The Ruse have been known to deliver songs that will crawl into your head and take hold of your heart. Love Sex Confusion, the band’s fourth studio album of new songs, brings a blend of guitar-laden tracks and commanding drum and bass lines that generate the feeling of a live performance.
“We wanted to make the songs on the album much more ‘danceable’ than we did on previous albums,” guitarist Jim Bilus says. “Overall, we wanted to make a rock and roll album that would really shine when we played it live. We tried to create a bigger and brighter sound that would be fun for our audience.”
Love Sex Confusion is equal parts of lead singer John Dauer’s powerful operatic vocals, guitarist Jim Bilus’ rocking garage-y guitar riffs, and the burly rhythms dispensed by drummer Jason Young and bassist Mark Stolze. The album was produced by Jorge Vivo and the band in their hometown of Los Angeles. With Love Sex Confusion, the Ruse continues to combine honest lyrics with a selfless message, swinging from stripped down rock to moving, moody, and melodic ballads.
No stranger to television, the band has had over a dozen tracks and a cameo role on MTV’s “The Hills;” they performed in an episode of HBO’s “Entourage;” and several songs from the band’s last album, Midnight in the City, are in current use on MTV’s new show, “The Buried Life.” JamLegend.com will make Love Sex Confusion songs available for fans to play - the Ruse is a JamLegend.com favorite with over 900,000 plays on the website.
iTunes has featured the Ruse’s “Beautiful is Gone” as Single of the Week and the band has had the distinct pleasure of playing an opening show for U2 at the Rose Bowl in Los Angeles, CA.
Band Highlights:
*iTunes Single of the Week (June 2009) for "Beautiful is Gone" *Reached number 21 on Billboard's "Heatseekers" Chart (June 2009) *Guest Star and performance on Season 3 of MTV's "The Hills" *MTV Video Music Award Nomination for Breakout Artist LA 2008 *6 Coast to coast US tours in 3 years *12+ songs featured on MTV's "The Hills" *Numerous TV and movie placements *Cameo on HBO's "Entourage" *Featured on ABC's "20/20" *Shows at Bowery Ballroom, Gramercy Theater, Mercury Lounge, and 9:30 Club in NYC/DC
*Shows at The El Rey, Troubadour, House of Blues, Roxy, Key Club, and Viper Room in LA
Discography:
2010 "Love Sex Confusion" LP 2008 "Midnight In The City" LP 2007 "Live At The Viper Room" EP 2006 “Light In Motion” LP 2005 “Invasion” LP
Sisters Leah and Chloe tear into sound with sensual prowess as stages ignite revolutions and words light up spirit fires. Listen to their beautiful sound for poetic harmonies, soul singing, spoken word rallies, banjos, fiddles, many beats of drums, kalimbas, washboard rants, groove, and community building through SOUND. Joined by Imhotep on the New Orleans bass drum, Abram on contra bass, and Forrest on the beats, their style redefines performance. With a host of versatile collaborators on board expect anything from trumpet to beatboxing, poets to trapeze, and circus to burlesque. Rising Appalachia uses sound as a tool to spark a cultural evolution and birth a new movement, creating soul sounds for us all....
Having toured over 14,000 miles across the United States and gracing many stages around the world, Rising Appalachia’s vision and sound is quickly proving to be contagious to everyone it touches. Their shows have included and array of community-run venues and collective events, as well as the Kennedy Center in Washington DC, National Public Radio All Songs Considered, The School of Americas Vigil, Nunez Arts Festival New Orleans, Emory University Schwartz Center, The Floyd Festival, The Beacon Theater NYC, The Lake Eden Arts Festival, Radio Popular Italy, Guerilla Radio Amsterdam, The Edinburgh Fringe Festival, The Highlander Center 75th Reunion, and many more
Their prolific self-sculpted career has included 4 independently released full length albums which have sculpted a path for the new generation of music aficionados and created a new lens to understand the impact of global sound on the world at large. Having been raised in the American South soul music for breakfast and Appalachian lullabies at night, sisters Leah and Chloe have drawn great inspiration from their global family. Their mother and father claimed art and music as a fully expressed part of their lives and the girls have been shaped by the sounds of the South. They and their dedicated musical comrades have continued to use those powerful roots to find musical connections and community around the world…
"Music is the tool with which we wield political prowess. Melody for the roots of each of us...spreading song and sound around the globe. Music has become our script for vision, not for aural pleasure, not just for hobby, but now as a means to connect and create in ways that we aren't taught by mainstream culture. We are building community and tackling social injustice through melody, making the stage reach out with octopus arms to gather a great family. It is taking its own personality, carrying us all along the journey down the damp and strange alley ways and cryptic coded pathways to poetic observations, social change, lyrical messages, political rage, symphonic coercing, ferocious bantering, bicycles and train tracks, primal will, fresh air intoxicants, harmony and alliteration, noise and something sweeter than words can ever touch. " Leah.
