19 A.D.D.
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19 A.D.D.

Longmont, Colorado, United States | SELF

Longmont, Colorado, United States | SELF
Band Metal Avant-garde




"Dead River CD Review"

The Denver, Colorado band describe their music as “narcolepsy meets tourettes” and that’s a reasonably accurate description. If you can imagine what might happen should Neurosis ever attempt to create a Celtic Frost soundscape by way of, perhaps, Dead Can Dance, then you’ve the mentality to appreciate this claustrophobic experience.

The Trio’s debut album, Dead River is a smoldering collection of experimental, darkly devious and disturbing sounds. It’s like being allowed to wallow in someone else’s psychoses, at once fascinating yet ultimately overwhelming. You have to be in the right mood to get the most out of this album, because only dipping in occasionally offers nothing.

Right from the moment that Siddhapur weaves a densely excruciating pattern of nightmarish ambience, you’ve locked into a world where reality is suspended. Each musical piece is tight and focused, yet conversely is allowed to wander from the initial path. Not that this is a freeform record, simple one where the three musicians are aware that their original compositions need to breath, without meandering into meaningless drivel.
And extreme, emotional album, this will haunt you long after the final sounds of closing track Bikarni have drifted away.

A truly brilliant work from flawed minds.

Malcome Dome - Classic Rock Presents Prog Magazine (UK)

"Just another metal Monday"

Amidst all the Christmas cheer, I've been feeling the need for something ... brutal. As the days disappear while my task list remains unchanged, I need something intense and powerful to accompany me on my hectic holiday death march. Today, that thing is Nineteen A.D.D., a Denver band that comes off like a slightly more proggy, instrumental version of Mastodon, which is pretty damn cool (and brutal). Its crunchy, aggro riffage has been keeping me from going nuts as Christmas closes in on me. If you, too, need a fix of brutality to keep yourself semi-sane for the next few days until this madness ends, I suggest visiting Nineteen A.D.D.'s website and embracing the not-so-soothing metal madness with the embedded player there. -- Cory Casciato - Westword Magazine

"Over the weekend: Endotrend Festival"

Maybe it was the last minute switch of venues from the Auraria Campus to the 3 Kings Tavern and Oriental Theater, but it was pretty slim turn-out for Saturday night's section of the festival at 3 Kings. Although not many folks came out that night, there was still a lot of solid local talent, as well as a few national acts.

19 A.D.D. explored some technical instrumentals, delving into odd time signatures and samples. The trio excelled at the super heavy riffage as well as diving into some jazzy and ambient interludes. Yerkish also delivered a decent set of intricate and sometimes odd-metered tunes from its latest effort, Fear Conquers America, as well a few tunes from another album the band is working on. The monkey-centric visuals were equally as engaging as the tunes.

?Washington D.C.-based Edie Sedgwick delivered something completely different with set of electro pop tunes about celebrities and pop culture. The duo, made up of a guy in drag and a hot brunette gal, sang along with songs that were synced to visuals pulled from films. Stills from the film Carrie showed on the screen while they sang about Sissy Spacek. They also sang about Robert Downey Jr., Rob Lowe, vampires and Natural Born Killers. It was interesting stuff and not quite the kind of stuff I'd expect from an act on Discord Records.

?Led by former Warlock Pinchers' King Scratchie, Murder Ranks kicked out a set of gritty dancehall with a punk attitude. Scratchie was the entertaining frontman as usual, dropping somewhat bizzare lines about killing a girl and killing her again, while guitarist Mike Buckley, who also plays in Nightshark, former Ghost Buffalo bassist Ben Williams, and former goP@Riot drummer Nate Weaver laid down the heavy hitting grooves.

Canton, Ohio's Most Beautiful Losers treaded on mid-period Social Distortion territory, walking the line between punk and country. Although Red Stinger's singer had been sick for the last few weeks he did a noble job of banging out some punk vocals. Fourth Yeer kicked out the jams as well.

While most of the bands delivered some solid sets, it was a bit strange that nobody got on stage between the acts to talk about what the Endotrend Festival was all about, especially since it was being billed as the country's first fully altruistic and sustainable music, art and film fest. - Westword Magazine

"Over the Weekend...Thrones, Epileptinomicon, 19ADD and Munimula @ 3 Kings Tavern"

Thrones, Epileptinomicon, 19ADD and Munimula
Friday, May 30, 2008
3 Kings Tavern
Better Than: Any other doom rock show I’ve ever seen.

