Hailing from Binghamton, trance/fusion band Solaris greets 2012 with their first EP, a stellar preview of whats to come when they enter the studio later this year. Forming in the summer of 2010, the trio made up of Jared Raphel on keyboards, Dan Lyons on drums and Vince Naro on Bass play a Disco Biscuits/STS9 style of electronica that many fans will appreciate for their high energy dance rhythms. Solaris bundles the best of these groups along with a little Pink Floyd and jazz influence into a writhing EP, Beyond 3D that makes an solid statement from a band on the rise in New York.
Beyond 3D opens with Must Be Heard, which provides a trancey cymbal rattling intro to the five-track EP with spoken word samples in the background providing the title to the track. Polar continues with lines from the movie Solaris, moving rapidly into a well formed psychotropic composition. Not Waiting Long is airy and orchestral, with nice deep beats and percussion change up of the beat over eight minutes, morphing into a sci-fi movie soundtrack at 78 RPMS. Them starts out with a synthesizer intro then moves into a slap bass and drum pad led section, incorporating the melodies of the keys into the electronic landscape and growing into a fury that explodes with the band fully in step together. The Person I Remember ends the EP with a soft outro and a few final samples.
Solaris’ next show is The Binghamtronica Music and Arts Festival at Binghamton University on March 24th. Tickets are $20 and will be available at http://www.facebook.com/Binghamtronica3
Two songs into Cry To The Blind CD release party, front man Jon Lamanna summed up the thoughts of the massive congregation that had assembled for a fist pumping good time. Lamanna said, “Nobody believes that local music could be big in this town. But, we have sold out this room tonight with a show of local bands.” Granted, this is not a warm quote, but close enough. Over 1,000 people came and witnessed what may end up going down as the metal show of the year in Upstate New York.
CTTB did a great job of stacking this bill with a great amount of diverse acts within the metal scene in this area. Even the first four acts, A Thousand Shades of Cold, Starlight Cities, The Untold Lies, and Endever, are bands with an extreme amount of talent and an audience to match. It is not often that a show with seven acts brings so much musical greatness together. None of these bands are nothing less than above average.
The show went to a whole different notch of splendor when Endyga took the stage. I had never seen the band before, and turned to a colleague with a puzzled look on my face. I asked, “Who the fuck are these guys.” His response, “They are Endyga, and they are the real fucking deal.” An understatement of this magnitude would become reality as they zipped through a sick 30 minute set of absolute power. Like most of the bands on the bill, they had great melodic sensibility. However, these guys were devastatingly tight and heavy.
After Endyga, Hate Machine came on to smash faces. The recently reunited legends of the late 90’s and early 00’s, are just as vicious today as they were back then. Jed and the boys came out and delivered a set of solid older material while throwing in a new tune here and there for good measure. It is a very daunting task to follow a band like Hate Machine on any bill. They bring the pain, and shove it in your face. However, Cry To The Blind is one of the only bands I would ever consider putting on a bill after them. After all, the night did belong to the guys in Cry To The Blind.
Cry To The Blind came out with guns blazing. Obviously, with this being the band’s CD release party “From Now On,” was the focus of most of their set. Highlights from the new album, were the title track, Better Than Me, The Hunger, and Letting Go. The band also delved into older material like Heartless, among other great tracks of the past. There was a real special aura around this event. For starters, it was Jon Lamanna’s birthday. The band commemorated the occasion by having a cake delivered to the stage. It was also important because of the special announcement that was made half way through the band’s set. CTTB announced that they are starting their own label. They have the backers, and the distribution capabilities to truly take this to a whole new level of the game. For people like myself who have known these guys for years, this was the greatest part of the whole evening. It put an exclamation point on what was one of the better shows I have seen in quite some time. Expect HUGE things from Cry To The Blind in the next year. And know this, it has been a long time coming. -Erik Jensen
Thank god for The Anxiety Effect, a band that does not live and die by the breakdown. It is somewhat refreshing to hear a band that ripples with influences as polar opposite as Lamb Of God, and at times, early 90’s Anthrax. They have that kind of range folks. I am extremely happy being able to sift through acts to cover, and find the ones that are on to something that does not sound like the last band I just reviewed.
