FUTURE HISTORY

Toronto indie band Future History fast earned my devotion at NXNE 2012, where I caught half their set and rushed off to another gig with their CD in hand. Said CD, Loss:/Self, earned top honours in OTM’s Top 12 of 2012 with its powerful storytelling and sonic exploration of what it means to lose oneself in every way.

Sounds depressing, but it’s not. Trust me, it’s a must-own album.

2013 heralds the band’s third album Lungs, and like the title suggests, Future History plans to rebuild the soul left searching in 2012. Lead track “With Haste” is the first single and signals the rise from the scorched earth. Haunting vocals and a continued commitment to the progressive elements and experimentation that push them to the front of the pack make this a track to check out. It’s a free download at their official site, or you can check out the video below.
- 2020k.wordpress.com

FZB favorites Future History are back with their third album, Lungs. Hailing from Toronto, the band of Kevin Ker, Justin Dillon and Chris Dawe recorded the album in an old decrepit cabin in the backwoods of Ontario. Assembling a myriad of old recording equipment and utilizing old furniture discovered in the cabin, the band spent months in solitude writing, summoning and capturing. What results is an astonishing folk rock album with tracks that are novellas to the changing seasons in wind and rain, the shifting of the cabin walls and creaking of surrounding trees. The band captures faint ghostly whispers and strange ominous noises, all of which create the sonic foundation upon which the songs were recorded. Future History continue to delivery albums that capture the imagination and fuel the spirit. Watch the video for the album track Without You and then stream and buy Lungs at the link below. - Floorshime Zipper Boots

If I ever decide to write an album, I’m going to hole up in some desolate cabin for a few months and just let the creative juices whisk me away. Because why? Because it seems to work, that’s why.

Future History’s the most recent act do this, spending “10 months in an old, decrepit and haunted cabin in the backwoods of Ontario” (PS – I DO NOT WANT TO BE IN A HAUNTED CABIN). “With Haste” is the opening track on the new album thusly created, “Lungs”. The video itself is haunting, and yet endearing, with just a measure of quirk. The music, meanwhile, is a fascinating blend of melancholic folk-rock and blissful psychedelia. “Lungs” will drop September 24th – watch for it. - newmusicmichael

The intersections and connections withing the indie music scene can be astonishing to consciously consider at times. Future History’s CMW set was an occasion where this became all the more apparent.

Bumping into members of Goodnight, Sunrise — a happy coincidence repeated at the next venue — Joe and I heard a story about drummer auditions that six degrees style connected the two bands. In turn, the set itself was reflective of how a festival can throw monkey wrenches at bands sharing members. With a re-jigged line-up for the fest, Future History put on a different show from those I’ve covered previously. Unsurprisingly, it was still indie rock at its finest.

Kicking off with a stripped-down duo performance of “Leaves” in the audience, the band powered through a set primarily pulled from their sophomore disc Loss:/Self, throwing in stellar new track “You Take Two, I Take Two” for good measure. Without loops and keyboards, the rock core of songs like “Ornamental State” shone through; softer tracks were even more melancholy and heartfelt. A band with a complex sound, this was a night of peeling layers back and in turn, it spotlighted the artistry of the songwriting just that much more.

Deconstruction can be beautiful in its revelations and Future History have built a band upon taking that tool to the human condition itself. Sometimes, on a night inside a dark bar, it’s refreshing to marvel at exposed brick and appreciate the architecture. - Open 'Til Midnight

I don’t need to wax poetic on the talents of Future History; I’m pretty sure my recent review of their stellar album Loss:/Self made very clear what they bring to the sonic table. That said, there’s a reason they’ve garnered nominations for “Best Live Band” from the TIMAs for two years in a row.
It’s a testament to their dedication to their creation that they find a way to bring an expansive and layered album to a live setting with five sets of hands and not lose any of the artistry and passion. Drums, loops, guitars and keys come together with impressive vocals to deliver songs that strike you in the chest or alternately have you rocking out. In their live incarnation, songs rock a little harder, vocals soar a little higher, but neither studio cut nor live version is better – just different. It makes for a live show as engaging as the album.
Highlights of this set included older tune “Names For Numbers” (a first for this particular band configuration), “Good Little Robot”, “Leaves”, “Hold On/Let Go”, “Surrounded By Faces” and “In This Sleep:/Creatures”, which is probably my least favourite track on the album (I still really enjoy it, but don’t always spin in) but live, it exploded and was mesmerizing. And yes, I listed half the set and that was the most restraint I could show. This band’s a live treat and not to be missed. - 4rightchords.wordpress.com

