My Favourite Local Band: Future History by Brian O’Sullivan

May 23rd, 2014 by 

My Favourite Local Band : Future History


Image Courtesy of Open ‘Til Midnight

I try to hear as much local live music as I can but there is one Markham based band/group of artists that stand out for me. I first came across the core of this band while strolling out to find live music in my home town of Stouffville. The Earl of Whitchurch is just down the street from where I live and has a long history of hosting good quality live music.  On this particular occasion, I encountered a duet – Kevin Ker (guitar and voice) and Justin Dillon (cajon) .  What was exciting for me was that they were improvising !

I have always been a fan of intuitive/free music.  The improvisations of Jimi Hendrix and the intuitive/collaborative approach to composition used by bands like Yes and Pink Floyd have always appealed to me. So, to hear musicians with the courage and artistry to improvise in a setting that usually hosts cover bands was a real treat.

While the core members of Future History are Kevin Kerr (rhythm guitar, vocals, songwriting, studio wizardry) and Justin Dillon (drums/percussion), helping on their latest CD (Lungs) and with live performances are Brett Harris (bass), Chris Dawe (keys/vocals/guitar) and Mike Baggley (lead and ambient guitar). Their music has been described as “haunting and poetic, experimental alt-rock. Deeply metaphorical lyrics are simultaneously accessible yet beyond immediate comprehension.”(Future History Website).

I purchased their first CD Future History and it became the soundtrack of my life for over a year.  It was a period of both losing and gaining significant relationships and the songs became a background for the experiences and emotions I was dealing with. Lyrics from songs like Broken seemed to have been written to coincide with what I was experiencing.  My soon to be wife also embraced this music just as we were starting to embrace each other.

Their second CD Loss:/self was quite different in terms of its overall production values. Kevin had, by this time, become quite expert at taking full advantage of what can be done in a modern recording studio. This CD was created using over 50 instruments, devices and household objects, combined with a 35-person vocal, stomp and drum circle and the heartrending cry of a lonely whale. Being quite a bit more dense and detailed compared with their first offering, it took me some time and repeated listenings before I could embrace it as brother to the friend I had become so familiar with. I began to appreciate the recurring image of a robot and how it represented (for me) alienation in modern society.

Their latest CD Lungs still waits unopened close to my stereo system.  My wife and I are waiting for a ‘perfect moment’to crack it open and give it the full attention it will deserve.  Perhaps a star lit night or a full moon will draw us once again into the arms of this wonderful Markham based band.


Future History CMW 2013

Open ‘Til Midnight

March 24, 2013 · by  · in 

Editorial – Amber Waves; Photography – J.J. Deogracias

Thursday night was, for OTM, a night of painful decisions.  Who to see, who not to see — many slots were hotly debated and time machines were fruitlessly designed.  In the end, however, one of our choices lay within the apt name of the band in question…

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It’s TIMA (Toronto Independent Music Awards) season again, and OTM is pleased to report that Future History has received nominations in the “Best Live Band” and “Best Singer/Songwriter” categories!  It’s no secret that their sophomore album Loss:/self is an OTM top pick for 2012 and it’s great to see the band garnering well-deserved attention.
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Experimenting drives Future History

Simone Joseph | Aug 20, 2012 – 11:44 AM

Local rockers. Future History band members Chris Dawe (from left), Paul McKay, Kevin Ker, Dante Berardi and Justin Dillon. The band performs this Friday at Markham’s Mains Mansion.
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Future History

I don’t need to wax poetic on the talents of Future History; I’m pretty sure my recent review of their stellar album Loss:/Self made very clear what they bring to the sonic table.  That said, there’s a reason they’ve garnered nominations for “Best Live Band” from the TIMAs for two years in a row.