Rising Appalachia has been voted “Green Album of the Year” by the Huffington Post, “Atlanta's Best Folk Act” by the Creative Loafing, and have been written about in Paste Magazine, The New York Times, Performer Magazine, Dirty Linen, Sing Out, Anti-Gravity, Maverick and more. Their tours have taken them across Europe, through the Caribbean, into Central America, into the Indian subcontinent, and across the United States- making sacred sounds and elaborate stages wherever they go. They are creatively committed to keeping their work accessible at the local street level as well as expanding to larger audiences abroad, and have continued to maintain autonomy by self-managing, recording, producing, creating, and directing their work. They are greatly honored to do the work that they do.
In the darkest depths of Ipswich, a shadowy figure sits in a poorly lit studio, diligently plotting his impending world domination. Once simply the friendly neighbourhood keyboard player for Channel 4’s ‘Road to V’ Winners Rosalita, Benjamin Bloom lost the love of his life last year to a terminal illness, but the music didn’t stop.
Remerging heartbroken yet empowered in 2010, Bloom mixes cautionary lyrical fables with luscious melodies, bombastic pianos and the filthiest electro beats to create decadently melodramatic popular music – think Sparks, Queen, Danny Elfman, think fright night Elton John. Already making a name for himself on the national touring circuit and a regular on BBC Suffolk Introducing’s radio show, surrender yourself to Benjamin Bloom.
'In the way that every knight in shining armour should, His Royal Highness Benjamin Bloom will lead us to immortality with a fine blend of Queen...meets Sweeney Todd' - Graeme Mac, BBC Suffolk Introducing
‘His live shows are unusually professional for such a new act, showcasing melodramatic pop songs that combine hook-ridden melodies and somber messages akin to cautionary children's stories’ – Anna Dobbie, SoundProof Magazine
'With an incredible ability and stunning dexterity Benjamin Bloom strings together the purest piano melodies this side of the church with a voice so perfectly pitched in pop it resounds around your body in joyful splendour' - Kier Mills, Bloody Awful Poetry.
Members:
Benjamin Bloom - Piano/Vox Joel Kurta/Jack Stevens - Drums Stuart Sale/Rob Cherowbrier - Guitar
Together since 2007, Scott Perrie and Jeremy Breaks are the heart and soul of Redgy Blackout. Both come from musical backgrounds and their chemistry is unmistakable with tight harmony, eclectic instrumentation, and heartfelt vocals that all blend together to create a unique sound.
Perrie (lead vocals, guitar, piano, trumpet) grew up singing in choir and acting on the stage; he inherited his grandfathers ‘61 Gibson J45 at the end of high school soon after falling in love with The Beatles. Breaks (banjo, guitar, vocals) grew up in his father’s music store in Prince George; he played in various funk, rock and metal bands before he moved to Vancouver where he met Scott. From busking on the streets of Vancouver, to “killin’ it” in bars, clubs and festivals, they always gets people movin’ to the beat.
In 2011 they released a self-titled EP produced by Elisa Pangsaeng and mixed by Tom Dobzanzski (Said the Whale). They’ve been selected as a Top 20 artist in the Peak Performance Project in BC for a second year running with their songs Bottom of the Sea and Alexandria getting regular rotation on 102.7 The Peak in Vancouver. They recently finished two brand new singles, Lovely, Lovely Day and When I Wait, both produced by Warne Livesey (Matthew Good, Midnight Oil) set to be released this fall. They will hit the road from September 14th to October 27th with Christa Couture for their first Canadian National Tour.
