"While Jack Ketch may be best described as a progressive-metal band, the technical and complex approach found in their music is a means for exploring sonic and narrative landscapes rather than being an end in itself."
- Submerge Magazine
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| Hometown | Sacramento, CA |
| Genres | Metal, Death Metal / Grindcore |
| Band Members | <br/>; Nick Bakkie - Vocals; Corey Parks - Guitar; ... » more |
| Achievements | |
| Upcoming Shows | None |
| Contact Information: |
Artist / Band Member
Nick Bakkie nick@jackketch.com 916-275-3671 |
| # Years Experience Performing Live: | 3 |
| # Live Perfomances Past Six-months: | 50 |
| Market Draw: | Sacramento: 101-150 |
| Venue History: | The Boardwalk - Orangevale, CA The Knitting Factory - Reno, NV Blu Nightclub - MontBleu Casino - Stateline, NV |
| Opener Experience: | Otep; Obituary; Despised Icon; Misery Index; Revocation; Unleashed; Embrace The End; HOODS; Salt The Wound; Beneath The Sky; The Agonist; Carnifex |
| Similar Artists: | Behemoth; Job For A Cowboy; The Faceless; Opeth; Between The Buried And Me |
| Discography: | Bringers Of The Dawn LP—2010; In Articulo Mortis LP—2009; Demo EP—2008 |
After only two years Sacramento, CA based metal band Jack Ketch is about to release their second album early this Summer. Since their first release Jack Ketch has been working endlessly on perfecting their new progressive sound. Influenced by bands such...
After only two years Sacramento, CA based metal band Jack Ketch is about to release their second album early this Summer. Since their first release Jack Ketch has been working endlessly on perfecting their new progressive sound. Influenced by bands such as Dream Theater, Opeth and Between The Buried And Me, they are taking the crushing riffs that brought them to the top of the local scene and adding a more matured melodic feel. Pairing this along side with new levels of technicality and an always energetic live performance, Jack Ketch is a force to be reckoned with in the progressive metal scene.
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Metal as Mastery and Execution by Bobby S. Gulshan (Submerge Magazine)
During a particularly turbulent period of English history, the executioner Jack Ketch garnered a reputation for the often sadistic and cruel ways in which he meted out justice to the condemned. “...
During a particularly turbulent period of English history, the executioner Jack Ketch garnered a reputation for the often sadistic and cruel ways in which he meted out justice to the condemned. “...
Bands You Should Know by Charlie Hanks (Fringe Magazine)
Jack Ketch dwells in the depths of Sacramento manifesting their own breed of Metal. With fragments from all genres of metal members [Nick Bakkie - Vocals] [Spencer Clarke - Guitar] [Squeek Jones -...
Jack Ketch dwells in the depths of Sacramento manifesting their own breed of Metal. With fragments from all genres of metal members [Nick Bakkie - Vocals] [Spencer Clarke - Guitar] [Squeek Jones -...
