PASTE Magazine:
Death On Two Wheels makes rock ’n’ roll dangerous again, with slurry-blurry lyrics, half-cocked dreamspeak of portents and regret, and a formidable guitar attack that recalls the nasty duels Allen Collins waged with Gary Rossington before Skynyrd’s final plane ride. The eccentric bite of vocalist Trae Vedder has the same grit and red clay in his voice that Chris Robinson had before he got famous and complacent. “Bobby Havis,” which shudders with psychedelic anxiety, it’s a song so haunting it could’ve been penned in Rose Hill Cemetery next to Duane Allman’s headstone.
- Jaan Uhelszki
Front Porch Musings:
Death On Two Wheels is a ballsy five-piece out of Atlanta, Georgia. Their brand of music walks a fine line between Southern Rock and what the kids are calling “Alternative.” Reminds me a bit of The Doobie Brothers, after drinking a shit-load of Red Bulls. One thing is for sure, these guys claim a major influence from good old fashioned Rock ‘n Roll, and you can definitely hear and feel it in their songs.
- Brain
Flagpole:
You could sand a whole tree down to sawdust with all the gravel in singer Trae Vedder’s husky voice. It’s rough, it’s raw and it’s perfectly suited to Death on Two Wheels’ high octane Southern blend of rock and roll. What’s perhaps most surprising about the record is its versatility. Such a distinctive, almost dark vocal style would seem limiting until you hear how seamlessly the band weaves through a range of ’60s- and ’70s-inspired rock. The country blues of “Two Dollar Bills” call to mind acts like Lynyrd Skynyrd and Steve Miller Band, while album opener “Calling Us All Back Home” is more along the lines of party favorites penned by Thin Lizzy or maybe Bachman-Turner Overdrive. Then there are epic anthems like “Take It Away,” which feature an especially soulful Vedder over lush organ. Then, right when things start to feel a little too glossy, the band unleashes a series of reckless garage-rock rampages like “Hey Hey Hey.” Death on Two Wheels manages to be adventurous and yet grounded, exploring every nook and cranny of its influences without stretching itself too thin.
- Michael Gilzenrat
Zink Magazine:
During the beginning of CMJ, Death On Two Wheels performed at The Music Hall of Williamsburg, bringing a rock and roll edge to a laid back line up. The five guys from Atlanta delivered a performance that was dirtily awesome. Vedder, whose vocals are ear pinching and mind blowing at the same time, enjoyed a huge range on the stage, while the rest of the Death members discernibly upheld more than garage rock but less than obnoxious energy throughout the set. Their self-released album Separation of Church and Fate, showcases the band’s rough decadence, while their live performance brings it to whole new levels. Having toured with names such as Against Me!, Manchester Orchestra, Janelle Monae and festivals like Bamboozle, Forecastle and SXSW, it’s no wonder they know what they’re doing.
- Rachel Sutton
Alter The Press:
“Take It Away” is a moving, potent track that steadily builds to a crashing, rocky climax. Don’t bet against them becoming a more recognizable name in the future.
- Liam McGarry
Altsounds.com:
Trae’s vocals are that of a man with a story to tell. Separation Of Church & Fate is a must, with its wild guitar, storytelling vocals, and production that sounds loud and raw.
- Matt D.
Charleston City Paper:
Death On Two Wheels is ripping it up through the southland, bringing audiences their brand of roaring ragged-throat rock.
- Chris Haire
LP33TV.com:
Steppenwolf fronting CCR at a gospel revival. Correct. Front man Trae Vedder’s gravelly voice and the boys in his band create yet another rock sound that you know you’ve heard before, but it’s still distinctively…fresh.
– Rob Evans
Music City Unsigned:
There’s something comforting about hearing a sound so raw and care-free. Good rock is hard to find, and these guys are definitely doing it right. They are the true spirit of classic rock brought to life in a new generation. Maybe that’s why they are so much fun to listen to.
- Jon D.
Guitar International:
Led by enigmatic front man Trae Vedder, who’s name suggests he was born to be a rock star, the guys in Death on Two Wheels bring a heavier sound to the Southern rock vibe, without crossing the line into the realm of heavy metal. Featuring catchy lyrics, grinding guitar riffs and guitar solos, which has become kind of a dirty word these days, the band’s band self-titled album reveals their own musical identity, while paying subtle homage to the great Southern bands that have come before them.
- Matt Warnock
The Post & Courier:
A fiery fivesome of pure rock ‘n’ roll forged from grit, melody and a complex, genre-bending knack for creative songwriting. With a gutsy commitment to the reckless and a pensive sense of melody, Death on Two Wheels teeters on garage-rock from the ’70s and beach pop from the ’60s with an affinity for indie rock of today. It sounds like Steppenwolf beating up The Beach Boys and stealing their ability to blend harmonies — like a bully taking the smart kid’s lunch money — all while The Strokes watch.
- Matthew Godbey
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Press Materials including one sheet, press photo, stage plot, posters, etc. are available by visiting the Death On Two Wheels EPK.
