Following on from their brilliant comeback single 'Pull The Pin' last year, US duo Hàn Gắn are back at it once again to deliver their vibrant new single 'Bird Of Burden'.
Honing more of that broad and emotive alt-rock aesthetic they have earned a reputation for, 'Bird Of Burden' makes for an incredibly rich and riveting return for them. With its bold and immersive textures, sweeping atmosphere, and captivating vocals throughout, they continue their rise as one of the more exciting names doing the rounds right now.
So with the new single available to stream now, we sat down with them to find out more about their origins and what has been inspiring them most recently.
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What was the first instrument you fell in love with?
Brian: The first instrument I had access to as a very young child was an old Art Deco style consolette piano from the 1940s. Throughout my early childhood, that piano sat unused and slightly out of tune. Whenever I was near it, I couldn't resist the urge to bang on the keys, fascinated by the sounds it made, even if they weren't exactly musical. Eventually, I discovered that if I pressed two or more keys at the same time, the notes blended to create something that sounded musical. And if I played those notes in a pattern—repeating them in a rhythm—it started to resemble a song.
Matt: I was a young kid, a teenager, when Spacehog’s “In the Meantime” came out. I remember hearing the lead singer’s bass and marveling at how he could play and sing at the same time. I still think about that bass tone coming out of that Rickenbacker bass to this day. The clean, driving nature of the bass made me fall in love with it from that point on. That was my Rosetta Stone of musicianship. I’ve been chasing that high ever since, and I’ll honestly be the guy who stares at amps and pedal boards of bands we play with to try to uncover the mysteries of great tone. As of late, I can’t stop listening to music with banjo in it. I’ll find a way to get it into a Hàn Gắn song.
What kind of music did you love when you were younger?
Matt: Like most kids, I started listening to whatever my dad listened to. He was big into artists like James Taylor, Billy Joel, Jackson Browne, and Dan Fogelberg. So, a lot of my music tastes started in soft rock and gradually progressed to tougher sounds like alternative, punk, and hardcore. Nobody listens to Minor Threat’s Out of Step when they’re a kid in the suburbs, right? Over time, my tastes clearly changed, but I still love to go back to the melodies of those singer-songwriters. My dad also loved jazz and pop fusion artists like George Benson and Spyro Gyra. I still enjoy that stuff, and I even bought my own copy of Spyro Gyra’s Morning Dance a few years ago. That’s prime stuff to listen to when you’re cleaning the house.
Brian: Music came into my life in many ways as I grew up, but in the early '90s, MTV played a big role, with shows like 120 Minutes introducing me to punk and post-punk bands like The Ramones, The Clash, Talking Heads, and The Cure. Nirvana’s “Smells Like Teen Spirit” was a turning point and had a huge impact on me. But it was when I discovered the Virginia hardcore punk scene that things really took off, pushing me to dive deeper into music. Over time, my musical tastes grew to include a mix of sixties and seventies hard rock, proto-punk, and progressive rock—artists like Jimi Hendrix, Black Sabbath, King Crimson, and Frank Zappa.
What was the first album you remember owning?
Brian: I remember being about seven or eight years old and occasionally being given money to pick out 45s from the music department at Woolworth's. One of the first singles I bought was “Jump” by Van Halen. As for albums, I had a lot of hand-me-downs when I was younger—Sabbath Bloody Sabbath by Black Sabbath, Greatest Hits by Bob Dylan, a worn copy of The White Album, Greatest Hits by Buddy Holly, and Slippery When Wet by Bon Jovi. When I was around fourteen, CDs became accessible and affordable. Some of my first picks were Pretty Hate Machine by Nine Inch Nails, Doolittle by the Pixies, Don’t Tell a Soul by The Replacements, and 13 Songs by Fugazi, which was a compilation of their first two vinyl EPs.
Matt: As for vinyl, I remember being super young and going to see a bunch of bands at the Jam Locker in Virginia Beach. I picked up a 7-inch record without having a record player of my own by a band called Sand Which Is from El Paso, Texas. Brooks Harlan, who now plays with J. Robbins, fronted that band. It’s one of my prized possessions.
What is the one song you wish you could have written yourself?
Matt: “Everybody Wants to Rule the World” by Tears for Fears. It’s the most perfect song ever made. Lyrically, sonically—it hits all the right notes.
Brian: I wouldn’t say I wish I had written it, because I couldn’t have—and should not have—but if you asked me to name a song that feels perfect or one that I aspire to create something in feeling, I’d choose “Gloria” by Patti Smith. Delivered with fearless conviction, it opens with one of the most powerful first lines in any song: “Jesus died for somebody's sins, but not mine.” It’s hard to find anything greater than that.
