Out of the cesspool of crime, grime, and art known as Baltimore comes the spaced-out, sonic experimentation of instrumental trio Deaf Scene. Since 2009, the band has consciously embraced walking the musical road-less-traveled. Along the way, they have cultivated a dedicated following through a unique sound difficult to categorize. Straddling a gray area between progressive cacophonies of Tool, the ethereal soundscapes of Explosions in the Sky, and the sludgy twinge of Primus. Dave Fullerton’s effects-laden guitar melodies cascade over thick layers of looped sounds, while Eric Courtney’s intricate bass runs and Brett Schatz’s precise whirlwind of drumming give structure and groove to the chaos. What they’re able to accomplish on stage, as a three-piece band with no vocals, often surprises listeners who haven’t seen Deaf Scene in concert. The band works together beautifully through seamless sets of original songs, intersected by ambient samples and drones that craft “A sound that you would never imagine could come from three dudes” (89.7FM, WTMD, 2012).
Since forming, the band has played hundreds of shows and festivals, alongside a variety of national touring groups. They’ve toured extensively across the east coast and mid-west United States, as well as releasing a self-titled, five song EP to positive reviews in 2010. Deaf Scene is continuing their upward trend with the 2014 release of their first full-length LP, Three-Pound Universe. The album was recorded and mixed by longtime friend, and fellow Baltimorean, Matt Bittman (Sound Engineer: Mars Volta, Bosnian Rainbows).
The future of Deaf Scene is looking bright, and it’s no wonder fans are catching onto the buzz. “It absolutely blows my mind that these guys aren’t huge at this point,” declares Soundfuze Magazine, in reaction to Deaf Scene’s 2013 Rootwire Music & Arts Festival performance. “They dropped some of the heaviest, spaciest, most original rock I’ve ever heard. There’s no doubt in my mind they’ll have some big things happening to them in the very near future” (SoundFuze Magazine, 2013).