The Micronite Filters

Here’s a cracking little 4-track EP that will appeal to all lovers of the ‘down and dirty’ grooves produced by the likes of The Black Keys and The North Mississippi Allstars, as well as a firm nod to the older bluesmen from the North Mississippi hill country – the major surprise is that they hail from Oshawa, Ontario in Canada!

The band comprise: Abel Renton (vocals and guitar), Dan Reiff (drums), Bruce Mackinnon (piano, baritone saxophone and tuba) and Angel Valenciano (bass) with guest vocals on two tracks from Joan Smith. The EP kicks off in rollicking fashion with the rousing “Hit The Hammer On The Nail”, before the doomy, slower “The City Life Blues” – with featured piano from Mackinnon and a thunderous guitar riff and anguished vocal, courtesy of Abel Renton.

“Hey Little Sister” takes us back to the hill country blues, riding on a snaky slide riff and the driving rhythm section of Dan Rieff and Angel Valenciano – with more fine piano work; the closing “Cry Wolf Cry” again is a driving blues, with Renton’s dirty guitar tone to the fore and he’s helped out on the vocals by Joan Smith.

Not probably for the blues purists/police but it works for me, and I would imagine the live show is quite something . . . check it out, highly recommended!

GRAHAME RHODES - Blues In The NorthWest

The Micronite Filters. Back in the early ‘50s, Reader’s Digest scared the shit out of smokers with some crazy talk about the dangers of cigarettes. So the marketing geniuses at Kent responded by inventing the micronite filter – an asbestos-filled chamber designed to make its cigarettes healthier. Like most of Kent’s customers, that concept died quickly. But I’m predicting a better fate for The Micronite Filters, a nasty little band of misfits from Oshawa, Ontario (the “Automotive Capital of Canada,” where life is cheap).

Check out this slide-powered boogie from their new EP “The Wrong Side of the Tracks,” with a nice turn by guest vocalist Joan Smith (Toronto’s Little Foot Long Foot): Hit the Hammer on the Nail These shifty Canucks rock the blues like Ronnie Hawkins’ demon seeds… probably spent too much time in some asbestos-filled garage. For more on The Micronite Filters or to buy their EP, go here. - Rubber City Review

The Micronite Filters. Back in the early ‘50s, Reader’s Digest scared the shit out of smokers with some crazy talk about the dangers of cigarettes. So the marketing geniuses at Kent responded by inventing the micronite filter – an asbestos-filled chamber designed to make its cigarettes healthier. Like most of Kent’s customers, that concept died quickly. But I’m predicting a better fate for The Micronite Filters, a nasty little band of misfits from Oshawa, Ontario (the “Automotive Capital of Canada,” where life is cheap).

Check out this slide-powered boogie from their new EP “The Wrong Side of the Tracks,” with a nice turn by guest vocalist Joan Smith (Toronto’s Little Foot Long Foot): Hit the Hammer on the Nail These shifty Canucks rock the blues like Ronnie Hawkins’ demon seeds… probably spent too much time in some asbestos-filled garage. For more on The Micronite Filters or to buy their EP, go here. - Rubber City Review

I checked out The Micronite Filters last Saturday night. They were playing with Paper Bag Blues Band and Little Foot Long Foot at the Atria.

You know how sometimes you find something you didn’t even know you were looking for? That was seeing The Micronite Filters play.
These dudes play music, and I’m talking music that hits you in your frigging guts.

The Micronite Filters are forceful and sturdy, hard Blues with an ecstatic metal groove, and a whole lot of soul. Body moving and toe tapping (my shoe now has a hole in it). The rhythmic alliance between Abel’s guitars (one of them is a cigar box!) dirty, bluesy slides, and Angel’s metal/jazz bass-lines made my eyes roll back more than once. His bass is like those tobacco flakes that are always in the pocket. Bruce on the keys keep the deal fun, and he plays sounds on the trombone that creates a shout just as nice as the light bouncing off of it. Drop dead perfect drumming by Reefer, a seriously talented drummer. The guy gets into it, and it shows.
The whole set was serious enjoyment, and you could feel the good vibe in the room. I looked around at one point to see everyone dancing. This band leaves you with a feeling that’s almost post-coital - nice stuff!

