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“On this EP, by San Fran’s incomparable Abatis, they delve further into the tension filled dark distorted waters they hinted at on their first release, “Electric Dead.” The title track, “Now You’re Paying for Sleep” thrums along at a steady clip. Hypnotic, controlled and meditative; it feels as though the band has taken it’s time, coloring the guitar tones with sonic details and deeper textures, giving more thought to what they play than just relying on muscle. The four songs become tone poems, like the soundtracks to a film they haven’t shared with the rest of us. The band plumbs these depths with manic bursts of white noise guitars. Violently engaging before settling back down. Guitarist Sean Wagner and bassist Stuart Maaslehbrown both sound as though they are playing through overloaded speakers and recorded through microphones pegged into the red. This wall of buzzy sound can barely be contained. They don’t make speakers big enough to hear them properly. ”
“On the opposite coast of America, Abatis calls San Francisco home, and serves up massive slabs of distortion, which spills over in untidy swaths of noisy, distorted sound. It owes as much to their Bay area fore- bears, proto-metal act Blue Cheer, as it does more contemporary acts like Queens of the Stone Age. Made up of Ben Lauffer (drums) Stuart Maaslehbrown (bass/vocals), and Sean Wagner (guitar/vocals), they bring urgency to their performance. Their debut CD, Electric Dead, is consistently amazing. There are moments where a lifetime of Nirvana’s influence can be heard filtering through ever so slightly. But there are a few ringers. “Headpowers” moves like a steamroller, clearing everything in its path. “Brother (I hope you can run),” is a dead-on MC5 sound-alike, complete with a handclap shoutalong that’ll give you pause should you get the reference. “A Machine to Tow Clouds” is another nod at San Fran psychedelia, built on tension and stra”
“A ground breaking dynamic opus that commands the utmost attention. Abatis uses their remarkable instrumentalism as the catalyst to reach the listener as heard on the trashing rapid paced track “Brother” (I Hope You Can Run). Wagner’s guitar skills take center stage as chords slash through pronounced kicks and an infectious bass line with the precision of 300 Spartans attacking Persian enemies. Masslehbrown keeps it funky of the intense and sonically vivid “Set a Fire”. From the opening seconds, the prominent bass groove is the cement that holds this picturesque sculpture together. Lauffer punishes the drums like a red-headed step child on “Salt Hands”. His prevailing drum rolls and powerful cymbal/kick stabs land with the force and precision of artillery rounds excavating a battlefield. This is bona fide workout music at its finest. ”
“A well-produced debut album that actually delivers raw energy is a rarity these days when overly auto-tuned acts are the norm; but San Francisco based Abatis does it with their blaring, raucous offering, Electric Dead. Far more organic that the synth-pop sound that has been ubiquitous in recent years, Electric Dead recalls a louder, rowdier time when bands like Nirvana, Sound Garden and Stone Temple Pilots ruled the airways. Guitars made thick with reverb aided by a pounding beat that doesn't let up from the opening chords of "Horsefly" to the closing notes of "Electric Dead" the album satisfies the hungry-for-a-change listener with a big juicy sound. An impressive start for the band, whom have been together for just over a year, Electric Dead speaks to a bright future for these Bay Area rockers.”
“Do yourself a favor, play it loud. I’m lucky enough to be friends with these folk, and I will tell you firsthand, these hard-rock songs with dark blues soul will nearly tear your face off (and it will be so, so good). ...”
“If ever there was a band that benefited from the sum of its influences, this is it.”
“fuzzy, loud rock, knocked out live, rough, and ready to kick some ass.”