It May Never End - Such is Life

4/10

It May Never End is the one-man project of a former DJ/Producer with an interest for dance and club music. After his adventures on the UK scene, he was struck by the post-rock genre - realizing the startling potential of this niche. An old love for the guitar was rekindled, and Such is Life is the result of that new found creative outlet.

The seven-track debut is obviously inspired by the usual suspects - This Will Destroy Mono in the Sky would be a band name suggestion that captures It May Never End's sonic pallette perfectly. With a plethora of similar bands aiming for their place in the spotlight of this crowded, global scene, the criteria for success come down to the finer details of the release. The performance, production, originality and creativity - even packaging - all make an album stand out from the pack. All of the pieces need to fit perfectly before an album or band can rise up to the level of greatness where it can be worthy of a score that leads the curve rather than following it.

It May Never End's debut material tells us that most of the basics are covered; the combination of the downright ambient with post-rock structures and climaxes is well spread over the album. There is a notable potential in the music as such, but the manner in which it is presented is one that recalls a recording in a rehearsal room with one microphone and a tapedeck. This can have a certain charm or romantic flair to it, but for a full length album, it doesn't work.

This is where the album offers plenty of room for improvement. As if somehow the mid-range sonic spectrum wasn't fully present on the release, most of the aural space is made up out of low and high frequencies. As a result, most of the bass and deeper background form a mismatched whole with the abundance of high range of frequencies. The middle range, and thus most of the guitar and rhythm, is lost in the poor mastering.

It's a shame that this artist doesn't get the chance to offer the complete picture of his music on this album. Most of the post-rock touch gets lost through the absence of it's frequencies, but when the ambient work takes center stage, the mixing issues tend to fade away. This can only spark a hope that IMNE's next effort will address this concern and push itself to the other side of the scoring curve. Who knows, perhaps the skill formed by working in electronica can make this project a leader in its niche. If you're the kind of person that likes the promise of what could be (in the form of a free download!), this is one to spend your bandwith on.


written for and published by The Silent Ballet
It May Never End Myspace
download Such Is Life

Russian Circles - Geneva

2 months to the new Russian Circles album Geneva. Which means it's time to get excited, mark it in your agenda and what else not.

The genre-bending instrumental trio known as Russian Circles will be releasing their third album, Geneva, on October 20th through Suicide Squeeze. Produced by Brandon Curtis of the Secret Machines, Geneva promises a slew of hypnotic shred epics, the tracklist for which is below. Catch them live this summer on July 18th at Dudefest in Indianapolis, IN, and keep a look out for more supporting tour dates.

1. Fathom
2. Geneva
3. Melee
4. Hexed All
5. Malko
6. When the Mountain Comes to Muhammad
7. Philos

TheTripWire



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Nihiling - M[e]iosis

7.5/10

In the past year, some big names of the current post-rock scene have been touring throughout Europe, most of them bringing local acts to open. And whenever the likes of Mono, 65daysofstatic, Caspian, and other respected names in the community appeared in Germany, chances are great the German outfit Nihiling warmed up the welcoming crowd. It is an ideal situation for a young band to promote their new full length album to an audience they'd most likely be part of if they hadn't been in the sextet.

M[e]iosis brings together elements of slightly psychedelic downtempo (ambient if you will) intermezzos with what the kids these days regard as progressive rock, offering a mixture of blissful and edgy soundscapes. Although their essential song structure of intro-chorus-instrumental bridge-climax-outro recalls Oceansize and other Porcupine Tree flavored acts - especially taking into account the solid production - is not groundbreaking, it claims the listener's attention with its engaging, upbeat passages and holds it during their darkest moments of shredding guitars.

Unlike some of their competition in the field of the aforementioned bands, Nihiling easily steps out of their shade. The strength of the band is to be found in the profound balance between its metronome-like engine found in the nod-inducing drum work, the engaging lead and rhythm guitar, and well-placed layers of subtle sonic palette changes and production rendering. The added bonus of more classical instrumentation like piano and a string section every now and then, along with a female bass player who is responsible for weaving in some delightful hoarse and unabashed vocals strengthens the album's core, preventing the onset of boredom. In contrast with the majority of the release, the vocals stylishly scream out all of the tension built up over the past fifty minutes, reaching for the listener's spine and gently stroking it throughout the climax of this astonishing blend of pseudo-screamo and floating ambient post-rock.

