Formed in 2010, PYRES began as the three-piece collaboration of Andrew Wilson, Devin Lamere, and Matt Sloetjes. Driven by a shared passion for uniting the crushing tonality of sludge and doom with the ferocity of hardcore punk, the band spent their first year shaping a sound built around drop B tunings and relentless experimentation.

As Andrew’s songwriting evolved, harmonized, melodic guitar riffs increasingly became a hallmark of PYRES, prompting the addition of longtime friend and guitarist Marc Delparte. His influence helped expand the band's dynamic range, contributing dual guitar harmonies reminiscent of Thin Lizzy while introducing progressive structures. By the time of their first Toronto show in 2011, PYRES had distilled their efforts into six powerful tracks that would form the core of their debut LP, Year of Sleep.

A rough, self-recorded Bandcamp demo caught the attention of Granite House Records. Impressed by their raw intensity, distinct sound, and undeniable potential, Granite House Owner John Metzger agreed to back their proposed vision of a full-length LP.

Recorded between 2012 and 2013 with Greg Dawson at BWC Studios and mastered by Alan Douches at West West Side, Year of Sleep was released in July 2013 to widespread acclaim. Hailed as a “near-perfect debut,” the album earned praise from Decibel, NPR, PopMatters, Terrorizer, Rock-A-Rolla, Ghost Cult Mag, and Hellbound.ca. Critics lauded its potent fusion of High on Fire’s weight, Crowbar’s crushing intensity, and the melodic progression of Mastodon and Baroness. 

However, tragedy struck shortly before the album’s release. In April 2013, Wilson’s sister was lost to a murder-suicide. His Father passed away quietly, precisely one year later.The band continued to perform, but the momentum behind Year of Sleep stalled under the weight of grief, depression, and anxiety. Although songwriting persisted, the drive to produce a follow-up album was overshadowed by Andrew’s struggle to navigate trauma and loss.

The onset of the COVID-19 pandemic silenced live music and brought another significant blow: the departure of founding drummer and visual artist Matt Sloetjes, who relocated cities to prioritize family. With unfinished material left behind and no clear path forward, PYRES quietly slipped into dormancy.

When live music returned post-pandemic, the band unexpectedly found new life. A chance introduction brought Andrew together with drummer Aleks Hara (formerly of SARIN, Prosthetic Records). A few rehearsals confirmed the chemistry, and no further auditions were needed—PYRES had found their new drummer.

Reinvigorated, the band set out to excavate unfinished material from their darkest period. Much of the music had been written in the aftermath of personal tragedy, compelling the band to confront old wounds and shape a cathartic narrative from the ruins of grief. Rehearsing, refining and whittling down this “archival” material to their strongest 7 tracks, the band had a sophomore LP ready to record. 

YUN, the highly anticipated follow-up to Year of Sleep, set for release in March 2025, was recorded, mixed and produced once more with Greg Dawson at BWC Studios over the winter and spring of 2024, with percussion tracked by Simon Larochette at The Sugar Shack in London, Ontario. Mastering for the album was handled, to crushing effect, by Brad Boatright at Audiosiege.  The result, which will be released through Hypaethral Records, showcases a band transformed. PYRES’ sound has evolved, embracing a broader palette that spans melodic sludge metal, hardcore, doom, grunge, and post-rock. 

The Chinese word “Yun” was anecdotally introduced to Wilson through a loved one describing their childhood and upbringing.  This family member recounted being advised, during moments of mental or emotional challenge, to “push down” their thoughts and emotions, to not bother others with their problems. One of many dialectic translations, the meaning of the word in this loved one’s story, and Wilson’s application of the term to his own familial trauma, is “to accumulate strength” or, “to hold in emotions”. The album’s narrative is autobiographical in nature with lyrics depicting a mission of healing old wounds and purging the “accumulation” of grief and guilt.

Despite the solemn nature of the lyrics, the furious energy of their music remains, showcasing refined songwriting and narrative-driven lyrics that delve into deeply personal themes—eschewing the fantastical tropes often found in metal in favor of raw, honest reflection. The album also features newfound vocal abilities, hard-won over many late nights toiling in the band’s studio/rehearsal space, with Wilson now utilizing an array of techniques and range including multiple-part harmonies and clean singing, evoking Pallbearer, Mastodon and even Alice In Chains. The clarity of performance and delivery matching the personal and narrative-driven intent of the lyrics themselves.