History Invades

Now this is a 7"! This is the EP you're going to see bespectacled little emo kids pushing into their messenger bags but letting just enough of the album hang out to let everyone know, "I found them, I found them first!" I have no idea why History(invades) is not already well known in this capacity. Maybe it's because of their semi-reclusive stance as a "democracy of operatives" rather than your typical band of black-haired boys. Or it could be they don't easily fit into a genre classification. They're from California and with a hint of that Gravity Records/San Diego sound, but the much more obvious tie is to the East Coast and the dancey, dissonant elements from DC and NY. The b-side is much more electro heavy with shouting, and distortion, and sped-up technical movements that create a totally epileptic feel. "Nightcap" opens the album in a fashion that feels more controlled and deliberate, but still dancey. History(invades) are able to pull pieces from both coasts and mold them into a fantastical hybrid that shrieks and struts in a way I cannot wait to hear more of. - Wonkavision Magazine

History Invades is one of those few records we get that are self produced, self-released, and self-promoted. We like things like that. It shows that the band has initiative, and a goal... a purpose. Good. good.
History Invades is not your average album. It's soft and loud progression is the backbone of most of the 4 tracks. There are typical riffs and drums through most, but with their lack of "quality" production, if gives it that garage-rock/college-rock feel. Guitar feedback is definitely a plus when used in a song as a form of music.
The point to my description is: These guys are GREAT!

(DEMO) - ihateyour.com

History Invades has seen the proverbial light at the end of the tunnel and has blossomed into a premiere artistic and musical force. This self-titled release finds guitarist and vocalist Paul Harper screeching and crooning insightful and haunting lyrics over a sonic palette of ambient noise. “99” resonates most clearly of all the tracks on the disc and toes the line between traditional pop hooks and full-on bombastic aggression, a trait also featured on “It’s All Over.”
Clever and inventive instrumental effects serve to emphasize a distinct sense of urgency and fury, a combination that echoes the sentiments that remain synonymous with growing up in a semi-rural community. In effect, this release emerges as an unfettered opus, a truly engaging listen and a poignant reminder that determination and talent far supercedes the throes of performing an often-unoriginal style of song.

(DEMO) - Synthesis

Ignited by a recent touring stint in the Bay Area, the group was in top form as they astutely interlocked elements of noisy drum and bass breakdowns with emphatic screams and polished rock ‘n’ roll. Drummer Daniel Mayberry completed the group’s experimental sounds with systematic, yet poised skin work and accurately timed drum fills that complimented the rest of the trio’s raucous tunes. I’ve said it before, but you absolutely must see this band.

(LIVE) - Synthesis

While History(invades) took the stage, an eerie silence was bestowed upon the crowd, only to be thwarted in the next few seconds by vocalist/guitarist Paul Harper’s sonic feedback manipulations. Somewhere around this time, the group ripped into “It’s All Over” from their recent self-titled disc. Surprisingly, the acoustics in the room proved generous as the band’s subtle aggression lulled the audience into a virtual trance, specifically on a few newer songs that they performed. This is certainly a band that you should check out if they come your way.

(LIVE) - Synthesis

It takes conviction and an infinitely deep pool of inspiration to possibly account for the slingshot shit-storm of dance punk done right by History Invades, the second band on this all-Redding bill. The comparisons to NYC's The Rapture and D.C.'s Q and Not U are noted, yet suspect. History Invades accomplishes a near impossible feat by instilling belief in its audience that the noise it brings just may be something entirely new. Its songs exist on an exhausting platform of repetitive rhythm; the drumkit trounced, as plunging, thick bass chords were striken against tactically administered guitar effects chosen for texture and not necessarily definition, and choral shouts punctuated by the guitarist singing through his guitar's pickups.

(LIVE) - Chico News & Review

I found myself studying each sound I heard, trying to figure out how they were doing it. These guys really had their act together, and although it was close, I think it was their night.

(LIVE) - Synthesis