Scogin adds about the track: “I actually wrote (a version of) this song while in my old band, The Chariot. It is actually two songs. The first song being the riff that starts the track, and the 2nd song begins right at the 2 min mark. The two songs have always fought with each other. I could never commit to one, because it would mean the sacrifice of the other. Nowadays, I barely care if two songs sound similar, as long as they are able to serve their own purpose. But back then, I knew the existence of one song meant the death of the other song. It very, nearly happened on the first ’68 album. It also almost happened on Give One Take One. A version made it all the way to the (home) demos. But there was always something that just didn’t feel right. I believe the waiting paid off. Even though this song (as it appears on Yes, and…) doesn’t fit any stereotypical song structure, it utilizes the strengths each song brings to the table and forces them to live in the same space. Now each song understands they are in a mutualistic relationship, and they play well together. Also, for better or worse, it is wonderful for me to be able to finally give them both the light of day. They deserve to breathe. They deserve to bleed. ”
’68 will take their new album on the road starting this October for a run of dates with THRICE on their The Artist In The Ambulance 20th Anniversary Tour in North America.
Stream Yes, and…here.
Order Yes, and…here.
YES, AND… TRACK LISTING:
01. With Distance Between
02. The Captains Sat
03. Removed Their Hooks
04. Removed Their Hats
05. “Let’s Be Friends”
06. “End This War”
07. They All Agreed
08. Then Got Bored
09. Within The Hour, They Were No More
ABOUT ’68:
The raucous duo Josh Scogin demurely undersells as “rock n’ roll with a kick in the pants” is named ’68, after the Camaro the Atlanta, Georgia native grew up working on with his dad. Already a young hardcore scene vet with a handful of influential albums under his belt by his twenties, Scogin introduced ’68 to the world in 2013, barreling forth into the unknown with noisy, bluesy abandon. ’68 is a ride for everyone on both sides of the speakers as the hurricane swirls around the frenzied duo. The obstacle is the goal. Inventive, disruptive, frantic, even at their quietest, ’68 is urgent.
The provocative, impulsive, controlled chaos unleashed by ’68 is a musical conversation between artist and audience. Armed with his guitar, copious pedals, and percussive partner-in-crime Nikko Yamada, the former frontman for The Chariot conjures a spirited sound of ambitious raw nerve. The Midnight EP (2013), In Humor and Sadness (2014), and Two Parts Viper (2017) began an inviting catalog of confessional angst and combustible energy. Kerrang! described Give One Take One (2021) as “an album dense with tunes, meaning, desperation, and danceability.” The kinetic conversation continues with the appropriately titled Yes, and…, a densely packed and diverse indie rock romp in which Scogin and Yamada crib cues from improvisational ideology. ’68 fills album number four with howling exposition, tangential dirges, and unbridled honesty. It’s the second consecutive ’68 album produced by Nick Raskulinecz (Foo Fighters, Rush, Code Orange)
Often splitting up exhaustive van drives between them, ’68 brings their traveling carnival worldwide, from Moscow to Tel Aviv. The duo triumphs in intimate club environments and is no less explosive on giant festival stages or the road, supporting their friends and contemporaries in Bring Me The Horizon, Korn, Staind, Stone Sour, Beartooth, Thrice, Avatar, August Burns Red, The Amity Affliction, Underoath, The Devil Wears Prada, and Every Time I Die, among others.
The year Yes, and… arrives marks ten since ’68 emerged. “I was in high school in Norma Jean, and everything was a blur. The Chariot broke up after ten years. It’s so crazy because when I think about ’68, it feels like I’m still figuring it out,” Scogin says. “In fact, I’m just getting started.”
