The Comedy
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The Comedy

Montréal, Quebec, Canada | Established. Jan 01, 2010

Montréal, Quebec, Canada
Established on Jan, 2010
Band Alternative Indie


This band has not uploaded any videos
This band has not uploaded any videos



"Divine Comedy"

This city has a pulse. We all know that. It’s every bit as alive and arterial as we are. In your daily survival-based duties you may have distanced yourself from its soul and rhythm. Here’s how to fix that: take a trip downtown. At night, baby. I did this on March 29th to see The Comedy at Piranha Bar, so close to the heart of Montreal my footsteps were synched to its beat.

The first thing I should mention about Piranha Bar is that no, there are no piranhas in this bar. Actually that was a lie and there are totally piranhas in this bar. Walk up to the barmaid and order a three dollar beer. Step back, check out the facade you were just leaning on, and witness fucking piranhas! I made eye contact with one of them and swore I heard a voice in my head asking if I could pretty please just let it get only a little mouthful of my thumb. But no. This night was about the music, and The Comedy.

There once were four fully evolved monkeys named Pasquale D’Alessio (guitar, vocals), Mitchell Brown (guitar), Tom Fellows (bass) and Costa Kalafatidis (drums). On what I could only assume was a collective psychic epiphany, these four one day realized that they each were part of a greater whole, and so together they polymerized to form The Comedy. I’d been following the band for a few weeks before the show, so I knew I was in for a special set. You’ll only need to check out their free album Deadlights to know these guys can do it all - from the head swinging, subway-sure arpeggios of ‘Lights Depth’, to ‘Machines’, a heavier piece romanticizing a Matrix-like panic on how someday we’ll all be enslaved by killer robots.

Lucky as I was to finally hear these guys live, I had the chance to see three solid acts precede them. Hunting Season played the crowd into a wistful daze with her soft acoustic strums and plucks. Then there was Matt Holubowski, who reminds me of the Dylan when it comes to style, looks and stage candor. I laughed along with the crowd at his intermittent shattering of the rhetoric. In one of his songs he barely missed a note high on the vocal octave (much like old Bobby) and still strumming smoothly he smiled at the crowd and said, “I have my own monitor up on stage, guys; I can hear it too.” Finally there was Stephanie Parnell who, along with her guitarist and violinist, took the crowd on a field trip far north of the city. We heard some sweetly sung country music and saw all the stars in the sky, overwhelmed though we were by the perseverant reek of manure. After bringing us back and thanking us, her act exited the stage and The Comedy’s time had come.

As soon as the first note was played the acoustic bubble formed around the audience by the preceding acts was popped. Heads started rocking as a consensus of Damn! was formed by all. They jammed their first tracks to perfection, and for their third song they performed ‘Lighthouse’.

Now in terms of how it makes your ears feel, ‘Lighthouse’ is yes sir but a beautiful product. It sounds like something U2 would have come up with if they were a young band making music today. But it’s not the sonic quality of ‘Lighthouse’ that makes it special. It’s the lyrics...

There are bands and artists out there who create with the intention of framing the surreal, the things that surround our reality that aren’t physically perceptible. I think it’s this shared ambition of striving to capture the unsaid truths of existence that makes musical exploration in the post-postmodern whatever so refreshing. And when you find a song like ‘Lighthouse’, which holds such brilliant existential themes in such a relevant way, you need to stop and listen. This is what I did that night, and some truly strange things happened.

As soon as Mitch started playing the intro I felt a slight tremor in the bar that was probably caused by a very distant star exploding. Then Pasquale sang the song’s first words:

"I found a way to write, Write to you from here
But in the very end 
It all seems so unclear."

Then things got very quiet and empty and very colorful. I assume my consciousness was turned inside out so I could only see myself, absent of the physical world to observe or draw from. A second later my consciousness was turned the other way around so I could only observe the physical world, detached from myself. I saw all things at once and learned all the laws of the Universe. Naturally I forgot them, except that the rate a daffodil grows depends on the sound of children’s feet playing hopscotch on the sidewalk. Then I was back in my seat at the bar, beer in hand. Everything seemed to be back to normal. The band rocked the song from beginning to end, and the crowd was loving life.

From then on The Comedy had our full attention, and they did nothing to lose it. From the Eastern atmospherics of ‘Reach Me’ to the more experimental, downtempo rhythms of ‘In a Box’ - we heard it all and wanted more. ‘Ancient Yellow Skies’ was wonderfully anthemic while ‘Requiem’ featured a hypnotic progression of notes played to a chilling beat. Pasquale’s empathetic, powerful vocals are really what drives these songs. His range is no surprise given his UCLA and McGill background in Opera.

