Dynamic, determined, and dirty. That’s the powerhouse trifecta that Ontario outfit Kill No Albatross serves up hot and fresh in their musical approach. Such methodology is overt in their latest endeavours, culminating in the upcoming release of their new EP Speak True Evil.Technically proficient and aurally stimulating, Speak True Evil is a quick jaunt through heavy-laden rock-n’-roll sensory overdrive. Whether that overstimulation invigorates your soul or shreds the meat off of your bones is for you to decide- what we can guarantee is one Hell of an energetic ride from the moment you press play to the final dynamic overtures of melodic riffage.
We have the utmost pleasure of presenting to your eyes and ears the exclusive track-by-track commentary of Kill No Albatross’ upcoming EP Speak True Evil. Speak True Evil formally releases worldwide on July 13th. As such, only a selection of tracks have been made available to best accompany your audio/visual experience.
Before we begin, the band would like to issue this precursory statement to their methodologies and concepts behind Speak True Evil:
“Speak True Evil is a showcase for Kill No Albatross’ dynamic, technically proficient, intellectual approach to rock music. These four songs cover musical ground that ranges from furious to sweet, hopeful to agonized. The powerful vocals of Kyle Collins pair with the tight, impassioned instrumentation to create a unique sound that is as meticulous as it is robust. Going more in depth on the release, it plays off the title of Wayne Shorter’s 1966 jazz record Speak No Evil; Speak True Evil asserts the legitimacy of free speech as asserted by thinkers like Mill, Paine, Luxemburg, and Hitchens. As Mill writes, ‘If all mankind minus one, were of one opinion, and only one person were of the contrary opinion, mankind would be no more justified in silencing that one person, than he, if he had the power, would be justified in silencing mankind.’ After all, it is as much the right of the listener to hear as it is the speaker to talk – enforced silence imprisons man in the cage of his own perspective. The title, then, encourages listeners to speak true evil.”
“Seven Tools” begins with the sound of knives being sharpened, repurposed to create a metronomic pulse. Seven separately tracked sets of tom drums fade in atop the knives, creating a loud, steady tribal beat. Twin tapping guitars enter the fore, and the first verse begins, featuring the energetic, technical drumming of Alexander Sallas and Kyle Collins’ powerful vocals. The chorus is anthemic, and the song closes with a massive group chant featuring a roomful of voices. The band recorded the choir vocal in an enormous, cavernous room at B-Town Sound recording studio. As producer Wayne Cochrane was one of the featured voices, Kyle operated the recording equipment, breaking his engineering virginity.
“Apex Predator” is the angriest song on the record. Driven by a heavy guitar riff and ferocious drums, the song features a catchy chorus and a wild bridge, and showcases the harsher side of Kyle Collins’ vocals. To better embody the emotional lilt of the song – anger is at once uninhibited and, on some level, embarrassing – the band recorded the song naked. The rest of the band is now consistently disgusted with this song, as it brings to their minds the pendulumic swinging of Sallas’ girthy junk.
“Sky On Fire”
“Sky on Fire” switches gears from the last song, beginning with acoustic guitars, melodious vocal lines, and soft instrumentation. The latter half of the song turns up the energy as the guitars are distorted, the vocals rise in volume, and a dramatic, wrenching climax is reached. The song also features a string section during its closing chorus. The drum skins were covered with paper during recording to achieve a ‘muted’ sound, appropriate for the song’s melancholic vibe.
“Void”, a dynamic rock song featuring a whammy pedal-laden dual guitar solo, closes the record. This song showcases Kyle’s vocals at their most powerful, and features a languid, ambient bridge. Live, the band opens with this song, acting in stereotypical rockstar-fashion by coordinating a stage line showcase of the guitar parts: Kyle, Josh, and Crosty line the front of the stage and rip the main riff with unbridled passion, unbelievable nuance, and incredible style. It is a sight to behold – much like a biblical miracle, or the drummer’s penis.
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