5 minutes with… TRIATHALON

Over the course of three ultra-chill and languid releases, New York quartet Triathalon have evolved from lo-fi psych-poppers into a sultry R&B indebted troupe, utilising smooth-as-silk production to create music of deep sexuality. Online, their recently released new album, is a record that demands to be listened to in the bedroom, as the rich production wraps around the listener like a warm duvet of sound. It’s a wonderfully amorphous record and a  hypnotic excursion that explores the effects of the internet on our perception of music, relationships and our own psyches.

We caught up with the band at the beginning of a comprehensive US tour to talk synths, sexy records and top tips of moustache maintenance.



5 minutes with… TRIATHALON


Who are Triathalon?

“Real music players.”


Your new album ‘Online’ is a marked departure from the guitar-focussed ‘Nothing Bothers Me’ and ‘Lo-Tide’, what made you put down the guitars and pick up the synths?

“Synths are smoother.”


Would you say ‘Online’ is the band’s sexiest record so far?

“So far, maybe. But the next thing might top it.”


Artwork for ‘Online‘ LP 2018

‘Online’ is a very fitting title, how did the internet and the way we now consume music affect the creation of the record?

“I found myself being distracted a lot by social media while writing the album. There was so much back and forth between the two that it ended up influencing songs lyrically.”


What does each member of the band bring to the table?

“A whole lot of love & respect.”


You’ve all got some pretty strong moustache game, do you have any tips on mustache maintenance?

“I would say try & trim every 4 days. But be careful.”


Are there any plans for Triathalon to roll on through the UK and Europe?

“Not that I know of but we would absolutely love to play there! SOS help 😉 ”




5 minutes with… MEAT WAVE

The Death Of Pop – ‘700 Spas‘ – A short, sharp shock of jangly indie excellence

Jockstrap – ‘Charlotte‘ – Breathtaking intimacy and haunting electronic minimalism


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By George Percival



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