Do you have any habits or rituals you go through when trying to write new music?
Brian: I tend to just noodle—sit down with a guitar or at the keyboard and play whatever comes out, good, bad, or indifferent. I keep playing until I hear something that makes me feel something. In Hàn Gắn, the music always comes first. It might begin with a bassline, a guitar riff, an atmospheric synth melody, or even a sample. Whatever the starting point, it lays the foundation and sets the tone for the mood we want to evoke. From there, the lyrics emerge organically, shaped by the emotional space the music creates. Every song has a core theme or idea that serves as its anchor—a guiding force that keeps it focused and intentional. This theme acts like a compass, ensuring that every element, from melody to lyrics to production choices, aligns with the song’s purpose and resonates with the listener.
Matt: All my ideas come late at night, just sitting in front of the television with my bass guitar, noodling around until something cool happens. I try to make four base notes work together and then spend the time filling it in if I can find a groove. It also helps that I’m the drummer in the band for recording purposes because I’m always thinking about how the drummer can lock in. Thankfully, I don’t have that problem.
Who are your favourite artists you’ve found yourself listening to at the moment?
Matt: There are so many great artists out there now, but I’ve been reaching back into the late nineties and early 2000s. I’m listening to a lot of indie rock artists like Guided by Voices, Hum, and Self. Anytime I’m having a bad day, my go-to has lately been Nine Inch Nails’ The Fragile. We play with Hobbyist from Chicago every time they come out east. The opening track on their recent release, “Glove,” is one of my favorite songs right now. I couldn’t get enough of it live. It’s such a banger.
Brian: There are too many artists to list, but on regular rotation for me right now in March 2025 are songs by Sharon Van Etten, George Harrison, Chappell Roan, and Idles.
If you could open a show for anyone in the world, who would it be?
Brian: If I could choose any band, past or present, to open for, it would be The Clash during their Sandinista! era. I’m especially drawn to how they immersed themselves in the revolutionary energy of graffiti and hip-hop culture while recording the album in New York City in 1980. While some white American punks rejected the fusion of punk and hip-hop in tracks like “The Magnificent Seven,” The Clash pushed back against that attitude. Instead of catering to those fans, they embraced the movement, bringing graffiti artist Futura and Grandmaster Flash on tour. That, to me, is real punk.
Matt: Broken up or not? Rocket from the Crypt. We don’t play music that is remotely like theirs at all, but they’re one of my favorite bands, and it would be an excuse to see them live.
What do you find is the most rewarding part about being a musician?
Matt: I used to worry about how people perceived the music and what we were doing while we played. Frankly, everybody has an opinion, with most people questioning why we don’t play with a drummer live. But why do we have to? When we play out or write songs and record, I’m not doing it for other people. As an artistic expression, this is totally selfish—it’s about me finding a way to connect with something I love doing. Whether people like it or not is irrelevant, but of course, you always hope it comes through.
Brian: Seeing an idea evolve from a rough demo into a fully realized song is one of the most rewarding parts of the process. The most meaningful moments come when someone connects with a song or lyric and shares their experience. That’s the goal—creating something that resonates with people.
And what is the most frustrating part?
Brian: Honestly, being a musician in the streaming era. While music streaming offers exposure, it comes with major drawbacks. Payouts are incredibly low, and just to break even is a struggle. Most of the revenue goes to the platforms, leaving artists with little. Success depends on algorithmic gatekeeping, making it tough for independent musicians to gain visibility while at the same time reducing the physical sales that are more beneficial to artists. While streaming increases accessibility, its financial model favors major labels more than ever, leaving independent artists at a greater disadvantage than they were before the streaming age.
Matt: Having to figure out the sound system at places or coordinating with musicians in bands on the bill about who will be using what amps. It’s like herding cats.
And what is the best piece of advice you’ve received as a musician?
Matt: I’ve said it before; do it for yourself. I had a good friend who wasn’t a musician at all tell me that one time many years ago after a bad gig. Don’t get into music to impress someone. If you do, you’re not in it for the right reasons. In the end, this is supposed to be fun and a creative outlet. In this shitstorm of a world we live in, we owe it to ourselves to be genuine. I feel genuine when I have that bass strapped to me. I’d suggest you do the same.
Brian: I second Matt, and I’d add, just keep going and keep creating, for your sanity, and for your soul.
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Hàn Gán's new single 'Bird Of Burden' is available to stream now. Check it out in the player below.