Prom

Depressive-rockers Prom covered Radiohead's depressing Kid A closer "Motion Picture Soundtrack" and managed to make it... more depressing? The band transformed the slow electronic piece into a pessimistic piece of dreamy post-punk. Laggy vocals and reverbing guitars take center stage, while a hopeful chime rings softly on the side. In words, it may sound like nothing special, but when you hear the song you will definitely know what I mean. Overall, the cover is a mesmerizingly melancholic and beautiful tune.

Hailing from Toronto, Prom has released several singles and an EP. They describe their sound as "Interpol meets the xx meets Casiotone," but I would definitely describe them as a less arena rock, more basement rock version of The National. - Stereofox

Toronto’s Prom possess a certain melancholy that few bands manage to conjure up, creating music in such apparent emotional solitude. Their new EP, Spring Training is four tracks of The National and Joy Division inspired loneliness, from the more upbeat chorus led Katie, to the downcast Nineteen Again, centred around the haunting refrain, “pretend you’re nineteen again / and i’ll let you down“. So Prom are still very much learning their trade, however on Spring Training there’s an underlying true passion behind what they do, and whilst it may be a while before they’re noticed by a larger audience, you can almost guarantee it will happen at some point in the future. - Crack in the Road

Immutable youth. Vexing, cursive, immutable youth. This cementation of the present in past is a folly cast in the bright nostalgic fragments and loose ends of migratory missives; locked are we to those blurry nights, to the day’s shadow reaching back into its brighter yesterdays.

Prom’s Daniel Wilson and Sufian Malik profess a solace that seems unendingly contingent on the prevalence of their programmed melancholy, as if drawn by some lurid temporality to exist forever at the boundary between the then and the now; a harrowing selflessness cast in the dwindling vestige of having been the one to stay, victim to the hanging on; victim to folly cubs rummaging through the thick cardboard boxes that we hide in the back of our minds, teeth gnawing and claws tearing at our harboured past.

If only our days were endless and unnumbered. If only our arms-length could be measured in backwards-reaching-years. We’d be forever immutable; spring’s training of the tirelessly tempered. - Weird Canada

There seems – at least subjectively – a deep-seated irony in there being an immediate accessibility to Toronto duo Prom’s Spring Training extended-play, not least because of the uncanny resemblance it bears to much of The National’s back catalogue. With regard to the music of those Messrs. Dessner, no matter how hard I might try, I’ve yet to have much luck with it. You either get it, or you don’t. Or so the hackneyed adage goes anyhow, although either way, I’ve always found myself resolutely camped in the latter category. And Daniel Wilson and Sufian Malik certainly revel in that same red wine-stained misery, the Canuck pairing seemingly excelling at soundtracking the point at which nighttime dissipates in the bleary haze of those earliest of hours.

But irrespective of the woe intrinsic to Nineteen Again, there’s a self-aware optimism latently concealed within there somewhere. “Pretend you’re nineteen again, and I’ll let you down” they dribble, commensurate amounts of sadness and spite interpolated in the upfront confession, as trebly guitars gently weep against a wan background composed of glorious despondency and the numbing hum of low-end gear. Nineteen Again is an innately difficult listen, although it’s one which resonates with startling poignancy even from a very first play – something Aaron and Bryce have likely yet to achieve… - Dots and Dashes

The word “prom” brings to mind shiny dresses, endless photos, and awkward dancing to the “YMCA” but this EP from the Toronto-based Prom encapsulates an entirely different coming-of-age. It’s the feeling you get when you realize that reality may never live up to your expectations, and that the problems are never going to stop piling on as the years go by. It’s a resigned descent into pessimism.

All four songs are slow and guitar-based, with flatly delivered sad sentiments detailing loss of motivation, isolation, and a side helping of self-pity. A bit downtrodden, sure, but they perfectly capture the feeling of staying in bed all day, slight headache, frustrated that the day didn’t amount to anything more productive. Or being let down by a friend. Or not knowing what you’re going to do with your life. No matter what you’re problem, really, you’ll be able to throw yourself into these emotions and run with it.

That’s the real strength of this EP, and Prom’s music in general – they’re incredibly skilled at creating a mood and exploring it from different angles, embellishing their thoughts with spanned out synths and smooth guitar melodies.

The last song ends with a request: “tell me why we suffer, tell me why we suffer love.” There might be no answer for why negative emotions always seem to call, but at least in this case they’re being channeled into some wonderful art.