It’s a testament to their dedication to their creation that they find a way to bring an expansive and layered album to a live setting with five sets of hands and not lose any of the artistry and passion.  Drums, loops, guitars and keys come together with impressive vocals to deliver songs that strike you in the chest or alternately have you rocking out.  In their live incarnation, songs rock a little harder, vocals soar a little higher, but neither studio cut nor live version is better – just different.  It makes for a live show as engaging as the album.

Highlights of this set included older tune “Names For Numbers” (a first for this particular band configuration), “Good Little Robot”, “Leaves”, “Hold On/Let Go”, “Surrounded By Faces” and “In This Sleep:/Creatures”, which is probably my least favourite track on the album (I still really enjoy it, but don’t always spin in) but live, it exploded and was mesmerizing.  And yes, I listed half the set and that was the most restraint I could show.  This band’s a live treat and not to be missed.

More on Future History

Play the Part
Ornamental State
Good Little Robot
Names For Numbers
Erasable Ink on a Lost To-Do List (Scraps of Me)
(Don’t) Let This Go
Hold On/ Let Go
Surrounded by Faces
In This Sleep:/Creatures


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The Steam Engine

REVIEW – Future History – Loss:/Self
MONDAY, AUGUST 6, 2012 AT 8:00AM

Politeness is a lost art, people don’t use it, they lose it, and then it flutters away by the wayside. A trend Future History, a five-piece experimental rock band from Toronto, hopes to upend with their first full-length album, Loss:/Self. The first words uttered on the album are “Hello, welcome, what brings you here?” A noble question, welcomed by a thundering bass line sautéed over a driving six-minute intro song “Ornamental State” that finds vocalist Kevin Ker channeling the vocal whine of fellow Canadian Colin Meloy (Decemberists, Tarkio).

If Meloy were to ever join a Pink Floyd tribute band, you’d harness the sound of Future History. Self described as; “psychedelic love noise” wide assortments of arraignments are accompanied with urgent hooks and revolving percussion to capture a complete rock journey. This is not an album to buy in $1 dollar increments, song-by-song. That’d be like hiking the base of the Appalachians and looking at pictures from on goers taken from the apex. Poetry best digested in full, time and time again—a rare delight in the digital age.

Loss:/Self is a testament to pinpoint themes interwoven throughout an album that was intended to be a conceptual. It certainly digests that way. According to the band it, “eludes to the human relationship; technology, social or anti-social media, fear and the growth and dominance of the false ego over the true self.” That is certainly a relatable handful of quandaries to ponder in 2012.

My favorite part of this sound is the richness that unfolds from song to song. The album cover tells a tale of grayness, a road, and the inevitable country warm and tingly feeling you get by the sight of whizzing telephone poles. A feeling in the past perpetuated by Muse in Origins of Symmetry and this time around the Canadians aim for a plentiful bounty of emotional resonance. It’s deep, but accessible at the same time.

If you think I’m spouting grandiose drivel, let me back the sound up with impactful statistics. Loss:/Self was recorded over an eight-month span including stops in Montreal, New York City and other various locations in Ontario. The New York span was during (over-hyped?) hurricane Irene and the three-day weekend of chaos that ensued while the band was stuck in New York City. They used over 40 instruments and household items, including but not limited to a 35-person stomp/gang vocal/drum circle orchestra, and a sample of a whale, which consequently was on a wrong frequency ostracizing her from the other whales. A well documented story that seems too ridiculously progressive rock, not to be a fabrication.

Sounds ponderous? Yes, but, in a good way. In a way that says to me, “these guys were on a mission to create something truly monumental.”

The true genius of any concept worthy, axle-to-axle album, is the placement of the singles. Future History marked tracks six and seven, or “(Don’t) Let This Go” and “Surrounded by Faces” as listening points to the curious listener (that’s how I define singles these days). This is directly in the middle of the album. Again, not meant to be single driven, but even Tommy had “Pinball Wizard!?”

