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The Killing Tree
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The Killing Tree (sometimes abbreviated as TKT) were a hardcore punk band from Chicago, Illinois. They were a side project of Tim McIlrath during the early days of Rise Against and featured former Rise Against guitarist Todd Mohney and bassist Geoff Reu of Baxter and Holy Roman Empire.[1]
Key Information
Career
[edit]The Killing Tree was formed shortly after Tim McIlrath's other band, Rise Against, in 1999. The band's main line-up consisted of McIlrath on guitar and vocals, Reu on bass and backing vocals, Mohney on guitar, and Remis on drums.[2]
In an interview, Tim McIlrath told the interviewer "I used to play in a band called Baxter with Geoff Reu and Remis, and we always had an itch to do heavier music. After Baxter broke up we would have sporadic, impromptu jam sessions in my basement for a year, with no real intention of starting anything. We actually had a female roommate at the time singing for us for a while! Either way, the songs began to take shape and we realized we needed someone else to complete the chaos, so we enlisted Todd to shred with us, and all the pieces fell into place. After we completed a number of songs we realized that what started out as fun we thought might actually go over well. "[2]
McIlrath was concerned that Rise Against's record label, Fat Wreck Chords would not want him recording with a different band, so all members of The Killing Tree used false identities when performing and recording.[3] In February 2003, the band signed to Eyeball Records, who released the band's We Sing Sin EP in May 2003.[4]
In an Interview with Punknews.org Tim McIlrath was asked about The Killing Tree's future and said: "I would love to. I would love to right now. I'd love to call those guys and just fucking write a record right now if we could. I think Neil is getting back from Europe today and I'm going to hang out with him later tonight. Todd is out of LA right now doing a bunch of graphic design stuff and Geoff is doing Holy Roman and also doing his masters degree at UIC. For me and Neil to actually have lunch together though, that's like the stars are aligned. It's a fucking miracle. I would love to and I think that I still love the Killing Tree and what we've created. I love the record, it was a lot of fun. But, there's no real mystery to why we're not doing records- it's simply because there's no time. If there was, we'd all be having a lot of fun and writing some new songs or at least playing some shows. But who knows, we tend to do a show every year or so in Chicago somewhere.."
Despite this claim, the Killing Tree has not performed live since 2004 or released any new music since 2006.
Musical style
[edit]The Killing Tree's musical style is typified by longer songs and more prominent metalcore and Swedish death metal influences,[5] such as screaming vocals and aggressive breakdowns, than that of McIlrath's other band, Rise Against. Although the vocals are primarily screamed, many tracks alternate between screaming and clean vocals. The lyrics tend to be darker and have violent themes. They have been described as metalcore,[5] hardcore punk and post-hardcore,[6][7] with their style having been compared to acts such as AFI, At the Drive-In and Sparta.[6]
Discography
[edit]Studio albums
- The Romance of Helen Trent (2002)
EPs
- Bury Me at Make-Out Creek (2000)
- We Sing Sin (2003)
Compilations
- Hair: Chicago Punk Cuts ("Dressed to Fuck" only) (2006)[8]
Members
[edit]- Tim McIlrath (James Kaspar) - lead vocals, rhythm guitar (1999-2006)
- Todd Mohney (Todd Rundgren) - lead guitar (1999-2006)
- Geoff Reu (Jean-Luc Rue) - bass, backing vocals (1999-2006)
- Timothy Remis (Botchy Vasquez) - drums (2000-2006)
- Previous members
- Laura Cahill - co-lead vocals (1999)
- Neil Hennessy - drums (1999)
Other appearances
[edit]- Emily Schambra (of Holy Roman Empire) - guest vocals on "Dressed To Fuck"
References
[edit]- ^ "The Romance Of Helen Trent by The Killing Tree on MSN Music". Music.msn.com. Archived from the original on November 24, 2006. Retrieved October 15, 2012.
- ^ a b "Tim McIIrath". Kevincorazza.com. Archived from the original on March 16, 2012. Retrieved October 15, 2012.
