Review: Dead Tired’s Hornets of Fall Is a Ruthless, Feature-Packed Fourth Album and Their Best Yet

“Alone in a vacuum. The ocean is boiling. The city’s ablaze now. A charred void awaits. We get what we deserve.”

Singer George Petit sets the tone right out of the gate with a ruthless introduction that speaks volumes about the current state of the world. Hornets of Fall, the Hamilton band fronted by Alexisonfire’s George Petit, delivers its fourth studio album through New Damage Records: 12 pummeling tracks packed with riffs that feel like they’re on a pursuit seeking revenge. Revenge on who, you might ask? Society? Political leaders? The fans of distasteful AI-generated music? Probably all of the above. Know this: the album is ruthless, with a pace that hunts you down and demands your attention.

“Grey Business” gives us nearly two minutes of full-on, relentless, machine-gunning guitars and drums that feel like they’re fueling a battle on the front lines until the song abruptly dissipates into a void of spaceiness. It sucks you in like a black hole, twirling you through a desolate space with cries that sound like a steel guitar swirling in the void. Then the ending smacks the sense back into you once you recover from this mid-song acid trip.

“False Populist” is a thick, droney rock track with a bass line from Nick Ball that’s so sick I can’t stop coming back to it. The riffs across this album are out for blood from anyone who thought guitar-driven music was left for dead.

Four albums in, the band continues to surprise with fresh writing, relentless energy, and a slew of features that drench gasoline on the flames already blazing across this new body of work. Halfway through, a run of standout tracks lands back to back with heavy-hitting features: “Bad Thoughts” with Cancer Bats’ Liam Cormier, “Dust Storm” with Comeback Kid’s Andrew Neufield, and “Temper Boy” with TV Freaks Dave O’Connor, surging with energy that keeps your attention fresh at the album’s midpoint.

When Liam Cormier hits on “Bad Thoughts,” a menacing guitar riff drives the track while tiny sonic elements pierce through the speakers. The production feels perfectly timed, and Liam’s vocals are iconic. A petition needs to be started to get George and Liam on more tracks together.

“Dust Storm” is straight-up heavy and the single that got me the most stoked for this release. I had this song on repeat as wildfires from northern Ontario raged and apocalyptic smoke filled the city of Toronto with a deathly red hue. Not something I wish for, but this song perfectly met the catastrophic moment, making it hit even harder.

And “Temper Boy”? Just listen to the first few seconds of this track, and I guarantee you’ll be hooked. The lead guitar is psychotic. There are Halloween-esque spooky sounds layered over the top throughout, and Dave O’Connor’s vocals tear through the noise with a vengeance.

But with all this talk of relentless energy and pummeling guitar riffs, it’s not all fast and hard. There’s a perfect balance at play here, with much-deserved space and downtime as the band paces themselves, pulling you in and out of their chaotic frenzy.

As the album starts to wind down, “Promontory” shines with its slower pace and screeching vocals from Petit. It feels like the perfect track at a live show to gather yourself after moshing too hard, only for the backend of the track to roar back and ignite fists of fury in the pit.

“The Pull” closes out the album strong, featuring Chris Cresswell of The Flatliners and Hot Water Music. It’s one of the most melodic tracks on the album and could easily sit on an Alexisonfire record. As Cresswell comes in singing “I’m gonna do what I want,” it just sounds too good, especially when mixed with George’s raw screaming. On “The Pull,” you get a little bit of everything: melodic singing, screaming, a guest feature, a guitar solo, beastly drums. What more could you ask for?

Hornets of Fall was recorded and produced in Hamilton by Dead Tired guitarist Marco “Sparky” Bressette at his Deadquarters Studio, giving the band total control to do what they please, and it absolutely delivers. The production is perfectly raw but balanced, with the guitars sounding elite and the drums smacking you deep in the core.

This is the band at their best, and we’re excited to see what tours erupt from the Deadquarters once George Petit wraps his current touring cycle with Alexisonfire, who are supporting the 20th anniversary of Crisis. I can’t wait to see these new tracks live.

Buy this record and support Canadian music.

9/10

Words by: Steve St. Jean