I found that my opinion was pretty much right on as a band member had this to say on the band’s Facebook page:
“Heavy music in general has taken several wrong turns in recent years,” states front man John Lockwood. “Most of it has become a fad. It isn’t about being pissed off at the world with a message from the gut anymore . It’s about putting on a fake display with uneven hair cuts, girl pants, and weeping into your mic about some slut that cheated on you. If that’s what you’re all about, this band isn’t for you.”
Born out of the ashes of previous bands, The Anxiety Effect has blossomed in the short year that they have been together. Based out of Bradford, PA., the band is doing their best to spread out on the regional level.
The band started pre-production on an EP in early 2011, and recently released their EP as a surprise last weekend. The E.P. is released independently with Button Lock Entertainment Group.
Expect to see the band do some shows in Upstate relatively soon. Most noticeably, the band has a date coming up at The Evening Star Concert Hall in Niagara Falls on February 17th. Stemm, It’s A Dinosaur, and Rustworm will also be on the bill.
There is nothing I love more than receiving an assignment to cover progressive instrumental rock music. Hailing from North Babylon, NY, Ollocs is a band of incredible poise and purpose. In their short time together as a band, the band has shared the stage with Taproot, Shadow Eden, and Sevendust, among others.
After your first listen, you will realize that the appeal of the band lies in how intriguing their writing is. Although the band does have an edge that is on the heavier side of the rock spectrum, I hear major influence of the world’s progressive titans in every song. When hearing the soaring guitar tracks on this EP, the spirit of gentlemen like Robert Fripp, John Petrucci, and Steve Howe come to mind. It is undeniable that the band is highly influenced by the songs of Tool and Dream Theater. They also sound like many bands that may not be of any influence to them. Hosemobile and Don Caballero came to mind in regards to comparisons during multiple listens as well.
In any case, the music on this EP is tight, intricate, and exploratory in nature. The creative vision of Ollocs is best represented on tracks like, “Cinque,” and “Til Dawn.” On these tracks, the band weaves together tight knit compositions that lunge from quiet to hyper in approach. They play with a virtuosity that their peers can envy and take notice of.
I am waiting for the day when I can see this band in the live setting. Note to the dudes of Ollocs: book some upstate shows! There is a market up here for you. The time is now! Check out the EP on the band’s Facebook or Reverbnation page. You will not regret the decision.
Check out a preview here-
[youtube http://www.youtube.com/watch?v=Gkk3JJJ01Ec&w=420&h=315]
For more information on Ollocs-
www.facebook.com/ollocs
Mikaela Davis is a great example of the diverse musical artistry that is electrifying the Flower City. She embodies originality, vision, and prolific virtuosity as a singer and player. Her songwriting abilities mixed with the mastery of the harp, have put her in a position to make highly creative music of a new and exciting ilk. I caught up with Mikaela recently to talk about her new record, a recently televised concert on WXXI, and all the things that the future holds.
Erik: How did you get started with your musical education, and when did you first start writing songs?
Mikaela: Ever since I was little I knew I would be going to school for music. I decided to go to school for the harp, auditioned at schools, and ended up at the Crane School of Music in Potsdam for harp performance! I started writing songs when I was 12 for piano and voice. This was a way for me to let out stress, sadness, happiness, or whatever other emotions I felt! I put on two concerts of all original songs in 7th and 8th grade. I took a break from writing music, then started up again in late high school, deciding to start writing on the harp instead of the piano.
Erik: What escalated the decision to take on the harp, an instrument that takes incredible patience to master?
Mikaela: Actually, the harp is the instrument I started off with. In 3rd grade, I started up the harp and the piano at the same time. They offered harp in my school district (Penfield), so every school owns a harp or two. I wanted to learn how to play the harp so I could practice under the skylight in my living room and let my Oma (grandma) hear me. She passed away a year before I started taking harp lessons, and I was very close with her growing up.
