Monster Truck

London Music Hall & SummerCamp Productions Present

Monster Truck

10 Years

Thu, March 6, 2014

Doors: 7:00 pm / Show: 7:00 pm

$22.50

This event is all ages

Monster Truck
The term Rock n' Roll gets thrown around pretty haphazardly. One can go as far as stating it's
been bastardized to the point of being unrecognizable, ironically shouted on stages worldwide,
and classified dead or MIA by the very musicians that once upheld its standard.

Enter Monster Truck. There's something comforting about a band name that delivers exactly
what you expect to hear. Born in 2008 from the ashes of various Canadian Indie bands,
Monster Truck began as a sonic affront to the very industry its members were bred from.
After feeling more like cogs in the music industry machine, Jon Harvey (bass & lead vocals),
Jeremy Widerman (guitar & vocals), Brandon Bliss (organ & vocals) and Steve Kiely (drums
& vocals) broke free to forge their own path, answering only to themselves. "It was admittedly
a bit selfish from the get-go as we only were looking to please ourselves," laughs Widerman.
Their unabashed approach to making and performing music became infectious. "We just
wanted to mix all of our favorite hard rock, punk and classic rock favourites into something raw
and basic," states Widerman, almost as if to suggest that no one had done it to his liking yet.
The band was doing something right. A ground swell of regional fans quickly began rushing to
any local venue to see the band perform live. Rock n' Roll is clearly not dead.

Offers began to pile up for Hamilton, Ontario's prodigious sons, and the band soon realized
they had to make a decision to jump in hip deep and take the record label and tour offers
more seriously. "The decision was probably easier than I'd like to admit," adds Widerman,
suggesting they were probably all kidding themselves thinking they weren't willing to make
sacrifices once again in an attempt to make music for a living.

What started as a fun and albeit 'selfish' musical side-project, quickly gained momentum and
took on a life of its own. Monster Truck self-released a self-titled EP produced by Gus Van
Go & Werner F (The Stills, Preistess, Hollerado) in 2010 and followed up with The Brown
EP (2011) produced by Eric Ratz (Billy Talent, Cancer Bats, Three Days Grace) on Indie
powerhouse Dine Alone Records. The Brown EP aggressively showcased the band's ability
to keep a firm grasp in the classic roots that enabled them, while staying contemporary and
true to their vast influences. Singles "Seven Seas Blues" and "Righteous Smoke" became
runaway hits reaching Top 10 on Canadian Rock radio and true to their notorious maxim
"Don't F*ck With The Truck", the band hit the road with a vengeance. Tours included a 2011
cross-Canada sold-out run with The Sheepdogs. Additional tours followed in 2012 when
Monster Truck was handpicked to open for Slash on his North American tour, as well as sold-
out dates in support of legends Deep Purple.

After an unexpected, yet highly successful year of relentless touring, Monster Truck returned
home hell bent to record a full-length album. Over the course of 2 months, the guys put
together 12 original songs showcasing not only their determination to continue churning
out heart-pounding rock tracks, but that also highlighted another dimension to the band's

songwriting and performance. The result is their debut full-length LP aptly titled Furiosity.

Produced once again by JUNO-nominated Eric Ratz at Vespa Studios in Toronto and Echo
Mountain Studios in Asheville, NC, Furiosity showcases Monster Truck's ability to seamlessly
integrate influences from grunge and punk era greats that they love so dearly with alt-sounding
vintage rock. The resulting album remains anchored in grooves, yet propulsive and volcanic,
fueled by frontman Jon Harvey's colossal vocal delivery.

The album impressingly runs the gamut from crushing first single "Sweet Mountain River" which
features a highly infectious chorus juxtaposed against a killer riff, to tracks like "The Lion" and its
definitive old-school, boogie-rock vibe. "While the bulk of songs were written and executed in
fairly quick fashion, tailoring the pace and fine tuning the transitions took longer than usual," says
Widerman of the writing process. "We really wanted the songs to take the listener on an exciting
journey." Gems like "Old Train" featuring epic gang vocals were in fact kept under wraps from the
producer and the label until the band reworked them to their liking while "Power of the People" -
- a Rage Against The Machine inspired track -- is a commentary on a society in turmoil and an
anthem for those who wish to band together and make a difference.

The band intentionally challenged themselves with "For The Sun", spending more than a year
playing the song live in order to perfect it. Slower-paced and with thought to ensuring every
moment was well-crafted and building in intensity, Widerman spent 2 days in the studio just
recording the intro and solos leaving other members of the band to wonder whether he would
ever be satisfied with the end result. Finally, last minute addition "My Love Is True" shows a
more soulful side of Monster Truck, and is another shining example of how even a down tempo
song can shake you to your core.

