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Four Point Restraints / Press

"Unsettling, ominous, grim, and dark... it's bruise-colored skies and dim rooms, rain slicked alleys, rancorous endings, and doomed beginnings. If that doesn't grab you, what does?"

"The Restraints have thus far left their youthful rock rambunctiousness with early comparisons to Visual Audio Sensory Theatre and The Pixies and graduated to the intellectual rhetoric and reach of richly scoped performance-art such as Velvet Underground and early Floyd. However, there’s still a little bit of Morrison and the Doors in lead singer Evan Gadowski’s expletives and threats. In any case, the fostering of instrumental and vocal relationships shine through even in the recordings. The scale of delving into an English Literature professor’s whims with Flowers of Evil, and touching down on the awesome power of a sailor’s fists with Dead Reckoning is a crevasse that this popular band easily traverses. “There needs to be more bands doing that,” says Squallie, referencing the tradition of intellectual impresarios such as the Velvet Underground."

"Four Point Restraints sounds like the type of band one Quentin Tarentino would know about. Actually, scratch that: Four Point Restraints sounds like a Tarentino movie, mixing tongue-in-cheek theatrics with guitars building on thatLink Wray, 1950′s vibe. Sound confusing? It’s not. It’s good."

"There are countless bands in the Boston area, but there’s just something about Four Point Restraints that resonates with you within seconds of hearing their music. It’s hauntingly beautiful and yet psychotically energetic and unpredictable at times. Leader singer, Evan Gadowski, captures your attention instantly with his seductive and enticing voice, bassist, Cat Verlicco, manages to get you swaying in no time while captivatingly playing bass and providing beautiful back up vocals, Will Barry, lead guitarist, will have your jaw dropping with his unforgettable solos and Andy Connors, drummer, provides the energy to bring it all full circle."

“You would expect from listening to The Four Point Restraints’ EP “Mercy,” that they are a band of shipwrecked stowaways who made their way to America with a crew of cutthroats, thieves, and raging whiskey drinkers on a journey filled with heartbreak, despair, backstabbing, and murdering. Well, you’re right... I’ve listened to “Mercy” at least fifty times since I picked it up a few months ago. It’s one of the most listenable albums I’ve ever bought and it’s very well produced and recorded. I never want to pull “Mercy” out of my CD player when it plays for the third time on repeat (oh the joys of driving a ’97 Subaru wagon), nor do I want to change the playlist consisting of the album, plus “Casualty” six more times”

“The sneaky nature of the song comes skulking in under the radar, driven by a chunky, nigh-rocksteady guitar that belly crawls in under the laser beam detectors and does a few twisty flips to avoid setting off the pressure-sensitive panels that you had installed when you got all paranoid about musical prowlers sneaking into your place. Once inside, the song conducts a full scale freakout/dance party on its own accord, shredding up the carpet with ferocity in a outward-bound guitar solo that says, "Yeah, I snuck in here. And now this is happening." Four Point Restraints proves that they do have the firepower to survive – and possibly win – such a fight, but the subterfuge of "Casualty" gives it the extra push it needs to surf both sides of the wave. The subtle and not-so-subtle tempo changes and energy level changes show a song that is well in control of itself.. all for the end product of a fairly sweet – if slightly menacing – song. ”

“They’re a little bit rockabilly. They’re a little theatric. They’re a little cynical...The mix of country, cabaret, and macabre is the perfect soundtrack for the rape and murder of a loved one caught on tape, and/or a house party with latex and Cool Whip. Listen to this on Mom’s pills. I did. Oh look, Purple. Can’t wait to see this band play live to see if my conjured imagery is a build up or a let down.”

"Being recorded live and on the air doesn’t leave much room for error, and these cats really pull it off well. They play punk and post-punk with folk, surf, blues, vaudeville and psychedelic influences, and each song’s arrangement starts with guitar intros that are good examples of how they try to create imagery and atmosphere with their music. In “A Western Hymn,” the opening licks sound like they are capturing the feel of a violent John Ford Western movie and even like some Cormac McCarthy novels. In fact, a lot of their songs seem fitting for pulp film soundtracks. You can hear The Pixies, The Smiths, Tom Waits, Jello Biafra and Captain Beefheart in their music. Attention all ears: stay tuned for their next studio release."

“If four friends were sitting around listening to Rain Dogs by Tom Waits and then one of them suddenly looked up and said “Hey you guys, let’s buy some instruments and make music that sounds like this!” and then they worked at it in their garage for a month and came out sounding pretty damn decent, the result would likely be something along the lines of Four Point Restraints, which speaks to the wide diversity of their sound as well as its unity. On the one hand, they were stylistically nearly as all over the map as Tom Waits. On the other hand, every sound they toyed with stank of whiskey and gunsmoke and general fuck-it-all hard living. Some of their songs had a country/rockabilly feel, some had that Ennio Morricone/Dick Dale twang and a few sounded explicitly like the sort of thing that Captain Barbossa and the gang probably start bellowing below-decks on the Black Pearl.. I could groove on it.”

““The music of Four Point Restraints blends the raw power of rock with the nuances of a Celtic or folk band. They give an impassioned, intense performance that doesn’t demand attention: they come right up and take it. “Casualty” takes it all the way to 11, while “Night Shift” slows things down a bit, the style easy to absorb and enjoy. As the set comes to a close, the band chooses “Dead Reckoning” as the final song, and I am so damn glad that they do. The music is like a jaunty pirate tune, and without a doubt my favorite. I’m singing along to this one, and my fist pumps to the chorus. Happens every time.””