Erik: Who are your biggest influences overall, and what influences play out most in your approach to the writing process?
Mikaela: My biggest influence is Sufjan Stevens, although I’m not sure if his writing style is reflected in mine. I’m also a big fan of Elliott Smith, The Beatles, The Remains, T.Rex, and so much more!!
Erik: The Bug Jar seems to be your performance home in the Rochester market? Obviously, you do play other venues here, but what is most appealing about most of your shows taking place within that uniquely great venue?
Mikaela: I really love playing at The Bug Jar. Mostly because I get to play with other amazing bands! I just recently played a show with My Brightest Diamond and it was such a great experience. There is a different crowd every time I perform, which means new fans!
Erik: How is it juggling the performance and writing schedule with the demands of musical curriculum at a school like Crane?
Mikaela: During school, I usually hang low with gigs and writing. I have a lot of work to do during the semester, as well as arranging one harp ensemble piece every semester! It’s a lot of fun, and can be tiring at times, but driving home for a weekend gig or recording session is always worth it.
Erik: How is the whole recording process going over at Red Booth? Do you have a release date planned for the album, and what can we expect from the piece in general.
Mikaela: Alex Patrick (keys and guitar), Alex Cote (drums and percussion) and I recorded most everything over the summer. We’ve been adding things here and there, and recorded a newer song, I’m Just Tryin’ To Be Your Friend, over Thanksgiving break. Red Booth Studios is great, such a warm environment. I always looked forward to going in and getting to hang out with Brian Moore (the engineer and owner). He’s a great guy and really knows what he is doing; I trust him 100%!
Erik: I was wondering if you could tell me a little about your backing musicians, and their backgrounds?
Mikaela: Alex Patrick plays the keyboard and guitar in my band. He is a jazz guitar performance major at the Eastman School of Music. Alex Cote plays the drums and percussion and attends SUNY Purchase for jazz drumset performance. We all went to high school together and graduated the same year. The band actually came together by accident. I used to play by myself. Alex Cote wrote some bell parts to my songs, and slowly started adding drums to more performances. The three of us hang out all the time, so eventually Alex Patrick started writing guitar and keyboard parts to each song. They add so much to the sound!
Erik: How exciting was it, getting the opportunity to do OnStage for WXXI? Great performance by the way. How has the response been from friends and fans?
Mikaela: Such a great experience! It was so different being filmed by such large cameras, rolling around as we were playing… kind of scary! The response has been great! My family is always so supportive of me which I am so grateful for. I definitely have some new fans from the experience too which is great.
Erik: Do you have any plans to take the show on the road when things settle down in your life? Any touring plans imminent?
Mikaela: I want to go on tour this summer after the CD is released to get the word out, and travel to some cool cities. I’m honestly not sure what I want to do in the future, but if I could live off of touring and writing music for a little while, that would be the dream.
Erik: I ask this of many! Rochester is a highly diverse musical scene that is starting to get the attention it deserves on a national level. What do you think of your “home city,” and the great things that are taking place at this time.
Mikaela: I have always loved Rochester. I can think of so many amazing people and bands that come from this city. I feel that Rochester will become more alive. There is definitely a lot of music cooking up in here; it just needs to get out into the world.
Stay tuned for more Mikaela news in the near future. We intend to announce more information on the release of her record as it becomes available. Also, catch her when she plays shows in Upstate. You will be mesmerized by what Mikaela and her band are bringing to the table.
Matt Dalberth has been part of the Upstate music scene for upwards of 15 years and through stints in bands like 40 Oz Failure, Fallguy, and his current band, Burn Everything; the charismatic front man has always been heavily involved in a project that has carried tremendous weight. I caught up with Matt recently to see how things were going in the world of Burn Everything.
Erik: Tell me about the creation of Burn Everything, and how it all came together in the beginning.
