Formed by frontman Arthur Enders, guitarist Jim Sacco, bassist Sergio Anello, and drummer Jeff Hummer in the blueberry capital of the world Hammonton, New Jersey, The Early November’s earliest output was a five-track demo recorded in 2001. The band then sent the demo to Californian label Drive-Thru Records and Drive-Thru Records only, who ultimately signed the band after representative Richard Reines paid them a visit in their hometown. Guitarist Sacco departed the group during this time and was initially replaced by Steve Nakovich, and subsequently Joe Marro.
With very little stage presence and a limited number of songs The Early November were thrown into the deep end and put on the bill on 2002’s Skate and Surf Fest and Warped Tour. In November 2002 the band released their debut EP “For All of This” aided by the summer’s touring success, which introduced the Early November’s style of post-hardcore grittiness to a wider audience. The EP paved the way for another “The Acoustic EP” later in 2002, featuring acoustic covers crafted by Enders of songs from their debut.
After the departure of Marro who was replaced by John Dubitsky, the band issued their full-length debut “Room’s Too Cold” in October 2003. Complete with string and ballad accoutrements and a strong vocal performance by Enders, the album earned strong reviews and peaked at No. 107 on the Billboard 200. A year later frontman Enders recorded his eponymous debut solo effort under the moniker I Can Make a Mess Like Nobody’s Business.
With the addition of guitarist Bill Lugg, the Early November recorded and released a split EP with the band I Am the Avalanche in 2005, before issuing their triple-disc sophomore album “The Mother, the Mechanic, and the Path” in 2006. The album which showcased three different sides of the band debuted at No. 31 on the Billboard 200, making it the Early November’s most successful album. After the release and subsequent tour alongside The Rocket Summer and Mêlée, the group announced an indefinite hiatus in May 2007, which lasted until June 2011.
After a stream of sold-out comeback gigs across the U.S., the band signed with Rise Records who issued their third full-length album “In Currents” in 2012. The album was debuted at No. 43 on the Billboard 200 and was supported by an extensive touring schedule including slots on the 2013 Vans Warped Tour and an anniversary show at Bowery Ballroom in New York City, U.S.
Prior to forming the Spill Canvas as a solo project, lead singer Nick Thomas was the guitarist and back-up vocalist in a number of local punk and metalcore bands including Nodes of Ranvier. Wanting to pursue his own musical interests Thomas departed Nodes of Ranvier and formed his own acoustic emo act in a similar vein to Dashboard Cofessional, and signed with indie label One Eleven Records at age 19. The singer’s debut album “Sunsets and Car Crashes” arrived in 2004 and bar a few guest contributions, was recorded entirely on his own.
For a supporting tour of the album Thomas enlisted the help of a touring band consisting of Dan Ludeman on guitar, Scott McGuire on bass, and Joe Beck on drums. The success of the tour led the Spill Canvas’ subsequent album to be a collaboration between the new members and the result was 2005’s “One Fell Swoop”. In late 2006 the band announced it was changing labels to Sire Records, which marked the departure of McGuire on bass who was replaced by Landon Hell.
The band’s debut release on Sire Records was the EP “Denial Feels So Good” which was supported by a tour on the entire Warped Tour 2007. The tour earned the band a great deal of exposure and a bigger fan base, which led to their well-received third full-length album “No Really, I’m Fine” in 2007. The album peaked at No. 2 on the U.S. Heatseekers chart, featured revered cameo appearances from the likes of Anthony Green of Circa Survive and Andrew McMahon of Jack’s Mannequin, and was again supported by increasingly relentless touring until late 2008.
The EP “Honestly” also appeared in late 2008, followed up by a pair of EPs in 2010 with the titles “Abnormalities”, released in January and “Realities” in April. The band’s fifth studio album “Formalities” arrived later in 2010, followed by the album “Gestalt” in 2012.
Ace Enders, frontman for The Early November, has clearly matured since his early days among the ranks of pop punk acts like Taking Back Sunday, Saves the Day, and Brand New. His fans likely have, too, but it's hard not to have a sentimental side for the honest, heartfelt songs Enders pens, particularly when he has since taken to performing his old classics in a stripped-down acoustic style, even adding a mandolin to increase the warmth of his pseudo-folk sound. He may have shed some of the teen angst that drove his early work, but he has lost no intensity in the process. Though he has since released a number of albums under both The Early November and I Can Make a Mess Like Nobody's Business monikers, Enders has no qualms about going back to his roots and playing songs from This Room's Too Cold and other early successes. He is not only open to listening to audience requests, but he, unlike many artists today, solicits them, coming to the stage only with a loose plan and allowing the fans to chime in and contribute to the direction of the show. As a result, his live act is organic and electrifying--something unique to each stop he makes. He intersperses new material throughout classics if only to expose old fans to some of his recent work, and much of the new work he offers proves to be as infectious and chant-inducing as everyone's fsvorites. All the while Enders is energetic, humorous, and gracious on stage; he is still very clearly in it for his devoted fans. Fans of old Early November tunes need not fear that the band has abandoned its wonderful early work. Find the time to make it out to see them. You'll not only be gifted with the songs you hoped to hear, you'll also be introduced to new favorites.
Ever since stumbling across “The Tide” during my teens, Nick Thomas’ “The Spill Canvas” have always been a band that I've had a soft spot for. Now if you’re someone who also got into them from the “Sunsets & Car Crashes” EP, then it would be understandable for you to be expecting a solo performance from Thomas and an acoustic guitar. But there is a much bigger dynamic to the Sioux Falls when they play live especially since the collaborative album “One Fell Swoop”. The show at The Opera House, Toronto kicks off “Polygraph, Right Now”, a great upbeat track to grab everyone’s attention. From here, the set goes on to pull a host of songs from “One Fell Swoop” along with the newer “No Really, I’m Fine” and “Formalities” with “Natalie Marie and 1cc” and “Battles” going down particularly well with the crowd. Those of course didn't send everyone as crazy as a nicely reworked version of “The Tide” and saving “All Hail the Heart breaker” as an encore nearly had fans passing out with excitement. Despite it being a very intimate venue, Thomas and his band have a little bit of a “stand-offish” demeanour about them with very little interaction with crowd. But when you make music that speaks the volume that theirs does, the odd off night can easily be forgiven.