The home for stoner rock news and reviews.

Introducing… War Party

“The composition of one’s own character description would be not only an awkward task but quite simply impossible… However strong his wish to be sincere, no man is capable of telling the truth about himself.”-Heinrich Heine

Biography
War Party formed in the early months of 2011. The outfit initially began as a two-piece, featuring only vocalist/guitarists Cameron Smith and drummer Peter Marsh. Their original concept was to start a band with little to no regard for genre consistency, but rather to impulsively write and perform a constant rotation of songs which point to influences from numerous musical styles and periods; sort of a singer-songwriter meets full-size band situation a la The Beatles’ White Album.

Influenced early on by a wide array of artists such as Dion and the Belmonts to Son House to Leonard Cohen and even the Clash, Cameron Smith and Peter Marsh began writing, arranging and self-recording what would later become the band’s debut demo, “Year of the D-g,” out of Smith’s garage in the Spring of 2011.

When prompted by various local promoters, showgoers and media to describe their sound, Smith and Marsh were hesitant to name a permanent genre. Given the mash-up of 60’s pop, blues, and punk, they facetiously dubbed it “Don’t Wop.”

In the months that followed Smith and Marsh wanted to add depth to their live performance with more extensive instrumentation. Tyler Moore, former guitarists of Decades, a hardcore punk group which he and Cameron Smith played and toured together in from 2006 through to their indefinite hiatus in 2010, joined on bass, and Ricky Williford, current bassists of DFW’s native, stoned art-punk band of the heaviest variety, known as Big Fiction, was brought in on lead guitar and trumpet.

As a four-piece band, War Party have fleshed out their early songs and the new material they’ve written together is simultaneously simpler in format and more complex in performance and structure. The sound and energy of the music leans heavily toward the straight-forward, protopunk garage rock and roll of The Stooges, Thee Headcoats,The Kinks, The Sonics and the Modern Lovers while concurrently adding layers of instrumentation which continue to hint at a variety of musical eras and genres. The lyrics exhibit a rather rare and significant poetic prowess, jumping from song to song and ranging in content from deeply introspective to excruciatingly sardonic and even, at times, menacingly playful.

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