The constant show regiment and recording process is sharpening the band's delivery and there's
no doubt that anyone still interested in original and authentic rock music will be compelled to pay
attention. Monster Truck will continue doing what they do best, steamrolling from town to town
leaving legions of fans in their wake.
10 Years
10 Years
After a year and a half on the road touring 2010's Feeding The Wolves, 10 Years reached a turning point. It was time to move forward and take full control of their career by launching their own label, Palehorse Records. In addition, the band decided to self-produce their fourth album, Minus the Machine, at drummer/guitarist Brian Vodinh's Kashmir Recording.

Splitting up with a major label after
five years was "a very scary step to take," Hasek admits. "It's like breaking up with a longtime girlfriend. You're used to the motions, but when it becomes stale and unhappy, you need to move on and get energy back into your life. There was no anger on either side. We just painlessly parted ways."

Working together as a band for the first time since writing the Gold-selling album The Autumn Effect helped 10 Years go back to their roots, without label-enforced pressure to create a radio-friendly "hit," and free to experiment with the hard rock sounds that lie at the core of their music. "Our true fans who buy the albums, not just the singles, understand that our singles, for the most part, misrepresent the entire album," says Hasek. "As a band, we like to explore more and go a little left of center with song structures. We wanted to create an album that has no boundaries, and where we didn't have to make every song 'three minutes and 30 seconds' for a label to approve it. There's a fine line with that, of course, and we're very aware of it. We all grew up on rock music, and as many albums as we've written, the way we've written them, it's ingrained in us to work within a time frame that fits radio. There are definitely songs that work well for that, but as a whole, we wanted this album to represent a journey in a sense."

This chapter of 10 Years began in 2001, when Hasek took over as vocalist. Three years later they released their independent album, Killing All That Holds You, featuring the groundbreaking single "Wasteland," which led to their signing with Universal Records. "That song was created in 2001 or 2002," says Hasek. "We weren't seeking to write a smash single. We were just writing music." The Autumn Effect (2005) led to widespread radio and video play, a fiercely loyal fan base, and tours with heavyweights like Linkin Park, Korn and the Deftones. When their sophomore effort, Division, was released in 2008, 10 Years had cemented their place as one of hard rock's top contenders and most sought-after live bands. Still, says Hasek, despite the success, "it all came to a head" with the band's 3rd major label release, Feeding The Wolves. "When you feel like you're being told to go through motions and jump through hoops, it takes the heart out of it," he says. "We know that we need a hit and we understand that it's important. However, as musicians, we're not a band that says, 'We're going to make a hit.' It's better to do what comes naturally and then figure out the after-effect."

With that in mind, 10 Years created their most powerful songs to date for Minus The Machine, with Hasek again relying on personal experiences for his lyrics. [Insert something about the songs here; reference titles and content.] "Everyone asks about my inspiration for lyrics, and the best thing I can give them is a very generic answer: life," he says. "Life is the experience — it's everything you go through: the ups, the downs. I tend to gravitate more toward the therapy method. I'm not great at writing happy pop songs. So, I usually get the negative emotions out through music. As a person, I'm very happy and thankful for my life, but when it comes to lyrics, it's therapy for me."

One thing that won't change is 10 Years' connection with their fans. With the release of Minus The Machine, the band is looking forward to hitting the road, performing in close contact with their dedicated audience. "After the last touring cycle, we realized where we should strive to be, and that's to be totally fine in the club environment," says Hasek. "We don't plan to chase after arena rock or amphitheaters. If things like that happen, then so be it, but we live and die by the loyalty of the club audiences. Our fans are loyal. They travel with us, and they want us to be loyal to ourselves. That's what keeps them coming back. What we tried to do on this album is really give them what they want and what they need because they've been so good to us through the ups and downs of our career."

"First and foremost, when it's all said and done, we're proud of this album in its entirety," he says. "That speaks volumes to us because we're our own worst critics. We pick everything apart. An album is your child, it's your baby, and you know it better than anyone. To sit back and be 100 percent proud of what we've accomplished is so gratifying, and we think everything else will fall into place. We hope that everyone will enjoy what we've tried to do."
Venue Information:
London Music Hall - CA
185 Queens Ave.
London, ON, N6A 1J1
http://www.londonmusichall.com/

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