Circle Number Dot / Press

"Full Straight Ahead" by Circle Number Dot Egnater, Marshall, and Mesa-Boogie amplifiers. Full pedal-boards and first-rate instruments. Two thundering bass drums, facing outward from the center. Searing leads and a destructive rhythm section. All of these aspects and more make up the sound and style of Denver's Circle Number Dot. One look at the band's setup shows that this is a group that takes its sound seriously. One listen demonstrates just how seriously it takes it. Circle Number Dot began in 2006 as a vision from frontman/guitarist Matt C. Card. According to the band's official website, it began as a concept and demo alone, an idea without intention of spawning a full band. Nonetheless, as the years went on, musicians were drawn to Card's powerful and noisy sludge rock sound, a sound which brings to mind such 90s and 2000s rock-n-roll titans as Helmet, Melvins, Mudhoney, and Tomahawk. The band has since moved on to gain a strong following in the Denver area, attaining many head

“Golden, Colorado-based Circle Number Dot’s album Bass Drums Guitar serves as a pleasing reminder of the simpler side of music. They do not waste the listener’s time by trying to do too much. Instead they mix gritty-sounding guitars and anguish-ridden lyrics with a general beaten- down-by-the-world overtone to create a refreshingly Punk album. I am not one for comparisons, but while listening to Bass Drums Guitar I could not stop thinking about the “Bleach” days of Nirvana. Lead Singer Matt Card’s vocals bear a striking resemblance to Kurt Cobain’s, but also have similar qualities to Dan Auerbach of The Black Keys. The success of Bass Drums Guitar lies in the faster numbers of the album as the band sounds most comfortable when the song clocks in around three and half minutes or less. Circle Number Dot sounds a bit outside of their comfort zone on the first half of the track “Master Plan” where they slow things down....”

“One possible narrative for Bass Drums Guitar: A man is chained to his life. The minutiae, the rules, the injustice is all inescapable. He struggles to free himself completely, but the binds are too strong. So he finds fleeting salvation in booze and drugs and, of course, rock and roll. The music reflects a binary worldview; there is no subtlety in the instruments, which are billy clubs, or in the vocals, which are shouted mantras. The band makes no secret of its influences, borrowing from punk and metal and big-hair rawk. But this music was never meant to be a unique snowflake. It is testicles and testosterone and sweat and blood, all unceremoniously thrown into a cast-iron pot and boiled vigorously.”

“Circle Number Dot, who opened this show, didn't sound like they got much more than a mere line check before hitting the stage. It was initially hard to tell if it was the act's sludgy guitar sound in the first two or three songs muddying things up or if it was the mix itself. Once the sound crew dialed in the mix better, it became remotely possible to discern the vocals. Turns out the threesome had an interesting take on mixing heavy rock with psychedelia that bordered on Sleep-esque stoner rock and the noise rock pioneered by Scratch Acid. Circle played with good spirits and even through the technical issues you could tell they'd be worth checking out elsewhere.”

“Before Psychic Ills, Denver trio Circle # Dot played what might’ve been the most lively set of the night. Their sound recalls the best, fuzziest Mudhoney, topped with a generous helping of indie funk rhythms, and a little furious Sonic Youth.”