About this interview
In a 2009 interview with Ryan Minic of Ryan’s Rock Show, Tera Melos members Nick Reinhart, Nathan Latona, and John Clardy discussed their lineup changes, writing process, and experiences touring overseas.
The band shared how Clardy joined Tera Melos after a long and frustrating drummer search. Clardy was recommended by a mutual friend while he was touring with another band in 2008. After sending in a video of himself performing an improv set, Tera Melos invited him to a San Francisco show to meet in person. Shortly after, he flew to Sacramento for an official tryout, and the chemistry clicked. However, prior to finding Clardy, the band had already gone through another drummer who ended up leaving after only a handful of practices and early songwriting sessions. Reinhart compared the experience to being in a long-term relationship where one partner wants to break up but agrees to “one last vacation” before ending things—something that inevitably became awkward.
Discussing their songwriting process, Tera Melos explained that this was the first time they had intentionally written an album from start to finish rather than piecing together individual songs. With past releases, they would compile tracks over time, but this time, they wanted to create a cohesive record that felt like a complete body of work. Reinhart admitted that writing a full-length record was a challenge since they had never had enough material at once to put together a proper LP before.
The band reflected on their evolving sound, mentioning their shift toward adding vocals, which wasn’t always well-received by early fans. Reinhart recalled that when they released the Idioms 7-inch—a covers EP featuring vocals—they immediately received negative comments from fans demanding they remove the singing. However, he found the backlash amusing since the songs weren’t even originals—they were covers. Despite the criticism, Tera Melos remained committed to exploring new directions in their music.
They also shared their experience touring in Japan, which was one of the most surreal moments of their career. They initially had doubts about whether anyone would show up to their shows, questioning whether their music had even reached an audience overseas. However, their fears were put to rest when they headlined two sold-out shows in Tokyo, playing to crowds of over 500 people who were fully engaged and enthusiastic. They described Japan as a place where experimental music thrives and were grateful for the warm reception. The band noted that while the concert culture in Japan was similar to the U.S., the sheer excitement of playing on the other side of the world made it an unforgettable experience.
When asked about their approach to DIY ethics, Tera Melos explained that while they still operated independently, they now had a team assisting them with management, booking, and publicity. While some might see this as straying from the DIY ethos, they viewed it as an evolution—having a support system allowed them to focus on the creative side of the band rather than handling every logistical aspect themselves. They compared it to the way Ian MacKaye of Fugazi ran Dischord Records—still independent but with a sustainable structure.
The band also opened up about their financial struggles, admitting that making a living solely from music was difficult. While they would love to have side jobs to support themselves, they didn’t live in major cities where punk-friendly businesses could offer flexible employment. Instead, they were fully committed to making the band work, despite the financial uncertainty.