On a side note: I was giving The Micronite Filters a good listen today, and my Budgie, Bud, went nuts singing along.
Apparently great music transcends species. - Durham-live.com

I Gotta Right To Sing The Blues.

Grammatical artistic license notwithstanding, so proclaimed Cabell “Cab” Calloway in his January 1933 Hyman “Harold Arlen” Arluck and Ted L. Koehler-penned single of the same name (Brunswick 6460). But while Calloway may have indeed had a right to sing the blues, the massive overkill throughout the ensuing years has left more than one observer wondering if the genre may have run its course.

In this four-track CD, Oshawa, Ontario’s Micronite Filters (Abel Renton - guitar; Bruce Mackinnon - keyboards, trombone; Mike Pulito - bass; Dan Reiff - drums) dispel any such concerns for the moment by successfully drawing from the best, while still managing to achieve that ever elusive goal of originality. As a result, theirs is a self-assured mix of the familiar, with enough of a variable throughout the proceedings to circumvent complacency.

To wit, the aptly named opener, Hit The Hammer On The Nail takes its cue from Hambone Willie Newbern’s often covered 1929 single, Roll And Tumble Blues (Okeh 8679), with guitar inspired by the 1936 Robert Johnson reinterpretation, If I Had Possession Over Judgment Day. Very familiar territory within blues circles, to be certain. But to the Micronite Filters’ considerable credit, those inspirations simply provide a foundation for an exercise in creative autonomy that takes the band from strength to strength in hard rocking fashion, with guest vocals from the Toronto, Ontario-based Little Foot Long Foot’s Joan Smith.

In turn, Smith’s fiery delivery also graces the set closer, Cry Wolf Cry, which rocks with the tension of the best high drama; underscored brilliantly by Mackinnon’s inventive trombone fills. Inbetween are the brooding, atmospheric The City Life Blues (which draws generously from the template of Otis Rush’s 1956 monster classic, I Can’t Quit You, Baby on Cobra 5000) and the uptempo workout, Hey Little Sister. Each succinctly showcases the band’s ability to rescue overly familiar templates (perhaps exacerbated to a slight degree by composer Renton for effect via the inclusion of the all too familiar “peaches/shake your tree” couplet in the lyrics of the latter) with sheer passion and ability.

While the Micronite Filters may have taken their cue from the most obvious sources, theirs is nonetheless a triumph on all counts. To be certain, the band not only has the same right to sing the blues as Cab Calloway did, they likewise have herein demonstrated solidarity with his penchant for adventure, thereby guaranteeing that such a right is (for them, at least) an inalienable one. - Blitz - the rock and roll magazine

I Gotta Right To Sing The Blues.

Grammatical artistic license notwithstanding, so proclaimed Cabell “Cab” Calloway in his January 1933 Hyman “Harold Arlen” Arluck and Ted L. Koehler-penned single of the same name (Brunswick 6460). But while Calloway may have indeed had a right to sing the blues, the massive overkill throughout the ensuing years has left more than one observer wondering if the genre may have run its course.

In this four-track CD, Oshawa, Ontario’s Micronite Filters (Abel Renton - guitar; Bruce Mackinnon - keyboards, trombone; Mike Pulito - bass; Dan Reiff - drums) dispel any such concerns for the moment by successfully drawing from the best, while still managing to achieve that ever elusive goal of originality. As a result, theirs is a self-assured mix of the familiar, with enough of a variable throughout the proceedings to circumvent complacency.

