucking up the planet and our society. Play like you mean it.”

“What sets Stereoma apart is their refusal to sanitize or soften the experience. The band leans into imperfection, allowing space for urgency, instability and raw presence. Performances feel less like recitals and more like confrontations – moments where the line between performer and audience begins to blur.” (press release)

Readers in the Lancaster area, there are two upcoming shows in the Autumn:

• October 24, Zoetropolis, Lancaster, PA
• November 14th, SRCC, Columbia, PA

Check them out if you are able!

They have CDs for sale here

Don’t waste any time, go press play.