OTM: Congrats on your TIMA nods! What was the reaction at Future History HQ when the news came in?
Kevin Ker: To be completely honest, we were surprised. We were aware of the “Best Live” nod from a show we played quite some time ago, but it was the “Best Singer/Songwriter” nod that was completely unexpected. We are very proud of the songs on Loss:/self; it’s really nice to be considered in a category that generally appears to be reserved for more “radio-friendly” genres of music.
Touching on the Singer/Songwriter nod, how far would you say you’ve grown as a songwriter from the very first compositions to now?
Ha ha… To be honest, I don’t completely remember my first “composition.” I’m sure it was heavily influenced by Nirvana, full of pre-teen angst and likely created by Justin and myself beating on a drums and guitar in one of our respective basements at the age of 13. If anything, it was those years of development and writing that taught me the skills to express myself through music.
Loss:/self is an album with a definite conceptual journey for the listener to take. Which came first: the songs or the overarching theme?
I believe the songs were planting the conceptual seeds from the beginning, albeit subconsciously. We knew we wanted to create something cinematic in scope. It was evident from the start that we had some kind of message or emotion to convey; I’m not sure we entirely knew what that message was… I guess it’s quite similar to the subconscious free-flow exercise in grade 10 English, an age when we really have no clue what’s happening but simultaneously have all the answers.
Now, when I listen to the completed record, read the lyrics, glance through the book and artwork….it all makes sense. The story and theme are there in plain view… It’s like we assembled a puzzle with all the pieces upside down. For this, I would generally give a little credit to fate, while Justin would give it to coincidence… It’s our eternal band struggle *winks*.
Loss:/self is an ambitious album, even setting the concept/themes aside. How did the album come together as it did? How were stylistic choices made (for example, the whale call; the group stomp session)?
I think as the overall concept and theme grew in scale, we felt the representation of those concepts and themes needed to intensify as well. Ironically, we brought a large group of people into the studio to saturate a song about solitude: “Surrounded by Faces” is about having many people around you, yet still feeling alone for having lost the ones you truly loved and those who truly loved you. Sometimes, we forget to look behind us while looking ahead. We are constantly told to move on, forget the past, but we don’t realize that the present becomes past before we even recognize its presence… So in turn, we’re always looking to some place we’ll never be.
The loneliest whale was a story that inspired a variety of emotions. The frequency of the whales destitute call fit perfectly with a song that represented an extremely dark moment in my life… As strange as it sounds, I felt akin to the whale…She may not know, but she has sang for thousands now. We gave her credit in the album for being an integral part of the emotion in that song. It truly has touched a lot of people. Cliche, but…. she is not as alone as she may feel.
What song was the most challenging to capture in studio?
This answer would probably be completely different depending on who you asked. I would personally have to say “Good Little Robot” or “Leaves.” The pre-production demos for both of these songs were extremely textured and fleshed out. When we recorded them we took a different direction for both… In the end we really missed the initial feel of both songs. We had to strip back through many layers to find the songs again….then we rebuilt with a new approach. They sound much closer to the original demos now.
With an album this layered in instrumental and other sonic elements, working up a live version can often be challenging. How difficult was it to work up the album for live shows without losing that layered and engaging feel to the songs?
Surprisingly, it occurred very naturally; the only real difficult part was finding the right people to perform the songs at all, finding the right members to complete the FH line-up. Once Dawe, Paul and Dante were in the fold, it just kind of happened. Everyone was excited to recreate the album live. It was like each member listened to the record intensely, dissected the songs and tried to reproduce as much sonic ground as possible… Because of this approach, I feel like the live show is even more intense and lush than the record itself…
Will we be seeing any other older tracks popping up in live shows alongside “Names For Numbers”?
Absolutely! We have re-worked a few tracks off of Self-Titled. They sound better than ever and we’ll be unveiling them in time. If we had the budget and time I would love to re-record the whole first record…just fo - OTM-

When a man with a sword walked by Kevin Ker, followed by a wizard, the Markham resident did a double-take.
He and the other members of the Markham band Future History were gathered at a park near the Pickering-Markham border in May for a promotional photo shoot.
The band ended up making the most of this sighting. The photographer took shots of the musicians defending themselves from the mediaeval characters using picture frames.
“We are super-experimental, we’ll try anything. If we like the look or sound, we will do it,” said guitar player Kevin Ker, who also sings vocals and writes lyrics for the band. He correctly assumed these oddly-costumed people were taking part in a live action role playing game where participants act as different characters and interact with each other.
The band’s willingness to experiment is evident in the group’s music, not just its photo shoots.
In their first full-length album Loss, self released in April, the band uses 46 instruments, seven household items, including countertops, a bucket of beer caps and a water bottle as a shaker as well as whale sounds. For one song, Justin Dillon drums on his body.
“It is fun doing different things, getting different sounds. It is like being in science class,” Mr. Ker said.
Categorized as “progressive rock”, Future History has been compared to progressive bands Tool and Radiohead.
Progressive rock, or prog rock evolved from psychedelic rock and was meant to break the boundaries of traditional rock music. This form of rock was especially popular in the 1970s with bands such as Pink Floyd and Genesis .
Band members like to describe it as “psychedelic love noise” ? a form of modern, experimental, progressive rock, Mr. Ker said.
Nominated Best Live Band the past three years at the Toronto Independent Music Awards, Future History has been showcased on radio station 102.1 The Edge. This year’s Toronto’s North by Northeast Festivals and Conference provided the group with much needed exposure.
After seeing the musicians perform at at the festival, Nadia Elkharadly complimented the band’s music: “Intelligently poignant lyrics, accompanied by haunting, yet completely affable music, Future History’s sound is not only accessible, but can have the power to reach an incredibly broad audience, as evidenced by the eclectic crowd at the Cameron. With their special brand of experimental music, Future History will be expanding minds wherever they go for a long time to come,” wrote the writer for Toronto Live Music Examiner.
Three of the band’s musicians are Markham natives ? Mr. Dillon, Mr. Ker and Mr. Dawe. The men, who are in their early 30s, all attended Markham District High School.
But, Mr. Ker also has strong ties to Stouffville, having lived there five years. He moved back to Markham about a year ago. The band also used to perform at The Earl of Whitchurch pub. The band played at the Whitchurch-Stouffville Strawberry Festival held June 29 to July 1.
Since that run-in at the park during the photo shoot in May, Mr. Ker has noticed more and more live action role-play enthusiasts have become interested in the band.
They have started coming to the band’s shows and visiting its facebook page. The band posted pictures of the band members with the live action role play people. The page has received hundreds of views, Mr. Ker said. - yorkregion.com

