ATRINA {atrinamusic.net}

what some people are saying about the {beautiful evidence} e.p.

. . . . . . . . . .
New Haven Advocate {12.18.08}

     Close to Home, Close to Perfection
       Dashing through the discs: A look back at some standout CDs from Connecticut bands in 2008

    Atrina, {beautiful evidence} The moody, heavy, minor-key, mid-tempo, post-punk guitar rock on this disc   sounds like a unified piece. It's hazy and a little foreboding, but the reasons aren't easily identifiable.      Something sinister is hanging in the ambiance, and the uncertainty of what it is produces great effect.

   (Brian LaRue)

. . . . . . . . . . .
IndepenDisc.com {Issue #111 Oct. '08 Featured CD}

The past, present, and future…
   6 years ago in 02, Kelly L'Heureux sent me a 4 song EP by her band Atrina. It was called “searching for a   better way….” an unheralded heavy punk, Fuzz fused journey through musical expression which was so far out
on the edge that the Velvet Underground would have dug listening to it. Unfortunately, an unforeseen disbanding prevented this golden child of 60s grunge, early 70s Metal & Glam, late 70s punk and every burn
and slash Metal band of the 00s from being properly exposed. L’Heureux along with Johnny B. and Warren B. crafted songs that rivaled the production values of Alan Parsons, when he was engineering Dark Side Of The
Moon for Pink Floyd, crossed with a Hard Core post-punk sound while still coming across as fresh and up beat.

  Now, here in Oct ’08, Kelly L’Heureux sends me a 5 song EP “(beautiful evidence)” by her “new” band
   Atrina. It is as amazing an accomplishment of sound, style and substance as you will find in any of
today’s recordings. You will be aurally hypnotized before you have a chance to realize what is going on. The     new line up of L’Heureux (guitars, vox, piano, trumpet, samples), Will Iannuzzi (bass), Dave Parmelee   (drums, percussion), Phil Law (guitar) take that far out edge and reel it in, to form a Rock sound that can   only be described as; a base root of Classic 60s/70s Metal a la` Led Zeppelin, Black Sabbath, Deep Purple, etc. mixed with complements of Prog-Metal (Rush 2112 to be exact), blended with a Smashing Pumpkins    finesse/aggression and Trent Reznor/Nine Inch Nail Industrial mentality.

“seven ways” rings in upon a muted distant thunder of drums as the rest of the band slips in to the sound in ways that are opening doors as we skate on past. A journey is surely beginning… Then, bam! We’re in metal heaven, but what stands out almost immediately is that the instrumentation, the chord and note arrangements, are not buried into the mix via heavy compression in efforts to amp up the sound. Instead, Atrina amps it up with production values that were abandoned long ago. Atrina understands that amping up through production compression would rob their sound of its art. The Old School production techniques show through when, only 3 minutes in, your senses are tingling from an edginess of music that hasn’t been achieved in this artistic of a swoop in decades. Whatever Kelly had ingested in the past 6 years has certainly paid off – (and by ingested it was not meant as a sly drug reference, but as a studious compliment). Her music consumption has taught her the entire collection of teen angst, musical rage and expression, that when broken down into a musical score, can rival that of all the best hard rock/metal/punk/grunge bands of the past, present and future.

(beautiful evidence) continues with “a witness,” production of this track has the Butch Vig, Garbage, Smashing Pumpkins hand all over it. Next, the Portishead eeriness of the title track has us throwing down to a sound birthed in such maturity that it is a vital part of the past, present and future. By the time the total Fuzz tones take over to close out the track we’re just trippin’ in the escapism. The Math Rock opening of “feed” develops quickly into a Monster Metal distortion anthem spiced with otherworldly vocals and Kelly’s coupe de grace trumpets, which arrive to herald countless victories and plunge us back into the depths of sound that continue to attach themselves to our conscious. It’s a cerebral indoctrination to metal fused with art, a cultured Head Banger triumph over most musical categories of the day and becomes a part of the rock landscape for years to come.

