Fayne

Hailing from Montreal, Fayne is a progressive metal five-piece with a goal of “delivering their own blend of heavy-driven drums with crushing guitar riffs and basslines, topped off with a powerful mix of clean and screamed vocals.” Back in November 2018, the group released their new album titled ‘Journals‘ which was mixed and mastered by Jamie King of The Basement Recording (The Contortionist, Between the Buried and Me). Singer Justin Furtado spoke for Prog Sphere about the album.

Define the mission of Fayne.

To make music that’s as much about you as it is about us.

Tell me about the creative process that informed your recent album “Journals” and the themes it captures.

Well, we talk a lot about death, but we feel that we’ve approached it uniquely. Each song is about what we would think or feel in our last 5 minutes on this planet and every song is about a different feeling, or person, if that’s easier to interpret. The idea that we all walk different paths in life to inevitably all end up in the same place is something that we can think humbles us and teaches us to respect each other’s decisions. The lyrics may not be the easiest to decipher but they actually talk about things that are quite inclusive like loss, knowing purpose, and how to cope with these challenges. We swear the message is somewhere underneath the metaphorical nonsense.

Fayne - Journals

What is the message you are trying to give with “Journals”?

During the writing process I had begun writing the lyrics based on how a person feels in the last 5 minutes of their life, which was inspired by a short film I had come across on the internet and based on my own mortality as well. A few songs in, I started to see that the themes I was writing about related to pretty much everyone and not just myself. We will all experience that final 5 minutes one day, regardless of how we feel in that moment and regardless of everything we’ve done in our lives prior. The whole idea is dark and at times very metaphorical (and I can’t help it) but it sends a positive message that no matter how different we all may be, we all end up in the same place in the end. So be kind to each other, even when you don’t want to be.

How did you document the music while it was being formulated?

Some song ideas were documented with mobile phone videos but the most part were done via Reaper. When the songs were brought to the jam space, the live rehearsals were recorded to gauge how they sounded in the field and adjusted accordingly.

Is the dynamic flow of the pieces carefully architected?

The songs inherently had a cohesiveness to them as they stemmed from the same/similar headspace and mindset. There was a lot of discussion on how the album track list should be and this was decided on the “feel” of the songs, in addition to the lyrical content. Stimpak acting as the “mid-point” of the album were the rest has a more groove-prog oriented vibe and of course…darker :D .

Describe the approach to recording the album.

Most, if not all songs were initially created by Alex, where the drums, bass and, guitars were presented to the band and later worked on and refined. They foresaw many changes, especially once we integrated vocals after the fact. All the demos were done in Reaper using Superior Drummer and LePou cab sims and went through several revisions as time passed. “Holding on” to demos for some time before actually entering the pre-prod phase is very helpful to gauge perspective and to let them “sink in”. Although unintentional, the songs definitely took a better form in our opinion due to this.

How long “Journals” was in the making?

We started to focus on the idea of making a new record back in 2016, but some ideas and riffs on the album date back even before then! There were a couple of hiccups along the way, so to give you a rounded number, we’d say about 3 years in a very staggered way.

Which bands or artists influenced your work on the release?

We can all agree that The Contortionist have been a big influence on our band’s release. We’ve seen them evolve from this deathcore band to a prog-rock band. They still continue to inspire us as musicians and as people. They’ve helped us explore beyond our boundaries and push the bar when it comes to writing music.


What is your view on technology in music?

We fully support anything to facilitate the music writing process. We continue to write music in its most organic form however, we feel it’s easier to layout ideas using software like Reaper and Superior Drummer than it is to guess what’s going on in your guitar player’s head. We stick within our boundaries as musicians as well. We won’t write music at 300 bpm if we can’t play it live.

Do you see your music as serving a purpose beyond music?

We’ve always tried to send a message to whoever is listening. Most of the time we’re trying to invoke awareness, whether it be a message about anxiety, death, social issues, and the constant struggle within. If it can help start a conversation between us and our listeners, then our purpose beyond the music has been achieved.

What are your plans for the future?

We’re working on a live studio performance video for one of the songs off of Journals, booking shows, writing new songs, and trying as many different ways as we can to get our music out there. Touring will always be necessary, but there are other corners of the music industry that metal bands can explore, and we’d like to experiment with that.