When a man with a sword walked by Kevin Ker, followed by a wizard, the Markham resident did a double-take.
He and the other members of the Markham band Future History were gathered at a park near the Pickering-Markham border in May for a promotional photo shoot.
The band ended up making the most of this sighting. The photographer took shots of the musicians defending themselves from the mediaeval characters using picture frames.
“We are super-experimental, we’ll try anything. If we like the look or sound, we will do it,” said guitar player Kevin Ker, who also sings vocals and writes lyrics for the band. He correctly assumed these oddly-costumed people were taking part in a live action role playing game where participants act as different characters and interact with each other.
The band’s willingness to experiment is evident in the group’s music, not just its photo shoots.
In their first full-length album Loss, self released in April, the band uses 46 instruments, seven household items, including countertops, a bucket of beer caps and a water bottle as a shaker as well as whale sounds. For one song, Justin Dillon drums on his body.
“It is fun doing different things, getting different sounds. It is like being in science class,” Mr. Ker said.
Categorized as “progressive rock”, Future History has been compared to progressive bands Tool and Radiohead.
Progressive rock, or prog rock evolved from psychedelic rock and was meant to break the boundaries of traditional rock music. This form of rock was especially popular in the 1970s with bands such as Pink Floyd and Genesis .
Band members like to describe it as “psychedelic love noise” ? a form of modern, experimental, progressive rock, Mr. Ker said.
Nominated Best Live Band the past three years at the Toronto Independent Music Awards, Future History has been showcased on radio station 102.1 The Edge. This year’s Toronto’s North by Northeast Festivals and Conference provided the group with much needed exposure.
After seeing the musicians perform at at the festival, Nadia Elkharadly complimented the band’s music: “Intelligently poignant lyrics, accompanied by haunting, yet completely affable music, Future History’s sound is not only accessible, but can have the power to reach an incredibly broad audience, as evidenced by the eclectic crowd at the Cameron. With their special brand of experimental music, Future History will be expanding minds wherever they go for a long time to come,” wrote the writer for Toronto Live Music Examiner.
Three of the band’s musicians are Markham natives ? Mr. Dillon, Mr. Ker and Mr. Dawe. The men, who are in their early 30s, all attended Markham District High School.
But, Mr. Ker also has strong ties to Stouffville, having lived there five years. He moved back to Markham about a year ago. The band also used to perform at The Earl of Whitchurch pub. The band played at the Whitchurch-Stouffville Strawberry Festival held June 29 to July 1.
Since that run-in at the park during the photo shoot in May, Mr. Ker has noticed more and more live action role-play enthusiasts have become interested in the band.
They have started coming to the band’s shows and visiting its facebook page. The band posted pictures of the band members with the live action role play people. The page has received hundreds of views, Mr. Ker said. - yorkregion.com

It was a strange day: moving from a concert marking the passing of an inspirational figure to a gig proper was definitely a first for me. Fortunately, the introspective and often moody music this stellar line-up provided was a fitting cap to the day. Despite it being midweek, Cameron House was packed and rightfully so.

I don’t need to wax poetic on the talents of Future History; I’m pretty sure my recent review of their stellar album Loss:/Self made very clear what they bring to the sonic table. That said, there’s a reason they’ve garnered nominations for “Best Live Band” from the TIMAs for two years in a row.
It’s a testament to their dedication to their creation that they find a way to bring an expansive and layered album to a live setting with five sets of hands and not lose any of the artistry and passion. Drums, loops, guitars and keys come together with impressive vocals to deliver songs that strike you in the chest or alternately have you rocking out. In their live incarnation, songs rock a little harder, vocals soar a little higher, but neither studio cut nor live version is better – just different. It makes for a live show as engaging as the album.
Highlights of this set included older tune “Names For Numbers” (a first for this particular band configuration), “Good Little Robot”, “Leaves”, “Hold On/Let Go”, “Surrounded By Faces” and “In This Sleep:/Creatures”, which is probably my least favourite track on the album (I still really enjoy it, but don’t always spin in) but live, it exploded and was mesmerizing. And yes, I listed half the set and that was the most restraint I could show. This band’s a live treat and not to be missed.
More on Future History
Setlist
Play the Part
Ornamental State
Leaves
Good Little Robot
Names For Numbers
Everything
Erasable Ink on a Lost To-Do List (Scraps of Me)
(Don’t) Let This Go
Hold On/ Let Go
Surrounded by Faces
In This Sleep:/Creatures - OPEN ‘TIL MIDNIGHT: Musings of a Music-Obsessed Mind

Politeness is a lost art, people don’t use it, they lose it, and then it flutters away by the wayside. A trend Future History, a five-piece experimental rock band from Toronto, hopes to upend with their first full-length album, Loss:/Self. The first words uttered on the album are “Hello, welcome, what brings you here?” A noble question, welcomed by a thundering bass line sautéed over a driving six-minute intro song “Ornamental State” that finds vocalist Kevin Ker channeling the vocal whine of fellow Canadian Colin Meloy (Decemberists, Tarkio).
If Meloy were to ever join a Pink Floyd tribute band, you’d harness the sound of Future History. Self described as; “psychedelic love noise” wide assortments of arraignments are accompanied with urgent hooks and revolving percussion to capture a complete rock journey. This is not an album to buy in $1 dollar increments, song-by-song. That’d be like hiking the base of the Appalachians and looking at pictures from on goers taken from the apex. Poetry best digested in full, time and time again—a rare delight in the digital age.
Loss:/Self is a testament to pinpoint themes interwoven throughout an album that was intended to be a conceptual. It certainly digests that way. According to the band it, “eludes to the human relationship; technology, social or anti-social media, fear and the growth and dominance of the false ego over the true self.” That is certainly a relatable handful of quandaries to ponder in 2012.
My favorite part of this sound is the richness that unfolds from song to song. The album cover tells a tale of grayness, a road, and the inevitable country warm and tingly feeling you get by the sight of whizzing telephone poles. A feeling in the past perpetuated by Muse in Origins of Symmetry and this time around the Canadians aim for a plentiful bounty of emotional resonance. It’s deep, but accessible at the same time.
If you think I’m spouting grandiose drivel, let me back the sound up with impactful statistics. Loss:/Self was recorded over an eight-month span including stops in Montreal, New York City and other various locations in Ontario. The New York span was during (over-hyped?) hurricane Irene and the three-day weekend of chaos that ensued while the band was stuck in New York City. They used over 40 instruments and household items, including but not limited to a 35-person stomp/gang vocal/drum circle orchestra, and a sample of a whale, which consequently was on a wrong frequency ostracizing her from the other whales. A well documented story that seems too ridiculously progressive rock, not to be a fabrication.
Sounds ponderous? Yes, but, in a good way. In a way that says to me, “these guys were on a mission to create something truly monumental.”
The true genius of any concept worthy, axle-to-axle album, is the placement of the singles. Future History marked tracks six and seven, or “(Don’t) Let This Go” and “Surrounded by Faces” as listening points to the curious listener (that’s how I define singles these days). This is directly in the middle of the album. Again, not meant to be single driven, but even Tommy had “Pinball Wizard!?”
“Surrounded by Faces” is a folk-less version of the Decemberists without a doubt. It reminds me of a game I used to play in college. Mind you, this was back around 2002, when everyone loved Weezer and downloading music was an everyday pastime, with the exuberance of anything technologically fresh. I would bring people into my room and tell them I had located some new Weezer cuts. I would play Ozma. People would get excited and ask me to send it to them. I laughed for hours and hours to myself. Ahhhhhh, those were the days.
“(Don’t) Let This Go” is a mid-tempo rock song that uses the effect of a slow roasting chorus. It reminds me of “Alice Childress” by Ben Folds Five with the deliciousness of that “tsss…ahh” sound Sussie Essman makes in Curb Your Enthusiasm when she takes a drink. It’s the kind of song I’d want to play at the end of a wine party, before going to play darts at a local pub. Something that kind of fades in the background, but holds a distinct, yet passive sonic fortitude.
Loss:/Self is a remarkable statement for a band so early in their career. Bands typically attempt moves of similar grandiose nature when they get older, and bored, but for Future History it’s the start of something overwhelmingly beautiful. Adhere to my words: must have, must listen, must enjoy with a movie theater attention span. It’s a full multi-course meal amongst a sea of tapas.
Eat up, psychedelic rockers! - The Steam Engine