Metal as Mastery and Execution by Bobby S. Gulshan (Submerge Magazine)
During a particularly turbulent period of English history, the executioner Jack Ketch garnered a reputation for the often sadistic and cruel ways in which he meted out justice to the condemned. “The hangman’s knot is called a ‘Jack Ketch’ knot,” vocalist Nick Bakkie tells me. “We liked the feel of it, and it matched the dark tone of the music we play.” I met the guys from Jack Ketch at their rehearsal space, and our conversation journeyed from the famed executioner, to an epic space-opera, a house in the country and eventually to the music scene in Sacramento. We also talked about the state of heavy metal music in the world. Perhaps not since the “golden age” of thrash—when bands like Metallica, Slayer, Anthrax and Pantera pummeled the world with their sonic assaults—has metal been bigger. Bands like Mastodon have succeeded in bringing a new audience to metal, while also sparking raging debates about what truly deserves the “metal” moniker and what doesn’t. However, while some devotees believe the path to metal purity lies in exclusion and careful, often tedious labeling of sub-genre after sub-genre, Jack Ketch thinks otherwise. “Nowadays it’s metal to listen to hip-hop and metal at the same time,” says guitarist Corey Parks. “A kid won’t look at you weird if you are listening to a Lil’ Jon record and then immediately put on a Despised Icon record.” This idea of inclusion—of remaining open to all possible musical forces and never settling into a comfortable pigeonhole—fuels Jack Ketch in pushing their music ever further. While they may be best described as a “progressive-metal” band, the technical and complex approach found in their music is a means for exploring sonic and narrative landscapes rather than being an end in itself. After two years together and a new album, Bringers of the Dawn, due out in early August, Jack Ketch stands poised to create their own reputation as a band that combines brutal metal energy with intellectual sophistication and technical prowess. You guys have a record coming out soon on Transmedia Records. Tell me a little about the record. Squeek Jones (bass): The new album is called Bringers of the Dawn. It’s actually a concept record. Basically every single song is related and there is a theme going through the entire record. It’s pretty epic. Be ready, that’s all we can say. Can you give us a preview of the concept itself? Nick Bakkie: There are kind of a lot of different things going on, but basically it tells the story of an alien invasion of Earth, and there is this huge epic battle between the aliens and humans. Corey Parks: One big idea in the story is that humans take advantage of what they have without much thought. And the aliens come in and put us in check? CP: Pretty much, yeah. Metal often gets a bad rap from people outside of the scene, like it’s just loud, dumb music to get drunk and mosh to. Do you think metal can be a thinking person’s music? SJ: Absolutely, I think it already is. There are so many different layers within metal and rock music. From the technical side, it’s a hard genre to play, and there are a lot of really talented, underrated musicians doing this kind of music, so there is a lot that can be done in this genre. CP: Yeah, we are not trying to go for the whole thrash metal, go get beer and get drunk at the club kind of scene. Garrett Garvey (drums): I feel like there is as much metal that is done wrong as there is done right. So it’s hard to stand out when you are in the same genre, so you really have to work to distinguish yourself. Having some music education and fusing that with metal is what brings the progressive elements and staying musically intelligent. NB: Metal is becoming a lot bigger in the world, and Squeek and I have always talked about the entertainment value of it, but we want to push that entertainment value beyond just the music, bringing in the visual aspect and the storytelling aspect. We recently did a show in 3-D where we had 3-D visuals and passed out glasses. People got really excited with seeing something different. We always want to keep it fresh and entertaining as well as highly energetic and intelligent. You guys mention Opeth and Dream Theater as influences. Those are two bands that are, like you guys, technically sophisticated and compositionally complex. How do you approach songwriting for such demanding music? CP: I live out in the country [everyone laughs] and I watch a lot of really bad television and I listen to everything from acid house to death metal and I jam on my acoustic. I will come in with some riffs and Garrett and I will start arranging stuff on the white board and it goes from there. GG: I’m always pushing the technical aspect. I came into this band under-prepared for how far we wanted to push it, so for me there is a challenge to see what Corey brings in and see how I can push it further. Then it’s just a process of complementing each other and compromising enough to where we keep the spirit of the tune and make sure all voices are represented. And lyrically? NB: I get inspiration from all these guys. Garrett will sketch out these little stories and it will inspire the actual vocal lines. We did that on “Decimated Deputation” on the new album, where Garrett and Corey had the basic concept and story, and I basically ran with it and developed the actual lyrical lines. What are some of the lyrical themes? It sounds like you guys are doing more than just “boy meets girl” type of stuff. SJ: That’s the next album [they all laugh]. NB: It all involves struggle and trying to figure out what is real, what is good and what is evil. GG: The undercurrents are there. Like Corey said earlier, humans take from the earth, and that maybe the arrival of the aliens is a sort of reckoning, and human beings have to confront that they have been living blindly. That’s the metaphor of the concept. So what is it that you guys want to communicate as Jack Ketch? SJ: Ultimately it’s about pushing what you love. If you have a passion for something and it’s what you want to do, don’t settle. And the undercurrent in that is seen in the metaphor of the record, which is that life is a struggle. There is nothing easy about getting out of bed every morning and doing what you have to do. Did you guys start out with this progressive metal approach or was there an evolution? NB: Definitely a lot of evolution. When I originally thought of starting a band, I was listening to things like Poison the Well and Norma Jean—like hardcore bands. But when I got into the scene, the vibe wasn’t right for me. Then when we started putting the band together it moved into a more death metal vein. Corey came in and he is so good at technical death metal, but we wanted to keep it open to a lot of different influences. CP: I really only listen to metal about 10 percent of the time. The rest is Lil’ Jon records? CP: Everything, classical, symphonic metal. I can listen to classical while writing a brutal metal song, and it will influence it in one way, and then I can listen to something else and I will catch some of that vibe. I don’t want us to be one of those bands that have the exact same sound all the time. GG: There are bands that have standards; like every tune needs to be this BPM and the drums have to have this kind of approach. But for me, fear is limiting, and we don’t want to limit ourselves. So the progressive thing is an outcome of the approach, rather than saying from the beginning “Let’s be prog.”
