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Marc Gaffney: Vocals and Guitar
Joseph Grotto: Bass
Doug Sherman: Lead Guitar
Seth Botos: Drums

It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu‘s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone – whether previously familiar with them or otherwise – realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare on Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalogue. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.

One element that gave the band a kick in the pants going into Remedy was drummer Seth Botos joining Gaffney, guitarist Doug Sherman and bassist Joe Grotto. “Seth brings such an impeccable work ethic and freshness to the band that it was infectious. He is the breath of delicious fresh air the three old men needed. He reminds us of a young Kevin Bacon/Wayne Rooney.” Auditioning drummers ate up some of the time elapsed between records but like for so many bands the biggest obstacle was Covid, which slowed down the whole process. With Gaffney and Sherman writing, recording and emailing each other tunes they slowly worked on Remedy, and this certainly was not to the record’s detriment, given how the finished product turned out. As well as having nothing but praise for Botos, Gaffney is thrilled with the work of his other bandmates. “Joe’s tone and playing in my opinion are the best he has laid down. There is a sense of space and time he achieved that makes the guitars float over, like a comfortable feathered bed. Doug came out of the gate swinging on this album. He had a certain fire that he needed to lay down and prove a point to the listeners of the world. His solos are killing, his tone and rhythm playing are what really shines on the album. There is a crispness that grabs a hold of your auditory system and makes you scream uncle. He had a vision and fulfilled it.”

With a title that has many meanings but is “strong, hits a spot emotionally and is true“, lyrically Gaffney wrote very honest songs that deal with things everyone has most likely dealt with. However, those that made it onto the record could have been very different, having all of them written and then prior to tracking feeling the compulsive urge to rewrite them. “So, ten minutes later, five songs were rewritten, and I think way better. Then two days later, the urge hit me again and seven minutes later I rewrote the next batch.” Those that made the cut are stories of humanity, things the vocalist has witnessed or heard from the mouths of others. “I do not own any muscle cars; I have not spent endless days and nights in the desert with someone named Kip and slayed a dragon. I needed to write about content that really hit me this time. The songs are really open to interpretation on Remedy. I really wanted to write what people go through with a very honest outlook and I am hoping I did it well. It was by far the easiest lyrics I have penned and did not make me want to hide under my bed for days like the last album.

Recording with honorary fifth member of Gozu, producer/engineer Dean Baltulonis (Death Ray Vision, The Hope Conspiracy) at Wild Arctic studios in Portsmouth, New Hampshire, sessions were unlike any that the band had previously experienced. Botos laid his drums down in just a day and a half, taking all suggestions his bandmates had and putting his signature spin on them, echoing the fact that they were all invested in the process more than ever before. “There was a totally different vibe in these sessions. There was an openness to ask each other to try different things. If they worked, bravo, if not, check please. We knew what we wanted to do and did it. Like anything, if the vibe is off, you are off. There was a sense of easiness on a human level that had not been present the last few times while recording. The vibe was pure and precious for all involved and I think it shows in the tunes.”

The band obviously hope to tour the record after so long off the road, and they would love the opportunity to share the stage with bands they admire. When asked what other unfulfilled goals they have at this juncture Gaffney answers without hesitation: “To always improve, write better, play better, enjoy everything that we are offered and take advantage of it. I feel we are always setting goals for ourselves so we are not stagnant or believe we can’t do more. The goal should always be to have fun, kill it and let the music set people free. The minute we stop setting goals and challenges for ourselves is the minute we have failed.”

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