“Surrounded by Faces” is a folk-less version of the Decemberists without a doubt. It reminds me of a game I used to play in college. Mind you, this was back around 2002, when everyone loved Weezer and downloading music was an everyday pastime, with the exuberance of anything technologically fresh. I would bring people into my room and tell them I had located some new Weezer cuts. I would play Ozma. People would get excited and ask me to send it to them. I laughed for hours and hours to myself. Ahhhhhh, those were the days.

“(Don’t) Let This Go” is a mid-tempo rock song that uses the effect of a slow roasting chorus. It reminds me of “Alice Childress” by Ben Folds Five with the deliciousness of that “tsss…ahh” sound Sussie Essman makes in Curb Your Enthusiasm when she takes a drink. It’s the kind of song I’d want to play at the end of a wine party, before going to play darts at a local pub. Something that kind of fades in the background, but holds a distinct, yet passive sonic fortitude.

Loss:/Self is a remarkable statement for a band so early in their career. Bands typically attempt moves of similar grandiose nature when they get older, and bored, but for Future History it’s the start of something overwhelmingly beautiful. Adhere to my words: must have, must listen, must enjoy with a movie theater attention span. It’s a full multi-course meal amongst a sea of tapas.

Eat up, psychedelic rockers!

Future History Official – Facebook – Twitter – Bandcamp –

Was this post as delicious to taste as it was to write? Read more meandering musings concerning music (and sports) from Ryan C. Zerfas…here!


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Musings of a Music-Obsessed Mind

August 3, 2012 · by Amber Waves · in CD Reviews. ·
Is it too early to declare a frontrunner for my favourite album of 2012? Because I have several already vying for the prize, and Future History’s Loss:/Self happens to be one of them.

I’ve sat on this review for several weeks now, namely because I found myself lost in that lovely realm of music obsession, which does not permit rational analytical discourse, but offers instead the “Oh My God! *replay song*” reaction. It’s been a long time since a band not already on my “love ‘em” list stormed onto it, so I’ve indulged.
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NXNE Night 3: Die Mannequin, Danielle Duval, The Strumbellas, & More

Friday, June 15, 2012

buying shots for bands


Future History – 1:00AM @ Cameron House

I walked into the Cameron House to find five tattooed guys up on stage. So imagine my ecstatic delight when rather than noise rock, the boys of Future History started playing some of the most exquisitely layered, euphonic rock that I’ve heard before. They do still have a heavier sound, but it is still melodic; at times gut-wrenching, yet also danceable.

Their set showcased many of the tracks off their recently released concept album Loss:/self, including “Good Little Robot” and “Ornamental State,” which was said to be about being a zombie. Thirty-five people were apparently in the studio to record this album and while it was obviously impossible to truly recreate that large of a sound on this tiny stage, their songs felt like a sonic embrace, nestling their way first into my head and then into my heart. The stand-out track for me was “Surrounded by Faces.” While it’s not really at all similar to it, this song reminded me a lot of “All These Colours” by (one of my favourite by them). Both these songs have a soaring “big feel” that just sweeps me off my feet (Is it a coincidence that Dante Berardi Jr. of also happens to be the lead guitarist forFuture History?).

I happily picked up one of the free cd’s they were giving out and have been listening to it a lot since. It feels like with each listen, I’m still picking up and gaining further appreciation for all the instrumental intricacies as well as the heaviness of the lyrics. Future History is definitely a band I want to see again the next chance I get. You can listen toLoss:/self on their Bandcamp.


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North by North East – Day 3

by Nadia Elkharadly Toronto Live Music Examiner

Future History


While Future History may not be able to compete in the beauty department with the previous bands, their creativity and mystique made them a must see act. If the idea of a concept album doesn’t pull you in, the beautifully sad story of the world’s loneliest whale (sampled on one of the band’s songs) makes Future History irresistible. Taking the stage at the Cameron House back room, it was evident that the boys did not bring the 40 instruments and household items used to record their album Loss:/self, but the intensity behind the music remained. The simplicity of Kevin Ker’s acoustic guitar and mellow yet passionate vocals was the foundation of the music, rounded out by Dante Berardi Jr’s electric guitar, Christopher Dawe’s keyboards and Justin Dillion’s drums. Intelligently poignant lyrics, accompanied by haunting, yet completely affable music, Future History’s sound is not only accessible, but can have the power to reach an incredibly broad audience, as evidenced by the eclectic crowd at the Cameron. With their special brand of experimental music, Future History will be expanding minds wherever they go for a long time to come.