Matt: In 2007, Charlie Street (guitar), Tony Castronova (drums), and myself were all in a more straight forward, old school hardcore band called Fallguy. (here is a link to a Fallguy video from 2006 http://www.youtube.com/watch?v=X2xlk4NSbTk ) Around this time, Charlie began writing some heavier, more technical, and tuned down songs that didn’t really fit under the Fallguy umbrella. We put Fallguy to bed, and began working on the material that would make up the first Burn Everything EP, released in 2008.
Erik: Just because I saw something posted on your Facebook page about it, how do you feel about the labeling of bands? I mean, really, why does it have to be so fucking complex? Your thoughts on the 10,000 labels you may wear as a band?
Matt: Is Burn Everything a hardcore band with metal riffs? Are we a metal band with hardcore ideals and leanings? I honestly don’t even know myself anymore, and I don’t care. The words “hardcore”, and “metal”, mean a million different things to a million different people now a days anyway. We make the music we make for us, and fortunately other people really seem to like it as well. We have reviews of our EP from websites and blogs all over the world, and they all hear different things and influences in our music. I think that’s really cool, who wants to be pigeonholed? At the end of the day, there’s ultimately only two types of music, regardless of genre, sub genre or label: Good music and bad music.
Erik: Last Run Through Ruins is a much more mature record on every possible level. Tell me how you approached the recording of that, in comparison to your first EP?
Matt: We don’t ever really set out to write any specific way. We definitely are rooted in a specific sound, but the sound is always mutating and changing within those confines. Its a constant challenge to fit lyrics into the way those guys put riffs together and make the vocals flow naturally, and that’s one of the things that keeps Burn Everything fresh and exciting to me. Usually Charlie, Damian, or Mike will bring riffs they have been writing at home to the rehearsal spot, and we will jam those out as a full band and piece them together till they become something we are excited about. As for the riffs and song structures that ended up becoming the songs on “Last Run Through The Ruins”, I remember when they were presented to me by the band for the first time. I immediately noticed the progression. The music was darker, more frantic, and incorporated more time and rhythmic shifts then ever before. I really wanted to push myself with the lyrics, to match the tone and mood of those songs too. Instead of coming from a personal lyrical standpoint, about things that had happened in my life, or politics, or whatever, I spent a few months writing a bunch of fictional short stories, and used those as the basis for the album. It was a blast to write like that, and I am real proud of the way the record came out.
Erik: What are your favorite venues to play in Upstate, NY, and why?
Matt: We prefer to play places that keep the cover charge at the door low. We don’t mind playing clubs and bars, but our best and favorite shows we have played, have been the real punk rock vibe, DIY ones: put on by and for people who genuinely love this kind of music. We played an all ages show a few weeks ago in a warehouse in Ithaca, that was awesome! No stage, no security, awesome promoter, and the kids were all going off and having fun. That’s what its all about. Our music is online to download for free off of our Facebook page, and we encourage you to do so. If you like it, share it with your friends and come hang out at a show. Sing in to the mic, have fun.
Erik: What can we expect this year from the band. Touring? Recording? What’s on the agenda?
Matt: We are busy right now working on new material, recording it in February, and hope to have a 7” out by spring. The new songs we have been working on are even more aggressive, and a little more out there than anything we have done so far, riff and sound wise. We have been playing a few live, and they have been getting a great reaction. This summer, we are aiming to do some weekend tours, and swapping shows with our friends in bands out of town.
Erik: Matt, you are an important part of the rock scene in Rochester’s history I mean, I still can not forget the first time I heard “Headrush” man. What are your thoughts on the evolution of your musical career from the early years? And also, what are your thoughts on the Upstate scene today?
Matt: When i first started singing in bands, I had no idea what I was doing, just having fun. I would scream all wrong, and would lose my voice after a few songs. Can you believe there is actually a right and wrong way to do this crap? I have always loved heavy music, and at 34, still love it every bit as much as I did when I first discovered punk rock and metal at 12 years old. I am a lifer, and I will do this until I physically can not do it anymore, because I love it that much. The upstate music scene has a lot of great DIY and underground bands right now, doing it for the right reasons: To have fun, play shows, and hangout.
