Distant Lights
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Distant Lights

Austin, Texas, United States | Established. Jan 01, 2007 | SELF

Austin, Texas, United States | SELF
Established on Jan, 2007
Band Rock Alternative





Generic modern rock albums are everywhere today; seriously, go to your nearest record store (If there’s one left near you) and throw a few rocks (Don’t really, the staff probably wouldn’t like that much), and I bet you’ll hit several albums that are mostly indiscernible from on another. My point, made more directly, is that it is hard to write a modern rock album without collecting such glaring descriptors as “cliche,” “overdone” or the aforementioned “generic.”

Then, there is Distant Lights’ Not Thinking Not Dreaming; which is not any of those three descriptors. On this album, Distant Lights manages to take formulaic rock songs and litter them with rhythmic brilliance, excellent vocal depth and range, and guitars that flash and awe with not even a hint of egotism. It’s the little things that can make an album stand out in an over saturated genre, and Distant Lights executes these little things in a big way.

From the aggressive opening to “Tightrope”, a worry creeps up that this maybe is just another generic modren rock album; however, it takes no more than to get to the first verse for these worries to be dispelled. The vocals give a wonderful hook, and the music keeps driving. It’s the guitars, though, that just keep going. The movement of the guitar is not only gripping, but fluid and interesting as they add a wonderful layer of depth, and this is not limited to the opening track.

From the little tags in between lyrical lines on the fast paced “What’s On Your Mind?” to the arpeggio flourishes abound on the slower track, “Make It Go Away”, the guitars show give an amount of effort through out that makes you wonder just how many finger cramps guitarist, Gaelan Bellamy, endured to achieve the control and maturity of sound. The album doesn’t feature a lot of blatant soloing (Which isn’t necessarily a bad thing), so for the guitars to stand out as much as they do when so often the vocals are the centerpiece is a testament to the writing. It is even nicer to note that when they do cut the guitar loose, as with the solos in “Suffocating” and the closing track, “Horizon”, it is well thought out and effective without dragging on and overtaking the song. Of course, I won’t credit solely the guitars to the excellence of depth and interest on Not Thinking Not Dreaming.

The rhythm section does so many incredible things that, although may not be directly identified on first listen, definitely add to the overall beauty of the composition. Some of my favorite moments come on the final two tracks of the disc. First, “Heart of Fire” has this urgent and forward feeling rhythm in the chorus set up by the drums and bass. It’s the most upfront evidence of Muse as an influence, although they among many others can be heard as influences through the entire album. Again, “Horizon” shines as the chorus actually changes rhythms from a hard hitting feel to a more driving sound half way through delivering an exciting movement within just a section of the song. These are not the sole examples of this either; the bass and drums have so much interplay, and really keep the whole album trucking along. The handling of the kick in after the pause on “Suffocating” is beautiful, and the bass and drums add a bite as the verse moves giving wonderful depth and making sure that even during a slower track, we don’t forget we are listening to a rock album.

And it’s this tied together versatility that allows the album to work and flow cover to cover with out once feeling repetitive or dragging. The tracks move in and out of straight forward rock tunes like the opener, to beautifully carried out more ballad-esque tracks like the second track, “Science Of It All”; also, there are tracks like “Blindfold” and “Defiled”. The former is super aggressive and fast paced with the latter being the darkest feeling track on the disc. The only part of the albums flow that lacks a bit for me really comes down to nit-picking; the song structures tend to stick with the standard “Verse-Chorus-Verse” set up. It’s not that this is a distraction on the album, but I do enjoy hearing some variance and more unconventional song structuring. On the positive side, this is an understandable and effective way to keep everything hooky and accessible; although, the vocals achieve this almost single handedly.

The vocal performance is wonderful, and credit to the production as the harmonies and more choral vocal lines are well placed and mixed perfectly. I also love the choice to have the affect on the voice in the opening of “Suffocating” to actually give a muffled sort of feel. The sound of the vocals is wonderful and versatile, channeling tones of Maynard James Keenan, Brandon Boyd and Chino Moreno in various spots on the album. Lyrically, there are many bright spots on this album. From the anger and cynicism in “Defiled”:

Poison spreads
Into the water main
So pour yourself a drink

To the heartfelt word play on “Suffocating”:

If only I could breathe again
I’m choking on my own indifference
If only I could breathe again
And suffocate the apathy instead

There are many great moments captivating a range of emotions without overreaching or feeling pretentious, and this could be said not only of the lyrics, but of the album in it’s entirety from front to back.