- ^ "Bury Me at Make-Out Creek EP at Storenvy". Undercomm.storenvy.com. Archived from the original on March 9, 2012. Retrieved October 15, 2012.
- ^ Heisel, Scott (February 26, 2003). "The Killing Tree signs with Eyeball Records". Punknews.org. Retrieved March 4, 2021.
- ^ a b Westerhouse, Andrew (April 30, 2003). "Review: The Killing Tree "The Romance of Helen Trent" CD". Aversion OnlineW. Retrieved May 6, 2018.
- ^ a b Pratt, Greg. "The Killing Tree The Romance of Helen Trent". Exclaim. Retrieved May 6, 2018.
- ^ Taylor, Jason. "The Killing Tree The Romance of Helen Trent". AllMusic. Retrieved May 5, 2018.
- ^ "Various - Hair: Chicago Punk Cuts". Discogs.com. Retrieved September 24, 2020.
External links
[edit]
The Killing Tree
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History
Formation and early years
The Killing Tree was formed in 1999 in Chicago, Illinois, by Tim McIlrath as a side project shortly after the disbandment of his previous band, Baxter.[5] McIlrath, who was simultaneously establishing his primary band Rise Against, recruited fellow Baxter members Neil Hennessy on drums and Timothy Remis on bass to join him on guitar and vocals.[5][6] The initial lineup also featured Laura Cahill, McIlrath's roommate at the time, providing co-lead vocals.[7] To keep the project distinct from his commitments with Rise Against, the band operated under pseudonyms for its members during its early phase, such as McIlrath using "Eeyore." This setup allowed McIlrath and his collaborators to explore heavier, more experimental sounds without interfering with their other musical endeavors in Chicago's vibrant punk and hardcore communities.[8] In 2000, the band recorded and self-released its debut EP, Bury Me at Make-Out Creek, on the independent label Government Music.[9] The four-track effort captured the group's raw energy, blending post-hardcore aggression with melodic elements, and marked their entry into the local scene.[10] The Killing Tree quickly integrated into Chicago's hardcore punk circuit, performing at key venues like the Fireside Bowl and building ties within the tight-knit community through shared bills with other regional acts.[11] These early shows, often limited to sporadic appearances amid members' schedules, helped solidify the band's presence in the city's underground music landscape before expanding beyond local gigs.[12]Breakthrough releases and activity peak
Following the release of their early self-released EP, The Killing Tree garnered underground buzz within the Chicago hardcore scene through consistent local performances and word-of-mouth promotion among fans of metalcore acts.[13] This momentum led to their signing with the independent label Eyeball Records in 2003, marking a significant step toward broader exposure in the punk and hardcore communities.[14] The band's first output under Eyeball was the EP We Sing Sin, released on June 3, 2003.[14] Featuring four tracks—including "Mascara (Original Sin)," "Everything You Had Is Gone (Fall From Grace)," and a cover of Soundgarden's "Jesus Christ Pose"—the EP highlighted experimental shifts in their metalcore approach, with extended song lengths averaging over five minutes, dynamic shifts between melodic verses and aggressive breakdowns, and a heavier emphasis on screamed vocals compared to their prior work.[15] These elements represented a maturation in sound, blending hardcore intensity with more structured, atmospheric experimentation while maintaining the raw energy of their roots.[16] Prior to the EP, The Killing Tree had recorded and issued an initial limited-edition run of their sole full-length studio album, The Romance of Helen Trent, on June 22, 2002, via One Day Savior Recordings.[17] The album's wider distribution followed in 2003, coinciding with the Eyeball signing and amplifying the band's profile.[13] Recorded in Chicago, it featured nine tracks such as "Switchblade Architect" and "Violets Are Blue," exploring longer compositions with layered guitar work, spoken-word interludes, and a mix of clean and screamed vocals that pushed boundaries within the genre.[18] During this 2001–2004 period, the lineup stabilized around vocalist and guitarist Tim McIlrath, guitarist Todd Mohney, bassist Geoff Reu, and drummer Tim Remis, enabling a cohesive creative output that defined their peak activity.[19] Live performances intensified, with frequent appearances at Chicago venues like the Fireside Bowl; a notable April 17, 2004, show there exemplified their high-energy sets, drawing crowds with sets blending album cuts like "Them's Fightin' Words" and EP material, before activity began to wane.Hiatus and disbandment