The masterstroke of this 1 sided Album is the bleed-over segues as we change tracks, none more so deserving than the final one melding “feed” with “how can you have a beautiful ending without making beautiful mistakes?” – so infused is this one that you’ll be backtracking several times to fully understand, get, and marvel at the way it was put together. The final 2:35 collage of studio produced loops and samples
(Atrina’s own recorded samples) gradually brings us out of our intense aural hypnosis with such finesse
that we are left with a feeling mostly reserved for moments of all-knowing bliss.

The past, present, and future… If you listen very closely,the (beautiful evidence) is here.

(Gary Vollono)

. . . . . . . . . . .
New Haven Advocate {09.24.08}

  Atrina sounds like they mean it, with an earnestness matched by technical expertise and solid songwriting.      This record is high-stakes. It bears the superficial markers of earnestness — deep, heavy riffing, a     brooding and moody sensibility, haunted-sounding vocals and songs exclusively in minor keys — but
   it transcends superficiality. Singer Kelly L'Hereux sounds impassioned and entirely straightforward, her voice positioned low enough in the mix to create a compelling push-and-pull between vocals and band.
      This dark stuff is thoroughly rocking, spooky, tuneful and direct, a collection of mid-tempo post-punk tunes from the depths that delivers. New Haven rocker boys, take note — L'Hereux's not joking around, and
    she's helping to trash the local scene's in-joke-isms and to bring us in touch with something more
         universal in the process.

      (Brian LaRue)

. . . . . . . . . . .
PLAY Arts & Entertainment Weekly {09.03.08}

    About five years ago this band just kind of went away which was a dang shame 'cause they were a great, moody-without-being-mopey, sorta arty group that worked well. This here is a "return" recording with a sorta     new line-up. And it's better than the old stuff. For real. Five songs, pleasantly shadow-y (if Siouxsie sang some pop tunes through the Melvins gear) and spot-on solid. Chilling atmospheric beauty, just enough distortion, delicate vocals offset the dirge-ous bits, all good. Holy crap! Seriously now. This is really good.
     Standout Track: Just get the disc, okay? And don't worry about it.

(Craig Gilbert)

