HistoryHaste, based out of Birmingham, Alabama, was formed in 1993 by Kelly Reaves, Jason Burns, Jeff Gardner and Brandon Thrasher. Mosley joined the metallers in 1995 and gave the band a dual-vocal signature. The band released its debut in 1999 and toured with the likes of Boy Sets Fire, Glassjaw, Hopesfall, Shai Hulud and Zao.
To support The Mercury Lift the band played at the Hellfest in New York and toured in the summer and autumn.
Kelly Reaves left the band due to irreconcilable differences in early 2004. Chris Mosley would take over all the vocal duties in the band. The former Century Media band officially called it quits in January of 2007.
HASTE - PURSUIT IN THE FACE OF CONSEQUENCE - CENTURY MEDIA
While I am not the world's biggest crossover fan, Haste do have merit. Beginning with the album title and an intro called Clever Waste of Time the newcomer Americans provide both some fun and intelligence. Musically the band is diverse. Haste can be fast, can be slow and does mix things up vocally featuring both a 'high' vocalist who reminds one of Macabre and 'low' singer who provides the 'fire in the belly' so to speak. Haste go their own individual way though. This is no cash in, front or facade for anything but creating music that is the band's own and that is something I don't say often. Metal and hardcore fans interested in checking a diverse release, that nevertheless doesn't betray the principles of either genre, should look into this debut. - Ali "The Metallian"
HASTE - THE MERCURY LIFT - CENTURY MEDIA
Haste's new release, the mysteriously-named The Mercury Lift, is one of those periodic albums in which Century Media brass puts its faith and hope in to propel the label's sales unto the next level - think Stuck Mojo, think Skinlab. Never mind that the label usually finds more commercial power in its latest European import than hyped aggro-rock wunderkinds, but Haste's latest album is disappointing. The band has gone out of its way to make its delivery more palatable and in the process erased the term metal from its vocabulary. The aggressive moments are still present, albeit in small doses. Those, in turn, are now mixed with a commercial pop/punk sensibility reminiscent of such flavours-of-the-month as Sum 41 et al. There is still enough pogo-inducing screaming here to warrant a review on Metallian, but compared to its crossover past The Mercury Lift can only be termed a drop. - Ali "The Metallian"