Fathers is Oscar Ross (vocals), Eddie Maestas and Zach Amster (guitar), Mhyk Monroe (bass), and Ryan DeWitt (drums). Drawing from influences such as Whores and ISIS, the Denver-based band’s debut LP puts forth loud music that serves as a call to arms against injustice in troubling times. Decibel magazine described Fathers as “a post-hardcore/prog-metal amalgam” that “really live on their own wavelength of imaginative songwriting played with bloodies, punk rock persistence and a seemingly limitless arsenal of memorable riffs.”
Their self-titled LP was recorded, mixed, and mastered by Jeff Kanan at The Keep Studios in Denver, CO. Cover art and layout by Mhyk Monroe. It will be released on vinyl on March 30th through Sailor Records, and is currently available digitally through all major outlets (including Spotify, Google, Apple Music, etc.). Preorder limited edition vinyl here.
We asked the band about 3 records that have been very influential for the band…
Whores. – Clean EP
Oscar Ross (vocals)
I ran across this band down at SXSW in 2013 playing at one of those classic back yard bashes in east Austin. It was probably 5pm, sun was still out and there were about 40 people there. They blew everybody out of the water and I couldn’t believe i’d never heard of them.
The guitar tones and power of this 3-piece are undeniable. But It’s the vocals that grab me the most. A mix between an angry Ozzy and dying Bon Scott. And just clear enough to understand what he’s saying. I’ve since gotten familiar with the lyrics which are dark and usually have a theme of struggle.
My favorite tracks are ‘Baby Bird’ and ‘Cougars, Not Kittens’.
Dead Cross – Dead Cross
Eddie Maestas (guitar)
A lot of people I know have always had this weird affinity toward Mike Patton and all of his projects. My first exposure to him was around 1990, just shortly after Faith No More’s The Real Thing was released. I was pretty young at the time, (11 years old) and I remember thinking how much I was turned off by it. Later through life I would be exposed to the numerous projects that Mike was in, and for the most part, (with the exception of the ISIS’ Oceanic: Remixes & Reinterpretations) I always wrote it off as “weird Mike Patton shit.” Enter Dead Cross…
I can’t remember exactly how I heard about this project. I eventually read a review of the album, and really enjoyed the story of how it came to fruition. As a young metal head, I obviously had a love for Slayer, and would later discover Locust in my early 20’s, through the record label GSL. After hearing the first song or two, I was immediately hooked. The frantic pace of Lombardo’s drumming was very familiar, but I felt he crossed a ton of boundaries that I was always used to hearing. The rhythm marriage between him and Justin Pearson was basically a balance of grind meeting, dare I say, a “pop” accessibility. Not to mention the perfect tone, dark riffs, and sonic waves of delay by Michael Crain’s guitar work. Then we have Mike Patton. Fucking Mike Patton… The lyrics are perfect. The screeching, crooning, squealing, and singing beyond every vocal range. It’s all there, and it’s safe to say that I’m finally a Mike Patton fan.
ANYWAY! Now that I’ve wiped all the name-dropping semen from my face, Dead Cross was all I listened to in the summer of 2017, and it was a major influence in recording the Fathers album.
Frontierer – Orange Mathematics
Mhyk Monroe (bass)
Holy shit. Ho. Ly. Shit. I listened to this more in the last 2 years than anything else, without question. There is simply nothing quite like it, to my ear. It’s easy to pick out influences and slight similarities to other artists, but the alchemy here is singular and magical. The juxtaposition of unisons and chaotic fracturing induces as much admiration as vertigo to me, and it totally changed how I have been thinking of guitar, bass, and songwriting over the last few years. This was easily my biggest influence, regarding how I approached Fathers’ songwriting and recording.