Far Away Lands

Gone Quite Mad

Far Away Lands
Performed By Gone Quite Mad
Album UPC 889211258246
CD Baby Track ID TR0001101473
Label Gone Quite Mad
Released 2014-12-02
BPM 138
Rated 0
ISRC QMXTV1300018
Year 2014
Spotify Plays 98
Writers
Writer Christopher Gesualdi
Pub Co Clank and Cheer Music Publishing
Writer Nicholas Pascarella
Pub Co Clank and Cheer Music Publishing
Writer Joseph Kruse
Pub Co Clank and Cheer Music Publishing
Writer Caleb Spaulding
Pub Co Clank and Cheer Music Publishing
Composer Caleb Spaulding, Christopher Gesualdi, Joseph Kruse, Nicholas Pascarella
ClearanceFacebook Sync License,Traditional Sync,YouTube Sync ServiceEasy Clear
Rights Controlled Master
Rights Easy Clear: Master
Original/Cover/Public Domain original
Country United States - NY - New York City

Description

Progressive blues rock influenced by 90s grunge.

Notes

Quote from Aputumpu's review of the album 'Star Ride': "Gone Quite Mad is the antithesis of every indie band coming out of Brooklyn right now. Nothing that they do smacks of trendiness or snark. They are genuine to the point of self-effacement, sincere songwriters and complete and utter virtuosos on their instruments. They focus on developing a tight and classic-sounding 4-piece sound of guitar, bass, drums, and vocals, rather than laying on the endless overdubs, huge power chords, and synth tones that have propelled the so-called, “post-psychedelic”, “post-shoegaze” “Post-garage”, and “post-grunge” sounds that saturate the Brooklyn scene. These boys are buff, athletic, and don’t wear skinny jeans; they look like they could beat up my Grandma (most members of bands in Brooklyn could not). They draw more on Velvet Revolver than the Velvet Underground, more on Heinz Tomato Ketchup than Karlheinz Stockhausen. There isn’t an ounce of “tongue n’ cheek” with these guys. And they do it DAMN WELL."

Quote from Obscure Sound's review of song 'All the Building Blocks': "Brooklyn-based prog-rockers Gone Quite Mad begin their new track “All the Building Blocks” with dexterous guitar licks and a bustling rhythm section touching on jazz and hints of jazz fusion. The vocal incorporation – somewhat meek but melodically playful – reminds me of Dave Matthews’ approach at first, before expanding into a more Josh Homme-like intensity. The eruption in distortion around 01:25 is a nice roadway toward the more infectious second half, where the vocals increase in intensity over thunderous guitar riffs. The guitars are extremely charismatic throughout the track, culminating in the instrument stealing much of the show from 02:00 to 03:00 — a great moment that again reminds me of Homme’s guitar work. The vocals are all over the place – from understated ballad form in the beginning to almost metal-raising intensity toward the end – and that may turn some less-than-ambitious listeners off, but I find the delivery refreshing and constantly invigorating."

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