The band was having just as much fun as we were, with Pasquale jumping from guitar to piano and members helping Costa bang a snare with one hand while doing their own instrumental part with the other. Near the end of the set the band announced that it was Costa’s birthday to scattered Yeahs and Whoas. Costa’s kick drum kept us on rhythm as we all sang along to a wholesome Happy Birthday. It was moving.

After closing their show with ‘Through The Looking Glass’, The Comedy freed us from our trance. People got up to stretch and I finally allowed myself to go to the bathroom. Before leaving the bar and reflecting on the magic I decided to grab one last beer. I took another look at the aquarium and once again met that piranha’s panoramic eyes. We stared deep into each other’s souls as the ambient noises of the bar slowly died down. The lights were dimmed and the people faded to black. It was just me and this piranha, sharing a moment together. Amid the quiet and darkness I saw his mouth open, gurgling only two words: “Great band.”

As I left the bar, footsteps and heartbeat in tandem, I shouted “Yes, Piranha!” to all the crazy downtown Montrealers.

Great band. - Hot Soupe

"Montreal`s “The Comedy” Are No Joke, They Are Seriously Great"

This is the kind of town that prides itself on exploring and experimenting with new artistic endeavors which oftentimes gives us brilliant work…and sometimes leaves everyone a little confused.

The boys of The Comedy aren’t offering you anything too new and weird; just classic steady rock music with fresh lyrics and awesome performances.

Give their song ‘Machines’ a listen and you’re immediately ushered into a familiar headspace of constant bass lines and tripping guitar riffs. Their sustained harmonic hooks are just catchy enough that you hear every line singer Pasquale D’Alessio breathes and all at once not too wordy, allowing his soaring voice to fully resonate in your ear.

While the subject matter of their music and lyrics has a haunting and sobering element to it, it’s feel-good melodies like ‘Lighthouse’ that get you smiling. There is obviously a lot of care taken in the production values of each and every track on the debut album Deadlights (srsly get out some proper headphones that do these artists justice). While often compared Snow Patrol or early Radiohead, we would say the Comedy take a more simplistic, never over-done approach to rock.

If you don’t get to catch them putting on the ritz at Petit Campus tonight, the Comedy will be reaching back to its roots once more in November at intimate indie hub Le Cagibi. - MTL Blog

"Presenting Montreal Indie Sensation: The Comedy - Deadlights"

What do you get when you take an opera singer, a hip-hop fanatic, a nerdy bookworm and a humanitarian peacekeeper and put them all together in a room? Probably by the sounds of it, a very awkward social gathering with uncomfortable silences and half-finished sentences. However, these four very distinct and different personalities managed to work together and create their own masterpiece, a four-piece alternative rock band hailing from Montreal, emerging from the indie scene, calling themselves The Comedy. These high school friends have already found a way to break onto the Montreal music scene, performing at POP Montreal and during Canadian Music Week in Toronto.

A little over a year ago, this foursome put out a nine track album entitled Deadlights. I must admit, the first time I ran the album through, I was questioning what I was about to get myself into. The record starts off with an eerie and odd instrumental intro of some sort in "Deadlights", which threw me off a tad bit. The second track wasn't any more comforting with the falsettos in "Dystopia". I guess I was just feeling these spooky weird vibes, like I was somehow in that Mario Kart track in Bowser's castle (if anyone has any clue what I'm talking about.) However, my initial impression of The Comedy quickly changed as the record went on. In my opinion, they managed to pick themselves up afterwards. As each track went on, the energy slowly faded and the tracks became more and more soft ballad-like. The closing song, "Colourblind", is a very slow and lengthy one, it was dragging and done solely on piano.

Reminiscent of Snow Patrol and early day Radiohead, this four piece creates music that is calming and mellow, but somewhat ghostly and mystical . They didn't use the typical instruments you find in a piece. Yes there's the guitar and yes there's still a drum set, but they also incorporated some piano, an organ, the cello, and various strings.

The lyrics definitely caught my eye. Though sometimes repetitive in the choruses and verses, to me, the lyrics are what I believe made the album a work of art. They were down to earth and sobering. They spoke of the unwanted and pushed away truth, of the pains we all hide within us. They bring all those emotions alive, intertwined in the music. These four rockers sing of true honesty and real life pain. For example, in "The Wastelands", these lines: some faces fake a smile some scars say everything, some things are better tied away managed to bring chills to my bone and goosebumps on my skin. - Indecent Xposure



Do I have your attention now?

