Stereo Six: Black Note Graffiti Delibrate on Some of Their All-Time Favourite Records

At this point in their career, Black Note Graffiti is well known as one of the premier American progressive metal acts. That was very much solidified with the release of the band’s most recent album, Resist The Divide.

Their fourth proper studio album, Resist The Divide, dropped back in the fall. It was well received for its unique combination of progressive metal and melodic alternative rock. Through hard work and perseverance, the band has become well accepted as one of today’s best metal acts. They have performed at SXSW, Upheaval Festival, NXNE Festival Toronto, and with bands such as Lamb of God, Bring Me the Horizon, Memphis May Fire, and Dorothy.

As a unit, Black Note Graffiti’s music indulges a lot in emotional struggle. Many of their songs confront difficult topics like addiction, trauma, and mental health issues. You can feel the intensity in both the vocals and the music, a combination of powerful guitars, punishing drums, and wailing vocals. Part of their message to their audience is to let go of harmful thoughts and behaviours and work towards healing and self-redemption.

Today, we are joined by all members of Black Note Graffiti who teamed up to share with us six of their favourite records of all time for our latest Stereo Six feature.

Black Note Graffiti ‘Resist The Divide’ album artwork

1. Deftones – Diamond Eyes (2010, Reprise Records)

Gabrielle Gloria: “I think Diamond Eyes really inspired our new album in a big way. There’s something about the combination of catchy, driving riffs, dynamic vocal delivery, and those hypnotic drum patterns that just hits perfectly. What stands out most to me is how the album flows; it’s clearly meant to be experienced from start to finish, with every track contributing to this immersive, almost cinematic atmosphere. That approach definitely influenced how we structured our own record. We wanted to create something that listeners would feel compelled to sit with from beginning to end, just like Diamond Eyes.”

2. At the Drive-In – Vaya (1999, Fearless Records)

Ricardo Ortiz: “The Vaya EP from At the Drive-In combines all that makes me the musician I am: infectious yet angular guitar lines, bombastic vocals, and an art house approachability that is rare in music. This album is where I found a musical kinship with guitarist Omar Rodriguez-Lopez and his unorthodox amalgamation of styles. He seemingly fleshed out the ideas once floating in my head, parading them before me, daring me to strive to that level of creativity. Couple that with Cedric Bixlar-Zavala’s cryptic poetic lyrics, plant them, and here grows that budding musician.”

3. Helmet – Meantime (1992, Interscope Records)

Kurt Keller: “Over the years, Meantime by Helmet has consistently found its way back into my creative process, especially when it comes to shaping my percussion sound and rhythmic approach. The raw, punchy precision of that record, driven by John Stanier’s unmistakable drumming, left a huge impression on me early on and still inspires how I approach groove and dynamics. John Stanier’s ability to balance power with restraint is unmatched, and his later work with Battles and Tomahawk only deepened that influence. He’s one of those drummers who continually evolves while still staying true to his signature style, and that mindset has definitely impacted the way I write and perform.”

4. Chevelle – Hats Off to the Bull (2011, Epic Records)

Adam Nine: “Hats Off to the Bull hit me right in the gut the first time I heard it. Dean Bernardini’s bass tone on that record is thick, gritty, and unapologetic. It doesn’t just support the songs; it drives them. There’s a rawness to the low end that carries so much weight and emotion without trying to be overly flashy or technical, and that has really stuck with me. It showed me how powerful mood and tension can be when used intentionally, and how holding back or sitting in the pocket can hit harder than speed or complexity. That philosophy has absolutely shaped how I approach playing bass and how I think about my role in a song’s overall impact.”

5. The Cult – Love (1985, Beggars Banquet, Sire)

Kris Keller: “Love by The Cult is one of those rare albums where everything just feels right. From start to finish, it flows seamlessly, with each track complementing the next in a way that makes it impossible not to listen all the way through. The production is pristine, bold yet atmospheric, and the artwork captures the spirit of the music perfectly. It’s a complete experience, both sonically and visually.

“That album really set the bar for me in terms of what a cohesive body of work should feel like. Resist The Divide is the first record I’ve ever been a part of that I feel achieves that same level of continuity. It’s the kind of album you can put on and let ride all the way through, and that connection to Love was definitely a guiding light during our creative process.”

6. [Curveball] Bob Marley – “Redemption Song” (1980, Island Records)

Kris Keller: “This song to me is one of the best songs ever written. Its meaning and structure are perfectly executed. ‘Emancipate yourselves from mental slavery’ is one of the most powerful lyrics I’ve ever heard. This is reflecting on physical and mental freedom. This is a very similar message that we touch on in our latest album, Resist The Divide.”