To wit, the aptly named opener, Hit The Hammer On The Nail takes its cue from Hambone Willie Newbern’s often covered 1929 single, Roll And Tumble Blues (Okeh 8679), with guitar inspired by the 1936 Robert Johnson reinterpretation, If I Had Possession Over Judgment Day. Very familiar territory within blues circles, to be certain. But to the Micronite Filters’ considerable credit, those inspirations simply provide a foundation for an exercise in creative autonomy that takes the band from strength to strength in hard rocking fashion, with guest vocals from the Toronto, Ontario-based Little Foot Long Foot’s Joan Smith.

In turn, Smith’s fiery delivery also graces the set closer, Cry Wolf Cry, which rocks with the tension of the best high drama; underscored brilliantly by Mackinnon’s inventive trombone fills. Inbetween are the brooding, atmospheric The City Life Blues (which draws generously from the template of Otis Rush’s 1956 monster classic, I Can’t Quit You, Baby on Cobra 5000) and the uptempo workout, Hey Little Sister. Each succinctly showcases the band’s ability to rescue overly familiar templates (perhaps exacerbated to a slight degree by composer Renton for effect via the inclusion of the all too familiar “peaches/shake your tree” couplet in the lyrics of the latter) with sheer passion and ability.

While the Micronite Filters may have taken their cue from the most obvious sources, theirs is nonetheless a triumph on all counts. To be certain, the band not only has the same right to sing the blues as Cab Calloway did, they likewise have herein demonstrated solidarity with his penchant for adventure, thereby guaranteeing that such a right is (for them, at least) an inalienable one. - Blitz - the rock and roll magazine

It’s usually a sign of a good band when the first few rows of fans at a loud rock show are dancing their asses off, which is exactly the response Oshawa’s Micronite Filters provoked at the Horseshoe Saturday. The four-piece sounds like a bluesier, more soulful version of proto-hard-rock acts like Blue Cheer or the MC5, tweaking the acid rock formula just enough to sound new again.

They’re clearly building a decent fan base, although judging from the applause provoked by mentions of Durham Region, much of their support seems to be from out of town. It wouldn’t take much for them to fit in better with the Toronto scene; just making sure that more than half the band wear suits onstage would help earn cool points. Stage wear aside, it’s refreshing to hear musicians pull off the hard-rock-and-blues combination without it sounding like a beer commercial. - Now Magazine

The Micronite Filters are a rock’n’roll troupe of the best and basic fundamentals: gritty, fun and fried like southern cooking. Yes, like soul food that will have you wetting your lips like a river after rainfall. Influenced by equal parts heavy rock and blues, the Oshawa, Ontario natives have created a thick and sweaty sound of horns, swampy drums, dirty riffs and groove-laden rhythms that weave into a wonderful texture.
Toe tapping and head swaying jams that make one lose themselves in the haze of on stage alchemy. Indeed, it was blues, sprinkled with a bit of psychedelic swirl. The whole set delivered, leading one to survey the Horseshoe tavern at anytime during 1am set and see everybody dancing.

A tell sign of a good band is when the crowd eats up every morsel of the performance. The Mirconite Filter was no exception. Little on banter, full-tilt boogie on everything else.

With a rock formula that tweaked it’s influences ever so slightly, the hirsute band members sounded fresh, and were unabashed about their looks, sometimes grizzled, other times shirtless – the music was all that mattered.

Meaty guitar tactics, amazing rhythms, and everything in-between, the band set the Horseshoe ablaze. With a punctuating sound of many lapping styles, the Micronite Filters are punk for the folk crowd who want something electrifying.
- Torontomusicscene.ca

THE MICRONITE FILTERS ***

Get Bent; For the Utmost Zebra Power; On the Fritz; Secrets of the Molemen
Get Bent Records

