2003 2012 Reviews of "Public Cemetery Party:" ?Featured on multiple occasions in this column, the three-piece from New York deserves your vote for being one of the most consistently excellent hard rock bands to be releasing music without record label affiliation today.? -Ultimate-Guitar.com's Unsigned Talent of 2010 Column When you listen to the music this band generates, the Richter scale will be insufficient for proper categorization. That old base-10 logarithmic scale doesn't extend high enough and won't be able to cope with this magnitude of rock!
Reviews of "Public Cemetery Party:"
?Featured on multiple occasions in this column, the three-piece from New York deserves your vote for being one of the most consistently excellent hard rock bands to be releasing music without record label affiliation today.?
-Ultimate-Guitar.com's Unsigned Talent of 2010 Column
When you listen to the music this band generates, the Richter scale will be insufficient for proper categorization. That old base-10 logarithmic scale doesn't extend high enough and won't be able to cope with this magnitude of rock!
-RippleMusic.Blogspot.com Review of "Public Cemetery Party"
"The band is very tight, writes great melodies, and combines a hodge podge of musical influences ranging from The Beatles to Boris. The musicianship of this band is stellar and is evidenced on their newest CD "Public Cemetery Party".
-Heavy Planet.net ?Band to Burn One To Column 12/12/10?
"If you're looking to expand your musical horizons, this album will definitely do the trick, you are opening an endless bag of goodies."
- The Buzz on NY.com review of "Public Cemetery Party"
"...their energetic repertoire that has been shaking the foundations of local venues in the Brooklyn area, has been bottled up and released on nine rip-roaring tracks."
- Chybucca Sounds review of "Public Cemetery Party"
"The progressive driving guitar riffs, spacey arena quality and the bands ability to switch up the sound on a dime makes for a great record."
- House of A&R review of "Public Cemetery Party"
"...A tremendous maelstrom of emotion and power finishes the listener off, leaving them a part of something incredible, an experienced soul ready for what?s to come, and a poor victim addicted to PCP."
- Love Lucid/Australian Chicks Productions review of "Public Cemetery Party"
Press Release for PCP:
Long Island, New York's Exemption has done more than mature their sound on their sophomore full-length, and third self-released disc, Public Cemetery Party. Their music has evolved into something beyond genres and sub-genres. Each of the nine tracks not only differs uniquely from one another but sets the band far apart from the current trends of today's rock and metal bands. The songs are a kaleidoscope of musical styles: thick stoner metal mudslides slam head on into psychedelic landscapes; anthemic pop hooks give way to fiery surf-rock riffs, and crusty blues jams become violent exercises in aggressive funk. The first track ?Hyperspiral? is a perfect example of this, moving seamlessly from Mastodon & Torche-esque riffage to euphoric melodies and hooks reminiscent of Rubber Soul. The influence of The Beatles is felt strongly throughout the disc, and singer/bassist Tom Moran even references Lennon's influence in ?Hyperspiral,? with the line ?Love and instant karma's not so simple now.? Like Torche, Exemption is not afraid to combine spine-cracking heaviness with bubbly pop-hook sweetness to create moods not often tapped into by new bands. Public Cemetery Party goes on to demonstrate the power trio's skills as musicians. Their progressive side has earned them comparisons to The Mars Volta, Rush, and King Crimson, but this musical ability combined with their sense of humor at times is more in the vein of Frank Zappa . ?Blood Heaven,? ?Godzilla? and ?Tasted By Love? demonstrate how incredibly drummer Ray Marte can be polyrhythmic over just about anything, often moving from common time to 9 and 7, and with fills that will have any drummer rewinding again and again. Guitarist/vocalist Nick Lee's riffs and solos are a constant battle between good and evil, brutal and beautiful that rarely let up on taking the listener to new places. Finally, Tom Moran's bass playing sticks the trio together like glue and his vocal melodies show that this band is no longer struggling to find their own sound but have forged their own over six years of hard work, dedication, and following their guts. This album has been almost a year in the making and the band is confident that it will turn some heads.