In an over polluted genre, it’s hard to stand out (especially in a good way), but Distant Lights finds themselves doing just that with Not Thinking Not Dreaming. The album has all the necessary pieces to grab any casual rock listener, and enough depth and intricacy to keep even the pickiest rock snob drawn in.

- Edward Badhorse - Emurg.com

"Choice 5 For November 2014"

Not Thinking, Not Dreaming by Distant Lights

Distant Lights is a group from Austin, Texas and forged a high level pop/rock album in 2013 named Not Thinking Not Dreaming. This album gets better as it goes along, climaxing with the anthemic and emotional closer “Horizon”. Some of the highlights along the way include the brilliantly composed “Suffocating”, the catchy and upbeat “Heart of Fire”, and the ballad “Make It Go”. - Modern Rock Review

"Distant Lights "Simulacrum""

Distant Lights (by timstaump)

Distant Lights is an extreme musical group filled with heart wrenching melodic lines that weave in and out of deeply symbolic lyrics. These musicians from Austin, Texas came out with their debut album, "Simulacrum," and certainly left an impression.

The musical experience begins with the art work and design of their album. Every song has a piece of art to go with it. These pieces of work are dark and light. They are filled with joy and sadness, growth and dismay, and are somewhat disturbing all at the the same time. Every emotion felt within these pictures is also felt in the music itself. With a seamless layering of tones, Distant Lights pieces together an album like no one has heard before.

There are no weak links in this album. The vocals are rich and strong, and the instrumentation will blow your mind. In particular, we feel that the cello really captures the essence of their music. Strings can express emotion in a way that no other instrument can. The strings pull at your heart and make you very aware of what you are feeling.

This album also has very unique lyrics. From these poetic phrases one can come up with a number of meanings that may reflect any individuals particular experiences. The style of lyric writing, and the abstract music behind the words, come together for the perfect idea.

This album felt like a journey. From beginning to end it is profound, intense, and feels like a story is being told. Staump.com highly recommends everyone to get a taste of Distant Lights. The album is currently for sale and would be well worth the money because of the music and the beautiful artwork that comes with the CD.
- staump.com

"Distant Lights - "Simulacrum""

As you listen to this CD, you never know quite what to expect from moment to moment, except that it will most likely be wonderful. Simulacrum is a complex, layered progressive rock opus based on Plato’s allegory of the Cave. It also features Jon Dexter, the cellist from 2006’s “A Scanner Darkly,” and it’s his fantastic string work that, more than anything else gives this band a complexity and uniqueness that puts it above the competition. His intro to “Artiface,” itself one of the better tracks on the album, is spellbinding, and the fact that the song then takes a positively hardcore turn with pounding vocals and wild guitar riffs makes it even better, because everything always feels like an integrated, genuine whole. This same principle turns songs that would otherwise be fairly standard tunes into orchestral, theatrical tour de forces. This band is musical in the most sophisticated sense.

Vocals by Gabriel Fry are good; his range is an asset as he handles quieter, hushed numbers with the same skill with which he can scream out the lines. He knows when to take center stage and when to let his words serve as backing, such as in Grass, where the spotlight seems to shift between Fry’s excellent voice and Dexter’s brilliant cello. The result is something that’s soothing, even as it demands every bit of your attention. The magic of this album is as much with how everything blends together as with any one element, even though the elements are very good.

More than a lot of albums, even very good ones, this CD feels like it’s taking you on a journey, musically and emotionally. The “concept album” nature is definitely on display here, and the slower or quieter bits are well paced enough that they never feel boring in comparison to the wild, shouting bits.

It’s an ambitious debut album which has enough in it to warrant several listenings, and reveals new things each time. Rarely do so many disparate elements get fused together so strongly, and when their held up by the infrastructure of interesting ideas and a high level of technical skill, all the better. [Ryan Simmons]
Rating: 5/5 - Wonka Vision Magazine

"Distant Lights "Simulacrum""

Written by: Mark Bordicks

Rating: 7 out of 10

Distant Lights is a new band that is beginning to become recognized on a more widespread basis as of recently, due to their latest album “Simulacrum.” This artist has a very progressive rock sound, which seems original and clean. “Simulacrum” is their first major album, but if they continue to sound as good as they do here, I think that we can expect to hear a lot more from them in the future.