Considering their relatively young age, it astonishing to hear such maturity and commitment to an album. With the support of a broad local base of listeners, it's only a matter of time and perseverance before the rest of the world will fall in love with Nihiling's brand of open(minded) post-rock.


written for and published by The Silent Ballet
Nihiling myspace
Abandon Records

Ender - ender

5.5/10

Within the post-rock-encompassing skies of this four track EP, the listener finds herself confronted with the instrumental quintet Ender, who slaves over the most popular of instruments (guitar, bass and drum) to produce a self-titled audible calling-card. The album is made up of moody, yet powerful post-rock shrouded in a haze of gritty ambient. Imagine an cardboard egg-box branded "post-rock," filled with eleven battery-laid eggs and one odd-looking kiwi. Ender stands out just like that kiwi, with the familiar post-rock form, but without the clinical approach taken by so many others.

Like most of their Pacific colleagues, Ender knows how to manipulate the space and ambiance needed for their compositions to flourish and gradually evolve. The combined destructive weight of rhythm guitars and drums in the form of dragging riffs arch the elaborated structure that spans over the whole release. The introspective waves of evolving ambient and stacks of heavy hypnotic hooks are good for forty-two minutes of dark, enticing variations and a few spine-shivering moments, but never seem to deploy their full potential. Near the end of Ender, the band trades in their most heavy weight guitar sound for a piano, and tips the scale in favor of the conformist form.

Once the piano finds it's place in the closing composition, Ender brings it home with a less powerful but more subtle and emotional undertone. Without the drive - one that reminds the listener of European post-metal bands - of Ender's opening, the whole gives the impression that this is still not the best possible result. Their strength lies as much in esoteric explorations as in latent aggression, but I, for one, believe that the latter one - given some more attention - has a few interesting options to strengthen the whole.

Adding a few (distant) vocal accents would expose a more captivating, emotional side of their sound and thus engage the listener even more. At a certain point in "Track 2", the deep combined sound of the bass and guitar triggered a memory of a dirty-sounding Celtic Frost vocal line, fueling the dark tones of that dangerously fierce cloud-formation and accentuating the beauty of the redeeming matte light found in the ambiance. For obvious reasons, Tom Gabriel Fischer's vocals - or vocals in general - will not be the perfect solution to allow Ender to rise above the level of this EP, but if the outfit's drummer could batter their grayish blob of expressions with more depth and edge, they could have a decent shot at knocking me out of my socks. Perhaps then a reference to the hypnotic stoner doom slabs of Windmills By The Ocean is in order.



written and published for The Silent Ballet.
Ender myspace
stream Ender @ Last.fm

Semiosis - Pictural

blurping on the Release of the Month: March 2009 article at The Silent Ballet... which was a strange month.

The divine Edgar Allen Poe once stated that when one is confronted with a vast amount of impressions screaming for our attention – like signboards with adverts – one tends to block out those that are (too) obvious. The mind sometimes works in mysterious ways, and in a month filled with great releases, mine kept wandering back to this Romanian collision of ambient post-rock and math rock. Semiosis is the combined effort of breakcore artist Candlestickmaker and Serban Ilicevici. On their maiden release, Pictural, they offer seven enjoyable tracks ranging from soothing ambient pieces to adrenaline pumping post-metal. Razor-sharp IDM and occasional bombastic drum samples lift the dreamy instrumental rock to epic sonic climaxes in this solid and sometimes surprising production. (Could the theremin be the new glockenspiel?) An ideal album to erase the memory of a gloomy winter and to make way for the uplifting melancholy of a spring dawn.

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The album is available for free download here by the good people of Asiluum.com as well as a physical copy, but you can find out about artsy attached strings at the download page.


Written for and published by The Silent Ballet.
Semiosis myspace
Asiluum
Candlestickmaker myspace

Larvae - Loss Leader

6.5/10

Loss Leader consists of two parts with several years in between composing and recording, but the sound of Larvae is etched in a monolith - concrete and defined as mathematics, yet organic and intelligent, soothing and at the same time uplifting, with enticing dramatic builds. Upon listening to the music, the references that could be heard range from epic instrumental post-rock bands to sampling legends, and brought in a fashion that has very few criticisms in terms of sheer "listenability."