Yes, this is a double album. But what would you expect from a band whose musical output from the past 12 months consists of a Brian Jonestown Massacre-rivalling two full-length albums, an EP and now a 22-song, four-part opus? Though the Micronite Filters hail from the meh-tropolis of Oshawa, there's plenty of inspiration behind this well-balanced collection of over-shredded rawkers, two-step twang, sloppy stoner grooves, acoustic meditations and wank-tastic jams. “I Forgot My Sunglasses” and “Twist Off Tops” are early highlights, while album closer “In the Clouds” builds to a marching climax with Hendrix-styled feedback-and-harmonica ambience that dissolves into a slide blues jam topping out at 17-and-a-half minutes. That singer/guitarist Abel Renton sounds a bit like Jon Bon Jovi actually works to their advantage as his husky delivery sutures classic-rock remnants into a cohesive monstrosity that puts the bitchin' back in ambition.

CHRIS BILTON for EYE WEEKLY

direct article link:
http://www.eyeweekly.com/eye/issue/issue_07.26.07/music/discovery.php - Eye Weekly Magazine

The Micronite Filters seem like a fun-loving bunch, judging by the packaging of their new album, Rocket From Infinity. The inner sleeve has a drawing of the band members wearing facepaint a la David Bowie, and they’ve got nicknames like Ace Submarine, Mr. Bent, Reiffer and Lonestar the Lucky. Yet while the band seems to be in touch with their silly side, these guys are also well-versed in heavy blues rock.

Rocket From Infinity opens with Into the Night, a song characterized by it’s fuzzed-out riffs and slow, pounding drum beat. To be honest, it would probably make a better album closer than an opening track, as it’s a rather sombre tune, but a good song, nevertheless. You could say that it sets the tone for the rest of the record.

Second track Cloudbuster has a much lighter, mellower feel to it than its predecessor. While being more of a mellow song, it still isn’t particularly uplifting, as the backing vocals on the chorus provide somewhat of a haunting effect. Then again, who said the blues were supposed to be happy?

Suicide Magnets picks up the pace a bit three songs in. The chorus has a happy-sounding guitar riff, but judging by the song title, it doesn’t seem like a very happy song. The verses are driven by a cool grinding riff, and it would’ve been better if they continued along those lines for the chorus.

Fourth track Whiskey Jarred is one of, if not my favourite song on the album. It just has this laid-back stoner vibe to it that I really dig, grooving on well past the nine-minute mark. Fifth track Master Perverter is also pretty cool. Unlike several songs on the album, I don’t remember hearing it on the band’s Myspace page. It starts off slow and laid back, before a hard-hitting drum beat and a killer blues riff pick things up, taking it into the chorus and a really cool guitar solo. I also like Texas Tea, although the “Reeeevoluuution” refrain is rather repetitive.

The Right of Might is another mellow tune, perhaps the softest one on the album. Sacred Ground has somewhat of a tribal drum beat, which makes sense considering the title. It really creates a cool atmosphere for the track. Soapbox Hero is a bluesy rockin’ tune with a killer chorus and an extended guitar solo.

Things start winding down with Face in the Lake, a slow blues number, before ending with another mellow tune called Another Thrill. While Rocket From Infinity does have its share of heavy riffs and stoner grooves, it’s primarily a slow blues record. If you’re into mellow blues music, and don’t mind the heavy stuff, this record is definitely for you. And if you listen to stoner rock and don’t like mellow blues, then I’m not sure what planet you’re from. In any case, most of these songs are streaming on the band’s Myspace page, so check ‘em out, and listen for yourself.

- "gruesome" Greg Harris www.toohightogetitright.com

Rocket From Infinity
The Micronite Filters
Get Bent Records

The Micronite Filters come at you with thoughtful intensity on their latest album Rocket From Infinity. With a mix of styles ranging from Led Zeppelin, Black Sabbath and Jimi Hendrix to Robert Johnson, Bob Dylan and Neil Young, these MF’s know how to rock. The Oshawa, Ontario four piece group’s album is musically diverse with a blend of roots, blues, country, and guitar-driven stoner rock. The lead off track “Into The Night” sets the tone nicely for the rest of the songs to come. “Cloudbustler” has a roots country vibe, “Suicide Magnets” rocks hard, “Whiskey Jarred” grooves slowly for nearing 10 minutes and “Texas Tea” brings out the blues guitar rock. The closing song “Another Thrill” ends the journey nicely and leaves you looking forward to the next trip. This is a band you must see live because if their recorded music is any indication, their live shows must be insane.

