“I found myself in for a number of surprises with this CD. Not only is Hoyt Binder an unorthodox and fluid guitarist and writer in the fusion genre, not only had he managed to snag Toss Panos on drums, a cat who’s played with everyone under the sun, but he also grabbed Trevor Lloyd, a SoCal Beach Cities progrock violinist and former member of the way underappreciated and largely unknown Underwater Traffic, and finally bassist Paulo Gustavo. The foursome sinks deeply into prog fusion on Prayrie Go Round, Binder the main voice but embedded firmly in rich dynamics and atmospherics from compeers.
Binder’s absorbed a wide array of influences into his idiosyncratic wont, but he just as often lays back into mello-mode as tears it up, preferring smoothly unfolding tableaus, playgrounds in which he and Lloyd can gambol as Panos lays out ceaseless patterns and variations. Binder sometimes employs guitar-triggered electronics and I have to urge him to consider doing even more so next time out as he is one of the very few legitimating the practice. Hoyt Binder has crafted a very fine set of tunes withPrayrie Go Round. It easily demonstrates yet another side to the man. Clearly his musical creativity is not something that can be contained in just one band. Worth checking out.” –Mark Tucker/ FAME
“Some of you may recognize Hoyt Binder’s name as the brainchild of the pop-prog-rock outfit Primitive Overflow. This release, Prayrie Go Round, is his first solo effort and is a very different animal. It still harbors a distinct prog influence or foundation but is in a broader sense more fusion oriented. Binder has assembled a pretty interesting group of musicians to execute his sonic visions (excuse the mixed metaphor). Alongside his sinewy guitar lines we hear Toss Panos (drums), Trevor Lloyd (violin) and Paulo Gustavo (bass). Listeners to his solo work will be entertained with music of a very different sort.
The music delivered on Prayrie Go Round is performed by a quartet of jazzy, fusion, world-beat influenced musicians. It’s a fluid and flowing musical style where between the guitar and violin we’re treated to music that weaves its way in and out of musical passages much like a boat gliding leisurely downstream, and we’re along for the ride. It’s a distinct jazzy, fusion vibe but not one that will be lost on progressive rock fans.” –JerryLucky.com
“From the opening sustained and hypnotic note of ‘This Is Why’ to the extended violin work out on the closing title track, ‘Prayrie Go Round’ is an adventurous musical journey that meanders its way through multi genres and comes up with deep tonal colours and a proggy undertow. Probably best described as jazz-rock fusion album, ‘Prayrie Go Round’ is much more than that. It’s a big leap of faith in which Hoyt innate sense of the exploratory is matched by the band’s inspired interplay on 10 tracks that come with their author’s brief notes. The album as a whole is anchored by the muscular Robben Ford/Larry Carlton drummer Toss Panos and while there’s no escaping the fact the fact that the project is shot through fusion sensibilities, there’s plenty of fresh ideas and a wide variety of musical pulses.
The band’s clear sense of purpose is backed by intricate interplay and a willingness to improvise that makes this album more than just another fusion album. There are fleeting proggy elements, bluesy edges, plenty of rock bluster, shifting dynamics and an ever present willingness to take a chance. The result is demanding, but rewarding music in which the solos sparkle over a pulsating rhythm section that continually pushes the front line players on to greater heights. And if is hard to know where an album like fits outside of the already over subscribed So-Cal fusion scene, you just hope that that the mix of prog, jazz rock and ultimately guitar driven music will draw people to genuine exploratory album. Hoyt’s restless exploration never settles for the mundane and ‘Prayrie Go Round’ is a fine debut album by and musician constantly in search of musical inspiration. –Pete Feenstra/ GetReadyToRock.com
“The vocal melodies are on the whole very witty and Vie takes advantage of all the years as a singer in the underrated and sly Enuff Z ‘Nuff. The singer’s penchant for the Beach Boys and the Beatles shines through in particular during “Turnin ‘Round”, “Day To Day” and the ambitious “Animation”. – SwedenRock Magazine
“As I said at the outset, the music here is pretty slick and well played incorporating a myriad of influences. In the end what my ears were left with was a mix of pop inflected proggy-ness that was intersected by plenty of jazz fusion. Even before reading any of the bio material while listening to this disc I was struck by the very polished L.A. sound created. Primitive Overflow incorporate many diverse influences but the two that keep bubbling to the surface are rock and jazz fusion. Yes there are lots of vocals, but there’s just as much playing and lots of solos with fingers flying on the keys or fret board. Not really symphonic this is progressive rock that relies on solid musical virtuosity. Well played, well produced with only the most subtlest of hints at the past. Check them out.” –Jerrylucky.com