Jokez aside, there’s a sweet band coming to Toronto on Monday, and they’re playing for free, and you should check them out.

The Comedy hails from Montreal, and produces music that’s rock without being abrasive, dark without being depressing, and emotional without being fake. The four-piece alt-rock band has already received some critical exposure, breaking into the scene by playing POP Montreal and Canadian Music Week. They’re hitting up Toronto’s Horseshoe Tavern (370 Queen St. W.) this Monday, and it’s sure to be an energetic show; it’ll be their first time playing in our fair city since last March’s CMW. The event starts at 9pm, and it won’t cost you a penny (unless you want to buy the band a round of beers. That you will have to pay for. They are not expecting beers. But I’m sure they wouldn’t turn ‘em down.) - She Does The City

"Montreal’s The Comedy Rock CMW This Month"

What do Stephen King, Radiohead, David Lynch, Kurt Vonnegut and Dr. Dre all have in common?

Answer: they are all inspirations for the ghostly music of Montreal’s The Comedy, a fairly new yet incredibly together band including Pasquale D’Alessio on guitar and vocals, Mitchell Brown on guitar, Tom Fellows on bass and Costa Kalafatidis on drums.

The four friends met in high school, an unlikely crew consisting of equal parts opera singer, hip hop fan, bookworm and sagelike peacekeeper with the common denominator being a love for the music of Radiohead.

“Radiohead constantly reinvent themselves,” explains guitarist Brown. “This inspires us, pushes us to make songs that are out of our comfort zone.”

“We always want to chase that moment that gives us goosebumps,” adds vocalist/guitarist D’Alessio.

After going their separate ways for a while to pursue post-secondary education, they reunited in November of 2010 and decided to get serious about carving out their niche in the Canadian music scene.

Photo by Jesse Smith Photography

While the band waits for the official release of their debut album Deadlights, it is currently available as a free download on their website Why offer it for free, you ask?

“Easy,” says bassist Fellows. “So people would listen to it!”

“What better way to earn fans than give away your music?” asks Brown.

The group worked with Dave Traina at Montreal’s Freq Shop, and couldn’t be happier with how things turned out.

“Dave was amazing,” says Brown. “He has a great ear, and he really helped us grow.” Traina (lovingly nicknamed The Wolf by the band) even went so far as to attend practices and spend the time to make sure he could capture their vision while keeping them grounded.

The deep, dissonant melodies and driving rhythms have recently earned them a Saturday night spot at Toronto’s Hard Rock Cafe during this month’s Canadian Music Week (CMW).

I warn them about the curse of the Toronto audience — the invisible force field that seems to keep audiences at least five feet from the stage at all times, the standing still and folded arms of discernment, the chatty scenesters who aren’t there for the music — but the boys are not fazed.

“So, basically Toronto audiences are like opera auditions in LA?” asks vocalist D’Alessio, who trained in opera at UCLA and is currently studying at McGill.

The Comedy play the Hard Rock Cafe on Saturday, March 24 as part of Canadian Music Week, and with new singles planned for a spring release and the hopes of a tour in the not-so-distant future, they’re showing no signs of slowing the momentum.

Take a listen to their single “Machines” right now, and then visit their site, Facebook page and Youtube channel after. - Canada Arts Connect


Deadlights - December 27 2011



      The Comedy are Pasquale D'Alessio (vocals/piano/guitar), Mitchell Brown (guitar), Tomas Fellows (bass), and Costa Kalafatidis (drums). The quartet formed in late 2010 after singer D'Alessio returned to Montreal after a stint in Los Angeles. In the interim Brown, Fellows, and Kalafatidis, had all been honing their trade in different bands around Montreal. The band is continuously reinventing their sound with a mix of alternative, pop, indie, and baroque influences.
      Throughout 2011 the band focused on song writing and simultaneously growing their fan base. They were able to play a sold out show at CFC as part of Montreal's annual POP Montreal music festival. By the end of the year the band had completed their first album, "Deadlights."
      The limited pre-release of their debut album earned them a spot at Toronto's 2012 Canadian Music Week, and "Dystopia" was featured on CHOM 97.7's "Montreal Rocks" with Jay Walker. The band's official album launch sold out in June 2012 at Montreal's Petit Medley. They then followed suit with numerous shows across Quebec and Ontario, including Toronto's Horseshoe Tavern, and Montreal's Lion D'Or.
      The band has since released two music videos and has begun working on their sophomore album with Toronto engineer and producer Douglas Romanow at Noble Street Studios. The new album is slated for a tentative summer 2014 release.

Band Members