Following their peak activity in the early 2000s, The Killing Tree ceased live performances after their final show in 2004.[7] The band released no new original material after the EP We Sing Sin in 2003.[16] Vocalist and guitarist Tim McIlrath's growing commitments to Rise Against, his primary band, were the main factor in the side project's inactivity.[20] Rise Against achieved significant success with the 2006 album The Sufferer & the Witness, which demanded McIlrath's full attention and limited opportunities for The Killing Tree.[20] In a December 2006 interview, McIlrath acknowledged the band's potential for occasional Chicago shows but emphasized scheduling conflicts among members—such as former drummer Neil Hennessy's time abroad in Europe and guitarist Todd Mohney's work in Los Angeles—preventing any further recordings or regular activity.[20] The Killing Tree effectively ceased activity following their last show in 2004, with no subsequent reunions or new releases as of 2025.[7] McIlrath has occasionally referenced the possibility of revival in interviews, but none has materialized.[20] The lack of archival releases, reissues, or updated material from the band has helped sustain its cult following among hardcore and metalcore enthusiasts.[21]Musical style and themes
Genre influences and sound
The Killing Tree's music draws primarily from metalcore, blending aggressive hardcore punk and post-hardcore elements to create a sound characterized by intense energy and dynamic shifts.[13][15] Influences from melodic Swedish death metal contribute to the band's heavier, riff-driven approach, evident in tracks that incorporate chaotic technicality alongside more accessible melodic passages.[22] Unlike the brevity of traditional punk tracks, their songs average 5-7 minutes in length, allowing for complex structures that build tension through extended breakdowns, adrenaline-fueled rhythms, and contrasting melodic interludes.[23][24] The band's instrumentation centers on dual heavy guitar riffs from Tim McIlrath and Todd Mohney, which provide the core of their thick, layered soundscapes, supported by Geoff Reu's aggressive bass lines and Timothy Remis's dynamic drumming that drives the fast-paced transitions and percussive intensity.[7][25] On their debut full-length The Romance of Helen Trent (2002), the production emphasizes a raw yet clean aesthetic, with fresh guitar tones, smooth melodic shifts, and incorporated sound samples that heighten the overall intensity without overpolishing the aggressive edge.[13][22] The group's sound evolved from the punk roots showcased in their early 2000 demo Bury Me at Make-Out Creek, which leaned more toward straightforward hardcore punk, to a heavier metalcore orientation by their 2003 EP We Sing Sin, incorporating fiercer breakdowns and broader genre fusion while retaining melodic undertones.[26][15] This progression reflects the Chicago hardcore scene's influence, allowing for greater experimentation in rhythm and texture across releases.[21]Lyrical content and vocal delivery
The lyrics of The Killing Tree are characterized by dark and violent imagery, often intertwining themes of love, death, and betrayal in a personal, introspective manner. Drawing from Tim McIlrath's songwriting, the content employs a poetic and narrative style that evokes horror and emotional turmoil, focusing on intimate destructiveness rather than broader social issues. For instance, in "Pillow Talk," the narrator grapples with suffocation and anguish in a failing relationship, culminating in raw declarations like "Die motherfucker" amid lies about love and mutual destruction of lives.[27] Similarly, "Replace My Heart" conveys emotional rawness through pleas of despair and self-destruction, with lines such as "Reap my soul" underscoring insecurity and the erosion of dignity in romantic bonds.[28] This thematic approach contrasts with McIlrath's work in Rise Against, where lyrics tend toward political activism; here, the emphasis lies on personal horror and cryptic introspection, as noted in analyses of the band's output.[29] Songs like "The Bronze" exemplify abstract violence through vivid motifs of oppression and rebellion, including being "chained to your burning lake" and cries to "Reap my soul!" amid broken bones and existential choking, portraying an internal battle against fear and identity loss.