Press:
“They each have formidable talent as versatile musicians, Perrie adeptly playing various instruments such as the guitar, trumpet, harmonica and kazoo and Breaks who also plays the guitar, has crackerjack proficiency on the notoriously difficult banjo.” - Jennifer Wotzke, Vancouver Weekly
“Their vocals feature intricate harmonies on top of brilliantly enticing melodies. Perrie’s voice has a superb clarity and tone to it that is rarely heard. His ease of melodic expression is natural and a sheer pleasure to listen to.” - Jennifer Wotzke, Vancouver Weekly
“My first time seeing them, they completely knocked my socks off! [Redgy Blackout] is full of energy and their songs are engaging and at times incredibly humorous.” - - Char, Vancouver Music Review
"The moment I saw Redgy Blackout’s self titled EP Cover I started laughing because the picture brought memories of when I was a Kid, and not surprising, there was a great track on the CD Titled When You Were a Kid”. I identified with the band right away!
After listening to the entire CD I went and picked up MYOTOS and the first track, “Like Penguins Do” had me hook line and sinker. I knew I was in for fun music and a few smiles...And they didn’t disappoint either."~ Stewart Brennan – World United Music
“Like Penguins Do” by Redgy Blackout on their MYOTOS EP is so hook laden and catchy that my fingers became professional drummers. I’m an instant fan of Redgy Blackout!" ~ Stewart Brennan – World United Music
Here’s a little potted history of Fink, from 2006 ‘til today. Some might see it differently, this is how we remember it…
BISCUITS – I guess this current incarnation of Fink all started when Guy said he was up for playing bass on a few tracks (‘So Long’ on Biscuits For Breakfast being the first I think) and Tim, over beers at a pub in Hampstead, was persuaded to play drums on a few (his first being probably the title track ‘Biscuits’). Then Ninja Tune released Biscuits in 2006, and the track ‘Pretty Little Thing’ kinda struck a chord out there for some reason. So we toured, and toured and toured, learning and playing, playing and learning… We packed a tent at Lowlands festival in Holland, we sold out La Maroquinerie in Paris and Joe’s Pub in New York City, we played from the USA to Poland and everywhere in-between.
DISTANCE – When we were through learning what a soundcheck was, we wrote Distance And Time in 2007. It has some really solid tracks we think: ‘Blueberry Pancakes’, ‘If Only’ (which led to me working with John Legend), and particularly ‘This Is The Thing’, which continues to give us love not only as a decent song but also as a sync machine… Timmy took a break to pursue real life for a moment, so we toured quite a lot of Distance with Adrian the Canadrian (seen rocking out in the video section at the Haldern festival in Germany). We kinda turned to Europe big time as the UK was ignoring us a little… Radio 1 was great, but the press didn’t want to know… So we toured Europe, and loved it, so we toured it again… supporting Camille and Massive Attack, playing huge amphitheatres and everywhere from LA to Cape Town, the Albert Hall to Carnegie Hall… it was awesome….
REVOLUTION – We stopped touring Distance and went straight into the studio. Well, I say studio, but we wanted to take it somewhere else… somewhere maybe more intimate… so we converted my apartment into a recording studio-cum-storage ground, and after several visits and threats of fines from Brighton Council we delivered Sort Of Revolution in 2009, the tricky third set. We loved dub and hadn’t really represented that on previous outings so we nailed ‘Sort Of Revolution’ and ‘Q&A’ – the former gaining us our first KCRW session in LA, the second our first BBC Maida Vale session for Gilles Peterson (perhaps the last DJ on Radio 1 we expected to like our stuff). This record saw us really start to play bigger, and after all the TV stuff the fame game was beginning to kick in, which was and still is a little weird… We really did tour the shit our of this album, including a mind-bending China tour, finishing up in Australia with one of our fave gigs ever I think, at The Corner Hotel in Melbourne….
