SLEEPING IN TRAFFIC Release Mathematical Second Single (√-π)÷0=1 (The Equation) Off Upcoming Dual EP

Edmonton’s SLEEPING IN TRAFFIC Release Mathematical Second Single “(√-π)÷0=1 (The Equation)”

Double EP Release For ‘That Which Saves Us’ and ‘That Which Destroys Us’ Out Sept 27th

L-R: Ryan Berehulke – Bass, Cory Bosse – Vocals/Synth, Greg Turner – Guitar, Andrew Bateman – Drums
Photo Credit: Graham Gnarles

Later this month, Edmonton’s SLEEPING IN TRAFFIC will release their dual EPs “That Which Saves Us” and “That Which Destroys Us”; the duality of these two complementary yet dramatically different EPs are shown through two singles, the second being  (√-π)÷0=1 (The Equation)’ off of “That Which Destroys Us”.

As the darker side of the double EPs, SLEEPING IN TRAFFIC keeps it heavy with their distinctive weirdness, as they put it: 

“This EP displays more of the band’s extreme metal influences, without abandoning some of the weirdness the band is known for. The album continues to explore odd time signatures and polyrhythms in the context of heavily distorted guitars, snarling synths, and guttural vocals.”

The single itself is a complicated arrangement that is as bizarre as the track title for anyone with an understanding of mathematics. This is intentional says they band, and they continue:

“It is an attempt at a comparison of what it feels like to be forced to stand on equal footing next to people who lack any sense of logic or rationality, and to have to argue with them in the public discourse as if their worldview is somehow just as valid. The music features shifting time signatures, riffs that play in reverse, and a massive, crushing, synth-reinforced breakdown at its core.”

With influences such as Between the Buried and Me, Devin Townsend, and OpethSLEEPING IN TRAFFIC make no accommodations when it comes to crushing music. Listeners can hear for themselves ‘(√-π)÷0=1 (The Equation)’ via its exclusive premiere on HERE.

The EPs will be available on September 27, 2019 and available for pre-order on Bandcamp.

SLEEPING IN TRAFFIC‘s first single ‘Exoplanets’ can be streamed here.

Track Listing:
1. Through Method And Rigor (4:43)
2. Fungal Symbiosis (feat. Elle T.) (3:50)
3. Exoplanets (feat. Elle T.) (6:09)
4. False Alternatives (5:13)
5. The Scrupulous Study Of Everything (5:41)
EP Length: 25:38

Track Listing:
1. (√-π)÷0=1 (3:58)
2. Audaciousness Of Him (7:10)
3. Narcicystic Pustule (1:26)
4. Masculine Toxin (4:38)
5. Gaia Shrugged (feat. Elle T.) (6:07)
6. The Inevitable Heat Death Of The Universe (5:32)
EP Length: 28:53

For more info:


Based out of Edmonton, Canada, Sleeping In Traffic is a progressive metal band whose artistic vision is built around the concept of change. Nothing in the band’s music is intended to remain static. Each album and performance brings new adaptations and innovations; always playing with the sonic possibilities.

Influenced by the likes of Between The Buried and Me, Devin Townsend, and Porcupine Tree, they have been manifesting dynamic, and ever-evolving music since 2014. Sleeping In Traffic released their debut self titled EP in 2014 and the full length ‘Feminism’ in 2017 that is a guitar-driven hard rock/metal concept album that borrows heavily from ska, jazz, pop-punk, and classic prog rock. They have graced many stages in Western Canada including performances at Alberta’s Farmaggedon Metal Fest (2015) and Edmonton’s Shredmonton (2016/17).  

Sleeping In Traffic is releasing two new EPs in 2019, ‘That Which Saves Us’ and ‘That Which Will Destroy Us’ each with a different character. One explores the darker, heavier metal influences of the band, while the other channels the more upbeat side to their music. Synthesizers will form a core element to both of these releases due on September 27, 2019.  

Sleeping in Traffic consists of four members, each with their own unique and eclectic musical tastes, which influence their contributions to the band.

Greg Turner’s unusual approach to guitar is a core element of Sleeping In Traffic’s music. Stuttered, chaotic time signatures and bizarre chord voices in catchy patterns flow from his fingers to form the basis of many of the songs. His use of a multitude of pedals adds colourful timbres and occasionally acts as their own instrument. 

Ryan Berehulke carves out a thundering obelisk of depth from his 5-string bass and his tower of speakers. His style is definitive in a way that meshes perfectly with the guitars to provide a wall of reinforcement, yet often also takes the main stage, without ever abandoning the supreme role as the band’s foundation. His ingenuity in his approach to bass playing is indispensable; from the funky groove and raw, pounding roars; all the way to evolving, ambient textures. 

Andrew Bateman is a mad scientist behind a drum-kit. With his intricate knowledge of rhythms, he weaves complex patterns in and around the eccentric time signatures that the music follows. His array of styles ranges from pulverizing metal to pattering, offbeat jazz and everything in between. He is always searching for novel rhythmic cadences and new ways to strike the same drums. He is highly technical, yet playful; often improvising on the spot and testing the limits of his fellow musicians.

Cory Bosse acts as the voice of the band, as well as the source of many of its most unexpected sounds. His bombastic singing style has its roots in the metal music that originally inspired him to make music, yet weaves in a multitude of techniques from the myriad of styles he has explored since. Operatic vibratos flow into passionate howls, jazz scat collapses into death growls, and beat boxing meanders into throat singing in a pandemonium of vocal exploration. To help compliment each song’s particular character, he harnesses the power of a host of instruments, including keys, saxophone, synthesizers, and guitar.

“The 9-track record comes with a focused story-telling, remarkable songwriting and with an offer of something that separates them from the bigger part of the prog gang. The band is not shy to explore within pop, indie rock or alternative and fuse these elements with sound-defining progressive rock and metal influences.” – Prog-Sphere

“Feminism possesses great balance between the up-beat rock tunes polished with rock’s progressive and alternative subgenres, but what this album shows is talent of the band which certainly can bring something epic. Until then, let Feminism shows itself in its full brilliance.” – Progzilla

“sound more like their fellow countrymen Protest the Hero, albeit with a sax in the mix of things. Their overall style is the same careening prog metal that PtH are good at… For a debut album, I am impressed with “Feminism.”… I think Sleeping in Traffic have potential, so they are worth following.” – Progressive Music Planet

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