Opening the proceedings is Larvae's more contemporary work, offering four pieces of dark and moody ambient entwined with the warmth of a Fender Rhodes, an awkwardly obscured melodica, and a drummer that sounds like he could just be Josh Davis himself laying down some loops. Although having a breathtakingly shaded atmosphere and a lazy rolling vibe, there's a distinctly upbeat quality to this first half of the presented feature. The combination of the bass that seems to be playing a stoner's lullaby, the drummer who is exploring trip-hop drumlines from over a decade ago, mathematically challenged drum-computers, and vibrant ambience all work together on the Turning Around EP chapter of this release.

"Attention everyone, this is an emergency broadcast. The unpleasant noise you're about to hear coming from your radio is not a mistake, please do not turn off your radio but turn up the volume on your receiver is high as it can go. So you can make the sounds we broadcast as loud as possible"

Although this would be the logical (both sonic and chronological) choice of an opening, the second chapter of the album, the Monster Music 2 EP foursome, starts with this sampled instruction. I urge you to comply anyway. The closing half of the album takes the listener back (as this is in fact also the extension of the 2003 Monster Music EP) with breaks and bass lines hailing from an age where trip-hop was digging its grave and dubstep was safely guarded in the womb of drum and bass. The protagonists of the last four tracks include clear rhythm patterns and self-destructing, almost industrial-sounding, beats only guided by a submerging synth on the low end of its chords - but always with that spine-tingling new layer on the right moment. These organic IDM tracks remind of obscure, smoke-filled chill-out rooms where those who seek more than fast crowd-pleasing thrills roam around and lose themselves in the music until dawn.

It's a shame that the good people of the Ad Noiseam label and Larvae opted for an environmentally-friendly release by cramming two EPs on a single non-decomposing disc. Don't get me wrong, it's not my fantasy to see humanity drown in its own filth, but if that's the reason to molest two sufficiently-structured pieces of enjoyable post-rock meets electronica, you didn't think it through. A simple brainstorm session could've ended with a more creatively appealing solution without giving the impression that there's a label cleaning stock or a void in artist activity to be filled. Loss Leader is, nevertheless, one to have if you're for introspective post-rock with a dash of IDM or if pre-dubstep breaks with a hint of droning guitars sounds appealing. It would've been an added value if the concept had matched the music of the release, but it was not to be.


written for and published by The Silent Ballet
stream the album @ Last.fm
Larvae website

Epigram - Anything that Comes to Mind

"
If it where another band or album, I might frown upon these structures but these make Anything that Comes to Mind all that more digestible. At first listen you will feel where the contrasts of resting and climaxing pieces are to be found, ideal to entice from the start. "Always an Uncomfortable Silence" is the perfect example of these contrasts, warm ambience in the back and delightful minimal guitars picking away on the swelling bass and drums until they suddenly explode in a climax of post-rock surging waves. The dauntless slide guitar riding the heights of the album do have a sagacious impact on the overall sound, but once acclimatized to its omnipresence in the tidal waves of fluid post-rock, it all makes sense."





read the full review @ the Silent Ballet



Epigram website
Epigram myspace
self-released | buy

Audrey @ Arenberg Schouwburg Antwerp, BE November 21st, 2008

Describing Audrey’s music is no easy task. If the group has succeeded in finding a central theme, it’s a balance in the melodies - shimmering, beautiful moments of pop meet dark sadness.
The harmonies (everyone in the group shares vocal efforts) shift quickly between keys and moods. Straightforward, conventional narrative is replaced by abstract meanings which strengthen the melodies. -Last.fm



Static captation of their set on November 21st, 2008 at the Arenberg Schouwburg in Antwerp, BE.





Opening that night, surprisingly, was Mrs. Hyde, playing an acoustic set. No captions of this because of some regretted, self-imposed 'no opening act policy' but make sure to check them out...



playlist @ youtube

Audrey website
Audrey myspace

Mrs. Hyde website
Mrs Hyde myspace

Transit

Transit are four Belgian post-rocking ornithologists, Jeroen (guitar), Toon (bass), Koen (drums) and Nick (guitar), with a passion for nature, emotions and all kinds of music. This is more or less the essence of Transit; more words about them would just be tiresome; so they just hope you enjoy their music as much as they enjoy playing it!

I've seen this band play now three times and each time their music will fill up the room and suck you into their cinematic, slow coresque post-rock as if you've known them for years. I've rounded up some goodies of the band... enjoy.


