Interview: Kaonashi
Kaonashi by James Perry
Kaonashi, the Philly-based experimental post-hardcore band, are known for their captivating storytelling, intense live performances, and genre-defying sound. Consisting of vocalist Peter Rono, drummer Pao, bassist Ryne Jones, and guitarist Alex Hallquist, the band has built a dedicated following by blending technical musicianship with emotionally raw narratives.
As they prepare for their upcoming Lemon House Field Trip Tour, Kaonashi is entering an exciting chapter. Their latest EP, A Second Chance at Forever: The Brilliant Lies from Casey Diamond, even deeper into their conceptual universe, exploring themes of personal growth, heartbreak, and redemption, all while maintaining the band's signature chaotic energy.
In this Q&A, drummer Pao talks about the band’s evolution, the creative process behind the new EP, and what fans can expect from the tour as they continue to push boundaries while staying true to their roots.
Can you talk about how the concept behind "A Second Chance at Forever: The Brilliant Lies from Casey Diamond" connects with the overarching narrative introduced in "Dear Lemon House, You Ruined Me: Senior Year" and "The 3 Faces of Beauty"?
Of course! So 'ASCAF' follows our character Casey, and their viewpoint from the story, but also specifically set in Sophomore (Year 10) year of high school. Whereas, 'T3FOB' is set for Junior Year (Year 11). This release is supposed to give the listener insight on who Jamie was interacting with in 'DLHYRM'. We wanted to give a deeper meaning and connection to these characters. There is a LOT of Lore and story-building in this release, to set everyone up for our final chapter of the story.
The thematic arc of your music is deeply personal yet fictional. How do you balance drawing from real-life experiences while building this parallel universe with characters like Jamie, Morgan, and Casey?
Peter and I (Pao), talk a lot about just everything in our lives. We started this idea and concept even before our release of EP 'Never Home'. The story involves a lot of real-life experiences from Peter, myself, and even the rest of the band, but as well from people we've made friends with and met over the years. A lot comes from a lot of our friends who are no longer here with us. It's an interesting balance but, I personally find it easy to put myself into these fictional characters to be able to open up vulnerably and personally. I do know that Peter writes very directly and literally, and I know its been tricky here and there for him but he's been absolutely killing it. Especially with our newest (unreleased) record.
With the latest EP, you’re continuing to explore emotionally intense and intricate narratives. How does the band’s collaborative writing process work when tackling such heavy themes?
When it comes to writing the music, specifically on these EPs, I usually have a certain vision I want to follow and I express it to the rest of the band. We all get together and write the songs together and try to really nail the idea. Peter does 98% of the lyric/vocal writing, and he does that pretty much all on his own after the instruments are written and recorded. We've always been an emotionally intense band, musically and personally, even prior to the introduction of the Lemon House High saga. We're definitely a sensitive and introspective group of people, so it really just comes naturally to us.
This tour is named The Lemon House Field Trip Tour, hat does the title represent in relation to the larger Kaonashi universe and your ongoing conceptual storytelling?
We plan on playing a lot from across our Discography. As well, it really is about spreading our music across the country/world as far as we can and as much as we can. We have a discord channel that is Lemon House High. Our fictional school even has sports teams, named the Cadets. Often in this discord, or even around our social media posts, we refer to everyone as Lemon House Cadets or the Lemon House Mathletes. We try to find ways to get everyone involved and make this concept as interactive with listeners and showgoers as we can.
“Straycations” showcases the band’s technical prowess and merges different genres. How do you blend influences ranging from post-hardcore to early 2000s emo while keeping your signature sound?
Honestly, I wish I had a more in-depth answer for you, but we really just do our thing. We try to write songs like other bands that inspire us, but we inevitably just always end up sounding like ourselves. That's something I'm very proud of and thankful for, especially in this day in music where it seems to be harder and harder for musicians to create their own voice.
You’ve said that your goal is to generate compassion, understanding, and empathy through your music. How do you see your role as artists in fostering these emotions?
An artist's job is to make you look at something in a new perspective, whether you like it or not. We know we are a very odd group from different backgrounds and experiences. Having a good wide perspective on things is something that is important to us. If we can broaden your horizions, even if it may be uncomfortable to you at first, we know we have done our job.