“Journals” is available from Bandcamp. Follow Fayne on Facebook. - Prog Sphere

C’est une soirée bien occupée pour les amateurs de hardcore et de punk sur l’île de Montréal. Plusieurs spectacles se produisent dans différentes salles comme La Vitrola, Piranha Bar (Lost creation release) et Petit Campus (Kman and the 45s). Je choisis tout de même mes amis de Fayne qui performe à La Vitrola!
L’ambiance instrumentale avec Martlet!

Ce trio instrumental nous ramène à l’essentiel avec une ambiance autant intense que relaxe. Les deux extrêmes se côtoient à merveille et sont dirigés par des guitaristes habiles avec leurs pédales.
Musique emo croisée avec théâtralité!

C’est Watch For Wolves basé à Montréal qui poursuit la soirée avec son quintet énergique. Tout est solide et sur les temps! Le chanteur aurait besoin de 15 scènes comme celle de La Vitrola pour pouvoir réellement bouger à son aise, c’est entrainant, mais tous semblent conserver leur énergie pour Fayne.
Un trio de Toronto!

Lungless a eu de l’effet, mais pas aussi intense que ce qu’ils avaient prévu, je crois. J’ai décelé un manque de justesse au niveau du chant et malheureusement, la foule était peu réceptive aux demandes de Nick Perovic (chanteur). Il n’y avait qu’une seule personne qui se donnait à fond au milieu d’un cercle pratiquement immobile. Règle générale, c’était bon, mais sans plus.
SOLD OUT, oui oui! Vous avez bien lu!

C’est bel et bien à guichet fermé que cette soirée en l’honneur de leur nouvel album «Journals» a eu lieu. Fayne est de retour en force et ils ne resteront plus très longtemps dans l’«underground» montréalais, je vous le promets. Pour l’occasion, les gars nous performent l’album en entier et commence avec la chanson «Grimspeak». Cette dernière a un vidéoclip sorti quelque peu avant l’album, allez jeter un œil: https://www.youtube.com/watch?v=BW8cYR_CkY0 et encore mieux partagez!

C’est honnêtement le meilleur de Fayne à date! Bravo à tous ceux qui ont fait partie de cet album et bravo à vous mes amis! Quel beau lancement, quelle belle soirée!
#ProudFayneFam
#SupportYourLocalBand

Texte: Valery Tremblay-Brunelle

Photo par Michael Kovacs (merci mille fois!) - Daily Rock Québec

Bucketlist is proud to premiere the video single “Grimspeak” from Montreal metal-core act Fayne. “Grimspeak” is the first single released off of their upcoming record Journals, set to be released November 30th, 2018 on all streaming outlets and in CD format. Watch below.

https://www.youtube.com/watch?v=BW8cYR_CkY0

“The video for “Grimspeak” is conceptualized around a storyline following two brothers, the younger of which enduring the grieving process from losing his older sibling and going through a mixture of emotions including denial, paranoia, regret, and sadness. This theme plays a part in the bigger picture in the message that the album attempts to convey; the mindfulness of death, understanding that everyone reflects upon their life and its inevitable end in their own way, and the beauty or freedom, for lack of a better word, in accepting such. We’ve summarized these themes into one phrase: The Last 5 Minutes Of Your Life.” – FAYNE

“Grimspeak” was directed, filmed, and edited by Les Orphelins.

About Fayne:

Fayne is a progressive metal/metalcore act based out Montreal, Canada. The main goal for this quintet is delivering their own blend of heavy-driven drums with crushing guitar riffs and basslines, topped off with a powerful mix of clean and screamed vocals.

The band began to make noise in their scene as early as 2004, releasing debut EP You Took It All Away followed by a second release in 2006, Delivering The Final Blow. It was during those times that they earned their stripes playing in their hometown and across Eastern Canada, which in turn granted them the opportunities to play with bands such as Alexisonfire, Underoath, and Hopesfall.

2 years after the release of their second EP, the band chose to take a hiatus from the endeavor until 2013, from which they began writing and recording their 3rd EP, The Queen Of Kings, released in November of 2014 and was mixed by founding member and guitarist Alex Gonzalez and mastered by Alan Douches of West Side Music (Between the Buried and Me, Dillinger Escape Plan, Every Time I Die).

As they began to write, record and conceptualize what was to become their first full-length album, the search for a singer became a pressing issue. In the summer of 2017, that search came to an end when fellow Montreal metal musician and enthusiast, Justin Furtado(ex- Red Skies, currently in Feels Like Home), joined Fayne as the new voice to front the upcoming full-length record, Journals. The vocals were written in only 2 months. The singing was recorded and finalized in house by guitarist Alex Gonzalez and Furtado, and the creative input was given from drummer Carlo De Iuliis and guitarist Nick Fazioli, and bassist Chris Kasp. Journals is Fayne’s newest and strongest release to date, mixed and mastered by Jamie King of The Basement Recording NC (The Contortionist, Between the Buried and Me), and is set to release on November 30th, 2018, on all major streaming platforms worldwide as well as in physical CD format.

