New Album = Sung High Mast

The riderless family tree has branches anew.

Sung High Mast (2013)

Sung High Mast

We’ve finished our latest album – one that trickily puzzled us and kept us afloat. Whether it was the welcoming of Ryan’s new baby boy, James, or Ian finding his spontaneous self all the way west and now back again, this catalogue of surreal moods and photographic-like memories was a glue. Life is life in totality, sure – and we’ve clearly balanced our boats on that river’s banks, and while the scenery was changing both figuratively and literally (as newborns and new travels and new visions can intensely illuminate) this tangled, prickly collection of our wooden electricity announced us at its’ seated-table. We kept revisiting, breaking out the chisels and too-heady snarled constructivism. That is to say, it took shape in quicksand – maybe like an object melting outside – but uncovering the ghost-image within. The one we’re after. Fear: it isn’t there. Sometimes it takes time.

Truthfully, we weren’t sure what we had (or present-day do have) – time tocks and has an uncanny way of disrupting flow. The rust was starting to accumulate and the gigs were straddling the mirage-real line. Band as finite. That infinity of our youth was narrowing, parallel lines now emerged as one, pointing to some end. The inverse of riding the rails. Braking. Always in theory, though. Action can be haiku-sensitive or Pynchon-long. You partner with one once born. The middle-period time, the irrelevance and over-enthusiastic zone-locking is forever behind-the-curtain. It was a challenge, much more than ever before – maybe our aging cynicism now clouds our wonder, or maybe our shit-detectors powered up while the narrative caught stride, who knows, but it was living throughout. It doesn’t go away, it doesn’t ship nor receive itself. Life brings it back to life.

Now there is only one way: heads first, guesses second.

So here we are, short-story-long, controlling the mirror.

In hopes that this writing doesn’t sway you from your original order, we sincerely appreciate you listening. Listen in.



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02/16/2013 – Live @ Forest City Gallery

With winter allowing fireplace ideas of celebration, our voiced family tree deemed a portrait important. We – the riderless – rally up for live’s keeping. To partake. Do partake.

February 16th brings Absolutely Free and ourselves to the Forest City Gallery as part of their upcoming new music series titled “Hear Here.”

Below, I’ve swiped the recipe from fcg:

Hear Here- Featuring Absolutely Free and The Riderless

Saturday, February 16, 2013
7:00-11:00 PM

Forest City Gallery Proudly Presents:HEAR HERE (a new music series)

This series of live-shows will take place at FCG in between exhibitions.

The Hear Here committee will select one local music promoter to curate one night of music, that will feature two acts: one local band, and another of their choice.

The FCG gratefully acknowledges OIART for sponsoring the event.

The first show is curated by Matt Trocchi from Half a Dino, and features:



Saturday, February 16th
7-11 PM

Doors at 7 PM
Music starts at 8 PM SHARP
The event/music ends at 11 PM SHARP

Admission is $7 at the door.
This is a 19+ event.

Thank you to Lynne Dubac, Sophie Quick, Neil Klassen, and Andrew Lennox for your help establishing this series, and organizing the night. Thank you to Matt Trocchi (Half A Dino) for booking our first of many shows.

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New Album Conjured

When the tide eased back we triggered our canoes and silently guitar-paddled our city-folk compass’d in miracles way. The bearded man received us and gracefully offered his electricity and magic. Huddled in the heat, although guarded from the sun’s blister, we tempted our seance. Trials and errors, then trials. Shadowed in almost-candle-light, we made our peace.


1. Recording with Andy Magoffin at his new House Of Miracles
2. Two days of improvisation/sketching/attempting/structuring
3. Skeletal mixing
4. Pinpoint editing and selecting
5. Skeletal mixing and sequencing and debating

6. Final mixing and mastering underway, where we sit currently.

Soon come, spring or thereabouts, a new record. Hopefully offering some new thinking and playing. We’re quite pleased, definitely feels like a natural trajectory for the gathering of our sounds.

Interested parties looking for some company and/or business-crashing? We don’t show teeth, please get in touch.

(Hoping to have our records sit in closets overseas.)

Talk soon.

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Dividing Locks Into Keys (2002 – 2012)

Our latest; a collection of B-sides and unreleased material spanning an aluminum glint, will be available for download through our Bandcamp page on Saturday September 8th.

Ryan’s working on having a handful of gussied up CDR physicals available as well, but they’ll likely be exclusive to the 8th and therefore sell out quite quickly.

Hit us up for a DL code (we’ve 100) if you’re interested.


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Billy Bert Young Does It Up Proper.

Billy Bert Young does it up proper.

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September 8th @ APK Live II Fond Of Tigers / The Riderless / You’ll Never Get To Heaven

Our favored Vancouverites, FoT, are swinging through S/W ON, and so we’ve locked them down for a London date. Also on the bill are former Haligonians, You’ll Never Get To Heaven. We’re quite pleased with this one!

$7 / 19+


Called “post-everything”, Juno award winning (2011 instrumental album of the year) Fond Of Tigers have been developing their hypnotic and intense music since 2003. Since its origins as a solo project of guitarist Stephen Lyons, the group has expanded to include its signature double-drumkit attack and processed violin and trumpet textures along with the artfully layered hooks. Featuring seven of Vancouver’s leading creative musicians, Fond of Tigers play a layered, nuanced music that explores musical possibilities ranging from the smallest gesture of extended technique, to the full avant-rock bombast possible with a wild, double drum-kit-led septet.


You’ll Never Get to Heaven is the stunning new ambient, electronic pop project by partners Chuck Blazevic (Dreamsploitation) and Alice Hansen. Most of the source material is taken from early 20th Century classical and 70s dub vinyl, with decades worth of scratches and dirt beautifully processed into flourishes of swirling texture. Alice’s delicate vocals emerge from this ambient fog to guide these tracks through a dream of pop music long forgotten.


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