Is it too early to declare a frontrunner for my favourite album of 2012? Because I have several already vying for the prize, and Future History’s Loss:/Self happens to be one of them.
I’ve sat on this review for several weeks now, namely because I found myself lost in that lovely realm of music obsession, which does not permit rational analytical discourse, but offers instead the “Oh My God! *replay song*” reaction. It’s been a long time since a band not already on my “love ‘em” list stormed onto it, so I’ve indulged.
In case my initial review of their NXNE set hasn’t hooked you yet like the companions I brought with me to a follow-up set at The Annex Live, allow me to introduce you to Future History. Hailing from Toronto, the core of the group is Kevin Ker (vocals/guitar) and Justin Dillon (Drums/Perc/”various household items”). Boasting 40+ instruments and a 35-person stomping/singing entourage assembled from their friends and with a track called “Good Little Robot” in the mix, it’s no wonder that immediately, I think of OK Computer and the era of Radiohead I loved. The bare bones of their sound may be indie alt-rock, but the work is so lush and layered, it morphs into something that feels large and breathes down your neck. Sprawling interludes of loops and guitars lend a prog-rock sound reminiscent of Tool (“10,000 Days”, “Wings For Marie”), with the politically-informed and self-reflective lyrics fitting well alongside Matthew Good and Roger Waters.
If you know me, you are well aware that I have paid a huge compliment to the band right there, and I haven’t even touched the songs yet. Hell, Good has even sampled whales, as do Future History on this album – specifically, “a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly.” They also took advantage of being stranded in New York due to Hurricane Irene, capturing nature’s mechanism of loss for their creation.
The layered and eclectic musical toy box employed by Future History also evokes another Canadian treasure: The Tea Party (Transmission in particular). The fearless experimentation pays off on Loss:/Self, taking the listener on a thematic journey through questions of loss – within and without – and finding oneself in the process.
Are you ready for this journey? I’ll warn you now: once you take it, you may not be able to resist repeating the ride.
Ornamental State: “Hello, welcome – what brings you here?” And with that opener, Future History introduces the heart of the album via opener “Ornamental State”, a relatively straight-up acoustic rocker for the first half until samples and a jam carry the listener through a plaintive, desperate outro that feeds into the next track, “Leaves”. “The walls break open and we look the same” and we do. Underneath the outward facade we all master, within us, we’re all human and share the same core emotional and mental processes and needs. The playing field is leveled and the listener falls down the rabbit hole…
Leaves: Have you ever sat alone and thought back on your life, wishing things could be simpler? Ever marvel at how, as children, we long to grow up and be adults so that we can be in charge of our lives and make the rules… only to grow up and miss the safety of not having to have direction and responsibility? This song evokes that painful-wistful feeling. I’m often reflecting in this manner, and perhaps that’s why Autumn is my favourite season: it’s a time to harvest, to prepare for the darkness ahead. Another up-tempo number, yet somber and melancholy. Gorgeous vocal harmonies. “We never stopped to question why we kept it all inside.”
Good Little Robot: To say that current pop culture can be toxic for the mind and spirit is an understatement. One need only look to the way MTV has become RTV – Reality Television – for a glaring example. Documentaries like Miss Representation explain how advertisers package women, sexuality, masculinity and products we need now and the ways we must behave to belong. With a hip-shaking rock melody, Future History examines the loss of self via surrender to external influence in “Good Little Robot” and the fight to reclaim individuality and choice. Huge single potential here.
The Unfortunate Occupation Of The Machine Man: The first interlude piece is haunting and atmospheric, with a child recalling the story of a robot wanting to be human. If you’re familiar with Our Lady Peace’s Spiritual Machines and that creepy feeling from its little Kurzweil interludes, you can appreciate this one. A nice way to shift from the angry track preceding it into the sadder one to follow.
Play The Part: Oh man…. If you’ve ever had to soldier on after a nasty break-up – perhaps the kind where you share several mutual friends – this one will strike a chord. As the title suggests, loss has given way to pretending – to discarding the true self beneath a mask that is demanded. Rich, pained vocals here are allowed t - OPEN ‘TIL MIDNIGHT: Musings of a Music-Obsessed Mind