An album release show in their hometown of Montreal will be taking place December 8th, 2018 with opening performances by Lungless(Toronto), Watch for Wolves(Montreal), and Martlet(Montreal), where physical copies of the new album with be available for the first time.

2019 will be a new year for Fayne to spread their new sound to the masses of metal fans of all sorts, with something both original yet paying tribute to the classic attributes of their genre. Be on the lookout. A new sound is coming. - Bucketlist Music Reviews

Fayne is back from their hiatus with a Fury of furious Screams, Hard Hitting skins and Heavy sculpted guitar leads and solos.

With a silent but deadly approach Fayne slays into the album with the title track The Queen Of Kings. One element that makes this song stand out is the two different vocal styles that Jo uses throughout the song. Jo switches between his screams/growls into a softer but equally effective alternative side. The lead guitar in the song takes on a whole different attitude and life throughout the song as it sways away from the rhythm of the song completely at times. The lead guitar also helps give the songs its speed and aggressiveness as well. I was surprised at first when Fayne cut the tempo down in the song at the three and a half minute mark as they went back to the idea they used at the beginning of the song. Jo embraces the light break as he explodes on the vocals to signal the end of the break and finishes out the song with a strong and heavy finish.

“Believers” kicks off with a heavy and fast Metal Core approach with Jo and Carlo on drums leading the way. Layered within the vocals and drums is the lead guitar which helps to keep up the aggression of the vocals as they take an interesting approach that I do no hear all that often, as Fayne gives the listener an instrumental break between the first four lines and the last fifth line of lyrics which puts a bit of pressure on the last line before they move into the next verse. Now to start the second verse Fayne has written a killer line “What the fuck do you know about Rock N Roll?. Jo uses the same two styles of vocals in this track as well. The all around performance of the last verse in the song is one that I favour the most on the album. As the entire band pulls together to help to create a “stepping pattern” within the vocals. Carlo on drums leads the beat for the vocals and Alex and Nick follow along by playing slowing it down and playing along with the drumbeat. Fayne finishes off the song with a hate filled ending, which leads right into a mid album “calming” track which lasts for a minute and forty nine seconds. It would be interesting to find out the reason why Fayne added this track to the Ep. Does it serve a purpose or is it just an all around filler track?.

http://faynemusic.bandcamp.com/ - Kingston Music Reviews

Montreal, QC metalcore quintet Fayne is proud to announce dates in Ontario and Quebec for the "Make Your Way Home" tour supporting latest EP "The Queen of Kings."

In additional news, Fayne's ferocious sound will be hitting the stage on February 22nd in Montreal to be local support for The Contortionist, Revocation, Fallujah and Toothgrinder. Catch the band on these dates:

Feb 22 - Montreal, QC @ Petit Cafe Campus w/ The Contortionist, Revocation, Fallujah
March 14 - Ottawa @ Pressed
March 17 - London @ APK
March 18 - Belleville @ The Belle Pub
March 19 - Toronto @ Smiling Buddha
March 20 - Oshawa @ Atria
March 21 - Windsor @ Dominion House Tavern
March 27 - Montreal, QC @ Katacombes - Metal Underground

Many metal bands have covered death and coming back from the dead in songs, but this is the first time it’s the band creeping up out of the coffin.


Alex Gonzalez (guitar), Chris Kasp (bass), Joseph Espinosa (vocals), Nick Fazioli (guitars), Carlo De Iuliis (drums) make up the quintet, Fayne. This Montreal metal-core band first started to make waves in the scene in 2004. Their first EP was also released that year, entitled You Took it All Away. Keeping their axes to the grindstone, the band then released in 2006 the follow-up EP, Delivering The Final Blow. As many promising bands have in the past though, the guys in Fayne called a open ended break in 2008.

However, passion has a way of coming back to life and bringing with it a few surprises. In 2013, the band reformed and started to write new material. The end result of that is the too short EP, The Queen of Kings. The guys, are currently signed with Crystal Math Music Group. To pick up a digital copy, Tunecore is the way to find this offering.

