Iron Hero

Iron Hero


Iron Hero plays art-pop with guitars, drums, keyboards and computers. We like big melodies buried amidst ungodly noise. Someone once called it "arena-gaze," and we were alright with that.


Iron Hero seems brave enough. Seeing as each member of the Athens, GA band was born in the early 1980’s, they have been forced to confront a period of rapid technological development. That the band hails from small to midsize Georgia towns is irrelevant; the boys have seen the size of cell phones shrink alongside the rest of the world, and they were well aware that there is no sense in hiding from the change. Becoming drunk on new and old music as fast as the Internet could transmit bios and sound samples to their homes, they took advantage of easy access to every note within their electronic grasp. Iron Hero is informed by disparate sounds and notions: reggae, Americana, new-wave, rock classicists, and any sub genre before which one could attach or remove the word “post-“. So where would that leave their music? It’s decidedly not what you have decided to be southern rock. No, because their perception of the South isn’t covered in mud and blues scales. Though fiercely cold, Iron Hero’s rock music is draped in severed live wires; it is a pessimist’s convincing prediction that efficiency will soon replace intimacy. As a result, there will be few readily available references from the Dixon side of the line…

That is unless you consider the way they approach the process of creation. Iron Hero delivers detached beauty with an innate earnestness. They aren’t trying to make this music just in time for anything. Each member [Lawson Grice – guitar, keys, computer; Sam Gunn – vocals, guitar; Jordan Noel - Bass; Thomas Wilcox – drums] seems genuinely in awe of what they conjure collectively. Clearly there is no motive for this band of music aficionados, as they create in spite of their doubts and each other. After all, their first show was scheduled before they had ever rehearsed.

To reign in their schizo influences and maximilist tendencies, they brought in Josh Mckay (of Macha) to discipline their widescreen compositions; he made sure the sounds danced together in brilliant disharmony. Andy Baker (of The Glands), who has worked with Maserati, The Mercury Program, and Elf Power, committed it all to tape and hard drive. The sessions were long and brutal, and seemingly trivial background noise was given the same discerning ear as lead guitar lines. The whole mess was mastered by Glenn Schick, who has glossed recordings by, among others, Of Montreal and Now It’s Overhead. "Safe As Houses," their first record was the result of these intense sessions; it’s a dark, paranoid record that beats with an unknowing, humble heart. The record garnered the band glowing press; Paste Magazine called the band one of their "4 to Watch" in October of 2006.

Unfortunately the 18 months following the release of "Safe As Houses" saw band members come and go, as personal conflicts and goals conflictied with being in a rock band. The line-up shifts took a toll on the band, and the band members ended up focusing on touring with other bands, going back to school, and building new careers. The band finally returned to the stage in February of 2008, and is now playing an entirely new set of songs, with a new attitude and an eye towards the future.


"Safe As Houses" (10-song album, 2006, Self Released) (released August of 2007 in Germany, Austria, and Switzerland on Stagnation Records)

Set List

Typically we play 40-45 minutes. We've played sets as short as 25 minutes, and we can play for over an hour.