Check in with the Toronto Live Music Examiner for the next installment of the NXNE 2012 review series.



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NXNE Day 5: Future History


Open ’til Midnight – Musings Of A Music-Obsessed Mind

Future History

Let me tell it straight:  I took home Future History’s CD, having decided to do so after two songs in their stellar set.

How to describe Future History’s sound…  Ah, yes.  Remember when Radiohead released OK Computer?  Remember how bloody brilliant and awesome that era of their sound was, how the electronic elements balanced beautifully with rocking guitars and layered vocals?  Yeah, I miss when Radiohead wowed me.  Toss that genius in a blender with moody, reflective (and sometimes pessimistic) lyrics of Tool or better yet, A Perfect Circle, and one begins to appreciate Future History’s sound.  Loops and a solid hard rock sound are overlayed with folk elements and triple threat vocal harmonies to create a soundscape that captivates and engages the senses.  Songs “Good Little Robot” and “Ornamental State” particularly grabbed me.  Highly recommended!

Photobucket album from their set


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Review- “Loss:/self”- Future History

Posted on June 6, 2012 by 

reviewed by Michael Thomas

Ever listen to an album and then sit and ponder what it’s all about? As someone who writes about albums fairly frequently, I do this a lot. But this album from Toronto-based Future History is one that I don’t think I’ve even begun to crack, even with three listenings under my belt.

Loss:/self, as the band describes on its Bandcamp page, is a concept album, with songs referring back to the album title; many songs seem to be about the loss of self, in other words, losing track of who one is.

Though the theme sounds clear enough, the album is one of the densest I’ve heard in quite a while. Melodically, the album does have its basic guitar, drums and bass. But it also employs keyboards and synths, and the end of the song “Hold On/Let Go” seems to include some kind ofStomp-esque percussion at the end.

The opening song, the very lengthy “Ornamental State,” welcomes the listener with acoustic and electric guitars, and the opening line of “Hello, welcome, what brings you here?” It transitions into the ultra-catchy “Leaves,” which starts off with catchy electric guitar and synths along with lots of great background vocals.

“Good Little Robot” seems to be about becoming an automaton- becoming thoughtless and performing the same routines over and over again. It flows well into the interlude number “The Unfortunate Occupation of the Machine Man.” It features snippets of what sounds like a kid trying to tell a fairy-tale-esque story, and I believe it’s the track that also features a sample of a whale’s calls. The whale call is significant, because it was from a whale whose cries were a different frequency from its friends and was therefore ostracized because of it.

I’ve realized this review is really hard to write, because Future History have a very distinct sound but it’s one that I can’t immediately place my finger on. It’s idiosyncratic, I suppose; I would immediately know it’s Future History but couldn’t explain how I knew. Songs like “The Changing” prove this point to be true. It starts with a prominent keyboard, but it quickly morphs into the sound that I’ve become to associate with this band.

“In This Sleep:/Creatures” brings the journey to an end on a high note. Rather than fade away, the last song gets louder than ever.

I don’t know if I’ve really said all that much in this review, and that’s just a testament to this album. It’s telling that, on Future History’s Bandcamp page, there’s a line that says “This is a trip of a record… be prepared.” That it is.

Loss:/self is available via Bandcamp.

