Beneath Augusta
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Beneath Augusta

Band Rock Pop


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"Scece and Heard"

You Gotta Come Down Sometime
Aporia Records/MapleMusic

The debut effort from Toronto’s Beneath Augusta finds two former members of space rockers mellonova returning to earth to deliver an exquisitely crafted batch of pop-rock songs.

While a majority of the album’s songs keep their feet planted firmly on terra firma, the explosive climax of ‘Security Wires’ propels the band into the hazy orbit that mellonova maintained and the menacing bass line that ushers in the dark and atmospheric ‘Silhouettes in Tow’ brings the listener back down again with its Interpol-style guitars and keyboards. The swirling ‘Exhibition Hall A’ blends the shoegazer elements of mellonova’s music with an accessible pop sound.

At its heart, You Gotta Come Down Sometime is a pop record with a sound that is at times reminiscent of Radiohead’s early work. The leadoff single ‘Satellites’ and the aching ‘Get Yours’ successfully bridge the gap between mellonova’s effects-laden rock and their new melodic pop sound.

Beneath Augusta may have come down from space but they aren’t afraid to journey back there again. - Andrew Horan

"View Magazine"

While the moniker may be unfamiliar, the music of
Beneath Augusta extrapolates from the kernels of
intricate dream pop meanderings founded by Matthew
Cromarty and Michael Brennan with Toronto space rock
quartet Mellonova. In June of 2003, even with a growing
international fan–base, songs incorporated into
independent television and film soundtracks (including
Buffy The Vampire Slayer) and critical acclaim for their
debut full–length, Slightly Happy, the pair realized
Mellonova and its inherent musical constrictions
(including the ever–present melancholic presumptions
from the band name) had run their course. But this past
February, Beneath Augusta emerged from the ashes
and flew to England with A Northern Chorus to test the
waters of their new sounds. They return to Hamilton this
weekend invigorated with a new show that transcends
the old new melancholy with high hopes.
“We had a great tour,” reflects Brennan on the English
trip. “The response was beyond what we had expected.
So it really inspired us to take what we had, lay it down
and go with it, without too much after thought.
“I think where we’re going as a band is changing but I
think there are elements of dream pop,” Brennan adds.
“We’ve stripped down the guitar songs and are not using
so many effects pedals. If you make everything all
washed out you end up stepping on all of the other
instruments, so I think the new stuff is a little more
angular and up–tempo. There are more sounds that are
more uplifting. Some of the old Mellonova fans seem to
be able to connect better with our new music because
maybe it’s less ambiguous or, dare I say, perhaps
there’s more of a positive feeling to the music.”
With You Gotta Come Down Sometime (Aporia/
Maplemusic), re-corded with Rudy Rempel at Toronto’s
Chemical Sound, Beneath Augusta take a stab at the
current trend of party rock permeating the airwaves, and
while they might be in the midst of raising their collective
spirits, they wouldn’t mind reminding people of a darker
beauty that dwells outside of the gloss of pop. They
strike a musical chord that further focuses their
diversions into space rock with a pop sensibility. Refined
and perhaps even more delicate than their previous
works, the addition of bassist Clay Jones, drummer Todd
Knapp and keyboardist Searaig Hopgood lift the songs
to soar and glide to new heights with a spotlight on
Brennan’s vocals.
“I’m still a fan of the sad songwriter,” assures Brennan.
“There’s always room for that—but with Mellonova we
sought after a more singular emotion. This time out,
we’re going in a lot of different directions. As a
songwriter, it might be said, you kind of have a signature
sound no matter what genre you do. It just sort of sounds
like you. But the way we’re approaching the music from
an instrumentation level and an attitude—I consider
myself lucky that we found these new guys, because it’s
rare you can find people you can work with creatively,
but for these people to turn around and become your
best friends is even more rare. We’re one of those bands
now, that when one of us are out, we’re all out.
“With every new band there’s a process in getting
comfortable with one another,” he adds. “Because of the
touring we’ve done, we’re tighter now than anything I’ve
ever done. Because the music is a little more, dare I say,
rocky or upbeat, it’s a little easier to do a more energetic
stage show than with the shoegazer thing. We still have
a visual display to show behind the band, but we’re not
giving off as much of a spacey or ethereal landscape
feel; but it still works with the music. The focus is putting
on a really strong live show and tour and tour and tour it.
We still have some Mellonova fans that will check us
out—but we’re just doing it old school and taking our
best show on the road. I’m really excited about what is to
come.” V - Ric Taylor

"Spill Magazine"

"The band's music has already been likened to that of such brooding outfits as Interpol and Slowdive, and in concert the band is able to translate this introspection to maximum effect." - Cameron Gordon


"Whether you're looking to hear some easygoing pop melodies, or something wickedly different, this is an awesome album." - Kirsten Harris

"Leeds Music Scene"

"It's hard to find a standout track from the album, because they're all so good. They seem to meld together in a way that the best kind of music does, intersecting and blending in with one another to create an awesome listening experience." - Gavin Miller


you gotta come down sometime :: APCD016


Feeling a bit camera shy


There is nothing new about this story: people get together, they start a band, they talk and plan and dream about what it will become. They make some records, they tour and then they break up--this is the position in which Matthew Cromarty and I, Michael Brennan, found ourselves in June of 2003.

Prior to this we had both played in Toronto space rock quartet, Mellonova.

The band toured extensively throughout North America and the UK, releasing two EP's and one full-length record on indie label Aporia Records. We charted on college radio, received some mainstream airplay, and licensed songs to independent films and television, most infamously to Fox for an episode of Buffy the Vampire Slayer. Mellonova's "swirling effects laden brand of space rock" garnered us much critical acclaim; shortly before we disbanded, Canadian Music Network praised us as "one of the most impressive independent bands in Canada today."

No longer bound by expectations held over from our previous work, Matt and I felt free to explore aspects of our songwriting that hadn¹t fit into the Mellonova aesthetic. We decided to take the opportunity to move forward and start something completely new.

The subsequent months consisted of spending several summertime nights out on patios discussing how we would go about assembling the new band. Enter Clay Jones. We met Clay (on a patio strangely enough) through mutual friends and discovered that he was a bass player/drummer. We found that he shared similar musical interests and the question was put forth as to whether he wanted to join a band, to which Clay responded "Yes, and I want to play bass."

Feeling somewhat buoyed by the ease of the recruiting experience, we went out in pursuit of a drummer. Enter Todd Knapp. Todd had heard through the grapevine that we were looking for someone and was quick to respond, and though we couldn¹t promise him a luxurious life playing jazz on the Mediterranean coast, he decided to participate regardless.

After a few months of rehearsing and writing we found ourselves onstage at the El Mocambo playing our first show. Whilst enjoying some post show social activity, I was approached by the suitably named Searaig Hopgood. He had just moved to Toronto from Sault Ste. Marie and was an organ/piano/keys player who expressed an interest in joining the group. After conducting several background checks and testing his drinking stamina we concluded that he would fit nicely into the fold. This would be the beginning of Beneath Augusta.

In Feburary of 2004 we set off to England and Scotland for a two-week tour, road testing the new material to an appreciative crowd and securing a distribution deal in the UK with Shellshock. Upon our return the band woodsheded for two months, writing and refining what would become our debut album You Gotta Come Down Sometime (Aporia), recorded with Rudy Rempel at Toronto¹s Chemical Sound. The result is a collection of ten songs that incorporate many aspects of the band¹s evolving sound. Though somewhat melancholic at times, the music still retains glimmers of optimism. The sound has been described as being textural, melodic music with a driving sense of urgency.