During a particularly turbulent period of English history, the executioner Jack Ketch garnered a reputation for the often sadistic and cruel ways in which he meted out justice to the condemned. “The hangman’s knot is called a ‘Jack Ketch’ knot,” vocalist Nick Bakkie tells me. “We liked the feel of it, and it matched the dark tone of the music we play.” I met the guys from Jack Ketch at their rehearsal space, and our conversation journeyed from the famed executioner, to an epic space-opera, a house in the country and eventually to the music scene in Sacramento. We also talked about the state of heavy metal music in the world. Perhaps not since the “golden age” of thrash—when bands like Metallica, Slayer, Anthrax and Pantera pummeled the world with their sonic assaults—has metal been bigger. Bands like Mastodon have succeeded in bringing a new audience to metal, while also sparking raging debates about what truly deserves the “metal” moniker and what doesn’t. However, while some devotees believe the path to metal purity lies in exclusion and careful, often tedious labeling of sub-genre after sub-genre, Jack Ketch thinks otherwise. “Nowadays it’s metal to listen to hip-hop and metal at the same time,” says guitarist Corey Parks. “A kid won’t look at you weird if you are listening to a Lil’ Jon record and then immediately put on a Despised Icon record.” This idea of inclusion—of remaining open to all possible musical forces and never settling into a comfortable pigeonhole—fuels Jack Ketch in pushing their music ever further. While they may be best described as a “progressive-metal” band, the technical and complex approach found in their music is a means for exploring sonic and narrative landscapes rather than being an end in itself. After two years together and a new album, Bringers of the Dawn, due out in early August, Jack Ketch stands poised to create their own reputation as a band that combines brutal metal energy with intellectual sophistication and technical prowess. You guys have a record coming out soon on Transmedia Records. Tell me a little about the record. Squeek Jones (bass): The new album is called Bringers of the Dawn. It’s actually a concept record. Basically every single song is related and there is a theme going through the entire record. It’s pretty epic. Be ready, that’s all we can say. Can you give us a preview of the concept itself? Nick Bakkie: There are kind of a lot of different things going on, but basically it tells the story of an alien invasion of Earth, and there is this huge epic battle between the aliens and humans. Corey Parks: One big idea in the story is that humans take advantage of what they have without much thought. And the aliens come in and put us in check? CP: Pretty much, yeah. Metal often gets a bad rap from people outside of the scene, like it’s just loud, dumb music to get drunk and mosh to. Do you think metal can be a thinking person’s music? SJ: Absolutely, I think it already is. There are so many different layers within metal and rock music. From the technical side, it’s a hard genre to play, and there are a lot of really talented, underrated musicians doing this kind of music, so there is a lot that can be done in this genre. CP: Yeah, we are not trying to go for the whole thrash metal, go get beer and get drunk at the club kind of scene. Garrett Garvey (drums): I feel like there is as much metal that is done wrong as there is done right. So it’s hard to stand out when you are in the same genre, so you really have to work to distinguish yourself. Having some music education and fusing that with metal is what brings the progressive elements and staying musically intelligent. NB: Metal is becoming a lot bigger in the world, and Squeek and I have always talked about the entertainment value of it, but we want to push that entertainment value beyond just the music, bringing in the visual aspect and the storytelling aspect. We recently did a show in 3-D where we had 