My preferred tracks were 2, 5, and 7 however 4 and 6 are popular as well. I think I like those tracks particularly well, because of their rhythm and their distinct blending of sounds. I cannot say that I have any dislikes about this artist, although they still need some polishing in order to hit it big in my opinion. I would definitely recommend this CD if you are an avid listener of progressive rock and alternative music, and I hope to hear more from Distant Lights in the future.
Posted by Bearcastradio.com at 11:16 PM - Bearcast Music

"Texas Platters - Rock Box"


Distant Lights is nothing if not ambitious. The quintet's debut, Simulacrum, is a concept album that details the internal struggle of a straggler in a postmodern wasteland, landing in the black hole between the alt-rock epics of Coheed & Cambria and Muse. - Austin Chronicle

"Review: Distant Lights - Simulacrum"

I've always found progressive music to maintain certain exclusivity. Often, I find people who believe it's pretentious in nature, which at times may be understandable, given its tendency to push limits. But when I heard Simulacrum, the debut release from Distant Lights, I found no reason for anyone to continue with these misconceptions.

Simulacrum is the kind of album that a listener really needs to allow to sink in. Multiple listens are actually best, given that this is incredibly multidimensional, and would be near impossible to for one to take in on first listen. Even from the opener, “Dystopia”, the very alternative-sounding riff may seem simple at first. But as time goes on, the band intertwines something so simplistic with more and more layers, creating something totally different. This characteristic is prevalent throughout the album, like in “Unity” and “Grass” although both are considerably simpler in nature.

The instrumentation on this album is particularly interesting. Of course, there’s the typical rock band set up that most would come to expect. But one excellent addition to this is the cello that’s sprinkled throughout. I would be more concerned with it seeming extraneous, but as seen, literally immediately in “Artifice”, it’s perfectly suiting for their brand of intensity. But that’s not all that this track boasts, the hook is, well, surprisingly ear-catching, and the guitar solo is for lack of a word more formal, awesome. I would say that the interlude after the solo slows it down a bit, but the good definitely outweighs the not-so-good in this track.

One of the coolest tracks on the album, at least in my opinion, is “Metamorphosis”. The fluid bass line and the later use of guitar feedback are oddly reminiscent of Tool, and what’s interesting is the literality of its title, which I assume was intentional. It starts out in this incredibly dark place, tone-wise, and the band seems to seamlessly take it into a whole new, higher energy dimension, yet maintains a good amount of the darkness it started out with.

I’m having the hardest time, as I listen to this album, to find any real flaws. And the only things I can really find are minor. While making the progressive style more accessible, Distant Lights has in turn lost some of the dynamic nature that most come to associate with the genre, and this may put off some die hard progressive fans. But looking at this release, completely on its own, it’s excellent. They’ve perfected the art of intensity, and the musicianship is absolutely on point, from the distinct riffing and drum work that never falters. And don’t get me started on the vocals: they’re distinct, controlled, and put simply, superb. Distant Lights has pretty much everything in this album they could possibly need to solidify what they’re about, and I personally can’t wait to see what they’ll do next.

4.5/5 Stars

Sara Cooper

January 14, 2010


"Distant Lights CD release party - 05/11/08"

Distant Lights put on a great show for their cd release party at Red Eyed Fly. Not just in the music which they pounded and poured forth but in their on stage appearance. Their movements were sincere and full of the energy of their music. Some hints of Soundgarden, Metallica and Creed could be detected in many of their original songs. But dont let the naming of rock bands label this band. Some of the movements of their art went from melodic and serene to pulsing and attention grabbing in short order. Distant Lights is a band to watch.

- TNT Nights

"Distant Lights EP Review"

Band Members
Gabriel Fry - Vocals
Gaelan Bellamy - Guitar
Sam Marshall - Electric Bass
Jonathan Dexter - Cello, Keyboards
Chris Hynes - Drums


Myspace Music Player Tracklisting
1. Our Mind
2. Metamorphosis
3. The Glitch
4. Unity

Distant Lights are a 5 piece progressive rock band from Austin, Texas.
It seems that the guys are only in the band part-time as they all have other jobs to be doing but none-the-less, they manage to piece together a good mixture of tunes on their Myspace Player.

Each track on the player is an impressive display of rich, well polished vocals and amplified cello and keyboard effects. The catchy underlying beats which feature on most of the songs really do a good job of making them sound complete.
Each band member is an accomplished musician, each of them very well versed in their craft which has helped them to produce these tracks up to professional standards.

I do not doubt for a second that these guys don't put their everything into this band, but if they were to make up an EP, revamp the official website and really get themselves out their, I believe they could be incredibly successful.