Top Tracks: “Leaves”; “(Don’t) Let This Go”; “Hold On/Let Go”

Rating: Proud Hoot (Really Good)


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Future History – Loss:/self (Album)

by DJ Eternity-Elite Muzik

May 10,2012 8:53PM

Future History – Album Review – Related Image. Album Cover FH

Lately I’ve been receiving a lot of really good music from different bands outta Canada, today you can add a alternative rock band by the name Future History to that list, I just finished checking out their latest album Loss:/self and it sounds pretty dam amazing, the album was recorded in Montreal, New York  while they were stranded in the city for 3 days during Hurricane Irene and a few various places in Ontario as well, if you like what you hear then make sure you pick up the album it’s definitely worth $8 trust me!

Full Article:

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Toronto’s Future History – “In This Sleep:/Creatures” Video / LP Now Available


This song is so haunting I instantly fell in love with it. And yet I clicked on the link because the band – Future History, from Toronto – included the comment “featuring zombie children”. I mean, could *any* music blogger resist that description? I think not.

Future History released their album “Loss:/Self” in April; it was recorded over a span of eight months in Montreal, various places in Ontario, and in New York City, where the band was stranded for three days in the midst of Hurricane Irene, recording outside in its ferocity.

Their other comment that caught my attention, they “sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly”. How distressingly sad is that? Seriously. And yet it’s such a metaphor for human society in some ways too, isn’t it.

Okay, enough being deep. Check out the video above; then go preview the album on iTunes or your favorite digital or physical store. And then buy it. You won’t be disappointed. How could you?

Full article:

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Future History – Album Review

Scene And Heard by: William McGuirk | May 16, 2012 10:55 PM

Future History – Album Review – Related Image. Album Cover FH

Future History


Self Released

What Future History have created with their debut Loss:/Self is cinematic in scope, orchestral in intent, apocalyptic in evocation. Epic without being ponderous, even as the massive slabs of emotive rock come crashing down, the five piece have constructed from over 40 instruments, a soundtrack to this eve of destructive clay footed governing shaky ground zero zeitgeist, a soundtrack to Mad Max riding fast and loose into these North America War of the Words gated cul de sacs we live in. Those chunky riffs are collapsing suburbs, those driving beats are instructions. “I’ve seen The Future baby and its murder!”, as the bard of Montreal says. Those plaintive vocals are pleas to dead gods by selfs mired in selfishness, buried under relentless piles of self interest, shelfs of self, strata of self, deep mirror coated canyons of self.
Yet there is hope in the acoustic, redemption in the reach, opportunity in the rising, salvation in the minor and heroics in the mass marching forward. The Future History is what we make now. The Future History is unfurling before our eyes and in our ears is the magnificence of the human spirit.
Loss:/Self finds itself at the centre of the uncertain and its grand scale may yet define this uneasy year.–future-history-album-review

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Future History Drop Their Ambitious ‘Loss:/self’ Debut

By Alex Hudson
As label-less underground releases go, albums don’t get much more ambitious than Future History’s Loss:/self. The debut full-length from the Toronto band is a concept album that features 40 instruments and a whopping 35-person guest vocal/percussion ensemble.

In a statement, the band explained that the title and themes on the album concern “the human relationship; technology, social or anti-social media, fear and the growth and dominance of the false ego over the true self. All of these themes are carefully woven in an evolving uneasiness as the record unfolds.”

Recording took place over an eight-month period in Montreal, New York and Ontario, and the album comes featuring a sample of a whale “that produced the wrong frequency, which consequently ostracized her from other whales because she didn’tcommunicate properly.”

The sessions were produced by the band and Theo Posthumus and the results were mixed by Laurence Currie (Wintersleep, Holy Fuck, Hey Rosetta!).

Loss:/self is currently available digitally and will be released on vinyl this summer. Scroll past the tracklist below to stream the entire record. It can be purchased from Bandcamp and, if you like what you here, keep your eyes peeled for that eventual vinyl release.


