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Chicago’s The Hecks -- Andy Mosiman (guitar, voc), Dave Vettraino (guitar/voc) and Zach Hebert (drums/voc) -- have been skulking around Chicago's DIY scene for some time now honing their unique twin-guitar sound, weaving tense and beautiful sonic passages of dissonance and harmony into weird and infectious compositions.

Throughout their debut album, The Hecks find different ways to remake/remodel pop songs through an art-rock lens - the descriptor “post punk” applies, but isn’t quite accurate. The Hecks manage to cram knowledge gleaned from years of absorbing sounds and tones both ugly and
beautiful, hitting all the wrong notes in all the wrongs ways to deconstruct sound into their own vessel. Noise drones like “Landscape Photography” and “Tea” sit comfortably amidst the more ‘traditionally structured’ tunes like “The Thaw” & “Trust and Order” as well as the apocalyptic mid-album belter “Favor” which sound like something akin to the heavens falling. The mood is perfectly represented by the cover photograph by Chicago architectural photographer Richard Nickel of a scaffolded building bathed in an otherworldly light, giving the image a surreal semblance, skewing perspective & giving the impression of the image tumbling toward the viewer.

The album was recorded by the band at guitarist Dave Vettraino’s house between July 2014 and January 2016 (on assorted tape machines of varying degrees of quality and working order.), and they worked to create an album that exists independently from their identity as a performing group, purposely juxtaposing content and non-content so that a listen through is an engaging balancing act between space and chatter.

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