Footage:

+30 min live set at the Ancienne Belgique, November 1st, 2007 during the 2nd Now_Series with 65DaysOfStatic, Apse, Creature With The Atom Brain, Liars, & Youthmovies


Downloads:

Transit - Harmattan
[LostChildren013] (August 1, 2006)
















Transit - Broadleaves vs Conifers
[LostChildren017] (December 1, 2006)





















Transit MySpace
Transit website
Lost Children Net Label

A.Armada - Anam Cara

A.armada, an allience with base camp in Athens, Georgia is the combined effort of members from Cinemechanica and Maserati's tour guitarist Josh McCauley, they bring us the result of their second recording mission. Their long player follows up their 2005 EP, Anam Cara, if you can call a 5 track- 28 minute listen a long player that is. The debriefing of their latest mission is presented in a packaging that wouldn't look to bad in my vinyl collection but obviously there's more to the album then meets the eye. Anam Cara, Gaellic for soul mate, begins their mission like a brave trooper in a dismayed frenzy, running into the woods throwing a hand pomegranate to alert the listener.


Fully loaded and their hearts set on victory they guide us onto the well balanced battlefield of post-rock instrumentation, years of training and drilling make it sound so controlled and in place that there's a cornucopia of tightness. All the pieces on this musical Stratego board have their objective to fulfil, sneaking Scouts of subtle swelling guitars aiding the ruthless Spy of straight forward face bashing riffs in outlining the field for the General. Once the these outposts are set there's no escape from the A.armada stranglehold, it is docile to the post-rock supreme command of the late 2000's supplemented by a distinct striking private of the Cinemechanica squadron.


The clash of the highly combustible, rampaging frenzy that is own of the Cinemechanica chapter and the neo-psychedelia of Maserati might be the components of A.armada, the sum of these Athenian wings is not the sum of their combative power. Once they join forces, they face the reality that their individual strength is absorbed in the clockwork mechanism they've signed up for. Mayhem and mushroom snacks don't go hand in hand all that well and only brings a welcome deviation of the thirteen in a dozen post-rock sound. Nonetheless, the achievements of this Athens Axis of post-rock are not to be regarded lightly. Anam Cara is broken down in five very similar sub-missions but each of them has it's appeals and unveils a bit more of the A.armada weaponry.


The only major flaw of the entire operation is the overconfidence of their opening move, going in with a bang and dispersing over the field opened up their perimeters, but they failed to deliver 'the smell of napalm in the morning'. It's better to blow up then to fade away is a cliché, I know, yet applying it on an albums structure will give the listener a reason to hit play again once the battle has been fought. As many beautiful pieces of dreamy ambience and adrenaline pumping themes Anam Cara may contain, none of these will keep abreast for a long time. The only post-listening stress souvenir I got of this album came from If Only You Knew What the Lost Soldiers Did to Me, one minute in the track. A delightful panned simple riff opens, sober drums fall... easing in the otherwise fine five minute track. In one of the longer breaks they overlooked -or ignored- the guitar riff that drops in a fraction earlier as the drums. Sure, a minor flaw most won't hear unless they go looking for it, but overlooking this when recording/mixing/mastering the album is a deadly flaw in this reviewers opinion. Fixing it could not have taken much longer then a minute...


In the end, what remains after several listens is the need of closure on this album. Something to mark the end of this campaign that is excecuted according to the textbook guidelines, no bodycount, just one annoying fleshwound.



Website A.Armada
Myspace A.Armada
Hello Sir Records

Sphericube - Jugda

Post-rock, once a term brought to live to label bands who where re-inventing the rock scene in a strange age -dominated by Generation X, the nineties. A first generation of post-rock bands took rock to an almost lost form of crafting music, free of sales figures, board room imposed attitudes and hipness. They inspired a whole new generation that was in need of guidance...
A second generation of bands charted the genre and spread the word about it's novice, this train is unstoppable! As time passed, the second generation drawed out the details of this new uncharted continent and provided a sturdy homebase for new explorers to follow in their predecessors footsteps. nowadays, a third generation of
post-rock explorers is surfacing and aim to amaze us with their crucible of influences that are no longer subjected to genres as we knew them. Sphericube is one of those third generation bands, their self-released debut Jugda is the map of their Slovenian settlement.



