Seven Nines and Tens is a post-metal act from Vancouver / BC, Canada with their references to Math Rock, Sludge rock, Doom Rock, Hardcore, Pop Punk, Jazz, and Black Metal. Discorder Magazine says "The amount of innovation and talent that this trio brings to their compositions is simply staggering. Seven Nines and Tens prove without a doubt, that they are a force to be reckoned with, in this, or any other galaxy."
The band Seven Nines and Ten were assembled in 2008 by guitarist David Cotton with bassist Earl Heath joining in October 2009. St. Patrick’s day 2010 saw Riley Roukema joined as drummer. In 2012 they had their place among the united nations of Fluttery Records.
Seven Nines and Tens' debut album “Habitat 67” alerts the listener by way of sound that the time is upon them to leave their mortal body for 45 minutes of calculated guitar driven space aged motifs and thoroughly enveloping tides of melodic grandiosity.
Discorder / James Olson
With their latest release, Habitat 67, Seven Nines and Tens offer a visceral fusion of progressive metal and ethereal space rock, and the amount of innovation and talent that this four-piece brings to their compositions is simply staggering.
To call their riffs titanic would be an understatement. The closing passage of “Crystalline Xanthine Alkaloid” threatens to crush the unprepared listener under its sheer colossal heaviness. However, the album finds its dynamics with songs like, “I Grow Tired,” the most melodic track on the record, which reminds me of Porcupine Tree, with its great sense of quiet/loud dynamics that accompany its winding, intertwining soft passages.
The group keep things interesting by occasionally trading off their heaviness for more subtle jazzy jams, like “Retrograde Orbit,” and by utilizing their great ear for dynamics to mix in gentle, almost soothing, shoegaze inspired guitar-work within their brutal, sonic heaviness.
The addition of keyboards also deserves notice as it adds immensely to the intergalactic atmosphere of the album, providing an ambient yet simultaneously melodic backdrop for the group’s twin guitar attack.
Habitat 67 is eclectic, challenging and at times and strikingly beautiful. With this latest effort, Seven Nines and Tens prove without a doubt, that they are a force to be reckoned with, in this, or any other galaxy.
Caleidoscoop / Jan Willem Broek
The international record label Fluttery continues to surprise me with their new musical discoveries. They are true connoisseurs when it comes to innovative post-rock, but the limit does not stop there. Even more experimental and electronic oriented bands find their shelter. Now they come with the album Habitat 67 of the Canadian band Seven Nines And Tens. The men from Vancouver starts their album with the song in which the title also refers to a particular apartment in Montreal, with tight metal full of great riffs and double bass drums and that reminds me of Isis. But they suddenly switch from the metal back on the post-rock, so you just tap on the wrong foot is put. The band consists of Dave Cotton (guitar), Earl Heath (bass, drums) and Roukema Riley (drums, bass). They make their music far more spatial by the use of the synthesizer and samples. Throughout the album several genres like doom rock, space rock, free jazz, hardcore, math rock, shoegaze, punk and experimental music flirts. Each time switching them in a surprising manner, the metal sound is formed. So much happens in their music and you do not miss the singing. The trio's greatest strength lies in the variety they make and in between the tracks and the ease with which they move from one genre to another tack, and indeed their control. Post-metal is probably the term that best covers the music. Apart from Isis, you mostly think of the music of Porcupine Tree, Black Sabbath, Primus, My Dying Bride, Slowdive and Don Caballero. A powerful and vivacious album!
The Dirty Lowdown / Robert Carraher
Metalunderground.com advised that "Seven Nines and Tens is one of the most underrated progressive/experimental acts in the city.” The band does come off on this album as more of a progressive metal presentation.
The album is totally instrumental, no lyrics and though metal isn’t somewhere my aural tastes hang out at often, I found the album stimulating. The guitar work, heavy at time as you’d expect, can be melodic and expressive. The song compositions are very intricate and production is calculated.They are up and comers and could be a force to be reckoned with. On the heavy side of post rock /post metal, and indie rock.
Guilty Forest / Akasaka Takahiro
As I’ve introduced some of the Fluttery Records’ releases, I think Seven Nines And Tens – instrumental post-metal trio from Canada – is the band which sound is the most edgy and acuate of them. This is a post-metal album released on Fluttery Records in 2012. While tranquility of post-rock is appeared throughout the album, their sound is thoroughly based on heaviness of post-metal with focusing on simple and tight arrangement.
Although their sound is seemingly under the influence of post-metal and post-rock, the length of each song is not so long. They create songs based on the tight and trimmed arrangements. What is underlying in their sound is not just magnificence of post-metal but rather core sounds of heaviness and tranquility of post-rock, and its music is not based on too much of argumentative technicality. However, in their arrangement, there is stately heaviness that is emerging from the destructive sound, and heavy post-metal parts drift to clean parts smoothly.
Having keeping the beauty of the tight ensemble, the flowing beautiful melodies come along throughout the songs. And by its clean and heavy sound, the brilliance in songs has varied like a prism. Also what’s remarkable with their sound is the taste of math rock. They use a lot of complicated phrases such as irregular meters, transitions and modulations especially on the post-metal toned songs, and that makes their music tinged with math rock. That’s because why there is a good tense feeling in their riffs. And such riffs make me a thrill. Not like jumping from tranquility into epic, nor not like rushing to peripeteia, they’ve crashed and regenerated the riffs and tight beats here and there. And that’s why they could have created the sound as if it is growing by cell division. While the album varies on each song with some post-rock toned songs or some simple phrases, as a whole it is a clearly well-disciplined album derived from perpetual changes. Such sort of lucidity is another attractive aspect to me and moreover various explosions are sparked in songs. Even on a roaring post-rock tune appearing at the end of the album, their solid arrangement is consistent.
In the post-metal and post-rock scenes nowadays, I think one characteristic is that they are stoic on their both beautiful and sludge phrases, and they have succeeded to express directly the catharsis and tense feeling with their accomplished ensembles. They might appeal to the people who like Pelican. Destructive power dwells in their music for sure because of their tight arrangement derived from only really-required sounds.