Crash Parallel
Bio
Less than ten seconds into Sunset In Reverse’s opening track, ‘Wake Up’, Crash Parallel make it abundantly clear just how much firepower they bring to their creative process – not only as songwriters and highly accomplished individual players, but as an incredibly tight live outfit. Which is exactly what the band wanted to do with Sunset in Reverse (Black Box Music/Fontana North) from the outset, says lead singer and lyricist Tim Edwards. “To bring what we’ve learned from our live show to the studio and to show how we’ve grown emotionally and musically.”
On Sunset In Reverse, Crash Parallel’s signature brand of edgy modern pop blurs the line between the deep, textural sound of bands like Coldplay, Lifehouse and The Fray, while delivering massive melodic hooks that wouldn’t be out of place on your average high-energy pop/punk mega hit. A sound that’s as compellingly powerful as it is difficult to pigeonhole. Thinking mans pop that covers substantial ground with a degree of occasionally painful honesty that’s as essential to the band’s songwriting as it is to their overall approach to their career.
As the title suggests, the twelve tracks on Sunset in Reverse depend heavily on the somewhat somber thoughts that often preoccupy Edwards at sunrise. “I tend to write about things that have a profound effect on my life. Singing about them helps me to release them, and generally, because I go to bed when everyone else is getting up, I go through most of my emotional turmoil through the night.” Much of that turmoil centers on Edwards’ analysis of the quality of his relationships with others. “Often bad ones,” he adds, “not only with friends, but romantic relationships that aren’t actually romantic – just poorly chosen – where I fall really hard, then turn back into myself and it all becomes a web of disaster.”
While some bands take years to find a way to express themselves on stage and on record with equal power, Crash Parallel hit the mark right out of the box with their 2008 debut, World We Know (Sony/BMG). Instantly embraced by Canadian radio, the album’s title track and lead single held the No. 1 spot on the Billboard Emerging Canadian Artist Chart for four weeks running, as well as hitting the Top 10 on Hot AC and Top 20 on CHR. A success that laid the groundwork for two additional singles and a win at the 2009 Canadian Radio Music Awards for Best New Group of the Year. But although that support was integral to the band’s initial success, for longtime fans, Crash Parallel’s ongoing appeal doesn’t depend on chart positions and awards, but on the band’s unshakable commitment to achieving their musical vision on their own terms; even if it takes substantially more time than they’d originally hoped to do so.
On Sunset in Reverse it’s immediately clear how essential Edwards’ ongoing struggle to understand the nature and quality of his relationships is to the emotional weight of Crash Parallel’s music. What isn’t evident, however, is how much a similar variety of analysis on the part of the entire band impacted the writing and recording of the record – A process that, in and of itself, was characterized by no small amount of collective self-examination and sonic soul-searching.
Energized by two years of intensive touring in support of World We Know and by the growing role of keyboardist Rob Bezanson and bassist Gary Rugala in their songwriting process, when Crash Parallel hit the studio in mid-2009 with producer Matt Wallace (Faith No More, Maroon 5, Train) they felt like they were at the top of their game. “We had these great moments on tour; big heavy moments when the crowd was really into it and we wanted to recreate that on record, so we literally picked the ten most aggressive songs we had and went on a rampage,” Edwards says.
But while Wallace’s creative involvement was invaluable, and recording in Los Angeles at Studio Delux and Dave Grohl’s Studio 606 with him over the summer of 2009 allowed the band to explore new ground, Edwards believes the drive to capture a sound more representative of their live show took them farther, rather than closer, to their goal. As committed to the process as they were, the band felt compelled to step back and take a long, critical look at what they had recorded so far. “At the end of the day I think we needed to slow down. We loved the songs, but we’d gone too far away from the traditional Crash Parallel sound.”
Rather than release the record as planned in October 2009, Edwards and company opted to re-examine and refine their writing process in an effort to split the difference between the two distinct styles they now found themselves caught between.
Back in Canada Edwards and longtime co-writer, Crash Parallel guitarist Dan Saitua holed up in their shared digs/home studio in Oakville, Ontario and got back to basics. “I literally walked around singing as loud as I could because I wanted Danny to hear me from upstairs. Whenever he’d come running down I knew I had a good idea.”
