SOME PRESS:

Please check out a great article written about us in the Stranger recently here.

"If you're a musician, it's hard to hate a band like Wah Wah Exit Wound... but sometimes you just have to. They're too damn good at their instruments! It's not fair! This power trio from Seattle plays the most puzzling of prog rock as effortlessly as you puts a beer to your lips while lounging in your favorite chair on your day off. Even calling their music prog rock is just hiding it under a convenient umbrella. What's actually underneath is an unchartable amount of influences probably ranging from Immortal to Weather Report, all of which they somehow incorporate into each and every song. Tastefully. Wah Wah Exit Wound's music is so intricate and rhythmically nuanced it could give Rick Wakeman, or even Mozart, an inferiority complex. All right, maybe envy is a better word than hate." -- ARIS WALES The Portland Mercury, 04/2012

"Seattle trio Wah Wah Exit Wound flaunt a PhD-level aptitude for math rock that never takes the easy, direct route from alpha to omega. While this kind of music can be extraordinarily geeky, WWEW combine the sort of labyrinthine song structures that could fog up Robert Fripp's glasses with an attack that's simultaneously brutal, fleet, and nimble enough to prompt metalheads to throw devil horns. Wah Wah Exit Wound are supporting a new album, Vibrational Osmosis, that broods, zooms, twirls, and rumbles like a cross between prog maestros King Crimson and Yes and flowery, fusionoid space cadets Return to Forever. It's a hugely ambitious record, with perhaps the most flamboyant exhibition of roto-tom pounding this side of Neil Peart."  --Dave Segal, The Stranger, 5/28/2010

 "Wah Wah Exit Wound is an emerging force to be reckoned with. It's a three-piece so taught and in sync with each other that the music is able to take over your ears, flowing with a soothing complexity that's so natural that those not so fond of prog-rock may not even notice, but those who are will fully appreciate the precision the band shows off. The bass and drum grooves provide a deep landscape for the shredding guitar to fly over and scream in cold blood it's truths of the world. The rushing walls of sound, a variety of genres mixed into the progressive style, are heavier and truer than their influences...All in all, if you want to see a powerful, confident, exciting, technically gifted band...than you've got an obvious choice." --Teddy Dutton, LPM Voice, August 2009

"...songs...so serpentine and knotty, they must have taken 10-hour rehearsal days to master them. Seriously. These labyrinthine pieces sound great...while they're happening (thankfully, they aren't fooling about the wah-wah part of their moniker), but they're very hard to retain in your brain afterward. They dissipate like passages from a book written in a language you only half understand. But during them, it's like riding a roller coaster in a forest full of pine trees. Compliment." --Dave Segal, The Stranger LineOut, 7/10/09

"After seeing WWEW a couple of times and listening to this CD this stuff is really pretty damn good! Kind of different than anything I can name, other than this weird Seattle loose-posse of like-minded players who have managed to mix all these styles into longform tracks that go fucking everywhere, but where it's going are sounds I can dig and not pretentious noise or drone cop-out bullshit so many others tend to get caught up in---you guys actually write shit and can execute it. It's very bizarre that Seattle has several units of such progresso pychedelics out there ahead of the fuckin game. It deserves a vinyl releas to give it the psychological edge it deserves to create a timeless document." --Alan Bishop (Sun City Girls, Sublime Frequencies), April 2008

"The quartet's monster guitars, attack-drums, and dramatic tempo changes are mysteriously heavy, darkly psychedelic, and you can actually hear how long the bass player's hair is. The result gratifies audience and musician alike in long, rock-operatic songs like 'Failed Spiraling Majesty.'" -- San Francisco Weekly, 5/16/07

"I sure like imagining this Seattle-based four-piece's meandering, trippy, psych-influenced prog guitar lines working their way through the band's noise-based backdrops and bursting through the other side--with blood sprays sonic rays shooting out every which way. The band's sludgy prog rock undoubtedly achieves a piercing effect--whether it's with gut-lancing bass or brain-rattling noise--which could conjure feelings of being shot with sound. It's reminiscent of rockers from Danzig or Pink Floyd to seriously guitar-centric influences such as Built to Spill or Dinosaur Jr.--a fine group of idols if you ask me. If you ask the band's MySpace, though, it will tell you it takes most after "KING CRIMSON!!!" No argument here." --Local Cut (Portland Music Journal), 5/16/07

"Seattle's Wah Wah Exit Wound are all about bashing their heads on the prog rock, as they liberally grab from the techincal precision of King Crimson and the unfiltered chaos of Japan's Green Milk from the Planet Orange. If prog is your steez, you couldn't pick two better bands to be influenced by." --Portland Mercury, 4/5/07