3-D visuals and passed out glasses. People got really excited with seeing something different. We always want to keep it fresh and entertaining as well as highly energetic and intelligent. You guys mention Opeth and Dream Theater as influences. Those are two bands that are, like you guys, technically sophisticated and compositionally complex. How do you approach songwriting for such demanding music? CP: I live out in the country [everyone laughs] and I watch a lot of really bad television and I listen to everything from acid house to death metal and I jam on my acoustic. I will come in with some riffs and Garrett and I will start arranging stuff on the white board and it goes from there. GG: I’m always pushing the technical aspect. I came into this band under-prepared for how far we wanted to push it, so for me there is a challenge to see what Corey brings in and see how I can push it further. Then it’s just a process of complementing each other and compromising enough to where we keep the spirit of the tune and make sure all voices are represented. And lyrically? NB: I get inspiration from all these guys. Garrett will sketch out these little stories and it will inspire the actual vocal lines. We did that on “Decimated Deputation” on the new album, where Garrett and Corey had the basic concept and story, and I basically ran with it and developed the actual lyrical lines. What are some of the lyrical themes? It sounds like you guys are doing more than just “boy meets girl” type of stuff. SJ: That’s the next album [they all laugh]. NB: It all involves struggle and trying to figure out what is real, what is good and what is evil. GG: The undercurrents are there. Like Corey said earlier, humans take from the earth, and that maybe the arrival of the aliens is a sort of reckoning, and human beings have to confront that they have been living blindly. That’s the metaphor of the concept. So what is it that you guys want to communicate as Jack Ketch? SJ: Ultimately it’s about pushing what you love. If you have a passion for something and it’s what you want to do, don’t settle. And the undercurrent in that is seen in the metaphor of the record, which is that life is a struggle. There is nothing easy about getting out of bed every morning and doing what you have to do. Did you guys start out with this progressive metal approach or was there an evolution? NB: Definitely a lot of evolution. When I originally thought of starting a band, I was listening to things like Poison the Well and Norma Jean—like hardcore bands. But when I got into the scene, the vibe wasn’t right for me. Then when we started putting the band together it moved into a more death metal vein. Corey came in and he is so good at technical death metal, but we wanted to keep it open to a lot of different influences. CP: I really only listen to metal about 10 percent of the time. The rest is Lil’ Jon records? CP: Everything, classical, symphonic metal. I can listen to classical while writing a brutal metal song, and it will influence it in one way, and then I can listen to something else and I will catch some of that vibe. I don’t want us to be one of those bands that have the exact same sound all the time. GG: There are bands that have standards; like every tune needs to be this BPM and the drums have to have this kind of approach. But for me, fear is limiting, and we don’t want to limit ourselves. So the progressive thing is an outcome of the approach, rather than saying from the beginning “Let’s be prog.”
Bands You Should Know by Charlie Hanks (Fringe Magazine)
Jack Ketch dwells in the depths of Sacramento manifesting their own breed of Metal. With fragments from all genres of metal members [Nick Bakkie - Vocals] [Spencer Clarke - Guitar] [Squeek Jones - Bass] [Eugene Kern - Drums] reach to push the boundaries to a new level of brutality. Their thunderous sound cuts deep into your mind and leaves you wanting more. If you do not know them… you soon will!