The incarnation of Epileptinomicon that performed this night included Mike Reisinger (ex-Motheater) and Pat Keck (artist behind Bogwitch and Ghetto Dogs). Reisinger had set up his bass and various pedals to create deep, pulsing tones that pushed against everything in the room.

Instead of holding his instrument, he set it up on his amp and vocalized through a microphone, adjusting everything periodically and striking the strings with a xylophone mallet. Keck was inside a pup tent that flickered inside with tiny Christmas lights to creepy effect. Both vocalists spewed forth almost completely unintelligible exhortations sounding as though they were experiencing and expressing the most excruciatingly soul-searing pain in slow motion.

It wasn’t music so much as the soundtrack to that crushing other dimension from the movie Phantasm or sounds you imagine you might hear if you were one of the lucky few to be taken by the Fifth Angel into the abyss to await God’s final judgment on the wicked at the end of the world. It was like the Residents or Renaldo and the Loaf at their most oblique and scary. But to cut the heaviness, or perhaps to enhance the strangeness of it all, Keck crawled out of the tent at the end with a cup of chocolate and vanilla swirl Jello pudding and eat it between wails.

19ADD was a better than average art-rock/progressive metal act. The act had some interesting soundscaping going on and its most interesting work was the ambient synth sections. The band's key signature changes and abrupt shifts in tone didn’t really work for me but it may for someone who’s into that sort of thing. The best song was the last one, in which talented Silo Gathering frontman, Adam Pedersen, joined them on stage with his emotive, powerful singing.

Munimula is a two-piece band comprised of Devon Rogers (Kingdom of Magic) and Jawsh Mullen (ex-Cephalic Carnage). Mullen plays a six string bass and evokes a broad range of tones and atmospheres while Rogers accompanies and accents the music (or vice versa). For this show, the pair had a video projector. Instead of mere footage, however, behind the “canvas” of the screen, an artist painted a warrior woman straight out of Heavy Metal magazine, appropriately enough, while the band played a single, extended work of electrifying, doomy jazz.

Thrones closed the night out with a short set that found Joe Preston setting up three amps, a sampler, pedals and bass and showing exactly what sounds you can get out of the instrument if you try. From crushing, punishing assaults to bowed cello and upright bass tones and ambient atmospherics, Preston’s masterful command of his instrument and general tonality was awe-inspiring.

-- Tom Murphy - Westword Magazine

"Dead River CD Review"

On its face, it would be easy to loathe a band like 19 A.D.D. to your very core. They describe their sound as “narcolepsy meets tourettes,” and unless they’re referring to the Third Eye Blind song and the Australian hardcore/nu-metal band, we have no clue what that exactly entails. Its members tag themselves as “Mile High Experi-Metal.” They’re from Denver, so applaud the wit. And they’re an extremely hard to describe frontperson-less trio. That’s right, no vocals. Yet it works.

Were 19 A.D.D. faking their weirdness it would be painfully obvious. After all, they have 15 songs to prove it here with Dead River. Fortunately for their run through the critical jungle, the album’s limbs and roots take curious and peculiar but strikingly organic shape. No sound is too weird nor predictable. An ever-present groove keeps the whole thing feeling very uniform, even as sharp synth threatens to cut through the mish-mash of relative guitar virtuosity like a coked-up raver tired of Red Bull and ecstasy. Obviously, one’s enjoyment here depends largely on exposure. If you’re new to instrumental metal with an experimental bent, and let’s face it, most are, not excluding myself, it’s going to take a cold shower and a swab of the old q-tip to prepare for such an affront to the senses.

The songwriting could use some tweaking and the choice to abandon the whole vocalist thing is a questionable one, but it’s hard not to admire the gall of 19 A.D.D. One listen to “Spoim” and its infectious, crushing riffs is proof of that. And as obvious as the talent here is, one gets the sense that the best is yet to come. Nonetheless, Dead River is an intriguing, refreshing and, most importantly, rewarding listen. - Metal Review

"More Words About Often Noisy Bands"

