No one should ever record an album on their own.  “Don't Pretend Like It's Safe” has seen a lot in it's short life from a band member leaving, a name change and 4 guys trying to find their way in an overcrowded music world.  “Shout” is an attempt to be heard in a world where so many voices merge into what Radiohead's Thom Yorke would call "fridge buzz".

Water creeps in a penetrates every crevice of this record in thematic imagery.  "Intro" the album's appropriately named opening track begins the rise of water, guitars that rush in and overtakes the sonic landscape.  The sea's overwhelming power and slow destruction in “It's a Crime” is yielding, whereas “Rock” speaks to the hope in that bleak situation.  The driving guitars that hilight the pleading phrase “Let's Pretend That I'm For Real”, an anthem for the city under the sea.  Cashrop's detuned guitars and pumpking drums and bass comes with a warning - “Don't Pretend Like it's Safe”

What began as a school project ended up a lumbering beast that seemed to never end.  Mr. Dave Ball, enrolled in the MIA program at Fanshawe College had an opportunity to record some tracks for class.  In 4 hour chunks, most beginning in the wee hours of the morning, the band began to lay down the tracks of their tried and true songs.  School deadlines both limited and propelled them forward in the process, trying to squeeze as much as they could out of the opportunity.

The fall of 2005 Andrew Cornies reluctantly had to leave his guitar duties in the band to pursue a real career.  After some re-organization, and re-instrumentation and a name change they were ready to finish the album.  "SEeking Dawn" had served them well and represented where they came from.  The recording moved into the Richardson's basement for guitar tracks.  Several long nights and weekends were spent tweaking, re-tweaking - adjusting and re-adjusting in order to find the ever changing sound they were looking for. 

The highly produced sound and attention to detail belies their indie roots of dirty guitar tones and ragged drums.  The guitars end up with both a weighty authority to move mountains as well as elevate the listener (to new heights).  The guitar tones pay tribute to those on The Smashing Pumpkin's Siamese Dream but can also refer to the warmth and smoothness found on Pink Floyd's “The Wall”