Jack Ketch dwells in the depths of Sacramento manifesting their own breed of Metal. With fragments from all genres of metal members [Nick Bakkie - Vocals] [Spencer Clarke - Guitar] [Squeek Jones - Bass] [Eugene Kern - Drums] reach to push the boundaries to a new level of brutality. Their thunderous sound cuts deep into your mind and leaves you wanting more. If you do not know them… you soon will!
Metal Album Reviews: Bringers Of The Dawn by DemiGodRaven
After what one could only assume to be the discovery of my somewhat glowing review of the group at the Misery Index show (that Despised Icon happened to be headlining…) Jack Ketch sent us an email with a pretty brief headline that asked us to please review their new release Bringers Of The Dawn. After having been somewhat won over by their performance during the show, which was impressive given the twenty minute set time I’ll admit that I was interested in picking up the review. Bringers Of The Dawn is an interesting listen that straddles the line between Tech-Death and the slower more crawling style that was made popular by the Florida scene for a little while. Bringers Of The Dawn is seven tracks long and each tune flows into one another, with some of the songs starting almost immediately after another has ended giving the whole release the feeling of being a far longer disc than it actually is; and helping to reveal the unifying theme between for the whole disc. Jack Ketch are a surprisingly solid band, one that seems to have bucked the stigma that tends to come along when the word ‘local’ is used to describe the group. The band itself is pretty tech-death in it’s fundamentals although it doesn’t really come through in it’s playing on Bringers Of The Dawn. It really comes through live, though. There isn’t much in the way of the guitar wankery that has seemingly dominated the genre on Bringers Of The Dawn. Instead it is actual used mostly to keep the songs crawling along, or to create atmosphere with much of the more dynamic stuff being left to the drums as they blast through each song. The only way you can tell the genre that the group has fallen into is that they pack one hell of a bassist in their ranks (although this could be largely because he was in front of me the whole show), the group has chosen a sci-fi theme for this disc judging by the album art and song titles like ‘Enslavement Of Man’, and their love of constant starting/stopping in their tunes, as well as their love of shifting time signatures. For being a four piece it’s actually surprising how well the band nails their performances of these songs live including album closer ‘Gamma Ray’, which affords their lead singer the ability to get off the stage and mosh it out with the crowd for a bit. Bringers Of The Dawn is an incredibly slow crawl, more akin to being fed into the gears of a machine. Even though only two songs clear the six minute mark (with the rest falling anywhere between two and four) and the album only bears seven track the band’s chosen mid-tempo speed makes them this release just seem to lurch forward. This is a very thick feeling disc with it’s movement speed closer to that of the blob than it’s much quicker death metal counterparts. The way the album sounds has quite a bit to do with the way it feels like an eternity has passed while listening though. Bringers Of The Dawn sounds a bit flat and it does the album a disservice as there really is some good music buried in here. The problem lay in the fact that the mix sounds a bit like the guitars are at 100, the bass is at 100, the drummer is at 100 and the vocalist loses out in this imaginary battle by being topped out at about 85. That doesn’t mean there isn’t some incredibly cool stuff happening on Bringers Of The Dawn, it just means that it’s a bit harder to find. It also means that this isn’t a release that will immediately grab you like a lot of more revered albums will, this is one that if you invest time in it you will find yourself enjoying but it’s also understandable where someone wouldn’t be willing to pay the price of entry to be ground up and spat out the other side of this disc. One of the first tracks that actually really stood out and perked my interest on this release actually came way later on in the disc. The song is called ‘Hope For The Faithless’ and despite the fact that is in in large part just an interlude, the cool atmosphere created by the echo effect going on in the background really set up the following ass kicking that was the song ‘Gamma Ray’. Jack Ketch’s writing style is honestly one that if taken at face value seems to be kind of boring, it’s only when you really begin to notice the subtleties hidden in the music that you can find yourself really enjoying their brand of metal. At first it seems like Bringers Of The Dawn is a goddamn slow disc, but everything that happens on here tends to happen with a purpose. You just need to find it first. Any blast beats that