1. The Queen Of Kings (4:48)
2. Believers (4:05)
3. Isonic Flight (1:48)
4. Concord (4:55)
5. Nomad’s Land (featuring Karl Schubach of Misery Signals) (6:44)

The Fayne heavy drum sound is similar to that of Slipknot. The vocal screams are like those of Hatebreed with the more melodic breaks of Redlight King’s vibe. The band is full of nonstop energy. The hooks from Alex and Nick are great to get the pulse going along with Carlo’s relentless percussion assault. Joseph shows his vocal range quite well on this release while Chris plays lights out on the bass tracks. It’s no surprise that they are a favorite of the Valhalla Sound Circus after only one year. It’s a hint of great things to come from another good Canadian metal outfit.

The first release off of the new EP, “Believers”. - National Rock Review

Los comienzos de esta banda canadiense llamada FAYNE se remontan más de una década atrás, de hecho su primer EP, titulado “You Took It All Away”, vio la luz en el año 2004, seguido posteriormente de otro EP en el año 2006 al que llamaron “Delivering The Final Blow”. Desafortunadamente unos años después, en 2008, tomarían la decisión de parar la actividad, manteniéndose en silencio durante una larga temporada hasta que finalmente en 2013 deciden regresar con un grupo renovado y las pilas bien cargadas. Fruto de esta vuelta se materializa el nuevo trabajo de la banda, de nuevo en formato EP, al que han titulado “The Queen of Kings” y que ha visto la luz en la recta final de 2014.

Personalmente siempre agradezco los discos bien presentados, con un artwork que esté a la altura de las circunstancias y a ser posible algo de originalidad, y en este caso FAYNE me han sorprendido gratamente a ese respecto. Un artwork en el que se muestra una ilustración oscura y misteriosa que nos prepara para sonidos contundentes. Y es que la música de los canadienses está basada fundamentalmente en un potente Metalcore salpicado de otras influencias actuales que pueden ir hacia el Melodeath o el Metal moderno, e incluso con ciertos momentos de voces limpias cercanas al Pop. En cualquier caso la fórmula es bien conocida, un Metal agresivo y dinámico que va cambiando de ritmo, que mete voces brutales y que también coquetea con las melodías más accesibles, sin que esto último predomine en ningún caso.

Un buen trabajo, que suena bastante bien gracias a la producción del propio guitarrista del grupo, Alex Gonzalez, y a la ayuda de Alan Douches de los West West Side Music (DILLINGER ESCAPE PLAN, EVERY TIME I DIE, BETWEEN THE BURIED AND ME) en la masterización. Además cuenta con la colaboración de Karl Schubach de MISERY SIGNALS en el último corte del EP, poniendo un interesante final a un trabajo breve pero intenso que nos regala variedad con altas dosis de fuerza dentro de este mundo tan amplio que es hoy en día el Metalcore.

https://faynemusic.bandcamp.com
http://www.facebook.com/faynemusic
http://www.twitter.com/faynemusic
http://instagram.com/faynemusic - Noizz Webzine

Montreal metalcore act Fayne have had quite the journey. Formed by a group of childhood friends in the early 2000s, the band put out a a pair of EPs in 2004 and 2006, played a bunch of shows, sharing the stage with big name acts like Underoath and Alexisonfire, and along the way building up a loyal local fan base. However, the group decided to step away from the project in 2008. Any musician will tell you that playing music, especially performing live, is a helluva drug and one that proved too difficult for the fellows in Fayne to kick. The group officially fell off the wagon in 2013 and quickly got busy writing new material. These new jams would be compiled into the group’s latest EP, The Queen of Kings. The good folks and Bucketlist sent me to La Vitrola last Thursday to cover Fayne’s album release show.

Before we get to the music, I have to say I was pretty stoked to be catching a show at a venue I’d never been to before. La Vitrola is one of those great Montreal spots that you may miss just walking by, but this second floor venue is spacious, contains a bar (always a plus), and has rather good sound for a local venue.

Dreams of an Absolution

The first band to take the stage was Dreams of an Absolution from Sainte-Thérèse. This relatively young group kick out a Sumerian Records-style of djent-influenced metalcore with a signature focus on the very, very, very low end thump. The band opened with a weighty instrumental track before lead singer Mathieu Fafard took the stage. Fafard was clearly amped to be in front of the crowd and did an excellent job of getting the audience fired up. This intensity carried through into his vocal performance; Fafard was able hit and maintain the deep, guttural growl necessary for this particular style throughout the performance despite bouncing around the stage like a man possessed. The tunes were satisfying and occasionally veered outside the djent/metalcore playbook. There were some tightness issues early in the performance, most notably during transitions, but the guys seemed to loosen up and shake off the opening band jitters by mid set. One of their last tunes dropped the tempo into sludge territory in the opening riff; a cool space for this style of band to explore outside of breakdowns. Here’s hoping Dreams of an Absolution retain this spirit of experimentation with future material.