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	press & other attentions about {beautiful evidence} : about "searching for a better way..." : everything else
	what some people are saying about the {beautiful evidence} e.p. . . . . . . . . . . New Haven Advocate {12.18.08} Close to Home, Close to Perfection Dashing through the discs: A look back at some standout CDs from Connecticut bands in 2008 Atrina, {beautiful evidence} The moody, heavy, minor-key, mid-tempo, post-punk guitar rock on this disc sounds like a unified piece. It's hazy and a little foreboding, but the reasons aren't easily identifiable. Something sinister is hanging in the ambiance, and the uncertainty of what it is produces great effect. (Brian LaRue) . . . . . . . . . . . IndepenDisc.com {Issue #111 Oct. '08 Featured CD} The past, present, and future… 6 years ago in 02, Kelly L'Heureux sent me a 4 song EP by her band Atrina. It was called “searching for a better way….” an unheralded heavy punk, Fuzz fused journey through musical expression which was so far out on the edge that the Velvet Underground would have dug listening to it. Unfortunately, an unforeseen disbanding prevented this golden child of 60s grunge, early 70s Metal & Glam, late 70s punk and every burn and slash Metal band of the 00s from being properly exposed. L’Heureux along with Johnny B. and Warren B. crafted songs that rivaled the production values of Alan Parsons, when he was engineering Dark Side Of The Moon for Pink Floyd, crossed with a Hard Core post-punk sound while still coming across as fresh and up beat. Now, here in Oct ’08, Kelly L’Heureux sends me a 5 song EP “(beautiful evidence)” by her “new” band Atrina. It is as amazing an accomplishment of sound, style and substance as you will find in any of today’s recordings. You will be aurally hypnotized before you have a chance to realize what is going on. The new line up of L’Heureux (guitars, vox, piano, trumpet, samples), Will Iannuzzi (bass), Dave Parmelee (drums, percussion), Phil Law (guitar) take that far out edge and reel it in, to form a Rock sound that can only be described as; a base root of Classic 60s/70s Metal a la` Led Zeppelin, Black Sabbath, Deep Purple, etc. mixed with complements of Prog-Metal (Rush 2112 to be exact), blended with a Smashing Pumpkins finesse/aggression and Trent Reznor/Nine Inch Nail Industrial mentality. “seven ways” rings in upon a muted distant thunder of drums as the rest of the band slips in to the sound in ways that are opening doors as we skate on past. A journey is surely beginning… Then, bam! We’re in metal heaven, but what stands out almost immediately is that the instrumentation, the chord and note arrangements, are not buried into the mix via heavy compression in efforts to amp up the sound. Instead, Atrina amps it up with production values that were abandoned long ago. Atrina understands that amping up through production compression would rob their sound of its art. The Old School production techniques show through when, only 3 minutes in, your senses are tingling from an edginess of music that hasn’t been achieved in this artistic of a swoop in decades. Whatever Kelly had ingested in the past 6 years has certainly paid off – (and by ingested it was not meant as a sly drug reference, but as a studious compliment). Her music consumption has taught her the entire collection of teen angst, musical rage and expression, that when broken down into a musical score, can rival that of all the best hard rock/metal/punk/grunge bands of the past, present and future. (beautiful evidence) continues with “a witness,” production of this track has the Butch Vig, Garbage, Smashing Pumpkins hand all over it. Next, the Portishead eeriness of the title track has us throwing down to a sound birthed in such maturity that it is a vital part of the past, present and future. By the time the total Fuzz tones take over to close out the track we’re just trippin’ in the escapism. The Math Rock opening of “feed” develops quickly into a Monster Metal distortion anthem spiced with otherworldly vocals and Kelly’s coupe de grace trumpets, which arrive to herald countless victories and plunge us back into the depths of sound that continue to attach themselves to our conscious. It’s a cerebral indoctrination to metal fused with art, a cultured Head Banger triumph over most musical categories of the day and becomes a part of the rock landscape for years to come. The masterstroke of this 1 sided Album is the bleed-over segues as we change tracks, none more so deserving than the final one melding “feed” with “how can you have a beautiful ending without making beautiful mistakes?” – so infused is this one that you’ll be backtracking several times to fully understand, get, and marvel at the way it was put together. The final 2:35 collage of studio produced loops and samples (Atrina’s own recorded samples) gradually brings us out of our intense aural hypnosis with such finesse that we are left with a feeling mostly reserved for moments of all-knowing bliss. The past, present, and future… If you listen very closely,the (beautiful evidence) is here. (Gary Vollono) . . . . . . . . . . . New Haven Advocate {09.24.08} Atrina sounds like they mean it, with an earnestness matched by technical expertise and solid songwriting. This record is high-stakes. It bears the superficial markers of earnestness — deep, heavy riffing, a brooding and moody sensibility, haunted-sounding vocals and songs exclusively in minor keys — but it transcends superficiality. Singer Kelly L'Hereux sounds impassioned and entirely straightforward, her voice positioned low enough in the mix to create a compelling push-and-pull between vocals and band. This dark stuff is thoroughly rocking, spooky, tuneful and direct, a collection of mid-tempo post-punk tunes from the depths that delivers. New Haven rocker boys, take note — L'Hereux's not joking around, and she's helping to trash the local scene's in-joke-isms and to bring us in touch with something more universal in the process. (Brian LaRue) . . . . . . . . . . . PLAY Arts & Entertainment Weekly {09.03.08} About five years ago this band just kind of went away which was a dang shame 'cause they were a great, moody-without-being-mopey, sorta arty group that worked well. This here is a "return" recording with a sorta new line-up. And it's better than the old stuff. For real. Five songs, pleasantly shadow-y (if Siouxsie sang some pop tunes through the Melvins gear) and spot-on solid. Chilling atmospheric beauty, just enough distortion, delicate vocals offset the dirge-ous bits, all good. Holy crap! Seriously now. This is really good. Standout Track: Just get the disc, okay? And don't worry about it. (Craig Gilbert)

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