Catch Burn Everything at the Bug Jar in Rochester on March 17th. The band will be part of the club’s St. Patrick’s Day Metal Extravaganza! This is a “do not miss” show!
For more information on Burn Everything –
http://www.facebook.com/burneverythingnow
Being New Yorkers, Massachussetts generally reminds us of sports teams we’d like to see die in horrific plane crashes, tea parties in loin cloths and an unrepentant mutilation of the letter R. New Bedford, Massachusetts own A Wilhelm Scream is one of the bright marks in an otherwise spotty relationship we have with our countrymen to the east. I had a chance to speak with vocalist Nuno Pereira about their upcoming album, marijuana cigarettes and the difficulty of being in a punk rock band in 2012.
Brian: Your last release was an EP that came out in 2009 on Paper and Plastick Records. Since then, there has been much anticipation for new material from you guys. I recently saw you at Bogies in Albany, NY and you played a few new songs that fucking shred. What’s the outlook on a new release at this point?
Nuno: Well, let me just start by saying that I, maybe more than anyone, can’t fucking wait to release this record. The actual music/vocals are all done. From my understanding we’re just waiting to get the record mixed and mastered at the Blasting Room, and then we’ll be at the mercy of artwork/record label business. So, short answer..it’s done when it’s done.
Brian: As your albums have progressed, especially from Career Suicide forward, the music has evolved into a faster, angrier sound. Do the new songs continue that tradition?
Nuno: I think as a group we write songs that relate to our situations. If the times are tough, songs get angry, if its personal stuff then the songs are a bit more cathartic. Musically speaking my dudes are always getting better, that will be heard on the new record. So get ready for some riffage and maybe bring a new pair of undies. ha.
Brian: I was listening to the Benefits of Thinking Out Loud the other day and I consider the change in sound between the Champagne Of Bands, to a smaller degree Benefits and then ultimately Mute Print to be one of the most dramatic changes a band I know of has gone through. What do you attribute it to?
Nuno: Again, the band is always trying to push the envelope of our musical limits and that lends itself to progress. When we were young we wrote songs that spoke to what we were going through then. As we grew older and learned new ways to do our thing we would apply those lessons from record to record. Also, recording at the Blasting Room really lit a fire under our asses.
Brian: You’ve been together for well over a decade, write challenging, complex music and tour often. What’s the secret to keeping the band fresh and not wanting to stab each other?
Nuno: Marijuana cigarettes.
Brian: When I saw you guys in Albany, you did a Smackin Isaiah song. What are the odds of hearing more S.I. in live sets? And have you ever considered rerecording some of the S.I. songs?
Nuno: Sometimes it’s fun to dig up the old tunes and jam. Honestly though i just want to play new shit. To answer your second question, we have batted around the idea of “re-mastering” the old shit. Time will tell.
Brian: You guys are playing the Belvedere reunion in May! As soon as I heard those guys were reuniting the first thing I thought was A.W.S. would be perfect for that shit. Do you consider Belvedere an influence on your sound?
Nuno: Those dudes were good friends of ours, still are. We love their sound and although i don’t think they influenced our sound per se, I would say that as far as musical peers go they’re top notch and we can’t fucking wait to get together with those dudes again.
Brian: Who would you consider to be the biggest influences on your sound?
Nuno: Everyone in the band has their own influences. For me personally I would say Propagandi, Bad Religion, and lately Buju Banton and Thin Lizzy.
Brian: If you could resurrect one defunct band to do a tour with, who would it be?
Nuno: Great question! I would have to say Operation Ivy or Thin Lizzy..do all the members have to be alive? If so, I take back Thin Lizzy and replace them with ummm…..Fugazi?