happen on this release for instance, don’t happen because the guitarist decided ‘Holy Fuck! I’m gonna trem-pick my way through this tune!’ leaving the drummer with few options other than just gravity blasting his way through it. The drums here are much more groove focused as there’s much more emphasis on the double bass pedal being used to slam it’s way through the various riffs that are thrown out. Despite the previous mentions of the guitars being used a lot to create this atmosphere of being a slow crawl, that doesn’t mean they don’t get their time to shine as there are some smaller hidden leads throughout this whole release, especially in the latter movements of the album where he gets to use the clean channel a bit to make some acoustic sections. ‘Rise Of The New Order’ is a tune that pretty much exemplifies Bringers Of The Dawn though, with it’s slow leviathan-esque pace. There are some flaws with Bringers Of The Dawn that prevent it from being a fucking incredible experience but it is honestly a breath of fresh air in a scene dominated by scene kid bullshit. Jack Ketch are a talented bunch of musicians that deserve at least a solid glance at, and hopefully will be one of the groups to escape the local tag. Bringers Of The Dawn is a fucking solid release by a fucking solid band, bar none. It won’t immediately grab you and it takes a bit of work to get into but after a bit it just seems to grow on you. The way it sort of shambles along like a zombie and then just seems to suddenly pick up for a bit before going right back to it’s much slower movements sets up a very dynamic release. It’s a seven track release that seems to be infinitely longer than that and it has quite the cost of entry but in the end Bringers Of The Dawn will pay off for you. Score 4.5 out of 6
After what one could only assume to be the discovery of my somewhat glowing review of the group at the Misery Index show (that Despised Icon happened to be headlining…) Jack Ketch sent us an email with a pretty brief headline that asked us to please review their new release Bringers Of The Dawn. After having been somewhat won over by their performance during the show, which was impressive given the twenty minute set time I’ll admit that I was interested in picking up the review. Bringers Of The Dawn is an interesting listen that straddles the line between Tech-Death and the slower more crawling style that was made popular by the Florida scene for a little while. Bringers Of The Dawn is seven tracks long and each tune flows into one another, with some of the songs starting almost immediately after another has ended giving the whole release the feeling of being a far longer disc than it actually is; and helping to reveal the unifying theme between for the whole disc. Jack Ketch are a surprisingly solid band, one that seems to have bucked the stigma that tends to come along when the word ‘local’ is used to describe the group. The band itself is pretty tech-death in it’s fundamentals although it doesn’t really come through in it’s playing on Bringers Of The Dawn. It really comes through live, though. There isn’t much in the way of the guitar wankery that has seemingly dominated the genre on Bringers Of The Dawn. Instead it is actual used mostly to keep the songs crawling along, or to create atmosphere with much of the more dynamic stuff being left to the drums as they blast through each song. The only way you can tell the genre that the group has fallen into is that they pack one hell of a bassist in their ranks (although this could be largely because he was in front of me the whole show), the group has chosen a sci-fi theme for this disc judging by the album art and song titles like ‘Enslavement Of Man’, and their love of constant starting/stopping in their tunes, as well as their love of shifting time signatures. For being a four piece it’s actually surprising how well the band nails their performances of these songs live including album closer ‘Gamma Ray’, which affords their lead singer the ability to get off the stage and mosh it out with the crowd for a bit. Bringers Of The Dawn is an incredibly slow crawl, more akin to being fed into the gears of a machine. Even though only two songs clear the six minute mark (with the rest falling anywhere between two and four) and the album only bears seven track the band’s chosen mid-tempo speed makes them this release just seem to lurch forward. This is a very thick feeling disc with it’s movement speed closer to that of the blob than it’s much quicker death metal counterparts. The way the album sounds has quite a bit to do with the way it feels like an eternity has passed while listening though. Bringers Of The Dawn sounds a bit flat and it does the album a disservice as there really is some good music buried in here. The problem lay in the fact that the mix sounds a bit like the guitars are at 100, the bass is at 100, the drummer is at 100 and the vocalist loses out in this