Lost Pitch Launch Into Chaos and Clarity With New Single ‘It’s a Trap!’ and Debut Album, Bumpy Ride
Toronto’s Lost Pitch have always lived somewhere between noise and nuance. With their debut album Bumpy Ride and lead single ‘It’s a Trap!’, the quartet sharpen their signature blend of cinematic alt-rock, soulful distortion, and melodic urgency into something visceral and deeply human.
Frontman and songwriter Erick Vidal calls the record both a reflection and a release. Written during a year of upheaval, ‘Bumpy Ride’ channels exhaustion, persistence, and hard-won peace.
“It was a year that tested every part of us,” Vidal says. “Physically, emotionally, creatively — it was all over the place.”
What emerged is a collection of songs that sound alive in the mess — jagged, shimmering, and unfiltered.
Recorded between the home studios of bassist-producer Leandro Motta and drummer-foley artist Alex Mine, the band tracked every instrument themselves. There’s an intimacy to the noise — guitars bleed into vocal mics, the percussion feels close enough to touch. They embraced imperfection as a creative stance, finding beauty in the rough edges. The result isn’t polished to a mirror shine; it pulses like skin.
‘It’s a Trap!’ captures that energy in full force. Written by Vidal and produced by Motta, the track is an anthem for anyone who’s ever been cornered by circumstance but found rhythm in resistance. Born in the midst of personal crises — family illness, injury, and a near wipeout of their music from streaming platforms — the song became a reclamation. A bright guitar riff cuts through like a flare, carrying a chorus that feels both defiant and cathartic.
Vidal describes the song as his punch back — a refusal to surrender to burnout or fear. The lyrics acknowledge the weight, but the groove never falters.
“There are traps everywhere — in our minds, our routines, our fears,” he says. “You just have to laugh and keep moving forward.”
The result is equal parts frustration and freedom — a sonic paradox that defines Lost Pitch at their most compelling.
If ‘It’s a Trap!’ is the spark, Bumpy Ride is the wildfire. Mastered at Abbey Road Studios in London by Frank Arkwright (Oasis, The Smiths, Blur), the twelve-track album is restless and expansive. It moves between roaring walls of guitar and quiet, haunted spaces, threading through pop instincts, psychedelic textures, and emotional weight. Each track feels like a scene from an unfinished film — vivid, imperfect, real.
The band’s DIY recording process gave the record its raw pulse.
“We tracked everything ourselves — drums, strings, brass, vocals,” says Vidal. Without the safety net of a studio machine, they leaned into experimentation. “The chaos actually became part of the sound.”
That tension — between precision and unpredictability — defines ‘Bumpy Ride’ both as a title and a philosophy.
Visually, the album’s artwork — a woman falling from a carousel horse — mirrors the collision of balance and collapse that runs through the record. Designed by Vidal and Daniel D’Avila, the image captures the sense of motion that threads through every Lost Pitch release. It’s poetic, slightly unsettling, and exactly what the band wanted: a reflection of a world in flux that still finds its rhythm.
‘It’s a Trap!’ and ‘Bumpy Ride’ mark a defining moment for Lost Pitch — a band embracing risk, emotion, and noise with fearless intent. The music doesn’t chase perfection; it finds clarity in the crash. For Vidal, Motta, Santos, and Mine, this debut isn’t just a statement. It’s a lifeline — one that pulls beauty from disorder and turns turbulence into sound.
Hi, Erick! Good to see you again! Care to introduce yourself to the readers for those not familiar with your music?
Hey! Always great to be back with Canadian Beats — thanks for having me.
I’m Erick Vidal, the songwriter and vocalist/guitarist for Lost Pitch, an indie-rock band based in Toronto, vintage sensibilities, and a healthy addiction to cinematic storytelling.
We love mixing psychedelic rock, 60s-inspired textures, and emotional lyrics with big visuals. Whether it’s short films, quirky animations, or surreal album art… we basically can’t resist turning everything into something a little unexpected.
We just released our debut album “Bumpy Ride”, which feels like the truest snapshot of who we are: melodic, colourful, emotional, and chaotic in the most honest way.
You called the album ‘Bumpy Ride’ — what was the bumpiest moment making it?
Oh… where do I start? Laughs.
The bumpiest moment was probably realizing that every time we planned to do something, life tossed a curveball at us and completely changed our direction.
And while all these things you can’t even imagine were happening, we still had this commitment — almost a stubborn promise — to not only release the album, but to bring an entire world around it. We shot a short film, released music videos, launched our cartoon, created all the graphics… it really felt like holding onto a moving, slightly unhinged train while repainting it.
At some point, we literally said, “Alright, now it’s personal. We’re finishing this one way or another.”
But honestly, those bumps became part of the album’s DNA. “Bumpy Ride” isn’t just a title — it’s the making-of story baked right into the music.
You said the album came from exhaustion and persistence. What kept you from giving up when things got messy?
Two things: the band and the story behind the album.
Every time it got too heavy, someone cracked a joke, or sent a weird late-night demo of a new idea, or reminded us why we started doing this in the first place: because we genuinely love making people feel something.
And then there’s this stubborn part of me — the part that refuses to leave anything unfinished, even if I’m running entirely on pure chaos and willpower.
The album became a document of resilience for us. We kept going because we wanted “Bumpy Ride” to exist — for ourselves, for the story, and for anyone who needs a soundtrack for their own chaotic chapters.
Mastering at Abbey Road is a dream for many. What was it like hearing your DIY chaos polished there?
It was awesome! This is actually our second time working with them — our EP Friends & Foes was also mastered there by Frank Arkwright, and he’s incredible. The whole team was great and made the process incredibly easy and straightforward.
We recorded and produced so much of this album ourselves, so handing it over to someone like Frank — who’s worked on records from bands we’re huge fans of — was both intimidating and exciting.
And we knew “Bumpy Ride” wouldn’t be easy to master because of how many stylistic shifts it has. I remember thinking, “Which albums have this kind of variation?” The first two that came to mind were The Beatles’ White Album and Blur’s Parklife — and Parklife was mastered by Frank too.
When we heard the final masters, it felt like our messy, emotional, DIY universe had suddenly put on a tuxedo. It was still us — just with that unmistakable Abbey Road magic.
If ‘Bumpy Ride’ had to be played start to finish in a moving vehicle, what would it be — a subway car, a motorcycle, or a spaceship?
A Toronto subway car, for sure — late at night, half-empty, with flickering lights, good headphones (non-negotiable), and that “am I the only one awake in this city?” feeling.
“Bumpy Ride” is emotional, nostalgic, chaotic, and sometimes unexpectedly cinematic. The TTC is exactly that — everyday life with a touch of mystery.
But hey, if someone wants to blast it in a spaceship, we won’t complain.
Maybe there’s a starman waiting in the sky and he’d like to come and meet us… 