Brian: Speaking of Op Ivy, Lookout Records announced recently they were shutting down after many years as a staple label in the punk scene and despite releasing several classic albums. Although in this one case it’s hardly a surprise, it’s not at all an isolated occurance. How do you feel the collapse and closure of so many punk rock and underground labels has effected the way albums are made and released today?
Nuno: It sure is tough these days to do this punk rock band shit. everyone that has put years of blood, sweat, tears, and cash into it knows that. It’s my firm belief that making music can never be about the short term gains that some bands are looking for. The idea that a group or a label can “blow up” over night by signing the right band or playing a certain “mainstream” sound is fucking retarded. It’s this kind of capitalist mentality that crushes the smaller bands/labels. Having said that, I love that bands are now releasing their own albums and are having success doing so. I also believe that in time the labels that care about our scene will continue to grow and discover new bands to get hyped about.
No Trigger is a punk band from Worcester, Mass. Formed in 2000, they recorded two demos which they later remastered, compiled and released as Extinction in Stereo and toured extensively. After signing to Nitro Records, they released Canyoneer in March of 2006 and again toured extensively. Then they went silent. Rumors swirled that they’d broken up. Suddenly in 2010 No Trigger announced they would be recording a new full length with the original lineup. In the meantime, they released a 7″ on Mightier Than Sword records called Be Honest. I had a chance to talk with guitarist Jon Strader.
Brian: Tycoon is your first full length release in 5 years. After so long, what was it like writing and recording a new album?
Jon: A big relief. Honestly, a lot of the ideas, parts, and some of the songs have been floating around for years now. To have them finally tracked, was the best feeling. We even recorded the first song we ever wrote as a band.
Brian: The punk scene has changed a lot in those five years. Do you feel that’s effected your songwriting process at all and if so, how?
Jon: I don’t think it has changed our song writing process. Tycoon is a No Trigger record. What’s amazing is seeing the style genre that is booming now. There are so many great bands coming out making killer records that sound like we are back in late 90’s early 2000 punk. It’s about time.
Brian: Canyoneer is one of my all time favorite albums, did you feel a lot of pressure to match or exceed it this time around?
Jon: Well thank you. That is the reason why we knew we needed to get this record finished. Of course there is pressure. We wrote Canyoneer almost 7 years ago now. The maturity in our song writing and lyrics can definitely be heard on this record. We actually have all the original members back in the band who recorded Canyoneer. The pressure comes from our only full length being able to carry us for this long. We knew we had to exceed that to carry us another 7 at least.
Brian: With so many bands who consider No Trigger an influence, who do you consider your biggest influences as a band?
Jon: We all grew up listening to basically the same bands. We are very much influenced by the early Fat Wreck / Epitaph rosters. Those bands paved the way for all of us starting out. When you start touring with other bands and they become bands you can connect with, I think those become our biggest influences.
Brian: I recently saw you play at Bogies in Albany, NY with A Wilhelm Scream and After the Fall, what would you consider your favorite bands to tour with?
Jon: Our brothers in AWS have been around with us from the start. We come from the same Massachusetts mentality. It just works. We also have traveled the world with Set Your Goals. Those have been some of the most memorable times to date.
Brian: If there was one band from when you started playing shows you could make reunite to play with again, who would it be?
Jon: Marathon from Rochester, NY. Members have gone on to play in Polar Bear Club and Attica! Attica! but we all know that. Right!?
Brian: Tycoon comes out February 21st on No Sleep Records, what’s next for you guys after the release?
Jon: We are currently sorting out some worldwide excursions of course. CD release shows are being planned for March as well. Hopefully we’ll be back to Fest in Florida this October. That’s the best weekend to look forward to all year.
Brian: Thanks for taking the time to do this interview!
Long Island based 5 piece, Palmyra, is not your typical metal core band by any means. Although they share many of the characteristics associated with a multitude of bands within metal’s wide array of genres, there is something authentic that pops out at you after repeated listening. The progressive approach of the band is heightened with what seems to be an added appreciation of 19th century scales. When reading the band’s Facebook profile, they referenced classical music as something that is elemental in their sound. Upon first listen to the band’s EP, it is clear to me that it is something that is even more involved than they may know themselves.