Most of the times when I listened to Jugda a slight cold shiver ran over my spine before the first minute was over. Plucked violin strings and delightfully reverbed guitars paving the way for a few raising hairs, hooks that sound more like faint bends made some intriguing, yet minimal, shifts that promised me that I was in for some skilled compositions. The drum suggested that I should tighten my laces, I would be in for a serious round of foot tapping. Then the minute was over... the singer wailed himself into Emergency Lane like a siren that rubbed more Thom Yorke in my face then Radiohead is capable of. Now, for the record Thom Yorke has some brilliant vocal chords, Radiohead has some beautiful tracks, but I've had it with their knock-off sound ever since OK Computer. This is the main issue I have with Jugda, every once in a while the shiver down my spine was provoked by my loathing of repetition. Despite my issues, I noticed my foot found his groove back and I decided to indulge myself in the extraordinary blend of wailing vocals and, what sounds like, a borrowed drum computer of Björk on a canvas of post-rocking melancholy with strokes of jazz.



read the full review
Sphericube Website
Sphericube Myspace
Download Jugda

Stellardrive - Omega Point

Guided by a narrative voice counting down for a space shuttle launch, Omega Point takes of with the smartly titled "Departure." At first I thought this was just too obvious and uninspired for an intro of an album, but I dare you to find another album like it. It's a simple concept - so simple that it actually becomes quite ingenious. A countdown is something we've all seen and heard before, and Stellardrive utilizes that collective memory to create a bond with its listeners. The dramatic tension dwelling in the background only emphasises this feeling of a certain subconscious connection to Stellardrive's sound.

Omega Point is not spectacularly innovative or something you're likely to put on if you want to brag about your latest purchase. However, it is a good, solid album ranging from post-rock and metal over math rock with some interesting approaches to the genre. The previously digitally-released material has a low threshold, suited for a broad audience even though the genre might not be your cup of tea. The artwork is, as ever, the ideal visual background for the music and surely the fans of Stellardrive don't want to miss out an this beauty.

read the full review
Stellardrive myspace
Stellardrive website

Suffocate For Fuck Sake - Blazing Fires and Helicopters...

My second 'test review' for The Silent Ballet webzine and, writing this some reviews later, probably the most peculiar one I had assigned so far...

Suffocate For Fuck Sake manage to place its audience in a unique world, a dark atmosphere filled with breathtaking brutality and blinding beauty. They describe their sound as Breach, Cult Of Luna, Mogwai and Sigur Ros all playing at the same time and have a trademark of combining their music with vocal samples taken from recorded interviews. On Blazing Fires and Helicopters on the Frontpage of the Newspaper. There's a War Going on and I'm Marching in Heavy Boots they “follow a Swedish girl when she's looking back to the time she got put in a mental institute.” If that sounds like it could make for an interesting album concept, well, it does.

The contrast of slow-core, dark ambient and interview samples form a mesmerizing and touching whole. Blazing Fires... focuses on the concept of losing control in life, which is reflected in the brutality of the harder parts and the creativity in the ambient parts of the album. The intensity and contrast make it a heavy album to digest, as it tends to creep up on the listener every time he begins to feel slightly comfortable. It's a roller coaster of emotions and extremes, not really well suited as background music… it’s a pearl that needs undivided attention.

read the full review
Suffocate for Fuck Sake myspace

From Oceans to Autumn & Fire on the Horizon - Split

The “long awaited and delayed split” by From Oceans to Autumn and Fire On The Horizon comes courtesy of Forgotten Empire Records, the label that also released From Oceans to Autumn’s debut Calmed By The Tide in late 2007. It's a sweeping collection of familiar figurative terms which isn’t immediately an indicator of great inspiration to me.

Split releases are mostly something strange; a glorified demo, or to promote a band to a similar bands audience, sometimes an epic release, and this is a bit of it all (except the epic part). Ten dollars for 65 minutes of music is nevertheless not a bad deal. Fire on the Horizon is a band with potential to follow up, and From Oceans to Autumn is a decent band, if you can stand attention claiming drums at least.

read the full review
Fire on the Horizon myspace
From Oceans to Autumn myspace

de La Mancha - Atlas

One of the two test reviews I wrote for The Silent Ballet and an album that blew my mind... an excerpt:

The innovative and refreshing sound makes de la Mancha stand out from the masses. The balance of dreamy psychedelic indie and post-rock, all with a melancholy you’ll only find in Sweden, works brilliantly, I might even dare to use the word addictive. Atlas has taken me to a magnificent high, only to smoothly bring me back down and leave me craving for more…

read the full review
de La Mancha myspace
de La Mancha website

Downliners Sekt - The Saltire Wave

The Saltire Wave is a vessel ripping through trip-hop static, unveiling the unexplored universe of what the sound of Downliners Sekt has grown into in the past few years. By drowning almost every possible piece of recording in a wide variety of effects, the listener will never be completely sure of what he's listening to. Something that gives the impression of being a guitar could just as easily be an ingeniously tweaked sample of a scuba diver. Noises, glitch and ambience intertwine the many subtle nuances created by the expert use of (practically) unheard instruments like didgeridoos. All of this is strengthened by sometimes acoustic, sometimes fuzz-spitting amplified guitars, making the crushed downbeat fit right in. The untamed bass and fearless drums form the solid engine leading to the most sublime "Point Omega", a track that leaves the listener in awe, covered in sound-bites. Downliners Sekt makes us wonder what a movie like Powaqqatsi in a contemporary feel would look and sound like.

read the full review
download the album
Downliners Sekt website

Paatos @ the Spirit of 66

On October 29th, 2006 the Swedish melancholic post-rock-ish band Paatos played at the infamous Spirit of 66, Verviers, BE. They were supported by the UK band Lo-ego who has, after a short 'reconfiguration' named The Earth Died Screaming, disbanded in the meanwhile.

For me this gig was sort of a mile- and stepping stone in the Swedish contemporary prog rock/metal scene and the most astonishing 'progg' scene. Being able to discus all these with the band themselves after the gig was most memorable -to say at least- hanging out and just doing some 'prata strunta' once the Spirit closed created a small bond that would prove to be rather strong on later encounters.

It was also here that I had the luck of meeting Stefan Dimle -bassplayer of Paatos, Morte Macabre and the late Landberk-, owner of the Mellotronen record store & label who was just starting of promoting the 20th Anniversary Melloboat cruise. A 'solid ground' was layed down for future encounters and some more mindbending musical discoveries.

To cut it short, a memorable first Paatos gig (for me), a first Spirit of 66 experience and the pleasure of being one of the privileged to witness Lo-ego in all it's, short lived, glory.

Footage below is of Paatos' gig, before their gig we, Prockmedia, also had the opportunity to interview the vocalist Petronella Nettermalm about life on the road and the general Paatos experience... I'll be holding the interview back for now since it will be put to good use on the Prockmedia project one day... hopefully.





go to the youtube playlist
Paatos myspace
Paatos website

Aereogramme @ Paradiso 2005

Aereogramme were a Scottish alternative/post-rock rock band from Glasgow.
Formed in April 1998, the band released two 7" singles in 1999 before signing to Chemikal Underground in early 2000, at which point they recorded two EPs before releasing their first full-length, A Story in White, in 2001. Sleep and Release followed in 2003 but the band moved to Undergroove Records soon after for their third official release, Seclusion. However, the group re-signed to Chemikal Underground in August 2006.

Their fourth album, My Heart Has a Wish That You Would Not Go was released in Europe and the United States on 29 January 2007 and in Japan on the 14 October 2006, taking its title from the novel The Exorcist. In a recent interview, singer Craig B. revealed the long delay between releases was partly due to losing his singing voice for six months. "We didn’t know if it was going to continue so everybody went their separate ways waiting for my voice to come back. I went to see a throat doctor and he told me to eat yogurt which I did and it did absolutely nothing. The only thing that made any difference was time 'cause I'd spent the previous couple of years screaming every single night and whiskey and smoking and that was just a horrible combination. I think my body just said stop."

On 11 May 2007, in a message board post, Aereogramme announced they were to disband:

“It is with heavy hearts that we tell you all that Aereogramme have decided to split up. Reasons are multiple and complex. It is however fair to say that the never ending financial struggle coupled with an almost superhuman ability to dodge the zeitgeist have taken their toll, ensuring that we just don't have any fight left in us.

We are immensely proud of the four albums that we made over the past seven years. We hope that they continue to grow in your hearts. We plan to honour and celebrate the beautiful friendships we have made along the way with these final shows over the summer.”

The band played their last ever show at the Connect Festival in Inverary, Scotland on 31 August, 2007.



Live @ Paradiso on July 11th, 2005.





webiste
myspace
video source