Is it too early to declare a frontrunner for my favourite album of 2012? Because I have several already vying for the prize, and Future History’s Loss:/Self happens to be one of them.
I’ve sat on this review for several weeks now, namely because I found myself lost in that lovely realm of music obsession, which does not permit rational analytical discourse, but offers instead the “Oh My God! *replay song*” reaction. It’s been a long time since a band not already on my “love ‘em” list stormed onto it, so I’ve indulged.
In case my initial review of their NXNE set hasn’t hooked you yet like the companions I brought with me to a follow-up set at The Annex Live, allow me to introduce you to Future History. Hailing from Toronto, the core of the group is Kevin Ker (vocals/guitar) and Justin Dillon (Drums/Perc/”various household items”). Boasting 40+ instruments and a 35-person stomping/singing entourage assembled from their friends and with a track called “Good Little Robot” in the mix, it’s no wonder that immediately, I think of OK Computer and the era of Radiohead I loved. The bare bones of their sound may be indie alt-rock, but the work is so lush and layered, it morphs into something that feels large and breathes down your neck. Sprawling interludes of loops and guitars lend a prog-rock sound reminiscent of Tool (“10,000 Days”, “Wings For Marie”), with the politically-informed and self-reflective lyrics fitting well alongside Matthew Good and Roger Waters.
If you know me, you are well aware that I have paid a huge compliment to the band right there, and I haven’t even touched the songs yet. Hell, Good has even sampled whales, as do Future History on this album – specifically, “a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly.” They also took advantage of being stranded in New York due to Hurricane Irene, capturing nature’s mechanism of loss for their creation.
The layered and eclectic musical toy box employed by Future History also evokes another Canadian treasure: The Tea Party (Transmission in particular). The fearless experimentation pays off on Loss:/Self, taking the listener on a thematic journey through questions of loss – within and without – and finding oneself in the process.
Are you ready for this journey? I’ll warn you now: once you take it, you may not be able to resist repeating the ride.
Ornamental State: “Hello, welcome – what brings you here?” And with that opener, Future History introduces the heart of the album via opener “Ornamental State”, a relatively straight-up acoustic rocker for the first half until samples and a jam carry the listener through a plaintive, desperate outro that feeds into the next track, “Leaves”. “The walls break open and we look the same” and we do. Underneath the outward facade we all master, within us, we’re all human and share the same core emotional and mental processes and needs. The playing field is leveled and the listener falls down the rabbit hole…
Leaves: Have you ever sat alone and thought back on your life, wishing things could be simpler? Ever marvel at how, as children, we long to grow up and be adults so that we can be in charge of our lives and make the rules… only to grow up and miss the safety of not having to have direction and responsibility? This song evokes that painful-wistful feeling. I’m often reflecting in this manner, and perhaps that’s why Autumn is my favourite season: it’s a time to harvest, to prepare for the darkness ahead. Another up-tempo number, yet somber and melancholy. Gorgeous vocal harmonies. “We never stopped to question why we kept it all inside.”
Good Little Robot: To say that current pop culture can be toxic for the mind and spirit is an understatement. One need only look to the way MTV has become RTV – Reality Television – for a glaring example. Documentaries like Miss Representation explain how advertisers package women, sexuality, masculinity and products we need now and the ways we must behave to belong. With a hip-shaking rock melody, Future History examines the loss of self via surrender to external influence in “Good Little Robot” and the fight to reclaim individuality and choice. Huge single potential here.
The Unfortunate Occupation Of The Machine Man: The first interlude piece is haunting and atmospheric, with a child recalling the story of a robot wanting to be human. If you’re familiar with Our Lady Peace’s Spiritual Machines and that creepy feeling from its little Kurzweil interludes, you can appreciate this one. A nice way to shift from the angry track preceding it into the sadder one to follow.
Play The Part: Oh man…. If you’ve ever had to soldier on after a nasty break-up – perhaps the kind where you share several mutual friends – this one will strike a chord. As the title suggests, loss has given way to pretending – to discarding the true self beneath a mask that is demanded. Rich, pained vocals here are allowed t - OPEN ‘TIL MIDNIGHT: Musings of a Music-Obsessed Mind

I walked into the Cameron House to find five tattooed guys up on stage. So imagine my ecstatic delight when rather than noise rock, the boys of Future History started playing some of the most exquisitely layered, euphonic rock that I’ve heard before. They do still have a heavier sound, but it is still melodic; at times gut-wrenching, yet also danceable.
Their set showcased many of the tracks off their recently released concept album Loss:/self, including “Good Little Robot” and “Ornamental State,” which was said to be about being a zombie. Thirty-five people were apparently in the studio to record this album and while it was obviously impossible to truly recreate that large of a sound on this tiny stage, their songs felt like a sonic embrace, nestling their way first into my head and then into my heart. The stand-out track for me was “Surrounded by Faces.” While it’s not really at all similar to it, this song reminded me a lot of “All These Colours” by Cai.ro (one of my favourite by them). Both these songs have a soaring “big feel” that just sweeps me off my feet (Is it a coincidence that Dante Berardi Jr. of Cai.ro also happens to be the lead guitarist forFuture History?).
I happily picked up one of the free cd’s they were giving out and have been listening to it a lot since. It feels like with each listen, I’m still picking up and gaining further appreciation for all the instrumental intricacies as well as the heaviness of the lyrics. Future History is definitely a band I want to see again the next chance I get. You can listen toLoss:/self on their Bandcamp. - buying shots for bands

While Future History may not be able to compete in the beauty department with the previous bands, their creativity and mystique made them a must see act. If the idea of a concept album doesn’t pull you in, the beautifully sad story of the world’s loneliest whale (sampled on one of the band’s songs) makes Future History irresistible. Taking the stage at the Cameron House back room, it was evident that the boys did not bring the 40 instruments and household items used to record their album Loss:/self, but the intensity behind the music remained. The simplicity of Kevin Ker’s acoustic guitar and mellow yet passionate vocals was the foundation of the music, rounded out by Dante Berardi Jr’s electric guitar, Christopher Dawe’s keyboards and Justin Dillion’s drums. Intelligently poignant lyrics, accompanied by haunting, yet completely affable music, Future History’s sound is not only accessible, but can have the power to reach an incredibly broad audience, as evidenced by the eclectic crowd at the Cameron. With their special brand of experimental music, Future History will be expanding minds wherever they go for a long time to come. - www.examiner.com