PERFECT DARKNESS – So we took a little hiatus: a bit of writing time, put our lives back together a little bit… During all of the above Timmy wrote a few books (available now on Random House: they’re about bands… lots of famous musos from the 90’s love ‘em…. if you even know what a ‘neddy’ is you’ll love ‘em too). We recorded a couple of Sideshow albums for Aus Music, and I wrote a load of songs for other people. We really needed a few months off… we all got fat and lazy and it was great…. then we travelled to Los Angeles in November 2010 for a blitzkrieg recording session in Steakhouse studios with Billy Bush. We had 8 tracks written and roughly planned out, plus two to do on the ground once there… y’know, kinda soak up the atmosphere as well as the Mexican junk food… We nailed the whole record from start to finish in 16 days – a feat that I think surprised the producer as much as us… we wanted to nail some hardcore blues (‘Wheels’) and some big tracks (‘Fear Is Like Fire’) as well as a stringy epic (‘Perfect Darkness’). We’re pretty amped about the whole album… It comes out in June 2011 (September in the US)… See you there, back out on the road… new set, new songs, loving it….
Once upon a time we were members of the Virgins and Young Lords and the Takeover UK. We teamed up a few months ago and recorded these songs in our apartment with a 50 dollar mic and an old computer. We think they turned out pretty good. We try and stay optimistic. It ain't easy in these rough and tumble times.
Members:
Blair Van Nort Reed Van Nort Erik Ratensperger Mark Solomich.
Influences:
Little Richard, Fatboy Slim, Shorty Long, Biggie Smalls
An American sound with elements of Gospel, folk and acoustic rock, with comparisons to Ryan Adams, Ray Lamontagne and Paolo Nuttini; The truth is I grew up on a diet of Credence, Van Morrison, Miles Davis, Lizzy, Pink Floyd, and some Stevie for good measure. However, my influences stretch well beyond these icons.
My love for music started when I was very young, joining my local choir, followed by the local brass band and then on to school and Uni where I studied both Music and Trumpet. I also got to play with Irish Youth Orchestra of Ireland for a few years.
After college I came very close to joining the army brass band but failed to show up to the drug test! I know what you're thinking, but the actual fact is, I found the whole thing very formal and regimented. I wasn't looking for a pension job, but something more adventurous, where I could take my own risks and be in control.
I had been singing and playing guitar with a number of bands since I was 13 so the natural progression was to put my hand to writing my own music. In the last few years I have developed both as a songwriter and performer. For the first time ever, I can say with hand on heart, that I feel truly happy with the sound that's emerging. This is helped by a great backing band, who really get the music and make rehearsals and gigging seem effortless. I've had the pleasure of opening for the likes of Lionel Richie, Smokey Robbinson, Laura Izibor and more recently Ocean Colour Scene. In the last 18 months I've toured heavily throughout Ireland and the UK and even ventured as far as US, Canada and Egypt where the response was overwhelming.
I released a 4 track EP in March '09 called 'Hired and Fired' featuring brass and woodwind. As I started touring the EP my sound naturally moved away from the brass heavy arrangements and towards a more acoustic rock sound. Much of the new songs I was writing, were more acoustic based and didn't benefit from adding brass or woodwind. It was also during this period that I formed a permanent band. Up until know I had called in friends and session players to perform with me.
Having a regular band allowed the songs to develop naturally from gig to gig and by the time we entered the studio to record the album the overall sound was there, if a few songs were still unwritten!
The album 'Outside Looking In' was released in June this year in Ireland and online and is available to buy, in those places where you go to buy music. The album includes "Damn Honey", "Memphis" and "Love Don't Work", which have all just been shortlisted for this years International Songwriting Competition and last years winner of the Performance category "Never Really Cried"
Sydney's The Preatures are fast becoming one of BobbySix.com's favourite up-and-coming bands. After almost a year together, an EP and some tentative interest from labels that weren't quite their cup of tea, they've decided to spend the next six months recording and releasing demos.
It's entitled The 66 Project and, like all good ideas, it's a pretty straightforward one. They plan to record and release as many high-quality demos (at least one a month) over the next six months, make everything free, and document the process.
Considering this is a band that are all about the songs rather than sticking to a genre or capturing a specific sound, their upcoming demo releases are sure to be pretty diverse, from acoustic folk and dark country to full-blown dirty-as-hell rock 'n' roll. So keep an eye on their 66 Project blog. After all, you can't ask for more than constant flow of high-quality, free music over the next few months.
