Seven Million Years Too Late

#		Title	Length
1		Woman With Child	6:52	Play
2		Operation Think Tank	7:44	Play
3		A Little Less Than Ok	7:30	Play
4		Back To the Drawing Board Again	5:43	Play
			27:49

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Description

Conceived in the sweltering month of June 2003, Catamount began with the union of three modest musicians Jordan Schultz (guitar, ex-Shooters and Senders), Matt Schneider (guitar, ex-Great Solar Stance), and Ed Nudd (drums, ex-Bargos Steeler), all of whom possessed an extensive hard rock/heavy metal background from having played in several Chicago-area bands since in the mid 1990s. With a collective desire to create something unique, exciting, and unpredictable together, the three began writing and rehearsing at a feverish pace from the get go, mustering up enough original material to begin playing local gigs in less than three months time. Combining many different elements of metal, indie, and progressive rock, the band quickly (and quite effortlessly) found their musical feet, carving out a style of predominantly instrumental metal (aka instrometal) by combining many of their collective influences: Black Sabbath, Cave In, King Crimson, Mastodon, Iron Maiden, Quicksand, Isis, Don Caballero, and The Mars Volta, just to name a few. They began recording their first EP the following spring, recruiting Jeff Wojtysiak (American Draft) to play bass on the record. The month of June 2004 saw the completion and release of Seven Million Years Too Late, an exciting 4-song, 28 minute journey through a beautifully structured landscape of vast, yet decipherable, instrumental progressive metal.
With a tangible product finally in tow, the band continued to book gigs throughout the Chicagoland and surrounding areas promoting the new EP, while slowly gaining new fans (as well as the respect of their peers) with their unique blend of dynamic, yet tongue-in-cheek guitar-driven instro-metal, not to mention their overall tight musicianship and no-nonsense delivery. Along the way, they began to build up an impressive resume, sharing the stage with many talented local and national acts such as Skeleton Key, American Draft, Just A Fire, Shipwreck, Crush Kill Destroy, Archaeology, and Cougars, among many others.
By the late summer of 2005, armed with a full batch of songs, the band re-entered the recording studio and began work on their first full-length album of all-original material, with Bryan Bienias (Cougars) graciously lending his bass talents to the album. In June of 2006, Public Displays of Private Delusions was released with increasingly steady fanfare. Considerably heavier and more progressive than its predecessor, Seven Million Years Too Late, the album not only showcases every possible angle of the bands talent as a unified whole, but also leaves no question that the bands musical feet are firmly planted in their own spaciously comfortable domain.
Possessing a solid musical focus and a sheer, underlying level of creativity and intensity, Catamount continue to forge ahead together, creating their own path around the Chicagoland and surrounding midwestern areas winning over fans the old-fashioned way with quality songs, solid chops, energetic performances, and above all, a noticeable love and appreciation of music as a highly-expressive art form. After all, its the way music was meant to be played in the first place