Let me tell it straight: I took home Future History’s CD, having decided to do so after two songs in their stellar set.
How to describe Future History’s sound… Ah, yes. Remember when Radiohead released OK Computer? Remember how bloody brilliant and awesome that era of their sound was, how the electronic elements balanced beautifully with rocking guitars and layered vocals? Yeah, I miss when Radiohead wowed me. Toss that genius in a blender with moody, reflective (and sometimes pessimistic) lyrics of Tool or better yet, A Perfect Circle, and one begins to appreciate Future History’s sound. Loops and a solid hard rock sound are overlayed with folk elements and triple threat vocal harmonies to create a soundscape that captivates and engages the senses. Songs “Good Little Robot” and “Ornamental State” particularly grabbed me. Highly recommended! - http://4rightchords.wordpress.com

I walked into the Cameron House to find five tattooed guys up on stage. So imagine my ecstatic delight when rather than noise rock, the boys of Future History started playing some of the most exquisitely layered, euphonic rock that I’ve heard before. They do still have a heavier sound, but it is still melodic; at times gut-wrenching, yet also danceable.
Their set showcased many of the tracks off their recently released concept album Loss:/self, including “Good Little Robot” and “Ornamental State,” which was said to be about being a zombie. Thirty-five people were apparently in the studio to record this album and while it was obviously impossible to truly recreate that large of a sound on this tiny stage, their songs felt like a sonic embrace, nestling their way first into my head and then into my heart. The stand-out track for me was “Surrounded by Faces.” While it’s not really at all similar to it, this song reminded me a lot of “All These Colours” by Cai.ro (one of my favourite by them). Both these songs have a soaring “big feel” that just sweeps me off my feet (Is it a coincidence that Dante Berardi Jr. of Cai.ro also happens to be the lead guitarist forFuture History?).
I happily picked up one of the free cd’s they were giving out and have been listening to it a lot since. It feels like with each listen, I’m still picking up and gaining further appreciation for all the instrumental intricacies as well as the heaviness of the lyrics. Future History is definitely a band I want to see again the next chance I get. You can listen toLoss:/self on their Bandcamp. - buying shots for bands

Ever listen to an album and then sit and ponder what it’s all about? As someone who writes about albums fairly frequently, I do this a lot. But this album from Toronto-based Future History is one that I don’t think I’ve even begun to crack, even with three listenings under my belt.
Loss:/self, as the band describes on its Bandcamp page, is a concept album, with songs referring back to the album title; many songs seem to be about the loss of self, in other words, losing track of who one is.
Though the theme sounds clear enough, the album is one of the densest I’ve heard in quite a while. Melodically, the album does have its basic guitar, drums and bass. But it also employs keyboards and synths, and the end of the song “Hold On/Let Go” seems to include some kind ofStomp-esque percussion at the end.
The opening song, the very lengthy “Ornamental State,” welcomes the listener with acoustic and electric guitars, and the opening line of “Hello, welcome, what brings you here?” It transitions into the ultra-catchy “Leaves,” which starts off with catchy electric guitar and synths along with lots of great background vocals.
“Good Little Robot” seems to be about becoming an automaton- becoming thoughtless and performing the same routines over and over again. It flows well into the interlude number “The Unfortunate Occupation of the Machine Man.” It features snippets of what sounds like a kid trying to tell a fairy-tale-esque story, and I believe it’s the track that also features a sample of a whale’s calls. The whale call is significant, because it was from a whale whose cries were a different frequency from its friends and was therefore ostracized because of it.
I’ve realized this review is really hard to write, because Future History have a very distinct sound but it’s one that I can’t immediately place my finger on. It’s idiosyncratic, I suppose; I would immediately know it’s Future History but couldn’t explain how I knew. Songs like “The Changing” prove this point to be true. It starts with a prominent keyboard, but it quickly morphs into the sound that I’ve become to associate with this band.
“In This Sleep:/Creatures” brings the journey to an end on a high note. Rather than fade away, the last song gets louder than ever.
I don’t know if I’ve really said all that much in this review, and that’s just a testament to this album. It’s telling that, on Future History’s Bandcamp page, there’s a line that says “This is a trip of a record… be prepared.” That it is. - www.grayowlpoint.com

Lately I’ve been receiving a lot of really good music from different bands outta Canada, today you can add a alternative rock band by the name Future History to that list, I just finished checking out their latest album Loss:/self and it sounds pretty dam amazing, the album was recorded in Montreal, New York while they were stranded in the city for 3 days during Hurricane Irene and a few various places in Ontario as well, if you like what you hear then make sure you pick up the album it’s definitely worth $8 trust me! - www.elitemuzik.net

This song is so haunting I instantly fell in love with it. And yet I clicked on the link because the band – Future History, from Toronto – included the comment “featuring zombie children”. I mean, could *any* music blogger resist that description? I think not.
Future History released their album “Loss:/Self” in April; it was recorded over a span of eight months in Montreal, various places in Ontario, and in New York City, where the band was stranded for three days in the midst of Hurricane Irene, recording outside in its ferocity.
Their other comment that caught my attention, they “sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly”. How distressingly sad is that? Seriously. And yet it’s such a metaphor for human society in some ways too, isn’t it.
Okay, enough being deep. Check out the video above; then go preview the album on iTunes or your favorite digital or physical store. And then buy it. You won’t be disappointed. How could you? - New Music Michael

Future History
Loss:/Self
Self Released
What Future History have created with their debut Loss:/Self is cinematic in scope, orchestral in intent, apocalyptic in evocation. Epic without being ponderous, even as the massive slabs of emotive rock come crashing down, the five piece have constructed from over 40 instruments, a soundtrack to this eve of destructive clay footed governing shaky ground zero zeitgeist, a soundtrack to Mad Max riding fast and loose into these North America War of the Words gated cul de sacs we live in. Those chunky riffs are collapsing suburbs, those driving beats are instructions. “I’ve seen The Future baby and its murder!”, as the bard of Montreal says. Those plaintive vocals are pleas to dead gods by selfs mired in selfishness, buried under relentless piles of self interest, shelfs of self, strata of self, deep mirror coated canyons of self.
Yet there is hope in the acoustic, redemption in the reach, opportunity in the rising, salvation in the minor and heroics in the mass marching forward. The Future History is what we make now. The Future History is unfurling before our eyes and in our ears is the magnificence of the human spirit.
Loss:/Self finds itself at the centre of the uncertain and its grand scale may yet define this uneasy year. - durhamregion.com