imaginary battle by being topped out at about 85. That doesn’t mean there isn’t some incredibly cool stuff happening on Bringers Of The Dawn, it just means that it’s a bit harder to find. It also means that this isn’t a release that will immediately grab you like a lot of more revered albums will, this is one that if you invest time in it you will find yourself enjoying but it’s also understandable where someone wouldn’t be willing to pay the price of entry to be ground up and spat out the other side of this disc. One of the first tracks that actually really stood out and perked my interest on this release actually came way later on in the disc. The song is called ‘Hope For The Faithless’ and despite the fact that is in in large part just an interlude, the cool atmosphere created by the echo effect going on in the background really set up the following ass kicking that was the song ‘Gamma Ray’. Jack Ketch’s writing style is honestly one that if taken at face value seems to be kind of boring, it’s only when you really begin to notice the subtleties hidden in the music that you can find yourself really enjoying their brand of metal. At first it seems like Bringers Of The Dawn is a goddamn slow disc, but everything that happens on here tends to happen with a purpose. You just need to find it first. Any blast beats that happen on this release for instance, don’t happen because the guitarist decided ‘Holy Fuck! I’m gonna trem-pick my way through this tune!’ leaving the drummer with few options other than just gravity blasting his way through it. The drums here are much more groove focused as there’s much more emphasis on the double bass pedal being used to slam it’s way through the various riffs that are thrown out. Despite the previous mentions of the guitars being used a lot to create this atmosphere of being a slow crawl, that doesn’t mean they don’t get their time to shine as there are some smaller hidden leads throughout this whole release, especially in the latter movements of the album where he gets to use the clean channel a bit to make some acoustic sections. ‘Rise Of The New Order’ is a tune that pretty much exemplifies Bringers Of The Dawn though, with it’s slow leviathan-esque pace. There are some flaws with Bringers Of The Dawn that prevent it from being a fucking incredible experience but it is honestly a breath of fresh air in a scene dominated by scene kid bullshit. Jack Ketch are a talented bunch of musicians that deserve at least a solid glance at, and hopefully will be one of the groups to escape the local tag. Bringers Of The Dawn is a fucking solid release by a fucking solid band, bar none. It won’t immediately grab you and it takes a bit of work to get into but after a bit it just seems to grow on you. The way it sort of shambles along like a zombie and then just seems to suddenly pick up for a bit before going right back to it’s much slower movements sets up a very dynamic release. It’s a seven track release that seems to be infinitely longer than that and it has quite the cost of entry but in the end Bringers Of The Dawn will pay off for you. Score 4.5 out of 6
Metal Concert Reviews: Revocation And Misery Index by DemiGodRaven
Jack Ketch actually surprised me. Now I don’t know if it was because I was just tired of the deathcore stuff and these guys were more along the lines of progressive death but I found myself enjoying these guys quite a bit. They are a four piece hailing from Sacramento and have some pretty thick tunes. They don’t immediately grab you but they seemed to be able to get the crowd moving quite a bit. It helps that their bassist has a really good stage presence and is just flying across that fucking fretboard at certain times. During the last song their lead guy jumped out into the pit which was interesting to see. Judging by the band’s MySpace and their album art there seems to be a bit of sci-fi concept involved, although it’s going to take a deeper look for me to really understand it. Either way the band was able to win me over that night so it’s worth a shot to check out.
Jack Ketch actually surprised me. Now I don’t know if it was because I was just tired of the deathcore stuff and these guys were more along the lines of progressive death but I found myself enjoying these guys quite a bit. They are a four piece hailing from Sacramento and have some pretty thick tunes. They don’t immediately grab you but they seemed to be able to get the crowd moving quite a bit. It helps that their bassist has a really good stage presence and is just flying across that fucking fretboard at certain times. During the last song their lead guy jumped out into the pit which was interesting to see. Judging by the band’s MySpace and their album art there seems to be a bit of sci-fi concept involved, although it’s going to take a deeper look for me to really understand it. Either way the band was able to win me over that night so it’s worth a shot to check out.