The song “Exit Pt. VI (The Guilt in the Rearview)” has been described as one of the heaviest you've ever written emotionally. Can you take us through the creation of that track and what it means for the story?
Absolutely. So originally, I wanted a very Turnover "Peripheral Vision" type of song. We were trying to write it, and it just wasn't coming out the way I wanted(yes selfishly, the way I wanted, sorry to my band for putting you thru that haha). So in our final day of studio, I was listening to the album Plans by Death Cab in the shower, and that's where I got the inspiration from(Specifically the songs 'Summer Skin' and 'Brothers On A Hotel Bed'). I wanted something that felt heartwrenching, trudging, and dark. I hopped out of the shower, and told Evan Sammons(our producer/engineer) to just let me track this idea I had. I tracked the drums and handed it over to Alex(Hallquist) and August(Axcelson) to go from there, and they absolutely knocked it out of the park, from instruments to vocals, they crushed that song and delivered the vision I was seeing.
As for the story, this song is filled with so much detail that starts lining things up that were said in the prior 2 releases. This track also will usher us into the theme of our next release. Take a minute to read the lyrics and dive thru everything, and let me know what you think is going on.
You've been described as a genre-defying band. How do you approach the challenge of incorporating mathcore, pop-punk, post-hardcore, and other influences without sounding disjointed?
Again, kinda the same thing as before. We just write what we like, what we hear. I definitely go into writing with ideas and goals in mind, but once we start rolling, we really just try to serve the song, make it challenging and goofy, and just have fun with it. I don't think we could write a song that could fully sound like someone else, its just who we are. The Best Part Of Being Yourself Is That You Can't Do It Wrong.
A lot of your songs revolve around school experiences and young adult struggles. How does it feel to perform these stories now, years after high school, and what do they mean to you as time passes?
It definitely gets odd. Alex often says playing these songs feels like we're just covering a younger version of ourselves, and I think that hits the nail on the head. As time passes, songs lose meaning and gain new meaning. Whether it be lyrically or musically. I find myself changing drum parts constantly because I'm not the same person or drummer who wrote those parts 8 years ago. As for the topic of the songs themselves, I'm not so hurt by things of the past anymore, but I know these songs could do a service to some kids/young adults that do need it, so it still feels good and cathartic to play these songs.
Looking back, "Dear Lemon House, You Ruined Me: Senior Year" was a significant milestone for the band. What lessons from creating that album did you apply to the new EP?
You know, I am not totally sure hahah there was a lot I learned during the album cycle about myself and my band members and the music world. At least for tracking drums, I did learn to stop going against the grain so hard. I was quite stuck in my ways of like "80's ripper one take wonder" type of mentality because that’s the environment I grew up in(although I am definitely not even close to being a one take wonder haha). It definitely helped me understand how to tackle creating songs better and quicker, that’s for sure.
Kaonashi's live shows are known for their intensity and emotional depth. What can fans expect from this upcoming headline tour, especially given the weight of the new material?
Fans can expect a whole lot of surprises, interesting music from Omerta and Blind Equation, maybe even new music from us? Who knows. But most importantly, our shows are a place to have fun, be yourself and to let it all out on the dance floor. Cry, Sing, Mosh, Stagedive, you name it. Don't be afraid to be yourself because The Best Part Of Being Yourself Is That You Can't Do It Wrong.
Your storytelling often carries an element of tragedy. What do you hope fans take away from the darkness and emotional depth in your music?
I want our listeners to hear this, and use this as a light to lift them up. We were fortunate enough to have and use music to pull ourselves up out of these dark places, and we want our listeners to feel and know the same. To have better perspective and understanding for those around you. We all have our burdens, and we are all here to help carry each other's weight.
The narrative in your albums moves backward in time, revealing more about how your characters reached their tragic fates. Why did you decide to take this approach with the timeline?