19 A.D.D. -- DEAD RIVER [Level 36 Recordings]

Wow -- underneath all the hip, psychedelic packaging that accompanies this disc, there's an actual metal band whose hyperkinetic art-metal style manages to reference past masters as diverse as Judas Priest and Last Exit. Hailing from Denver, CO and originally formed in 2006 under the name Black Helicopters, the band -- an intense power trio playing largely instrumental music (some tracks, like "Sailing Blinde," do feature sampled snippets of conversation) -- debuts here with fifteen tracks of highly energetic and complicated riffing that combine post-rock, prog, and technical metal. Their high-velocity attack frequently sounds like RED-era King Crimson colliding with Blind Idiot God; this is a band fond of tricky time signatures and complex playing, yes, but there's no question they come from a metal background more than anything else. There are some non-metal tropes that crop up from time to time -- the slow and heavy "Slomosexual" (one of the heaviest songs on the album) ends in swirling noise and machine rhythms, for instance -- but mostly the album is track after track of heart-stopping, spine-twisting technical metal gymnastics unmarred by the kind of ridiculous lyrics and vocals that taint many otherwise similar sonic offerings. Fans of bands like Mastodon who are less than thrilled with the vocal excesses of said bands should look into this one instead. - The One True Dead Angel

"19ADD Want to Give Away Dead River"

The days of that Cinderella dream of getting signed to a large label with little work and only a few shows under the belt are long gone -- unless of course the band is very pretty -- very pretty -- and someone's dad knows somebody. The name of the game now for any new band is building the fan base.

"We give a lot of CDs out for free and consider them more of a marketing tool or a business card to us than a source of profit," bassist Matt Blanks of the Colorado prog outfit 19A.D.D. told Noisecreep of the band's method of exposure. "We are just happy there are people out there listening to them."

The instrumental trio released their debut full-length 'Dead River,' a sprawling album of progressive goodness one could easily say was 'Red'-era King Crimson infused. Very quickly the self-released album began showing up on torrent sites and music sharing blogs. According to Blanks, the band couldn't be more satisfied with the sharing and even want more people to join in. "A lot of people don't buy music anymore, but it's still equally as important to get the music out into their hands so that when you play in their city they'll come out and see the show, and maybe buy a shirt or sticker. If someone cares enough to rip the disc and upload it, and someone else cares enough to download and listen to it, we consider it a good thing."

It's actions and attitudes like this that led the band to sell more CDs in Europe than in Denver. "I think though, in general," Blanks continued, attemptimg to understand the reason for the over the ocean surge in fans, "people over there are more accepting of metal as well as progressive music ... which would explain the interest we've had without any promotion."

Beginning as more of a free-form noise project, the band consisting of Blanks, Eric Pereira (drums, synth) and Jared Emery (Guitar, saxophone, synth) opted very quickly to abandon the improv sound for a more structured one. "We were a little eager to write some stuff that was more digestible," remarked Blanks. "We definitely wanted to keep the noise element in with the songwriting, but also wanted to put together some songs that would challenge us, as well as the listeners a little more. "

'Dead River' is very much a colliding of assorted sounds, and the album's 18-panel psychedelic drunk artwork that gets unraveled from the jewel case fits the music, but the band's newer songs have two things being experimented with. "Some of the new material we are working on has more of a post-rock vibe to it," says Blanks. "Maybe not as technical and fast as some material on 'Dead River,' but still very complex and rich in composition, just in a slower and more layered melodic approach."

The other is the concept of vocals with each member experimenting in only sparse variations. "I can't guarantee we'll record the new songs with any vocals but we are definitely experimenting with the idea. Our big philosophy with this band is not to put any limits or rules on our songwriting ... anything goes. If we met a vocalist, trombonist and skin flute player that all helped to further progress our sound we'd hire all three of them on the spot -- yet we're perfectly content staying as an instrumental three piece." - AOL Music's Noisecreep

"Jared's Endorsement Announcement"

“An instrumental prog band from Denver, Colorado, 19 A.D.D. combine harsh bursts of noise with more thought-provoking complexity (recorded on both analogue and digital equipment no less). Live, they’re renowned for their tremendous energy, as well as consummate musicianship. While many would consider the absence of a vocalist to be a disadvantage, you won’t notice this on the tracks of their first full-length “Dead River” on level 36.” Prog Rock Magazine 2010
http://www.facebook.com/19ADDMUSIC - Jet City Amplification

"Dead River CD Review"

Sure it may not be as impressive as being the “5th Beatle” ala George Martin, but being the 6th Cephalic Carnage ain’t too shabby either. Colorado based musician, sound-tech and all-around internerd Matt Blanks has made a decent name for himself contributing on the sonic support end for the well-regarded hydro-grinders, as well as assisting Mastodon on the web-site side of things. All the while he has been fairly prolific with his own varied musical projects, including mAd cOW who made an appearance on Relapse’s Drummachinegun compilation. It seems he has now put all his eggs in a basket called 19 A.D.D., an instrumental trio in which he plays bass and is joined by Jared Emery on guitars and Eric Pereira on drums. Dead River is their self-released debut and right off the bat, the dedication and care they put into this self release, from the excellent artwork to the rich tonal production is quite evident.

