Chicago, IL’s Molehill doesn’t have the classic, charming origin story of longtime friends chasing down the spirit of rock in a suburban garage; Peter Manhart developed his love for performance in a touring Ukrainian dance troupe in his youth, Trevor Jones is a classical upright bass player, Devin Staples developed his drumming chops on the venerable Chicago gospel circuit, and Greg Van Zuiden is classical pianist who had only performed as a soloist prior to joining the band.
Informed by Manhart’s own experiences in corporate America (his day job is trading crude oil futures at the Chicago Board of Trade,) their EP Tin God (due 2/10) stands as a musical reminder that no matter what challenges one might be facing, they are a part of the human experience, and through perseverance you can rise above and climb whatever mountain stands before you.
Glide Magazine is premiering “Ghost Town” off Tin God, a dark rocker that highlights the band’s muscular musicianship that pits em up against the most daring prog bands and the rock accessibility of the Foo Fighters.
Molehill’s Trevor Jones on the song:
Many times listeners associate minor keys with sad songs and dark themes (think of the famous “d minor” scene in Spinal Tap) and major keys with more uplifting and positive songs. The subject matter in “Ghost Town” is bleak and hopeful at the same time. The lyrics tell a story of a broken relationship where one person is communicating that they don’t feel love anymore and the partner has “paid my respects at the graveyard” and “dried up tears have turned to dust. All we had is over now, just look at us.” The instrumental climax at the end of the song signifies the beginning to the rest of each other’s lives, the next chapter. Fitting, as it is the closing track on Tin God.