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Based in the San Francisco Bay Area and formed in 2003 from vocalist/guitarist Peter McClure, bassist/vocalist Chris Cornell, and drummer Carlos Martinez, The Print have worked steadily to develop their craft and their fanbase. Combining shades of alternative and indie rock with their mix of pop and progressiveness, The Print sound modern without committing to a bandwagon sound. Their intense live performances pair with expansive studio productions to complete the package. With appearances at nearly every important venue in the greater Bay Area, including slots at Great American Music Hall and Slim's, fan-operated internet groups devoted to the band, and a self-produced album, The Earth and the Ether, and self-produced EP The Fine Print, selling strongly at shows, The Print's hard work is paying off. The Print's internet presence is snowballing (they are regularly among the Top 10 unsigned alternative bands in the Bay Area on MySpace.com, with daily plays in the 50-300 range), and their audiences are swelling accordingly.

The Print sport the visceral live energy that has become so crucial to any modern band, but they combine it with a fully developed musical vision in the studio. Peter comments, Our goal at any show is to rock harder, tighter, and more passionately than any band we're sharing the stage with. The Print's commitment to engaging the audience through their live performance is equaled only by their commitment to creation in the studio, giving the band the one-two punch that has marked every great musical act. Indeed, it is the bands that have been most successful at this balancing act to whom The Print reference for inspiration: Queen, Led Zeppelin, Smashing Pumpkins, Pearl Jam, the Mars Volta, Boston, Jaguares, Tool, The Who, and Radiohead. Like these bands, The Print bring the entire package to the table: artistic integrity, marketability, a distinctive sound, top-notch songwriting and musicianship, a strong work ethic, and the blend of intelligence and primal power that helps bands be more than a just passing fad.

The Print spent a year in pre-production, writing, editing, and composing material and arrangements for The Earth and the Ether. As The Print ruthlessly cut material they didnt feel was strong enough, they shelved a dozen songs originally slated for the album, and four of the albums tracks were changed beyond recognition. Though basics for the album were cut in only two all-night sessions, The Print spent eight months fleshing out those tracks to become the massive sonic landscape that stretches through The Earth and the Ether. Some songs pack as many as 128 layers of audio. And yet, because the songs were first hammered out by The Print as a 3-piece, and were designed to stand tall when stripped to their basics, live performance of the material poses no problem for the band. Indeed, The Print used live performances to gauge audience reactions to material, and incorporated those experiences into the writing process. The Print believe that production is meaningless without the foundation of superb songwriting, and The Earth and the Ether is certainly built on concrete.

The result of all this hard work was an album that showcases The Print's huge energy, distinctive sound, and songs that integrate originality and intelligence with instant accessibility. While some songs are short and sweet, clocking in at two to three minutes, more-ambitious songs stretch to six minutes and contain as many as 10 movements. With this mix of pop and progressive rock, The Print flex their artistic muscles and prove that it is possible for one band to be at ease in both worlds. The material on The Earth and the Ether rewards careful listener involvement, whether that includes singing along to the chorus in the car or dissecting intricate multi-melody passages.