Maximum Sixty's self-titled album modernizes the bouncy 70`s troubadour approach to storytelling with a multi-layered pop sensibility, fast tempos, and smart lyrics that at once bring to mind the Killers, Coldplay, Styx and the Beatles. Maximum Sixty began as a school project for Tyler Wagar, Alex Riel and Lyle MacKenzie. The trio then sought out Jordan Froese, who they had heard could play drums, and made him an offer he couldn't refuse, "Hey man, Let's jam!" Not knowing what to make of the strangers, Jordan accepted, though he "thought it was a hell of an awkward situation." Later that semester, upon hearing that this band needed a vocalist, Brendan Cade boasted that he could sing, "kinda!" With such chutzpah on his sleeve, an audition was unnecessary, and all cylinders were now firing, revved up, and ready to go. Since then, the quintet, known as Maximum Sixty (named after the infamous Winnipeg traffic sign), has shared the stage with the likes of Bif Naked, and The Watchmen; worked talent shows and open mic nights; and slung infectious hooks, harmonies, and hits-that-should-be in bars, cafes and lounges for less than peanuts. Having the chops is important, but a great band also needs solid material. To ensure quality control, songwriting is a total group effort with Maximum Sixty, generally beginning with keyboardist Wagar who's melodic compositions and complex arrangements have drawn comparisons to Brian Wilson, but can also develop from a single guitar riff from guitarist MacKenzie, vocalist Cade's words, or a rolling bass line from Riel; and then as drummer Froese puts it, they "jam it into a song." For more information, music, and videos visit www.maximumsixty.com