1. Ornamental State
2. Leaves
3. Good Little Robot
4. The Unfortunate Occupation of the Machine Man
5. Play the Part
6. (Don’t) Let This Go
7. Surrounded By Faces
8. Coincidence
9. Hold On/Let Go
10. The Changing
11. Everything
12. Erasable Ink on a Lost To-Do List (Scraps of Me)
13. In This Sleep:/Creatures

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Future History: Loss:/Self

Floorshime Zipper Boots

Posted by at 7:48 AM


Debut albums that can be described as epic come around very rarely. Epic, however is an apt description for Loss:/Self, the debut from Toronto duo Future History. Kevin Ker and Justin Dillon have made an album that is a testament to just how good an indie rock band can be. Melodic, and heavy, one can hear influences of the Decemberists in the songwriting and feel the power in every track. The album is flawlessly produced with mixing having been done by Laurence Currie (Hey Rosetta, Wintersleep). This is a band destined for much greater things. get into them now. Stream and buy Loss:/Self  (or download a two song preview for free) at the link below.

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Future History – Surrounded by Faces

Thursday, 26 April 2012

Of all the bizarre facts that I have read about the recording of albums, I don’t think I have come across anything as off-beat (and heartbreaking) as one from Canadian alt-rock band Future History:  “We…sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly.” Let that act as a relief to anybody whose parents disapproved of you joining a band. It could be much worse – at least you won’t be abandoned by your own species for making music (Justin Bieber aside, that is).

But anyway, Future History‘s latest single, “Surrounded by Faces”, is an expansive rock tune that is exquisitely produced, emotive without sounding too angsty, and despite an overwhelming instrumental onslaught, it has a surprisingly ‘earthy’ feel to it.

“Loss:/Self”, the debut album from Future History, is out now, with “Surrounded by Faces” available as a free download until the end of May.


Full review @

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Apple Pie Samosas Kishmished by Horse Feathers and Future History


Anytime I go for Indian food I make it a point to get at least one samosa. I love those things. Stuffed with just the right amount of potato, onion and spice and wrapped in a nice crispy shell, I have yet to meet a samosa I didn’t like.

So I started thinking the other day (as I eyed an outgoing Caribbean woman who was toeing the line a little too closely) why not a samosa sandwich? One samosa to start the meal as an appetizer, one to finish it as dessert. I thought it an excellent idea. The only question that needed answered was what dessert should get the privilege of my samosa sandwich experiment?

I tossed that thought around in my head for a few moments before deciding to go with something that captures the essence of America. The apple pie. The apple pie with oval fruited kishmish (raisins) and cinnamon. That sounded about right.

Apple Pie Samosa
(printable version)

-1 Tbs. flour
-1 Tbs. butter + 1 Tbs butter, melted
-2 granny smith apples- peeled, cored and sliced small
-1/8 cup white sugar
-1/8 cup brown sugar, packed
-1/4 cup water
-1/2 tsp. cinnamon
-dash nutmeg
-1/2 Tbs. vanilla
-4 Tbs. raisins
-20 sheets phyllo dough
-Vanilla Bean Ice Cream (optional)

1. Preheat the oven to 400 degrees Fahrenheit. In a cast iron skillet, melt one tablespoon of butter. When the butter is melted, add the tablespoon of flour. Constantly stir to create a roux.

2. Add the water to the roux along with the white and brown sugar. Stir until the sugars, water and roux have all become one.

3. Gently spoon the apples into the mixture. Using a wooden spoon, constantly manipulate the apples until they have been covered by the sugar sauce. Heat for four minutes, stirring constantly.

4. Add the raisins, cinnamon, nutmeg and vanilla. Continue to heat and stir for another 2 minutes (or until the apples are soft). Remove the filling from the heat and set aside to cool slightly.

