Hailing from the quiet suburbs of Plano, Texas, progressive rock outfit, Polyphia, are anything but mild-mannered. With a distinctly thought-out and well-orchestrated sound, the quartet pummels out blistering blast beats, and an onslaught of guitar shreds that blends, seamlessly, with melodic grooves and a humble intensity that never wears on the ear. Capitalizing on a "Standard of Excellence", the band wishes to inspire those who listen with their doctrine of uncompromised work ethic and self-motivated success.

Hail The Sun is a progressive post-hardcore quartet who met in Chico, CA, while studying music technology. The overlap of influences throughout the group has led them to become one of the most dynamic and intricate musical acts to come out of the scene in decades. Formed by drummer Donovan Melero and guitarist Aric Garcia (who played in a death metal band in high school), the original idea for the musical direction was to remain high-energy, while allowing melodies and harmonies to be a prominent feature, rather than just screaming to portray intense emotion. The addition of Shane Gann and John Stirrat brought additional flavors, and the group began to stretch its creative legs, allowing itself to write parts and songs that were much more heavily influenced by jazz, funk, blues, fusion, and Latin musical styles.

The group has toured extensively throughout its three-year existence, and has recently begun experiencing national exposure. They have one of the most high-energy live shows ever witnessed, and that's all while playing amazingly difficult lines and rhythms. Their drummer is their singer, which is a show in and of itself, and the addition of the other three acting as visual "frontmen," while not singing, lets the audience's attention move from here to there seamlessly, and without feeling bored.

Without using a single word, COVET’s music says so much.

On their new release effloresce, the Bay Area trio effortlessly blend instrumental math-rock with elements of post-rock and post-metal, juxtaposing delicate melodies with propulsive rhythms and captivating energy. There’s an inescapable push and pull to the collection, both as a whole and in its individual pieces. It’s a facet of their sound the group rarely explored on their debut EP, 2015’s Currents, but one they’ve harnessed to its maximum potential here.

“Currents was very positive, clean tones,” guitarist Yvette Young explains. “I wanted this album to have more contrast between stuff that sounded happy and grosser sounds. Contrast is so important; it’s such a valuable songwriting tool for building suspense.”

Young—revered by guitarists around the world for her mastery of the innovative two-handed tapping technique—and bassist David Adamiak started Covet in 2014, with Young’s frenzied following providing some crucial early momentum. But old and new fans alike quickly gravitated to Covet’s immaculate, technically dexterous songwriting, and the childhood friends found a home on bills with bands like Chon and Polyphia.

“A lot of the songs on Currents were written when I had first learned electric guitar,” Young says. “I was new to guitar and really excited about being flashy on my instrument, and a lot of the songs I felt were underdeveloped in retrospect. On effloresce, we wanted to be flashy at times but more importantly, we wanted the songs to be memorable and convey a more diverse array of emotions. We wanted to take everything we love about different genres of music and fuse it into our sound, have dancey moments but also have the dynamics and tones of post-rock. And it's considerably sludgier and heavier than our last release!”

That’s especially noticeable when the jazzy, ethereal “Shibuya” (featuring San Holo) or “Sea Dragon,” which begins as a slow burn only to explode into a groove-heavy swirl of soaring melody, is juxtaposed next to something like the ominous “Gleam.” It makes for a powerful dichotomy and emotional resonance that’s at the heart of Covet’s art. “On this recording we experiment with different harmony. I believe this helps dictate the sonic change in mood and tone from a recording like Currents” Adamiak explains. “Working with new chord changes is exciting because it helps bring out sides of your own melodic voice you wouldn’t have considered otherwise.”
The musical chemistry between Young and Adamiak is so precise yet brimming with extravagance. Helping to fill out that sound is the dynamic drumming of Forrest Rice. His approach adds a driving yet sophisticated percussive foundation to the harmonic tapestry created by Yvette and David. “Forrest’s additions to efflloresce are powerful and fluid” says Adamiak. “His treatment of the challenging rhythmic changes is so hypnotic and musical; it’s sets my brain on fire with excitement.” Young adds “[Our music] is so note-filled and busy already that someone has to have really good taste not to overshadow it, you want one cohesive unit. We fill in each other’s gaps.”

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