Review by Cherry Pullinger
- AmpedReviews.net

"Distant Lights, "Simulacrum," CD Review"

In a world of one-hit-wonders and Mp3 singles, it's good to know that creating a full-length album is an art form that still exists. Distant Lights, with their CD, Simulacrum, have taken this art form to an impressive level. Simulacrum offers a great storyline set to beautiful landscapes of artwork and lyrics. The final product is phenomenal.

The first thing you'll notice when you look at Simulacrum is the great artwork that graces the cover and pages of the insert. This artwork, design, and layout was produced by art director Rich Knepprath (from Fireside Creative), Paul Johnson, and band member Gaelen Bellamy. It is a well organized collection of dark animations that follow the story of the album perfectly.

The music that goes along with this artwork is also very professional, and very unique. Distant Lights offer an ambient rock production that leans slightly toward the heavier end of the spectrum (even with the presence of a cello). The sound is great, and the musicianship is stellar.

It was suggested to me that the best way to experience this CD was to listen to the music, follow the artwork, and read along with the lyrics. That is what I did, and I truly was impressed at the vision behind this project. The storyline, by guitarist and backing vocalist Gaelan Bellamy, starts by looking at the human condition. He examines the control we are under by things that we perceive we cannot change. Being almost in a dream-like state, the character in this story later awakens to realize that as difficult as it may be, when people unite, change can be accomplished. In "Emptiness and Ever,” the final tune of the disc, singer Gabriel Fry proclaims, "Focus on the coming trees / Aloft like birds we rise above / New consciousness remains / A greater good is garnered here."

Though there is a great advantage to taking in the artwork, songs, and lyrics as a whole, there certainly are standout hits on Simulacrum, such as my favorite tune, "Artifice." It opens with a brilliantly played composition by cellist Jon Dexter (who also plays keyboards on the album). The band soon joins in as the guitar doubles the cello. Backed by drummer Chris Hynes and bassist Sam Marshall, "Artifice" and other tunes on this disc offer musical changes that are pleasingly intricate and unexpected.

Simulacrum is the manifestation of a very complex vision molded perfectly by a great team of artists, musicians, producer David Dreesen, and recording personnel. You'll certainly enjoy the great tunes this CD has to offer. However, you'll enjoy the experience much more if you take in the entire story, artwork, and vision that Distant Lights has created with their standout release, Simulacrum.

Artist Website: www.myspace.com/distantlightsmusic - ListenersGeneration.com

"Distant Lights - Simulacrum"

As much as I adore virtuosity and complex arrangements, I also admire good, simple songwriting. Very often we’re given one or the other by bands, and while that’s fine, the most respectable acts fuse them. With Simulacrum, Distant Lights has done just that. Sometimes there is a clear separation between the two, but for the most part, the album is an enjoyable hybrid.

Distant Lights is a quintet from Texas which prides itself as “…a union of schooled and seasoned musicians with high ideals and extreme musical standards.” The group consists of cellist Jon Dexter, lead vocalist Gabriel Fry, songwriter and guitarist Gaelan Bellamy, bassist Sam Marshall, and drummer Chris Hynes. Together, they create music that’s new because of how it’s combined.

The verse of “Dystopia” is fairly common; a decent melody and clean guitar riffs. What keeps it interesting is the use of cello throughout to give it an orchestral feeling. Also, the chorus is very catchy, and Fry’s voice is a great blend of power and vulnerability. He is a great singer. The track also has a pretty heavy middle section and the closing moments slow down for sad harmonies. This track foreshadows how the album will shift between sparse songwriting and kick ass jams.

“Unity,” for some reason, reminds me of Incubus…only much better. There is a cool echo on the guitar and nice atmospheric touches, but overall it’s a more average song than the last. That said the passion Fry puts in makes it worthwhile. “The Glitch” begins with a nice piano treatment before harmonics, a steady drum beat and funky bass follow Fry’s voice. Again, this is a fairly standard pop song with impressive harmonies and string use, and thus the opening track is definitely the best so far. But suddenly things get heavier in the middle with a metallic bass sound and intricate guitar playing, which leads into another solo piano section. Things build back up again to a very crushing assault before the track ends with a cello solo (very uncommon for a standard rock band, which these guys aren’t). With these three songs, listeners may think they know what to expect from Simulacrum, but they don’t. The next track will blow your mind.