By Alex Hudson
As label-less underground releases go, albums don’t get much more ambitious than Future History’s Loss:/self. The debut full-length from the Toronto band is a concept album that features 40 instruments and a whopping 35-person guest vocal/percussion ensemble.
In a statement, the band explained that the title and themes on the album concern “the human relationship; technology, social or anti-social media, fear and the growth and dominance of the false ego over the true self. All of these themes are carefully woven in an evolving uneasiness as the record unfolds.”
Recording took place over an eight-month period in Montreal, New York and Ontario, and the album comes featuring a sample of a whale “that produced the wrong frequency, which consequently ostracized her from other whales because she didn’tcommunicate properly.”
The sessions were produced by the band and Theo Posthumus and the results were mixed by Laurence Currie (Wintersleep, Holy Fuck, Hey Rosetta!).
Loss:/self is currently available digitally and will be released on vinyl this summer. Scroll past the tracklist below to stream the entire record. It can be purchased from Bandcamp and, if you like what you here, keep your eyes peeled for that eventual vinyl release.
Loss:/self:
1. Ornamental State
2. Leaves
3. Good Little Robot
4. The Unfortunate Occupation of the Machine Man
5. Play the Part
6. (Don’t) Let This Go
7. Surrounded By Faces
8. Coincidence
9. Hold On/Let Go
10. The Changing
11. Everything
12. Erasable Ink on a Lost To-Do List (Scraps of Me)
13. In This Sleep:/Creatures
http://exclaim.ca/News/future_history_drop_their_ambitious_lossself - Exclaim!

By Alex Hudson
As label-less underground releases go, albums don’t get much more ambitious than Future History’s Loss:/self. The debut full-length from the Toronto band is a concept album that features 40 instruments and a whopping 35-person guest vocal/percussion ensemble.
In a statement, the band explained that the title and themes on the album concern “the human relationship; technology, social or anti-social media, fear and the growth and dominance of the false ego over the true self. All of these themes are carefully woven in an evolving uneasiness as the record unfolds.”
Recording took place over an eight-month period in Montreal, New York and Ontario, and the album comes featuring a sample of a whale “that produced the wrong frequency, which consequently ostracized her from other whales because she didn’tcommunicate properly.”
The sessions were produced by the band and Theo Posthumus and the results were mixed by Laurence Currie (Wintersleep, Holy Fuck, Hey Rosetta!).
Loss:/self is currently available digitally and will be released on vinyl this summer. Scroll past the tracklist below to stream the entire record. It can be purchased from Bandcamp and, if you like what you here, keep your eyes peeled for that eventual vinyl release.
Loss:/self:
1. Ornamental State
2. Leaves
3. Good Little Robot
4. The Unfortunate Occupation of the Machine Man
5. Play the Part
6. (Don’t) Let This Go
7. Surrounded By Faces
8. Coincidence
9. Hold On/Let Go
10. The Changing
11. Everything
12. Erasable Ink on a Lost To-Do List (Scraps of Me)
13. In This Sleep:/Creatures
http://exclaim.ca/News/future_history_drop_their_ambitious_lossself - Exclaim!

Of all the bizarre facts that I have read about the recording of albums, I don’t think I have come across anything as off-beat (and heartbreaking) as one from Canadian alt-rock band Future History: “We…sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn’t communicate properly.” Let that act as a relief to anybody whose parents disapproved of you joining a band. It could be much worse – at least you won’t be abandoned by your own species for making music (Justin Bieber aside, that is).
But anyway, Future History‘s latest single, “Surrounded by Faces”, is an expansive rock tune that is exquisitely produced, emotive without sounding too angsty, and despite an overwhelming instrumental onslaught, it has a surprisingly ‘earthy’ feel to it.
“Loss:/Self”, the debut album from Future History, is out now, with “Surrounded by Faces” available as a free download until the end of May. - Metaphorical Boat

Of all the bizarre facts that I have read about the recording of albums, I don't think I have come across anything as off-beat (and heartbreaking) as one from Canadian alt-rock band Future History: "We...sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn't communicate properly." Let that act as a relief to anybody whose parents disapproved of you joining a band. It could be much worse - at least you won't be abandoned by your own species for making music (Justin Bieber aside, that is).

But anyway, Future History's latest single, "Surrounded by Faces", is an expansive rock tune that is exquisitely produced, emotive without sounding too angsty, and despite an overwhelming instrumental onslaught, it has a surprisingly 'earthy' feel to it.

"Loss:/Self", the debut album from Future History, is out now, with "Surrounded by Faces" available as a free download until the end of May.
- www.metaphoricalboat.blogspot.ca

Of all the bizarre facts that I have read about the recording of albums, I don't think I have come across anything as off-beat (and heartbreaking) as one from Canadian alt-rock band Future History: "We...sampled a whale that produced the wrong frequency, which consequently ostracized her from other whales because she didn't communicate properly." Let that act as a relief to anybody whose parents disapproved of you joining a band. It could be much worse - at least you won't be abandoned by your own species for making music (Justin Bieber aside, that is).

But anyway, Future History's latest single, "Surrounded by Faces", is an expansive rock tune that is exquisitely produced, emotive without sounding too angsty, and despite an overwhelming instrumental onslaught, it has a surprisingly 'earthy' feel to it.