Rating: Strong Hoot (Good)

Top Tracks: “The City Don’t Want Us”, “Nineteen Again” - Grayowl Point

Depressive-rockers Prom covered Radiohead's depressing Kid A closer "Motion Picture Soundtrack" and managed to make it... more depressing? The band transformed the slow electronic piece into a pessimistic piece of dreamy post-punk. Laggy vocals and reverbing guitars take center stage, while a hopeful chime rings softly on the side. In words, it may sound like nothing special, but when you hear the song you will definitely know what I mean. Overall, the cover is a mesmerizingly melancholic and beautiful tune.

Hailing from Toronto, Prom has released several singles and an EP. They describe their sound as "Interpol meets the xx meets casiotone," but I would definitely describe them as a less arena rock, more basement rock version of The National. - Stereofox

Your heart, broken in two by Daniel Wilson and Sufian Malik. World-weary vocals and gorgeous, dueling echo-chamber guitars are the soundtrack to staring at old photos of lost loves. - Wavelength

The National aren’t a boring band.

I find it hard to explain, though, how I end up falling so hopelessly in love with songs about impressing your boss, not being able to find the trouser press or having the milk in the fridge go a funny colour. It’s first world problems put to tape.

But it’s the grand pomposity of a band like The National that I adore. That, and Matt Berninger’s vocal. Crack In The Road picked up on the similarities to Prom from the off. Few people can pull of the baritone melancholy of Berninger but Prom are masters of the art. ‘Annie’ belongs on ‘Alligator’, or another decade-defining record of its own stature: It depends on where the band are headed. - Music Fan's Mic

Before we begin; we fucking love The National. Like, loads. And this band has more than a little bit of The National about them. We’re sold – and here’s why you should be too.

Prom are a two piece that make “appropriately neurotic” and “self-loathing” music that is so alluringly mid-tempo and inviting that we’ve found it almost impossible to turn it off all week. They have been recording and posting music online throughout 2012, all of which is available here. And, yes, to revert back to our opening point, there are ample amounts of Matt Berninger in the lead vocals of all these tracks and there are musical nods to the Brooklyn quintet all over the shop. Take “Annie” for instance; a song that abides to the less is more principal, with slow pounding drums, chugging guitars and a soothing vocal. It could make its way onto any National album, doubtless.



But, we assure you that these guys are not just out to reproduce someone else’s sound. Example no.1: in “Shelley” we see a far more delicate approach, leading with a reverb-ridden guitar that induces involuntary swaying. It’s absolutely lovely.



Example no.2 comes with Prom’s fantastic cover of Radiohead’s ”Motion Picture Soundtrack”. Ordinarily, I’d verge on the side of skepticism when listening to a band cover Radiohead – but this is just great. An almost-whisper vocal floats over a soft wall of sound, creating a dream-like soundscape that compliments the original version whilst adding a little bit more to it.



Follow Prom on Facebook for updates and new music. - Abacus Post

Ah, the age old question that philosophers have pondered for years – “How do you cover Radiohead without it sounding completely and utterly shit?”. Well, I can’t give you the exact formula, but Toronto duo Prom absolutely nail Motion Picture Soundtrack, dropping the atmospheric ethereal vibe and adopting a grittier, less refined position, matching that of their debut track titled Annie. Inspired by “cheap sex/sad films” or is that cheap films and sad sex? Either way, check it out below. - Crack In The Road

A single Berninger-esque baritone and an overpowering sense of shame, disillusionment and lust make up the majority of Annie, this new track from Toronto’s mysteriously titled Prom. So the production leaves a little to be desired at times, but the songwriting intent and talent is clearly there, as is the lyrical efficiency; with each and every line pronounced with a meaning that could only be born from experience. Tagged as ‘drunken nights’ and ‘unnecessary fights’, Annie is the girl you could never let go of, yet who held your heart through it all… and this song is for her.

- Crack In The Road

There can’t be too many songs written in ode to model and former cocaine addict Kate Moss, well, aside from the majority of Pete Doherty’s solo material of course. Toronto’s Prom clearly share a rather bizarre fascination with the British Beauty Queen, penning this track for her. With Prom’s now stereotypical Berninger-esque drawl and ever-so dour and self-depreciating lyrics, it’s arguably their finest track to date. Check it out below. - Crack In The Road