Editor’s note: In this ongoing series of posts about Canadian AOR acts of yore, Jay Kumar looks back at Toronto hard rockers Coney Hatch. The hard rock and metal scene in the early 1980s was jam-packed. In the U.S., Van Halen led the way, providing inspiration for a slew of homegrown bands featuring flamboyant frontmen and virtuoso guitar gods. In Europe, mainstays like Black Sabbath and Judas Priest competed with upstarts like Iron Maiden, Motorhead, Scorpions and many others. And in Canada, Rush, Triumph and April Wine were the pacesetters. It was from that last scene that Coney Hatch emerged, quickly gaining notice in their homeland but never progressing beyond footnote status south of the border. Coney Hatch was a four-piece out of Toronto named after the London mental asylum Colney Hatch. Formed in 1980 by bassist-singer Andy Curran and drummer Dave Ketchum, the band didn’t really pick up steam until singer-guitarist Carl Dixon and lead guitarist Steve Shelski joined a year later. The band caught the eye of Pye Dubois, who made his name …
In 2010, Canada’s hard-rocking duo the Unravelling released their debut album to critical acclaim; the press dubbed it an “industrial-infused metal masterpiece.” They showed true promise of channeling venerated bands like Tool, NIN, the Dillinger Escape Plan, and others. Then, one year later, they were forced to put their dreams on hold when lead singer Steve Moore fell ill. He spent the next year and a half in surgery and recovery. The future of the Unravelling was, indeed, unraveling. But, behind the scenes, Moore’s partner in crime, Gustavo De Beauville, was honing his production skills and working on keeping up the momentum and even released some solo work. Then, as Moore recovered, the duo came back together and began to work on their first new tracks in years. One might expect a band that’s been on hiatus to ease themselves back into the game, but not these guys. Their first single, “Revolt,” is perhaps the most aptly titled comeback song of all time. As Moore says, “The song was the first piece of new material Gus …
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