I'm actually not entirely sure why I chose to go backwards, probably mostly influenced by how Coheed started with Second Stage as their first-ever release, although it was "chapter 2" of their concept. I always thought that was so cool. I've also enjoyed a lot of movies and TV shows that have started from the end and rewinded. That’s probably where that came from hahaha
The bridge of "Straycations" is a callback to the heavier, more progressive side of your sound. How do you decide when to switch between lighter melodic elements and heavier sections?
That bridge section was written by Alex, and it really comes down to who was writing what section and when. We will be writing a song, and just fictionally, say I wrote the chorus, then Alex writes the verse, August wrote the Bridge, whatever it may be. It's not always a fully cognizant and intentional idea to switch so dramatically. We just are writing to what we think the song needs, or where the song is going and work together to make it ourselves.
You’ve supported and toured with a diverse array of bands like Protest The Hero, Boundaries, and now The Fall of Troy. How do these collaborations influence your performances and writing?
There’s so many cool little tricks and tips and ideas that every musician does differently than the next. After watching and listening to these bands night in and out, I feel like their vibes just attach to you, subconsciously. Or maybe even it's from a gear standpoint, we learn how to do something a little better to make our stage show better. It takes a village for sure!!
What was it like creating and recording “Straycations” on such short notice, and how did that urgency affect the final song?
Since Covid started, that’s kind of how we have been writing EVERYTHING. All of T3FOB and ASCAF were both written and recorded at the same time. I know Evan was stressed out about it, but it felt good to write that way and I personally feel we get a lot of creative, natural and great songs out of the pressure of beating the clock. I personally love it.
You’ve come a long way from being underdogs to now getting recognition in major publications like Revolver and Decibel. How does it feel to see that shift in perception after a decade of hard work?
It's crazy, I still do feel like we are the underdogs. But now we're the underdogs that are in the limelight, to show that you can do this despite the world telling you otherwise. I do feel like we are still oddballs, but now other oddballs can see us and hopefully feel inspired to be an oddball in the limelight too! It feels very good to, as we have been saying, "enjoying the fruits of our own labor." But we would not be able to enjoy that fruit without all the help and support from everyone along the way this past decade.
"Blood Red Camry Dance Party" has an upbeat, infectious sound despite the weighty subject matter. How do you handle juxtaposing catchy melodies with intense lyrical content?
I wanted to feel like Coheed, Motion City Soundtrack, and Head Automatica in one. They're champions of having these happy poppy upbeat sorta vibes with just dismal depressing lyrics that I have always loved. I just wanted to replicate that, while making it feel like you just bought your first car as a kid, driving during the summer.
After the emotional complexity of this latest release, do you already have a vision for where the story goes next? Is there an end in sight for the Jamie/Morgan/Casey narrative?
Haha Kinda answered this earlier, but yes. The next release is already recorded, just needs to be mixed and mastered. As well, this upcoming release will be the LAST installation of the Lemon House High saga. It is ending. I've always enjoyed TV shows, anime, and multi-part stories that have a definitive ending. This final release focuses on our character Taylor, who was introduced in the first track of 'DLHYRM'.
What are some of your favourite songs to perform live, and have any tracks from the new EP already made a major impact on your setlist?
As of late, we're really trying to play lots of new material. I really really enjoy playing 'We Got One' and 'Straycations' the most lately. 'Hourglass' is also a really really fun one. We plan on playing both EPs on our upcoming headliner with Omerta and Blind Equation.
Before we wrap this up I just want to say ArcTanGent was epic and probably the loudest I have been to in a long time even with my earplugs my ears were ringing for ages after.
Haha thank you and also I am so sorry for your ears! That was easily the Top 5 craziest sets we have ever played. Did you see those kids on the rafters?? Are we allowed to mention that? That was crazy!
Finally, what have you been listening to lately? Any artists, new or old, that are currently inspiring you?
Aaah this is a Peter question for sure! I am unfortunately so stuck in my old ways. I listen to lots of Sade, Necrophagist, From Autumn To Ashes, Elodie, Vantana Row, and Bad Bunny. But some dope acts to check out are Zeta, Cryptodira, Inutech, Weeping, Wisdom & War, and ihatemylife.
A Second Chance at Forever: The Brilliant Lies from Casey Diamond by Kaonashi is out now via Equal Vision Records and is available for streaming on all your favourite platforms.