- Diane Foy - The Spill Online

Micronite Filters
S/T Double Album
Get Bent Records

The true inheritors of the ShwaRockCity mantle, Oshawa’s MFs, stand on the shoulders of the Neils (Young and Peart). On many of these tracks, which sit across two CDs, the tequila-soaked grainy blues of Tonight’s The Night are a shroud on the process here. Their music is the honey-eyed mid-morning reflection on the night before.

But we should start with ShwaRockCity...

A place, a town of beggars and bikers, crack dens and roadkill. A clogged harbour of dead factories. The medieval merchant class which calls the shots could shoot a cannon through the downtown and not hit anyone. A place that is a faded KISS lunchbox town with one foot in the past and the other in mud. A place that is bush parties lit by the lights in a coyote’s eyes. It’s an autopart junkyard where, around a fire of burning tires, the Micronite Filters sing its blues.

Raw and crushed, reused and recycled, distilled and reduced to one cup of tar tart tea, shared and sipped. The album is doubled then sliced in four, each part onto itself but also of the album. The tracks I Forgot My Sunglasses and Meld are the most evocative and complete display of the MF’s talents.

The wild drawl of guitarist Abel Renton is a wail in the night sky, scrub coarse. Following one step ahead slapping the beat is Dan Reiff. It’s a gritty recording, the scratches intact. The album is wide enough to cover all forms, country, blues, rock n roll. But the vocal of Renton is pulled too far and falls over on too many of the tracks to be fully enjoyed.

However the musicianship, the skill, the groove and the jam is transporting. The band is joined by Nick Lanaro on bass with guest spots taken by Jackie Game (vocals), Sean Whalen (fiddle), Brian Jackson (harmonica), The Newf (vocal), and Dan Welsh (dulcimer).

The cover art is by local artist Gerard Pederson.

Will McGuirk is a freelance writer and longtime Oshawa resident. He can be contacted at wmacg@yahoo.com.

online link to the article:
http://newsdurhamregion.com/news/entertainment/music/article/81898 - Will McGuirk

All the way from the frozen Canadian colonies, the Micronite Filters are bringing their brand of blues rock to the world. And it’s all rather good.

Certainly, those of you who adore the North Mississippi Allstars and despise the Black Keys will find a lot to enjoy here. In finest coals to Newcastle tradition, Les Micronite Filtre (as we are obliged by law to call them at least once), headed off to the woods, near Oxford, Mississippi to get their groove on with producer Jimbo Mathus (The Squirrel Nut Zippers, Buddy Guy).

And they’ve all done good, as they rattle through some gritty blues rockers like ‘The Ballad of the Banker’s Son’, ‘Walking Dead Man’ and ‘The Ballad of the Exile and the Canary’. If you enjoy your blues on the modern side, and with a bit of rough housin’, then this is one for you.

July, 2014 - - the-rocker.co.uk

This is very old school and could have been released in the late 50’s or early 60’s since it’s raw and gutsy blues and rockabilly, countrified stuff – think Seasick Steve in a band form.

Highlights on here from these Oxford, MS boys include the opening ;Ballad Of A Bankers Son’; the ballsy ‘Ramblers Lament’; the thumping on the floor and harmonica blasting of ‘Ladies Man Blues’ or the Bo Diddley meets George Thorogood like Train Robbers’ or the deltaness of the closing ‘When The Lonesome Whistle Blows’

Very much the real deal.

10/10

By Glenn Milligan

July, 2014 - http://www.metalliville.com/