“Artifice” shows the truly progressive rock side of Distant Lights. It still has vocals, but the focus is much more on how creative and technical they can make the music. Actually, the verse and chorus isn’t anything special, but it doesn’t hurt anything either. There’s lightening fast time signature changes, guitar and cello solos, and very elaborate rhythms. If the opening tracks were better versions of everyday pop bands, this is Distant Lights combining Led Zeppelin, The Mars Volta and Curved Air. It would’ve been better as an instrumental intermission, but it’s still very impressive as is.

The tension filled, clever interplay of drums, guitar and cello that produce “Monolith” grabs your ears and never let go. Fry uses his voice only as wallpaper, occasionally springing up to complement the danger. It’s an apocalyptic chaos; the final battle between good and evil, and any fan of the heavy prog from the 70s will enjoy it. There are tons of little riffs by the strings that accent the other instruments, symbolizing the most affective moments of catastrophe. Moving back into normal song structures, “Patterns On The Rise” also brings back the unusually memorable hook that the second and third songs were missing. The short piano part that whispers behind Fry is haunting and an example of a subtle touch that greatly improves a track. The backing vocals aid the main one to create an encompassing sound, and the spacey, sad middle section is surprisingly moving. It sounds a bit like classic Genesis, which is never a bad thing. After some OK songs and two very tricky tracks, Simulacrum once again combines the two to great effect.

Fry continues to belt out his sorrow with “Grass,” which continues the trend of cello and clean guitar note accompaniment. It’s honestly another fairly straightforward, uninvolving piece (though, as usual, the passion in the vocals makes it at least valuable), and the only really interesting part is the short, prominent cello part near the end. Things get better with “Manifest,” which opens with some spacey effects (think Rush’s infamous “2112”) before another tricky guitar riff allows for more walking bass and syncopation. This song is more memorable, varied and unique than the last one because all the elements come together and separate at the right moments. The effects continue as the song crescendos in the middle and the double tracked guitar solo is very well done. You’ll hear new things with each listen.

“Metamorphosis” use various synthesized sounds (similar to what’s used at the end of Dark Side Of The Moon) and aerial ambiance to keep itself new. Again, the powerhouse of harmonies overwhelms listeners, and the riffs near the end are definitely reminiscent of Tool. It fades into closer “Emptiness And Ever,” which featu - Adequecy.net - Jordan Blum

"Review: Distant Lights – Simulacrum"

Artist Name: Distant Lights
Album Name: Simulacrum
Record Label: Unsigned
Genre(s): Progressive Rock, Alternative
Release Date: May 2008
Sounds Like: Dream Theater, A Perfect Circle, Tool, Incubus, Porcupine Tree
Favorite Track: Manifest
Rating: 5 out of 5 stars

If Dream Theater and A Perfect Circle got together and had a baby, and then that baby hung out with Tool on the weekends, you’d get Distant Lights. (If that makes any sense whatsoever!) The moment I read “transcendental spiral force” on their MySpace, I was sold before I even listened to their music. It’s so rare to find bands who seek to perfect their instrumentation as well as their lyrical content such as Tool and Dream Theater. To see music perfected like that is awe-inspiring and simply amazing. I imagine that a band like Dream Theater started off in a garage somewhere making experimental music just like Distant Lights is doing now. Distant Lights is full-fledged progressive rock band that experiments with different sounds and styles that gives them a unique feel.

Simulacrum is a journey into the mind and soul, delving into consciousness. “The Glitch” begins with soft piano, beautiful and tempting. Bass and drums kick in, a slow groove with touches of piano adding melody. Singer Gabriel Fry’s voice is soothing yet powerful. The song slowly meanders until it comes to an explosive peak, drums and guitars at full blast. The music slowly quiets down again, returning to that heartfelt piano. The progression of the song is astounding, dancing back and forth between the soft and the heavy, but it works well, without sounding erratic. And then out of nowhere, a cello solo appears to finish off the song —dissonant and strangely haunting.

“Artifice” is an adrenaline rush of heavy, heart-pounding rock. The song begins with an intense cello which flows directly into the music. A howling guitar solo cuts through with vigor. The lyrics are put aside and the music takes center stage, however, when Fry does lend his voice to the mix, he sings with great passion. “Manifest” is a dark spiral, with shifting time signatures and eerie effects. The song is a call to everyone to wake up from life’s dream and open up his or her mind. An electrifyingly fast guitar solo leads into a frenzy of epic proportions. The music is on steroids, and it’s by no means a bad thing, it’s wild and beautiful.