[30] Vocal delivery in The Killing Tree features a duality of screamed and clean styles, with McIlrath's harsh, ear-splitting shouts contrasting melodic choruses to heighten emotional intensity. This aggressive metalcore-influenced approach amplifies the lyrics' turmoil, as McIlrath screams more prominently than in his other projects, transitioning seamlessly to sing-along refrains for crowd engagement.[29][7] Early recordings incorporated co-vocals from Laura Cahill, adding a layer of duality before McIlrath assumed primary vocal duties, blending her contributions with his emerging screamed elements.[7] Examples include the breakdowns in "Violets Are Blue," where screamed verses build to cleaner, anthemic hooks, emphasizing the band's raw, narrative-driven expression.[29]Critical reception and legacy
Album and EP reviews
The Killing Tree's debut EP, Bury Me at Make-Out Creek (2000), received limited professional coverage due to its underground release but garnered positive user acclaim for its raw energy and metalcore intensity within niche punk communities. On Sputnikmusic, it holds an average user rating of 3.6 out of 5, reflecting appreciation for its aggressive, early post-hardcore sound that captured the band's nascent ferocity.[31] The band's sole full-length album, The Romance of Helen Trent (2002), drew stronger critical attention and was widely praised for its intense blend of hardcore, emo, and punk elements, avoiding easy categorization while maintaining high energy through varied vocals and dynamic structures. Punknews.org reviewer Dan Perrone awarded it a perfect 10/10, highlighting its captivating transitions, angry relationship-themed lyrics, and standout tracks like "Switchblade Architect" and "Cacophony (The Death of Affection)," which exemplify the album's emotional depth and sonic experimentation.[13] Exclaim! critic Greg Pratt commended its high energy, melodic crooning, and At the Drive-In-inspired shifts, though he critiqued its length and lack of memorable hooks amid excessive variety, positioning it as a promising but uneven effort in the post-hardcore landscape.[32] Aggregated user scores align with this intensity, averaging around 3.9 out of 5 on Sputnikmusic, equivalent to roughly 7.8/10, underscoring its role as an innovative metalcore entry despite accessibility concerns.[31] The follow-up EP We Sing Sin (2003), released after the band's signing to Eyeball Records, was noted for bridging the rawness of the debut EP to the fuller experimentation of the album, with emphasis on vocal dynamics and longer, melodic compositions.[15] Punknews.org's Aubin Paul gave it a 6/10, praising its furious breakdowns, experimental focus, and the Soundgarden cover "Jesus Christ Pose" as a highlight, while observing its increased melodic lean compared to The Romance of Helen Trent, though the shorter format led to mixed reception on cohesion.[15] User ratings on Sputnikmusic average 3.8 out of 5, indicating solid but not exceptional acclaim for its vocal experimentation within the Chicago post-hardcore scene.[31] Retrospective assessments post-2010 have positioned The Killing Tree's releases as underrated contributions to the Chicago punk and post-hardcore scene, with renewed interest in the 2020s via streaming platforms highlighting their influence on melodic hardcore acts. Their track "Dressed to F*ck" appeared on the 2006 compilation Hair: Chicago Punk Cuts, described as part of melodic hardcore's roughest strain.[33]Cultural impact and influence
The Killing Tree garnered a dedicated cult following within metalcore and hardcore punk communities, particularly in the Chicago area and Midwest, where it emerged as a side project of Rise Against vocalist Tim McIlrath during the early 2000s.[34] This niche appeal was amplified by McIlrath's rising prominence with Rise Against, drawing fans to explore the band's raw, spoken-word-infused sound as an extension of his broader punk ethos.[21] The band's contributions have influenced the Chicago punk revival by exemplifying the interconnected side projects that defined the local metalcore scene in the 2000s, including inspirations for dual-vocal arrangements in subsequent acts through its blend of aggressive instrumentation and lyrical intensity. Despite lacking mainstream commercial success, The Killing Tree holds an archival significance in genre history, with its catalog preserved in dedicated Chicago hardcore repositories that document the evolution of regional punk and metal from the 1970s to the 2010s.