After demoing one of the first songs written in that time period – the reggae tinged ‘Want You More’ – with Canadian producer Bill Bell (Emmylou Harris, Jason Mraz, Danko Jones, Justin Nozuka, Tom Cochrane, Tara MacLean) Crash Parallel soon found themselves with a growing catalogue of fresh material. Songs that truly split the difference the sophisticated musical dynamic that made World We Know so memorable and the more aggressive style they were intent on capturing in LA. Songs including ‘Disappear’, the aptly titled ‘Fight Through It All’ and their upcoming single ‘See Right Through Me’ – as well as a standout cover of Peter Gabriel’s ‘In Your Eyes’ that has long been a crowd pleasing staple in their live show.
Although the change in direction yielded an abundance of new material, however, during the extended process the band was forced to adapt to other, more dramatic changes. Parting ways first with longtime drummer John Vitellaro (who left the band to spend more time with his family), and not long afterward with their label, Sony/BMG. But while ill timed, both splits were entirely amicable, says Edwards, presenting challenges that only served to fuel the band’s resolve to finish Sunset in Reverse on their own terms.
After recruiting new drummer, Jon Fedorsen, the band hit the studio again with Bell in Summer 2010 – This time bankrolling the process themselves and tracking the remainder of Sunset In Reverse over four days at Chalet Studios in Amherstburg, Ontario. “That’s when it really felt creative. With Bill we were coming up with things that gave the songs character and felt we could take the songs to a new level. He had a ton of ideas for the songs and we felt like this was a new beginning for the record and for the band, and now I think we’re more proud of this record than anything we’ve done.”
With good reason – while the process has taken far longer than expected, the end result is well worth the wait. Even with the track listing split equally between two dramatically different sessions, recorded a full year apart with separate producers, Sunset in Reverse is every bit as cohesive and compelling as World We Know. A seamless set of instantly memorable songs that showcase the band’s growth as individual players and songwriters – as well as the chemistry they developed on the road – in equal measure. Proof positive that Crash Parallel’s insistence on being true to themselves and their sound not only served them well this time out, but that they have the patience, guts and talent to remain a musical force to be reckoned with long term.
_____________________
CONTACT
Label: Black Box
Management: Jason Murray at Black Box
Booking: Tom Kemp at S.L. Feldman & Associates
Publicity: Julie Hoffmann at Black Box
Radio: Gary McDonald at Frontside
Less than ten seconds into Sunset In Reverse’s opening track, ‘Wake Up’, Crash Parallel make it abundantly clear just how much firepower they bring to their creative process – not only as songwriters and highly accomplished individual players, but as an incredibly tight live outfit. Which is exactly what the band wanted to do with Sunset in Reverse (Black Box Music/Fontana North) from the outset, says lead singer and lyricist Tim Edwards. “To bring what we’ve learned from our live show to the studio and to show how we’ve grown emotionally and musically.”
On Sunset In Reverse, Crash Parallel’s signature brand of edgy modern pop blurs the line between the deep, textural sound of bands like Coldplay, Lifehouse and The Fray, while delivering massive melodic hooks that wouldn’t be out of place on your average high-energy pop/punk mega hit. A sound that’s as compellingly powerful as it is difficult to pigeonhole. Thinking mans pop that covers substantial ground with a degree of occasionally painful honesty that’s as essential to the band’s songwriting as it is to their overall approach to their career.
As the title suggests, the twelve tracks on Sunset in Reverse depend heavily on the somewhat somber thoughts that often preoccupy Edwards at sunrise. “I tend to write about things that have a profound effect on my life. Singing about them helps me to release them, and generally, because I go to bed when everyone else is getting up, I go through most of my emotional turmoil through the night.” Much of that turmoil centers on Edwards’ analysis of the quality of his relationships with others. “Often bad ones,” he adds, “not only with friends, but romantic relationships that aren’t actually romantic – just poorly chosen – where I fall really hard, then turn back into myself and it all becomes a web of disaster.”
While some bands take years to find a way to express themselves on stage and on record with equal power, Crash Parallel hit the mark right out of the box with their 2008 debut, World We Know (Sony/BMG). Instantly embraced by Canadian radio, the album’s title track and lead single held the No. 1 spot on the Billboard Emerging Canadian Artist Chart for four weeks running, as well as hitting the Top 10 on Hot AC and Top 20 on CHR. A success that laid the groundwork for two additional singles and a win at the 2009 Canadian Radio Music Awards for Best New Group of the Year. But although that support was integral to the band’s initial success, for longtime fans, Crash Parallel’s ongoing appeal doesn’t depend on chart positions and awards, but on the band’s unshakable commitment to achieving their musical vision on their own terms; even if it takes substantially more time than they’d originally hoped to do so.