Members:
Gideon Bensen - Guitar & Vox Isabella Manfredi - Keys & Vox Thomas Champion - Bass Luke Davison - Drums & Percussion Jak Orion - Lead Guitar
Our music is inspired by space, travel (...) by listening to our music, we want people to be carried away to an imaginary place where everything's controlled through the natural equilibrium of the universe
In 2006, some friends got together to have fun doing what they liked doing most: making music. Rapidly, they started writing their own songs and soon realized they were ready to take their music to the next level. Influenced by a wide range of bands like Sigur Ros, Depeche Mode, Dead Can Dance; to U2, Pink Floyd and Radiohead, they decided to call themselves "Utter" and started working on their first album.. The word «utter», meaning "total, complete, infinite and extreme", embodies their aspiration to deliver an incomparable music experience to their fans through original songs and unique sounds.
In 2007, two of Utter's songs were quickly playlisted on "Radio Comercial", one of Portugal's biggest Stations. In 2008, Utter had already self-produced their first album entitled "Utter", distributed nationally by Compact Records. Their first album gained momentum throughout the country, which got them an invite to the radio station "Radar FM" in Lisbon, to present their newly released album, which by then was also available in stores like FNAC. Utter then embarked on their first National Tour.
In June 2009, Giliano, Zezén, Humberto, André and João started the production of their second album, which was completed in april of 2010. The album was mixed at the QM Studioaudio in Vila Nova de Gaia (Portugal) by the well known Portuguese musician and producer João Ferraz, On November 18th 2010 Utter decided to release a single off the Album while talks with Labels and plans for the future took shape. "Into the Light" was released through AWAL (artists without a label) and the single went straight to radio playlists including National Radio Antena 3 and many others.
Recently Utter released a free download entitled "first trip" which was released exclusively on the website of Antena 3 as well as exclusives on Supajam in the UK and on websites in America and other countries: Plans for the Album release are being discussed as the band continue to look at interested labels. . Stay tuned or join the mailing list for news on the album, promotions and future gigs.
Members:
Guitar: Gil Drums: Zézen Keyboards: Humberto Bass: André Vocals: João
Paul Givant - Lead Vocals, Guitar & Banjo John Kraus - Banjo, Electric Guitar & Vocals Tim Weed - Fiddle, Mandolin & Vocals Stephen Andrews - Upright Bass & Electric Bass Christian Hogan - Drums & Vocals
It may come as a surprise to hear the foot-stomping strains of Appalachian bluegrass channeled through a rock band here in Los Angeles, but heartache, loss and regret have always been the cornerstones of great music and this city has its share. In a town better known for porn stars and face lifts, anything as authentic and heartfelt as Rose's Pawn Shop, is a pleasant surprise.
Singer-songwriter Paul Givant grew up on the disparate array of popular musical styles any late 20th century kid did. And in that mishmash of rock, punk, country, pop, rap, and all the rest, it was American Folk and Bluegrass music that rooted deepest in Paul, transforming him and his songs. Having played in various rock bands since early high school, in 2004 Paul decided it was time to take his growing batch of old style/new school folk songs, and build them into something greater, more ferocious. The songs were there, volatile, almost flammable, but if they were to attain their potential greatness, he was going to need help.
As so many fortuned events unfold, it was through a series of chance meetings, twists of fate, and Craig's List, that Paul met kindred spirits in Sebastian St. John, Derek O'Brien, Bill Clark, Derek Swenson, and John Kraus. And in 2005 they began building the music and the band that would soon be known as Rose's Pawn Shop. This group of young musicians combined in their collective musical melting pot the old style American sounds of Woody Guthrie, Bill Monroe, and Hank Williams, the high energy punk of The Ramones, and The Pogues, and the melodic songwriting sensibilities of Elliott Smith and The Beatles. They were creating something musically unique and yet imbued with a familiarity and accessibility.
The final ingredient was added one fateful day when Paul's scorned ex-girlfriend/former band mate in an act of revenge stole the band's instruments and gear and took them down to the local pawn shop. Priceless. Rose's Pawn Shop was born... The match was lit.