Your Music Magazine Interview by Jon Hermison (Your Music Magazine)
You guys joined on to the Your Music Olympics last minute but the band has a new album coming out, right? Nick: It’s our third release, but 2nd full length album. It’s called Bringers of the Dawn. Squeak: It’s put on by Transmedia Records. Was the recording done locally? Squeek: We recorded everything at a studio in Portland called The Magic Closet; we spent a long time going back and forth. Corey: It wasn’t that long - I did guitars in eleven hours. Nick: Yeah, I did vocals eight hours straight. Squeek: Uh, I did bass for four days. Ha! Where were you man? Squeek: I was trying. So you have the release party and also releasing the album digitally? Nick: Oh yeah, it will be on iTunes, Rhapsody, all the major online retailers. And where will the party be? Nick: It’s actually here (Boardwalk). October 1st with Despise Icon and Nightmare in Twilight. Is this the original lineup for Jack Ketch? Nick: No, we started with a different drummer and guitarist about two and a half years ago, and we’ve been with this lineup for a little over a year now. We’ve built more of a family and to us it’s the original lineup because we sort of started at square one because we rewrote everything and went a whole new direction. So a clean slate? Nick: We figured, why dwell on the past when we could just write something that could express the new lineup? That’s available at the October 1st show? Squeek: It’ll be available for pre-sale as well, you can find it on jackketch.com or anywhere on the web. Do you find it difficult to have your own website with the social networking sites out there? Nick: No, Myspace is kind of dying, Facebook is not entirely music, and it’s such a small piece of the picture throughout the world, so an actual website is a base for the whole world to come and see you. Big plans for touring after the album hits? Squeek: Mostly on the West Coast, San Diego, Vegas. Maybe three weeks at a time, hit the road, stay local. Cory: Trying to get more support before we do something bigger, so we don’t go out and stay broke the whole time. Hell yeah, man. Bringers of the Dawn coming out October first, good luck to you guys.
You guys joined on to the Your Music Olympics last minute but the band has a new album coming out, right? Nick: It’s our third release, but 2nd full length album. It’s called Bringers of the Dawn. Squeak: It’s put on by Transmedia Records. Was the recording done locally? Squeek: We recorded everything at a studio in Portland called The Magic Closet; we spent a long time going back and forth. Corey: It wasn’t that long - I did guitars in eleven hours. Nick: Yeah, I did vocals eight hours straight. Squeek: Uh, I did bass for four days. Ha! Where were you man? Squeek: I was trying. So you have the release party and also releasing the album digitally? Nick: Oh yeah, it will be on iTunes, Rhapsody, all the major online retailers. And where will the party be? Nick: It’s actually here (Boardwalk). October 1st with Despise Icon and Nightmare in Twilight. Is this the original lineup for Jack Ketch? Nick: No, we started with a different drummer and guitarist about two and a half years ago, and we’ve been with this lineup for a little over a year now. We’ve built more of a family and to us it’s the original lineup because we sort of started at square one because we rewrote everything and went a whole new direction. So a clean slate? Nick: We figured, why dwell on the past when we could just write something that could express the new lineup? That’s available at the October 1st show? Squeek: It’ll be available for pre-sale as well, you can find it on jackketch.com or anywhere on the web. Do you find it difficult to have your own website with the social networking sites out there? Nick: No, Myspace is kind of dying, Facebook is not entirely music, and it’s such a small piece of the picture throughout the world, so an actual website is a base for the whole world to come and see you. Big plans for touring after the album hits? Squeek: Mostly on the West Coast, San Diego, Vegas. Maybe three weeks at a time, hit the road, stay local. Cory: Trying to get more support before we do something bigger, so we don’t go out and stay broke the whole time. Hell yeah, man. Bringers of the Dawn coming out October first, good luck to you guys.
Technical Requirements
All we need is a stage and a PA... then just sit back and enjoy the ride!
Technical Requirements
All we need is a stage and a PA... then just sit back and enjoy the ride!
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