Simulacrum is a journey of the mind and the soul through music. It rises above the rest, portraying a higher level of musical talent. Distant Lights truly is progressive, and is trying to redefine how music should be made. It’s not always about making fun music, but sometimes about making people think or making people inspired. This is a truly beautiful and touching album. It’s quite an experience that will open up your mind and your ears. - Emurg.com


Simulacrum - 2008
Not Thinking Not Dreaming - 2013
Beneath The Waves - 2014
"Untitled" - 2015



  • AMF Artist of the month
  • Selected to perform at the Dallas International Guitar Festival
  • "Austin Invasion" selected artist - Concert Window
  • Texas Buzz artist - nominated for “Best Rock” in Houston - Buzz 94.5FM airplay
  • Austin Chronicle "Sound Wars" Winner
  • Hard Rock Calling Finalist
  • Radio airplay of song “Artifice” on 93.7 KLBJ & 101X
  • Local Licks with Loris Lowe multiple appearances
  • Modern Rock Review Top 5 Pick


Distant Lights, the 4-piece classically trained rock powerhouse out of Austin TX, combine equal parts science, artistry, curiosity, and tenacity to convey a truly magnetic passion for songwriting and live performances. For 7 years, DL has been crafting their aggressively beautiful, and hauntingly intense alternative rock. Hues of dark and mysterious blend with a colorful palette of melody and classical exploration, toeing the line between rock and performance art, pop and metal, serenity and a storm. While the bands rock shows are full of exciting lights, lasers, video projections, and holograms, they are just at home on the acoustic stage, playing more and more "unplugged" shows as of late. This Spring Distant Lights releases "Beneath the Waves", an Acoustic EP (their 3rd studio album), followed by the feature length documentary Blindfolded on the Horizon. The film explores their path and progression from a cello heavy prog rock band, through the deep chasm they were thrown into after the disappearance of their principle investor/mentor, and the long road of recovery through member changes and individual struggles. Constantly evolving and growing both musically and spiritually, this new album and documentary offer a vulnerable look behind the curtain at their songwriting process, current obstacles, and the purging of their past skins. "These songs are passionate and real. This acoustic album is a release from all the bounds we thought entangled us in the first two rock albums" says vocalist Gabriel Fry.   

While Distant Lights has been favorably compared to the likes of A Perfect Circle, Radiohead, Incubus, and Muse, they continue to develop new mediums in which to engage the listeners experience in music. Known to incorporate a holographic cellist and live projected cymatics (visualization of sound in water), the band is no stranger to scientific experimentation.  Distant Lights are among the harbingers of a new harmonic science, studying the intricacies of sound waves and resonance, and their powerful purposes and effects within the cosmos.

Two records under their belts, and touring regularly across the southern region, they've shared the stage with numerous national acts including Nothing More, Tantric, Hurt, Marcy Playground, Powerman 5000, Eye Empire, Parabelle, Sounds Under Radio, and Saturate. In 2013 Distant Lights was selected to perform at the Dallas International Guitar Festival and have consistently headlined many of the top stages in the region. They've also charted #1/#2/#5 on CMJ 200 adds, been nominated for "Best Rock" in Houston in the 94.5 FM Buzz Awards, won the Austin Chronicle Sound Wars competition, and are slated to work with Award winning Producer Johnny Marshall (Grand Jury Prize for Sound Design for "Upstream Color" - 2013 Sundance Film Festival) on their next record to begin summer of 2015.

"If Dream Theater and A Perfect Circle got together and had a baby, and then that baby hung out with Tool on the weekends, you'd get Distant Lights." - Emurg.com

"Rock music with the accuracy of a fine-tuned machine designed to bore through the slabs of mediocrity and complacency so prevalent in today's market. Razor-sharp riffs, densely complex rhythms, and a voice that cuts glass are ingredients for a powerful, cohesive unit of talented, inspired force."  - Steve Bernal, cellist/bassist/composer/performer

"Distant Lights is an extreme musical group filled with heart wrenching melodic lines that weave in and out of deeply symbolic lyrics."  - Tim Staump, Staump.com

"They've perfected the art of intensity, and the musicianship is absolutely on point, from the distinct riffing and drum work that never falters. And don't get me started on the vocals: they're distinct, controlled, and put simply, superb."  - Sara Cooper, MuzikReviews.com


Gabriel Fry - Vocals 
Gaelan Bellamy - Guitar, Backing Vocals 
Sam Marshall - Bass 
Kevin Abbenante - Drums 


Simulacrum, LP 2008 
Not Thinking Not Dreaming, LP 2013 
Beneath the Waves, EP 2015

Band Members