In spring of 2006 after months of playing live and breaking ground around Los Angeles, the band recorded and released their debut album "The Arsonist". The album quickly began receiving critical praise from print and online publications as varied as "About.com", "The Daily News", "Miles of Music", and "Music Connection". A month after its release, Rose's Pawn Shop showcased and won the grand prize in Billboard Magazine and Discmaker's: Independent Music World Series. And in the summer of that year, the members of Rose's Pawn Shop dared to quit their day jobs and hit the road, and what had started as a slow and steady burn, began spreading like wildfire.
They have been touring the United States nearly non-stop ever since. On any given day you might find Rose's Pawn Shop playing the Georgia Theatre in Athens, busking the streets of Jackson Square in New Orleans, opening for Jack White and The Raconteurs at the Henry Fonda Theatre in Los Angeles, ripping the walls off the club in their month long residency at the Parkside Lounge in New York City, or hitting the main stage of Floydfest in Virginia. On any given day they're out there, growing their music, igniting their passion, and converting an ever increasing congregation of loyal fans.
In early 2010, Rose's Pawn Shop entered the studio with renowned producer Ethan Allen (Patty Griffin, Better Than Ezra, Counting Crows, Luscious Jackson, The 88, Gram Rabbit) to record the second album, "Dancing On the Gallows." In recording the new record, Rose's Pawn Shop found themselves rising to new level song craft and sound experimentation, while retaining the same fiery intensity and excitement of their early material. The highly anticipated album is slated for an early August 2010 release.
What do they sound like, you ask?
With an arsenal of banjos, guitars, mandolin, fiddle, pedal steel, upright bass, and thundering drums, their sound is a wholesome mishmash of creek mud, rusty nails and your mom's cookin'. It's sincere, straight-forward and sexy as fuck, effortlessly combining such disparate musical styles as rock, country, bluegrass, and punk to create an incomprehensibly smooth and accessible sound for true believers and skeptics alike.
With wisdom beyond their years, they fearlessly confront traditional country music themes of loss, lamentation, and redemption, while throwing in some drinking-songs for good measure. Sure, they're borrowing pages from the books of Hank Williams, Bill Monroe, and Johnny Cash, but Rose's Pawn Shop takes those pages, tears them up and sets them on fire with breakneck speed, bluegrass instrumentation, 3- and 4- part vocal harmonies and lyrics that'll break your heart.
Whether it's the dreamy snake-charm-thump of "Lone Rider," the wistful whisky-soaked wisdom of "Down The Line," the honky-tonk ruckus of "Funeral Pyre," or the Gypsy-infused mandolin twang of "Reckoning," Rose's Pawn Shop will hook you. Like catfish from the creek, they'll reel you in. And they won't let you go.
And you'll be glad they did.
Because something happens when you hear these songs. No matter how low you've sunk, something in the music finds you. It picks you up and carries you home.
"Henry Wagons is a songwriter and performer of disturbing strength, an assessment that must surely be set in stone with the release of Wagons’ fourth album, The Rise and Fall of Goodtown"
PATRICK EMERY, BEAT MAG
"The Rise and Fall of Goodtown is Wagons' fourth album and is terrific: the quality and narrative power of some of the songs are in my opinion equivalent to Nick Cave's storytelling"
CHRIS JOHNSTON, MELBOURNE MAGAZINE
"The new album, The Rise and Fall of Goodtown, continues Wagons' love affair with deathly country ballads, but it's a rockier album than its predecessors, with producer Cornel Wilczek succeeding in capturing the band's powerful live energy to create what is arguably the finest Australian release so far this year"
THE AGE
“The Rise and Fall of Goodtown is a brilliant album: entertaining, witty, sentimental and a prime display of a band at the height of their powers.”
SYMON JJ ROCK, INPRESS
"The Rise and Fall of Goodtown" is a grand, loping beast of music with a 70s sound that you’d expect to have been borne out of the oversized state of Texas.
ALEX GILLIES, TIME OFF
"The Rise and Fall of Goodtown mark Wagons as a local treasure..."