The ongoing surge of instru-metal bands have seemingly divided themselves into three recognizable camps: you’ve got the slow and sludgy groups like Capricorns, Pelican and Switchblade, the proggy shred metal heroics of Animals as Leaders and Canvas Solaris, and the skronky off-kilter technicality of Dysrhythmia and Behold…the Arctopus. 19 A.D.D. seems to be attempting to be all things to all people on their debut, and seem possessed of the grit, the chops, and the lack of sanity required to pull off all three facets convincingly. Two other influences which seem to play a big role in these 15 pieces is the funk-fusion of Primus and Frank Zappa and the ‘traditional’ progressive metal of Atheist and Cynic and what you end up with is music that toes the line between spazzy kookiness and competent coherence: straight-forward and catchy enough to keep them listening, but experimental and adventurous enough to keep them guessing.

Being comprised of three talented musicians helps the group avoid a lot of debut album mis-steps, and those that are worth mentioning, such as the obligatory layered sampling intros, interludes and outros that don’t really add much, and the fragmented, confusing nature of how the actual songs fit the tracklisting (apparently my favorite song is three different tracks?), do not detract terribly from the overall listening experience. What is most surprising is that within individual songs and over the course of the album, the band shifts gears between the influences referred to above frequently, but only rarely do these unorthodox transitions come off as anything less than seamless. Rather, 19 A.D.D. is quite adept at finding missing links between gooey sludgy riffs and hyper-shred arpeggios, plucky funk and cosmic cacophony. New bands can innovate by doing new things or by doing old things in new ways, but any such innovations are all for naught if the group doesn’t have the talent and vision to create something worth listening to.

19 A.D.D. is endlessly, sometimes miraculously, clever in blending their influences into a cohesive schizophrenia which results in an exciting and fun album which should have equal appeal to all schools of instru-metal fans. It would seem improbable, if not downright impossible to ask them to rein in some of their more experimental excesses without restraining the aggressive creative spirit that permeates this release, so take Dead River for what it is, and enjoy one of the more energetic and unpredictable debuts of 2009. - Teeth of the Divine

"Track of the Day"

19A.D.D. are an instrumental prog style band from Denver, Colorado. And they provide the latest Track Of The Day. Check out all the Tracks Of The Day.

This lot started out in 2006 as Black Helicopters, playing as a trio around the local, combining free form noise with visual projections.

Changing their name to 19A.D.D., the threesome of Jared Emery (guitar/synthesisier/saxophone), Matt Blanks (bass/synthesiser) and Eric Periera (drums/synthesiser) spent three years working on songs for their debut album, Dead River. This was released last year on their own Level 36 label.

The band actually recorded this is several different environments, using both old style tape technology and state-of-the-art digital equipment.

A song from this album is to be featured on the free CD with the next issue of Classic Rock Presents Prog. In the meantime, you can download a 20-minute Pink Floyd medley for absolutely nothing right here. This was recorded at a Pink Floyd tribute show earlier in the summer.

Find out more at www.19add.com
- Classic Rock Presents Prog Magazine (UK)


2008 Dead River (Full Length)
2011 GAIA (Full Length)
2011 ReR Records Compilation (Single)

Radio play confirmed on 106.7 FM KBPI (Denver),



19 A.D.D. is a Instrumental Progressive Metal Trio from Denver Colorado that combines complex compositional structure & time signatures with ambient soundscapes and intricate instrumental playing. The band is known for their explosive, high-energy live performances and psychedelic visual projections.

Originally forming as Black Helicopters, the band began to perform around the Denver area in 2006 as a trio mixing visual projections and free-form noise rock. Over time, the band took a more focused approach to songwriting and began incorporating more styles of music into their sound including Jazz, Electronic, Industrial, Experimental Rock & Progressive Metal.

In 2008, the band released "Dead River" which reached international critical acclaim drawing attention from publications, radio stations & websites around the globe.

Currently in August/September of 2011 the band is in the recording studio working on on their 2nd full length studio release entitled "GAIA" which will be released Sept 2011 and supported by a tour of the west coast of the US.