The merge of style and classical infusion is found heavily in a track like, “Falso En Uno, Falso En Omnibus.” For some bands, you can see that influence more regularly during guitar solos. In this case, even the riff arrangements echo the mindset. It is highly appealing to see that kind of traditionalism invoked in music that is clearly the polar opposite in style.
Outside of anything based in an era long ago, the band tends to shine intricately as well. The overall sound is a scale heavy, bone crushing testament to the scene at large. Vocally, I wish there was a little more range. It is not that I don’t appreciate a good screamer, because I do. However, with the complexity of the material that is presented, it would be great to see something that is steeped in melodic range at times. Lyrically though, I see a great play on words that is something that the band will easily be able to use with efficiency. On the track, Train of Thought, the rhyming poetic verses are fun and well thought out. I like the simplistic nature of a vocal that conveys pain so well. I can easily identify with a verse like, “ This is pain, you can fit in a jewelry box. This is pain, you can pack in a pipe. Small and concentrated, my mind shuts off. I carry my grief into my dreams, it makes them burst open at the seams.”
You will be hearing a lot more about this band in the upcoming months. Keep an eye out for future coverage of Palmyra in the near future.
For more information on Palmyra-
http://www.facebook.com/PalmyraNY
The extremely brutal death metal legends, Dying Fetus, have just announced a statement via their PR company. The Maryland based band who are currently working on their new record, have announced new information about touring events and the record itself. Of significant note are two dates in Upstate NY: March 2nd in Albany, and March 3rd in Buffalo. The statement is below:
“Fresh off their South American tour, DYING FETUS have announced headlining and co-headlining North American tour dates. The tour sponsored by Metal Sucks and Dead End Threads kicks off February 26th and runs through March 14th. The first leg of the tour will see DYING FETUS headlining with support coming from: Job For a Cowboy, Volumes and Last Chance to Reason. The second leg will feature a co-headlining bill with DYING FETUS and The Faceless. Support will come from Goatwhore, Volumes and Last Chance to Reason.
DYING FETUS are currently working on their new album, entitled “Reign Supreme” which is set to be released in mid 2012 through Relapse Records. The album will feature nine tracks and is a “return to roots” with production focused slightly more on slam than in the band’s last few works. Thematically, the album is set to be a good old-fashioned piece of social and political commentary in the style of DYING FETUS as we have come to know.
DYING FETUS will also be touring North America this Spring as part of the Metal Alliance Tour with Devildriver, The Faceless, Job For A Cowboy, 3 Inches of Blood, Impending Doom and Wretched. The tour kicks off March 15th in Austin, TX as a part of the SXSW Music Festival and runs through April 21st, circling back to Houston, TX.
DYING FETUS W/ Job For A Cowboy, Volumes and Last Change to Reason
2/26 Keene, NH @ Railroad Tavern
2/28 Providence, RI @ PVD Social Club
2/29 Hartford, CT @ Webster Underground
3/2 Albany, NY @ Bogie’s
3/3 Buffalo, NY @ Club Infinity
DYING FETUS W/ The Faceless, Goatwhore, Volumes and Last Chance to Reason
Beyond 3D opens with Must Be Heard, which provides a trancey cymbal rattling intro to the five-track EP with spoken word samples in the background providing the title to the track. Polar continues with lines from the movie Solaris, moving rapidly into a well formed psychotropic composition. Not Waiting Long is airy and orchestral, with nice deep beats and percussion change up of the beat over eight minutes, morphing into a sci-fi movie soundtrack at 78 RPMS. Them starts out with a synthesizer intro then moves into a slap bass and drum pad led section, incorporating the melodies of the keys into the electronic landscape and growing into a fury that explodes with the band fully in step together. The Person I Remember ends the EP with a soft outro and a few final samples.
