The Jephries talk about growth, live energy, and what comes next

Formed in 2013 in Anchorage, Alaska, The Jephries have built a reputation as a rock trio shaped as much by their environment as by their sound. The band points to the landscape around them as a constant influence, describing how the scale and intensity of Alaska’s scenery often find their way into their writing and live performances. That connection to place translates into a sound that feels grounded yet expansive, blending rawness with a sense of openness that reflects where they come from.

Over the years, their music has evolved without losing that core identity. From the transition into a trio during “Park Human” to the more exploratory phase of “Holland” and into the more defined and focused approach of “Charge it to the Game,” The Jephries have allowed their process to remain fluid. Their trajectory shows a band willing to adapt to their circumstances, shaping each release around where they are personally and creatively, rather than sticking to a fixed formula. With that evolution in mind, we spoke with The Jephries about their journey, their creative process, and what lies ahead.

You were formed in 2013 in Anchorage, Alaska. Do you think your place of origin has influenced your sound or identity as a band?

I think it absolutely has. Being around such majestic scenery has a way of transporting the energy of the land into the music. Alaska has great beauty and power to it, and the scenery around the places we travel to seems to set the tone for the show or writing session. We're really lucky to live here.

Looking back, how would you describe the evolution of your sound from “Park Human” to “Charge it to the Game”?

Oh boy. There have been a lot of stylistic changes, but it still feels just as organic as in the early days. Park Human was sort of a pivot from going from 4 to 3 members. Holland, I think, was coming from a place of more exploration; we were on the road writing most of that. Charge It to the Game seemed more like a crystallization of material we had worked on for longer. Our process is always changing depending on what is going on in life around us. I like that we've been able to keep things fluid like that.

What has surprised you the most since you started in this industry?

Wow! So much. One of the first things that comes to mind is how much administrative work there is to be done behind the music. It's not just “show up and play”; there is so much preparation that goes into every performance—promotion and advertising mainly, but also navigating all the red tape around owning a small business.

What themes inspire you the most when writing or performing?

Friendships, community, lots of inside jokes. 

You’ve shared the stage with bands like Jane’s Addiction, War, and Collective Soul. What have you learned from those experiences?

To believe you can do it! Those were some of the most rewarding performances we've done and were also good motivators to keep pushing into the next level. Playing to bigger crowds of those sizes and seeing people move to the music is an incredible feeling. It makes you want to do more of that. 

What does your songwriting process look like as a trio? Does it start from an individual idea, or is it more of a collective improvisation?

That's a tough one! I would say go listen to at least one from each album. Can't Buy Love, Jokester/Milk the Cow, Holland (title track), and Song for a Dead Man, I think, would be a good place to start. Color Scheme appeals to a lot of people, but also check out maybe our heaviest recording (off that same album), PYMITFF.

Let's suppose someone is not yet familiar with their music. What song or album should that person listen to to get an idea of ​​The Jephries' world?

That's a tough one! I would say go listen to at least one from each album. Can't buy love, Jokester/Milk the Cow, Holland (title track), and song for a dead man, I think, would be a good place to start. Color Scheme appeals to a lot of people, but also check out maybe our heaviest recording (off that same album), PYMITFF.

What have been the most significant obstacles you’ve faced while creating music and entering an increasingly competitive industry?

Expanding our reach outside of Alaska has been a bit of a challenge for us. We LOVE playing here and have built our reputation performing all over the state for 13 years, but we would also love to expand into the “lower 48,” as they say up here. The handful of times we've performed outside Alaska have been great experiences, but for now, we have our sights set on larger festivals.

What are you currently working on? When can fans expect new music?

Currently, we're working on a new album that so far has some older numbers we've been molding for years, paired with really fresh stuff we've just written during the last few months. I am liking the contrast of those two themes. The songs all affect each other in certain ways, so I think the consistency is definitely there. We're excited to release something within the next year.

You’ve been described as “The Beatles of Anchorage.” How do you take that kind of comparison?

It is a comparison, and we love who wrote that article, but I'm not sure if it's the most accurate one. Those guys did way more drugs than we do.

The Jephries stay grounded in a process that prioritizes instinct and connection. Their focus on community, their commitment to evolving without losing identity, and their ambition to take their music beyond Alaska all point to a band that understands growth as something earned, not rushed. With new material on the way, they are not looking to reinvent themselves but to keep pushing forward with clarity and intent.

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