[10] Digital reissues on platforms like Bandcamp in the late 2010s, including the 2018 remastered edition of their sole full-length album The Romance of Helen Trent, led to increased streaming accessibility and a resurgence of interest among longtime enthusiasts.[35] The group maintains ties to affiliated acts such as Arma Angelus, another early McIlrath project, fostering occasional tributes in fan-driven media like cover medleys that celebrate its underground legacy. As of 2025, while no formal band revival has occurred, the material endures through niche compilations and festival retrospectives highlighting Chicago's hardcore heritage.[36]Band members
Core and former members
The core members of The Killing Tree were Tim McIlrath on guitar and lead vocals (1999–2006), Geoff Reu on bass and backing vocals (2001–2006), Todd Mohney on guitar (2002–2006), and Timothy Remis on drums (2003–2006).[37][38] McIlrath, the band's primary creative force, maintained this project alongside his primary commitment to Rise Against.[37] Former members included Laura Cahill, who served as co-lead vocalist in 1999 only, and Neil Hennessy on drums (1999–2000).[38][7] The lineup experienced early flux, with Hennessy departing and Mohney joining from the Chicago scene, before stabilizing around the core quartet for the band's main releases.[38] No official touring or session musicians were documented beyond this personnel.[19]Contributions and side projects
Tim McIlrath served as the primary songwriter for The Killing Tree, crafting the band's lyrics and performing rhythm guitar and lead vocals, which shaped its intense metalcore sound. As the frontman and leader of Rise Against, his involvement in The Killing Tree represented an early side project that allowed exploration of heavier themes during Rise Against's formative years.[38][8] Todd Mohney contributed guitar riffs that emphasized the band's metalcore heaviness, complementing McIlrath's rhythm work on releases like We Sing Sin. Following his time with The Killing Tree and a stint in Rise Against, Mohney joined the punk supergroup The Falcon, collaborating with members from Alkaline Trio and The Lawrence Arms.[38][39] Geoff Reu provided the bass lines and backing vocals, forming the rhythmic foundation that added intensity to the band's performances and recordings. His prior collaborations with McIlrath and Remis in Baxter influenced the heavier direction of The Killing Tree, and Reu later played bass in Holy Roman Empire.[38][40][7] Timothy Remis handled drums in the band's core lineup, solidifying the rhythm section alongside Reu to support the aggressive punk-metal hybrid. Emerging from the same Chicago scene as McIlrath and Reu through Baxter, Remis's contributions extended to later post-hardcore projects like Cloakroom, where he continued on drums.[38][41][7] In the band's early phase around 1999, Laura Cahill added female vocals, introducing a gender contrast that enhanced the punk edge on initial recordings, while Neil Hennessy played drums on the debut EP The Romance of Helen Trent, bringing a tight, driving pulse influenced by his broader Chicago punk background. Hennessy's extensive side work included drumming for The Lawrence Arms, The Falcon, and Colossal, as well as production roles at Atlas Studios.[38][42] The Killing Tree's network was bolstered by members' overlaps with interconnected Chicago acts, including Rise Against (McIlrath, Mohney, Hennessy), Arma Angelus (McIlrath), and Baxter (McIlrath, Reu, Remis, Hennessy), fostering a shared scene that amplified the band's reach.[7]Discography
Studio albums
The Killing Tree's sole studio album, The Romance of Helen Trent, was released in 2002 on One Day Savior Recordings as a CD album.[17] A limited edition version also appeared that year.[43] The album consists of 9 tracks with a total runtime of 52 minutes.[24] Recorded in Chicago, it captures the band's raw metalcore sound through extended song structures blending hardcore aggression and melodic elements.[7]| No. | Title | Duration |
|---|---|---|
| 1 | Prelude to Pain | 6:01 |
| 2 | Them's Fightin' Words | 4:46 |
| 3 | Switchblade Architect | 5:10 |
| 4 | Replace My Heart | 4:55 |
| 5 | Soundtrack to a Failing Relationship | 5:24 |
| 6 | Violets Are Blue | 5:12 |
| 7 | The Perfect | 6:13 |
| 8 | Counting to Infinity | 5:10 |
| 9 | Cacophony (The Death of Affection) | 9:23 |