"Loss:/Self", the debut album from Future History, is out now, with "Surrounded by Faces" available as a free download until the end of May.
- www.metaphoricalboat.blogspot.ca

Debut albums that can be described as epic come around very rarely. Epic, however is an apt description for Loss:/Self, the debut from Toronto duo Future History. Kevin Ker and Justin Dillon have made an album that is a testament to just how good an indie rock band can be. Melodic, and heavy, one can hear influences of the Decemberists in the songwriting and feel the power in every track. The album is flawlessly produced with mixing having been done by Laurence Currie (Hey Rosetta, Wintersleep). This is a band destined for much greater things. get into them now. Stream and buy Loss:/Self (or download a two song preview for free) at the link below. - www.floorshimezipperboots.blogspot.ca

In an unexpected treat, duo Future History started their set not from the stage but scattered among the crowd and to hear the unmiked voice and instrument was a refreshing shift from the other acts. For the second song they took the stage and the difference in sound when supported by technology was remarkable. Future History happily excel in both situations and their combined musical talent drove the songs forward, with added assistance from the cajon that create a sound that ideally complement the acoustic guitar. Their third song had an increased use of technology as the percussion was recorded and played on a loop to create a kaleidoscope of sound. The first electronic instrument was introduced with an electric tone that provided an excellent counterpoint to the guitar which was soon added. The amounts of varied sounds that these two artists combine make their music uniquely fascinating. Many of their songs are a guy and his guitar with a side of drums, but the alternatives offered are what help set this band apart. - www.pressplus1.com

The Heartbreakers: Future History
http://www.facebook.com/pages/Future-History/110679908946665?ref=ts
Must Hear Track: For You To Forget
Photo courtesy of Myspace

A radio-friendly band that attracts more and more as each song plays on is not as common as we’d all hope. Sure we scuff about radio overplay, but sometimes with repetition comes true connections and such a connection can be heard on Future History’s self-titled EP.

Recently taking to The Central’s stage, as part of the Toronto Independent Music Awards sound series showcase, Kevin Kerr’s emotive vulnerability and gripping range was full of stunning awe. It’s hard not to notice the guitar work and full-thrown harmonies like seen in ‘For You To Forget.’

Future History’s sound is comfortably sombre with subtle stabs of realism that make the music so honest; more like gut-tugging honest. Their sweet mixes of synth-pop and catchy ballads along with the noticeable clarity and well-produced tracks make for a front-to-end album of affluent personality that plays both to audiences and individuals in a memorable fashion.

Emotional songs like “A Fall Ahead” and “Closing End,” piled with highway driving musts like “Several Days”, Future History are mixing up compilations and making their own clamours.

Deemed “psychedelic love noise,” these lads create hype-worthy music that connects strangers with crafted truths and sheer sincerity. The band is currently in the writing stages of a new album so hang tight. - www.livemusicto.com

Future History: Some interesting experimental/acoustic meanderings from this Toronto band who were nominated for Best Live Band at the 2010 Toronto Independent Music wards. I particularly like “Several Days,” which features Human Kebab of USS. Catch them touring with Marcy Playground. -Alan Cross - www.exploremusic.com

"Brilliant Album" (5 Star)
I love this album. A must buy!

"BEST BUY OF 2010" (5 Star)
A must buy! Best cd, gives me chills everytime I listen to it.

"Awesome Album" (5 Star)
Incredible EP! highly Recommended

"Awesome Album" (5 Star)
This Album is incredible, a must buy!

"Fantastic Debut" (5 Star)
I'm not good at reviews, so I'll just say I love this EP and strongly recommend it. Future History is also AMAZING live. They post their shows on Facebook or myspace - buy the CD and then get out to see a show. You won't be disappointed!

"AMAZING" (5 Star)
You NEED to buy this album

"Excellent EP" (5 Star)
This is one of the best finds I've discovered this year. Great writing very textured, and the singer has a great voice. Pulls together what seems like a wide variety of influences....familiar yet totally original. Check it out for yourself.

- iTunes

"Brilliant Album" (5 Star)
I love this album. A must buy!

"BEST BUY OF 2010" (5 Star)
A must buy! Best cd, gives me chills everytime I listen to it.

"Awesome Album" (5 Star)
Incredible EP! highly Recommended

"Awesome Album" (5 Star)
This Album is incredible, a must buy!

"Fantastic Debut" (5 Star)
I'm not good at reviews, so I'll just say I love this EP and strongly recommend it. Future History is also AMAZING live. They post their shows on Facebook or myspace - buy the CD and then get out to see a show. You won't be disappointed!

"AMAZING" (5 Star)
You NEED to buy this album

"Excellent EP" (5 Star)
This is one of the best finds I've discovered this year. Great writing very textured, and the singer has a great voice. Pulls together what seems like a wide variety of influences....familiar yet totally original. Check it out for yourself.

- iTunes

We would like to inform you that Future History have been selected for the Toronto Independent Music Awards 2009-2010 "Best Live" showcases, out of approximately 600 artists to compete to win your "Best Live" category and a prize package valued at $15,000. - www.torontoima.com

A regular old Saturday night at The Legendary Horseshoe Tavern in Toronto. Only this particular Saturday played host to Epidemic Music Groups launch party and the buzz-worthy headliners Future History. The capacity crowd at Horseshoe Tavern could have easily drowned out any band with the usual persistent uninterested chatter, but this crowd was anxiously awaiting and anticipating a spectacle.

Enter Future History, a relatively young band in the Toronto scene, but a band that seems to be covering a lot of ground rather quickly, a band that more and more people seem to be talking about, a band you want to say you know.

My immediate reaction to the band was disbelief. There was no drum kit on stage, the would-be drummer sat on a tiny box in the middle of the stage and began to produce one of the most intense tribal drum beats, the guitar/vocalist built a swirly, ethereal trance loop with an ancient well-used acoustic guitar. The bass was massive, the sound was massive, the crowd was silent and completely mesmerized.

If it wasn’t obvious enough when listening to their music Future History puts copious amounts of effort and energy into their work. Although no comparison can do them justice, their sound could be compared to Radiohead meets Dave Matthews though it's clear, it's an amalgamation of styles and influences that makes Future History fail to fall into a stereotype. This makes their music instantly recognizable and leaves much space for improvisation.
When they are live, this energy comes unhinged and the band lets it loose on the audience. While the other members of the band pound out their respective melodies, Kevin Ker goes into a trancelike state which can only be described as a near-religious experience.
- Eyeweekly.com