“The solo’s of Hoyt and Van Deurzen are exceptionally tasteful and technically high-standing. We can say the same about the contributions of Quirarte and Gustavo. Honor Way Down won’t appeal to everyone, but the sheer amount of characteristics present in the music and the excellent craftmanship will provide an adventurous hour of music that crosses boundaries.” – iOpages Progressive Rock Magazine
“Primitive Overflow brilliantly integrates Pop-Rock and Power-Pop cuts under the leadership of Donnie Vie‘s vocals. Primitive Overflow compensates the Pop-Rock parts with bombastic instrumental passages that reveal the talent and eclecticism of the musicians. With their Eclectic & Cross-Over Progressive approach driven by high-quality musicianship, Primitive Overflow is highly recommended for the audiences of ‘60s-’70s Pop-Rock and 80’s Progressive Rock, being apt to conquer fans of both sides.” –Progressive Rock BR
“The interesting thing in the band’s debut “Honor Way Down” is the presence of Enuff Z’ Nuff front man Donnie Vie at the mic. Marketed as a Prog Rock album, “Honor Way Down” has variations in this genre, but the music here has many influences ranging from Classic Rock to the commercial melodious rock Enuff Z’ Nuff delivered in numerous works. Apart from hear Enuff Z’Nuff’s Donnie Vie singing again, “Honor Way Down” is a good opportunity to discover an interesiting musician in Primitive Overflow’s mastermind Hoyt Binder. Binder obviously has a Prog root, and his playing and arrangements pay tribute to many well known acts in the genre. Complemented by Vie’s melodic vocals they have created a really captivating recording, which demands some attention to be enjoyed plenty. Kudos to Donnie Vie who has taken some risks trying a new genre for him, resulting in a succesful performance. Production is good and organic, with all the intrumentation transparently mixed. Good and Interesting. Buy it!” – 0DayRockz.com
Fireworks Magazine Interview: The Music Is Out There – #58
“In 2012, Rob Sandoval and Hoyt Binder formed Pain Love ‘n’ War. The duo got Bobby Allbright on drums and they got around to releasing their debut album Over Looking Back a little earlier this year. My first thought when listening to their album was that they sounded like Alice in Chains if they were more into Industrial music. They play a hybrid of industrial, metal and grunge. The metal they infuse from the production to the delivery has the aesthetics from bands like Breaking Benjamin, Evanescence and Korn. It’s more of a contemporary metal sound as opposed to the defining style of metal bands that were playing in the ‘70s and ‘80s.
You can hear the combination of Industrial and metal elements on the first song “Pain in Love and War.” The heavy hitting industrial beat you hear on the verse you can picture being used by KMFDM or NIN (in their more industrial days) while the guitar riffs are reminiscent of Alice In Chains if they palm muted more and put high end distortion on their guitars. It’s a high-energy song that you could picture a UFC fighter using before he or she stepped into the Octagon. I was happy they decided to use electronic elements here and there but they don’t go overboard. This is a guitar album but the addition of arpeggiated synths and pads are a nice treat once in a while like you hear on “Only Time Will Tell.”
The band kind of experiments with “Psycho X.” Some of the atmospheric, ominous moments around the one- minute mark reminded me of Tool. “Taste My Religion” is a constant onslaught of heavy guitar riffs and fills while “Crystal Ball” is a swampy almost drone like song that was a highlight on the album. Some songs like “Strange Morning Light” feel like straightforward metal/alternative songs that will appeal to a wide demographic. Other songs are a bit more experimental like “Torn.” “Torn” submerges you with a mantra like vocal melody and waves of white noise during the verse. The band closes with “Never In This Life” which was a departure from everything else on the album. It’s sparse revolving around guitar and vocals.
Metal has made its way it the mainstream a while ago and I think Pain Love n’ War style will appeal to a large audience because of that . The music feels contemporary and also a bit nostalgic for those of us who remember when harder bands from the ‘90s like Incubus, Slipknot, NIN and Alice In Chains were huge.” – The Even Ground