ADAM CURLEY, MX SYDNEY
****, SYDNEY MORNING HERALD
BERNARD ZUEL
"Wagons have been threatening to make an album this good for their whole career...a classic australian album on their fourth try. Genius."
****1/2, PATRICK DONOVAN, THE AGE
"Far from from a bare bones folk record, it's steeped in resonant, epic layering which peak and trough in perfect unison with simple, stirring melodies...A real storybook of a record."
Time Out NY attests, Brooklyn’s “My Cousin, the Emperor makes happily gnarly music; The band’s debut album, A Long Way from Home, trades in rolling country rock & roll.” My Old Kentucky Blog calls it, “Filled to the brim with both alone-in-the-pouring-rain ballads and throw-me-another-whiskey barroom romps” and Under the Radar Magazine declares, “My Cousin, The Emperor stands up for all that's still right with the genre of country.”
The accolades continued when the title track from their debut won the Independent Music Award for ‘Best Alternative Country Song of the Year’ and the quartet won the crown for Brooklyn in WNYC’s “Battle Of The Boroughs.” MY COUSIN, THE EMPEROR follow up their first offering with the release of a single disc, double EP entitled, THE SUBWAY EPs on March 29, 2011.
Volume I of the set is the acoustic PROSPECT PARK WEST and Volume II is the electric BROADWAY-LAFAYETTE, named after lead singer, guitarist and songwriter Jason Reischel’s two main stops between Brooklyn and Manhattan. Think of it as the mirrored counterpart to Dylan’s Bringing It All Back Home.
“They say the Devil is in the details, but God is in there too...It's those little details that can make or break a song, and I hear those details in My Cousin, The Emperor's songs."
- John Schaefer, Soundcheck WNYC
“I'm officially a fan."
- Jad Abumrad, Radiolab (NPR)
"Led by the singer/songwriter Jason Reischel, MCTE explores the usual issues (love, loss, more loss), but does it with honesty and conviction."
-Brad Farberman, Relix Magazine
“Really sweet Americana... notably clean and well-imagined. This [The Subway EPs: Vol. I & II] might be a good springtime roadtrip album. Good crisp air and sunshine music.”
- Kim Ruehl, No Depression
"I have always maintained that when done right, country-folk-blues can be some of the most soulful music on the planet and thankfully, Reischel and company provide ample evidence of this assertion...An excellent addition to the country-folk-blues-rock canon. File next to your Wilco, Uncle Tupelo and Jayhawks LPs."
- Power of Pop
"On the brand-new Subway EPs...Brooklyn quartet My Cousin, the Emperor comes off like a shiny 21st-century update on The Basement Tapes, Bob Dylan’s 1967 gloriously chaotic collaboration with the Band."
- Matthew Everett, Metro Pulse
“This sunny side up, harmony filled strumalong would probably brighten up most dull grey commutes... If all train journeys were this creative and inspiring even Bob Crowe and Boris Johnson might get along together.”
- Paul Villars, AmericanaUK
“This Brooklyn-based band creates Gram Parsons-influenced, rich country folk.”
- AOL Music
"The whole affair is nicely produced and recorded, its clear, clean sound and crisp separation adding to the sunny, upbeat vibe."
- Sleeping Hedgehog
"My Cousin, The Emperor is giving the sounds of traditional folk and country music a modern edge. That, or they lend their edginess a countrified swagger. Regardless, it's good songwriting that stays in fashion, and these guys bring it."
- Andy Friedman
“My Cousin, The Emperor is like a country version of Pavement. They have nuances of a lo-fi 90s band, mixed with a country acoustic twang.”
- The Deli Magazine
“Songwriter Jason Reischel writes underground country flavored pop that is refreshing and genuine... Well written tunes, executed to perfection.”
- Babysue
“Reverb-heavy melancholy that is very comparable to songs from artists like Chris Isaak and Roy Orbison.”
- Brooklyn Rocks
“These guys remind me of Explosions in the Sky. Great rhythm, great harmonies...great fusion of country and indie rock."
- Rik Cordero, Three/21 Films
“With his band My Cousin, The Emperor, Reischel explores an alt-country sound that tips its hat to the indie rock scene while still maintaining a simple twang.