Atsuko Chiba

Next up were Atsuko Chiba. Anyone familiar was Atsuko Chiba’s music, a mostly instrumental, highly layered blend of experimental prog and atmospheric psychedelic, might be scratching their head wondering what has them sharing a bill with metalcore bands. However their inclusion couldn’t have been more welcome, acting as a great balance to the evening’s other, heavier acts. Atsuko Chiba’s music is as beautifully arranged as it is masterfully performed; guitarists/keyboardists Kevin McDonald and Karim Lakhdar lay down intricate, complex melodies that seem to effortlessly blend together from track to track. The band also projects a film on a back drop as they perform and the imagery, filmed in a grainy black and white featuring a lone masked figure, fits perfectly with the band’s ethereal, haunting sound, enhancing the overall experience. The attention to detail Atsuko Chiba pay to sound quality really pays off; I was a little wary at the amount of time the group took to set up and sound check, but I was amazed at how sharp the group sounded in a space that resembled a highschool gymnasium. In short, if you are a fan of “De-loused in the Comatorium”-era Mars Volta and Pelican, get your ass to an Atsuko Chiba show.

Closing out the night were headliners Fayne, and boy oh boy, were these dudes stoked to play. Lead screamer/singer Joe Espinosa spent most of the night at the side of the stage jumping up and down like a lunatic while watching the other bands play. When the band hit their first note, it was like a goddamn bomb had gone off. The fairly sizable crowd pushed to the front and commenced with the moshing of the pitting.

Fayne

Fayne’s sound hearkens back to an earlier era of metalcore, one which incorporates the two-step mid-tempo verses and chug breakdowns typical of early 2000s Bridge 9 -style acts like Death Before Dishonor and Bury Your Dead with more melodic elements and clean vocal sections. I am typically not a fan of clean vocals, as they have a tendency to come off saccharine and insincere when used in heavy music, but Espinosa has the vocal chops to make the cleans sound interesting and I’d compare his clean vocal timbre to Glassjaw’s Daryl Palumbo, albeit a bit less wacky and deranged in delivery.

Tracks such as “Concord”, a cut from the new EP, really demonstrate the band’s polished musicianship. Lead guitarist Alex Gonzalez’s high note arpeggio runs add a complexity that really hooks the ear and compliment second guitarist Nick Fazioli’s meaty riffs. The drum and bass work, handled by Carlo De Iuliis and Chris Kasp respectively, is as crisp and tight as it is ball-tinglingly heavy. It is easy for this style of metalcore to lapse into a predictable pattern of “fast heavy part, fast clean part, fast heavy part, HOLY FUCK HIKE UP YOUR BASKETBALL SHORTS IT’S BREAKDOWN TIME”, and while Fayne certainly dip into this formula, they incorporate enough variety in their songwriting to keep things fresh and interesting throughout (genre fans, fear not; the breakdowns are certainly still there).

Fayne

It’s always great to watch a band that understands the importance of keeping the crowd involved and moving for a full set. Espinosa spent the majority of Fayne’s performance in the audience and the appreciative crowd clambered towards him to sing along at every opportunity, some even taking the stage to provide backing vocals for particular songs (most notably Camalus lead singer, Bucketlist alum, and all around swell fellow Jason Greenberg). The mosh pit’s intensity crested during Fayne’s final song of the evening, a clear benchmark of a successful performance I would have loved to see a bit more pit-ninjitsu though, I’m a stickler for windmills and cartwheels).

Returning to a project after so many years away must come with a certain level of uncertainty, but this evening’s performance will undoubtedly provide Fayne with validation that getting back on the horse was the right call.

Written by Jesse Gainer
Photography by Eric Brisson Eric Brisson Photography - Bucketlist Music Reviews

Fayne
The Queen of Kings
Crystal Math – Distribution: Tunecore

Formation métalcore de Montréal, Fayne ne te dirige pas vers une balade en forêt où l’originalité te guide vers des sentiers enneigés totalement inexplorés. La recette est bien exploitée, tous les éléments du genre sont en place avec des guitares adipeuses qui chuintent lors de certains moments opportuns.