5. Lay out four sheets of phyllo dough and cut in half (lengthwise). Place a spoonful of apple filling at the top of each strip. Fold over to form a triangle (or a square if you just can’t seem to fold phyllo right like me). Brush with melted butter. Fold again and brush with more butter. Place on a baking sheet. Repeat with the other phyllo half. Pull out four more sheets and follow the same steps. Continue to repeat until all the apple mixture and phyllo are gone.

6. Place the baking sheet in the oven and bake for 18-20 minutes. You want the phyllo crisp and golden. Top with vanilla ice cream. Remove your cap, warble the star spangled banner then make your momma proud by cleaning your plate.

*I think I’ll try these again using puff pastry to see which shell is better.

While the Star Spangled Banner is America in song form, the stuff that Horse Feathers does isn’t far behind. Blending backwoods banjo country with south side strings and lyrics that discuss turmoil in relationships and the nation as a whole, Horse Feathers does it all from that warm spot to the right of the campfire. “Fit Against the Country” is one of the stand out tracks on the band’s new album, Cynics New Year (out now via Kill Rock Stars).

Horse Feathers-Fit Against the Country (via Consequence of Sound)

Future History is an experimental alternative rock band from Toronto who will be releasing their first full length Loss:/self in the near future. The album explores human relationships, technology, anti-social media and the growth and dominance of false ego over the true self in a concept format. Taking cues from Pink Floyd, Radiohead and psychedelia the album is, as the band puts it, special. It uses 40 different instruments, at least 35 different people lending stomps/vocals/drum circle sounds and an ostracized whale. But none of this matters if the songs don’t go down sweet and rustic like an apple pie. They do. Especially “Surrounded by Faces” (which is being offered as part of a pair of free downloads for the month of April and May).

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Future History Mesmerize

A regular old Saturday night at The Legendary Horseshoe Tavern in Toronto. Only this particular Saturday played host to Epidemic Music Groups launch party and the buzz-worthy headliners Future History. The capacity crowd at Horseshoe Tavern could have easily drowned out any band with the usual persistent uninterested chatter, but this crowd was anxiously awaiting and anticipating a spectacle.

Enter Future History, a relatively young band in the Toronto scene, but a band that seems to be covering a lot of ground rather quickly, a band that more and more people seem to be talking about, a band you want to say you know.

My immediate reaction to the band was disbelief. There was no drum kit on stage, the would-be drummer sat on a tiny box in the middle of the stage and began to produce one of the most intense tribal drum beats, the guitar/vocalist built a swirly, ethereal trance loop with an ancient well-used acoustic guitar. The bass was massive, the sound was massive, the crowd was silent and completely mesmerized.

If it wasn’t obvious enough when listening to their music Future History puts copious amounts of effort and energy into their work. Although no comparison can do them justice, their sound could be compared to Radiohead meets Dave Matthews though it’s clear, it’s an amalgamation of styles and influences that makes Future History fail to fall into a stereotype. This makes their music instantly recognizable and leaves much space for improvisation.
When they are live, this energy comes unhinged and the band lets it loose on the audience. While the other members of the band pound out their respective melodies, Kevin Ker goes into a trancelike state which can only be described as a near-religious experience.


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Press+1 – NXNE 2011 at Bread & Circus

Written By Laura Tyler
Friday June, 17 June 2011


In an unexpected treat, duo Future History started their set not from the stage but scattered among the crowd and to hear the unmiked voice and instrument was a refreshing shift from the other acts. For the second song they took the stage and the difference in sound when supported by technology was remarkable. Future History happily excel in both situations and their combined musical talent drove the songs forward, with added assistance from the cajon that create a sound that ideally complement the acoustic guitar. Their third song had an increased use of technology as the percussion was recorded and played on a loop to create a kaleidoscope of sound. The first electronic instrument was introduced with an electric tone that provided an excellent counterpoint to the guitar which was soon added. The amounts of varied sounds that these two artists combine make their music uniquely fascinating.  Many of their songs are a guy and his guitar with a side of drums, but the alternatives offered are what help set this band apart.


Source: Full article:

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