On Sunset in Reverse it’s immediately clear how essential Edwards’ ongoing struggle to understand the nature and quality of his relationships is to the emotional weight of Crash Parallel’s music. What isn’t evident, however, is how much a similar variety of analysis on the part of the entire band impacted the writing and recording of the record – A process that, in and of itself, was characterized by no small amount of collective self-examination and sonic soul-searching.
Energized by two years of intensive touring in support of World We Know and by the growing role of keyboardist Rob Bezanson and bassist Gary Rugala in their songwriting process, when Crash Parallel hit the studio in mid-2009 with producer Matt Wallace (Faith No More, Maroon 5, Train) they felt like they were at the top of their game. “We had these great moments on tour; big heavy moments when the crowd was really into it and we wanted to recreate that on record, so we literally picked the ten most aggressive songs we had and went on a rampage,” Edwards says.
But while Wallace’s creative involvement was invaluable, and recording in Los Angeles at Studio Delux and Dave Grohl’s Studio 606 with him over the summer of 2009 allowed the band to explore new ground, Edwards believes the drive to capture a sound more representative of their live show took them farther, rather than closer, to their goal. As committed to the process as they were, the band felt compelled to step back and take a long, critical look at what they had recorded so far. “At the end of the day I think we needed to slow down. We loved the songs, but we’d gone too far away from the traditional Crash Parallel sound.”
Rather than release the record as planned in October 2009, Edwards and company opted to re-examine and refine their writing process in an effort to split the difference between the two distinct styles they now found themselves caught between.
Back in Canada Edwards and longtime co-writer, Crash Parallel guitarist Dan Saitua holed up in their shared digs/home studio in Oakville, Ontario and got back to basics. “I literally walked around singing as loud as I could because I wanted Danny to hear me from upstairs. Whenever he’d come running down I knew I had a good idea.”
After demoing one of the first songs written in that time period – the reggae tinged ‘Want You More’ – with Canadian producer Bill Bell (Emmylou Harris, Jason Mraz, Danko Jones, Justin Nozuka, Tom Cochrane, Tara MacLean) Crash Parallel soon found themselves with a growing catalogue of fresh material. Songs that truly split the difference the sophisticated musical dynamic that made World We Know so memorable and the more aggressive style they were intent on capturing in LA. Songs including ‘Disappear’, the aptly titled ‘Fight Through It All’ and their upcoming single ‘See Right Through Me’ – as well as a standout cover of Peter Gabriel’s ‘In Your Eyes’ that has long been a crowd pleasing staple in their live show.
Although the change in direction yielded an abundance of new material, however, during the extended process the band was forced to adapt to other, more dramatic changes. Parting ways first with longtime drummer John Vitellaro (who left the band to spend more time with his family), and not long afterward with their label, Sony/BMG. But while ill timed, both splits were entirely amicable, says Edwards, presenting challenges that only served to fuel the band’s resolve to finish Sunset in Reverse on their own terms.
After recruiting new drummer, Jon Fedorsen, the band hit the studio again with Bell in Summer 2010 – This time bankrolling the process themselves and tracking the remainder of Sunset In Reverse over four days at Chalet Studios in Amherstburg, Ontario. “That’s when it really felt creative. With Bill we were coming up with things that gave the songs character and felt we could take the songs to a new level. He had a ton of ideas for the songs and we felt like this was a new beginning for the record and for the band, and now I think we’re more proud of this record than anything we’ve done.”
With good reason – while the process has taken far longer than expected, the end result is well worth the wait. Even with the track listing split equally between two dramatically different sessions, recorded a full year apart with separate producers, Sunset in Reverse is every bit as cohesive and compelling as World We Know. A seamless set of instantly memorable songs that showcase the band’s growth as individual players and songwriters – as well as the chemistry they developed on the road – in equal measure. Proof positive that Crash Parallel’s insistence on being true to themselves and their sound not only served them well this time out, but that they have the patience, guts and talent to remain a musical force to be reckoned with long term.
_____________________
CONTACT
Label: Black Box
Management: Jason Murray at Black Box
Booking: Tom Kemp at S.L. Feldman & Associates
Publicity: Julie Hoffmann at Black Box
Radio: Gary McDonald at Frontside
Releases
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