Rebrand, Rehearse, Repeat an interview with The Bites
The podcast that doesn’t do interviews did another one, and this time it’s a return visit from the Bites. Jordy, Jono and Zach sat down to talk about the rebrand, the new self-titled album, The Bites, and why they went so quiet for so long.
The short answer is tunnel vision. After their second UK run in 2024, the band had demos ready for album two, and their manager Paul told them they could dig deeper. That push turned into a new visual identity and a sound that steps away from the retro throwback thing without losing the old DNA. If you look closely, the old logo is hiding in the new one.
The record was built on the drums. They cut 16 songs at EastWest Studios in Hollywood over three long days, with Mark (the drummer, not the host) properly caffeinated by Jono, then finished everything at producer Keith’s Pie Town Sounds. Before any of that, they logged more than 100 hours of rehearsal. As Jordy put it, they were maybe more ready to tour the songs then than they are now.
Some of the best stories are about where the songs came from. “Lips” grew out of a love for Aerosmith’s “Pink” and a little country bar swagger, plus one mezcal-fueled night in Bristol that ended with Jordy singing directly into Zach’s ear on his birthday. “Waiting” dates back to 2019 as a Stones-style ballad, then got flipped in rehearsal into something that starts slow and takes off, the same trick they used on their old “Honky Tonk Women” cover. And “Dancing with the Devil” started as a 12-hour demo for a TV theme they didn’t land, nearly missed the record and is now the song crowds respond to most. “Hold On,” “Whenever You’re Ready” and “Aftertaste” are already earning sing-alongs, and the band admits they all liked “Aftertaste” even more once its music video gave it a new identity.
Coming up: festival dates booked into 2028, a Hellfest headlining slot in the UK on a bill with Buckcherry, a CityWalk show during Halloween Horror Nights on October 24, and “Do Me a Favor” landing in Stage Tour, a new rhythm game from the studio behind Guitar Hero. Real US tour dates are coming, they promise. Mark’s full album review is up on Patreon.
The Songs
“Slow Train” by BODEGA came across as a little bit Jane’s Addiction, with some “Coming Down the Mountain” in it, and then the band’s own bio named them as an influence. Vindication. The drums and bass lock into a strong groove that leaves room for the vocal and guitar to spread out, and the solo just rides along on top of it.
The car-as-girl metaphor was everywhere in the late-80s hair band era, so hearing Kid Sistr bring it back on “Accelerator” is a treat. Think a grittier, faster Bangles. The best moment is the whispered main line of the chorus, which pulls you in close right before the song punches you in the ear.
Longtime listeners could have called this one. “angela the traveller” by Andy Shauf has a clarinet line straight out of late-era Beatles, and that thread leads right to the playfulness of Jellyfish. Smooth vocal, smart composition, and the kind of find that makes the weekly digging worth it.
The Decemberists were in heavy rotation from 2005 through 2011’s The King Is Dead, and then listening habits did what they do. “The Better Part of Bravery” broke that rut. Great vocals and a great feel from start to finish, and now there’s a whole mid-career catalog to catch up on.
One last thing: someone submitted an AI-generated “band” to the site this week. The rant that followed is not safe for work, and it is entirely deserved. Support real artists.