Étant donné que chaque bloc est en place pour ce qui est du genre, il ne reste plus qu’à y aller avec la voix car lors de ce genre d’exercice de métalcore, mon plaisir demeure à l’analyse de la gorge. Avec Fayne, nous avons une dualité de bon flic et mauvais flic, comme tu peux t’y attendre avec les voix. La version agressive est fulminante et celle plus bienveillante me remettait Geddy Lee de Rush en tête. Parlant de voix, tu as Karl Schubach de Misery Signals qui vient grogner sur la pièce Nomad’s Land.

Et les breakdowns? - Voir

Montreal metal groovers Fayne released their latest offering “Journals” in the late November 2018. The album was mixed and mastered by Jamie King at the Basement Recording, and it brings eight songs of tech-influenced progressive metal. The band spoke for our webzine about the release, but we also delve into questions about gear, favorites, and more.

Hey guys. How are you doing?

Hey, we’re doing great! Thanks for having us.

You have recently launched your debut full-length album entitled “Journals.” How do you feel about the release?

We were very stoked to release this record as it’s our first full length and it served as a necessary step in defining our sound and the direction in which we will go as a band. We took this release more seriously, planned the way we wanted to promote the record, and took it step by step. It paid off with a sold out launch party in our hometown of Montreal, and a gorgeous music video to go with our first single. The response to both the video and the shows have been really awesome so far and we hope it continues to turn some heads.

Fayne - Journals
How much of a challenge was to work on the album?

Overall, we were dodging bullets in the form of time and personnel. We lost our previous singer in the beginning of the recording process and had to shift our mindset to finding an integral piece of the team. It wasn’t easy keeping focus but we were strongly compelled to see it through and fortunately found a great fit and ultimately battled against our hectic schedules to write and record vocals in tandem with the laying down of guitars and bass.

What is your opinion about the current progressive metal(core) scene?

It’s actually in a good spot at the moment. It’s much easier to have a good sounding record on a limited budget. The genre is a little saturated as most genres are, making it harder to stand out, however, it doesn’t stop anyone from continuing to write and release new and original music. If anything, this helps push the boundaries.

Can you tell me something about your influences?

When it comes to anything metalcore-related, a lot of people say we steer more towards an “old school” sound, which to an extent, we can agree with. But we pull influence from more recent artists in the genre too. That’s not to say that we only take inspiration from metal bands. Our tastes include genres very different from what we play. You can catch us listening to jazz at our pad on any other day.

What are you listening to these days?

All kinds of stuff. Bands like Silent Planet, Carbomb, Disperse, Mestis, Frontierer, Rivers Of Nihil, Thundercat, Robert Glasper, Snarky Puppy, and a variety of hip-hop acts like Kendrick Lamar, Mick Jenkins, J.Cole, The Flatbush Zombies, Isaiah Rashad, and a lot of others. We’re fairly open.

Your 5 favourite records of all time?

That’s a tough one. We listen to different kinds of music all the time, but if we had to give you 5 they’d be:

Colors – Between the Buried and Me

Mirrors – Misery Signals

Language – The Contortionist

One Of Us Is The Killer – The Dillinger Escape Plan

To Pimp A Butterfly – Kendrick Lamar

We’d like to include a very honorable mention to

Drunk – Thundercat.

Can you tell me a little bit more about the gear you used to record “Journals”?

For drum recording, we used a hybrid of current and vintage gear at the Freq Shop (Montreal, Canada). We used an Orange Ad200 model for Bass with a Darkglass Alpha/Omega for some dirt through a Musicman Sterling. Guitars were tracked through a J48 and an Axe-Fx II using the Friedman HBE models for the most part with some special appearances by 5150 & dual recto. All tracked on my NGB Custom guitar and my trusty LTD Ec-1000. Vocals were mainly SM7b and AT2020 (I know..i know…but it worked with the source really well!) through a Neve style pre. Overall, pretty standard setup. We were concerned with getting the album out and experimentation felt the impact. We definitely will be experimenting with other sounds and tones for our next release.

Besides the release of the album, are there any other plans for the future?

We’re working on a live video for one of the songs off of Journals, booking shows, writing new songs, and trying as many different ways as we can to get our music out there. The industry is constantly changing, which means that artists have to adapt to that change and we’re just trying to ride that wave.

Any words for the potential new fans?

We love to make music that connects with people, so check out our album “Journals”! If you like it, great, and thank you! Please share it with a friend! We hope to see you soon!

“Journals” is up for grabs on Bandcamp. Follow Fayne on Facebook and Instagram. - Rocking Charts