Fanatic is a music marketing company established by Josh Bloom in 1997 to build fan-to-fan connections between artists and the media. For 25 years, Fanatic has continued to help launch careers through the strategic advocacy of creative talent.
Tour dates announced in support of just-released “The
Fire I Saw;” Parrott discusses Juno keyboards, mental health with “How Did I
Get Here?” +++
Jenny
Parrott as photographed
by Carrie Jane Fink. Design by Catfish. +++ PLAY, POST & SHARE
[VIDEO]: https://www.youtube.com/watch?v=FKqZPwOoCLk +++ “Queer artist Jenny
Parrott doesn’t need a seat at your table,” says
Adobe & Teardrops, a
publication committed to representing voices in the Americana world that are
too-often overlooked: Women, BIPOC, and LGBTQ+individuals, in its “I Thought”video
premiere coverage and wide-ranging interview with Parrott. Check it out here. The bathroom at the Hole In The Wall club in Austin, Texas is the setting for the
self-directed “I Thought”video by Jenny Parrott. “The bathroom there is like a character,” Parrott says. “A place where women,
femmes and non-binary people go to hang out, to fool around and party, and to
get away from men for a second.” Parrott
says that the video also shows “how violence and love can be all around, and
how it can be very hard for many of us to know where the safe spaces are, or
who is a safe loved one.” “I Thought” also stars dancer Terrance Carson of Ballet
Afrique, Ally Means on Viola,
and Carrie Jane Fink as Parrott’s partner in the clip. +++ “A soaring solo effort... Turns the heat way up with
intricate synth-work and some of her finest vocal performances to date,” says NPR member station KUTX, Austinin
its “Song of The Day” coverage of
the title track from Jenny Parrott’s The Fire I Saw, out now. Hear “The Fire I Saw (Is There Anyone To Meet
Me?”)here. +++ Jenny Parrott was a recent guest on
the Austin-based “How Did I Get Here?”
podcast, hosted by Johnny Goudie. Over the course of more than 1000 episodes, Goudie, who the Austin Chronicle calls “the Marc
Maron of Austin,” has become a go-to for artists looking for an in-depth
chat about what’s happening in their careers and the shared experience of music
appreciation. Goudie says about his
interview with Parrott, “We have
a great conversation about growing up in New Haven, discovering her inner
songwriter, making The Fire I Saw on her own, Juno keyboards, the magic of the
Omnichord, dealing with mental health issues and much more.” Listenhere. +++ Jenny Parrott | Live 11/27/2021: Eureka Springs, AR @ Gotahold
Brewing 11/28/2021: Tulsa, OK @ The Sound Pony (RSVP) 12/03/2021: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) 12/04/2021: Austin, TX @ Radio Coffee &
Beer (w/ Sabrina Ellis) 12/10/2021: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) 12/11/2021: Austin, TX @ House Show (w/ Lazy Suzanne) 12/17/2021: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) 12/30/2021: Gainesville, FL @ Lightnin’
Salvage Enterprises 01/01/2022: High Springs, FL @ Riverine
Reunion (Oleno State Park 1894 SE Oleno
Park Rd, 7PM) 01/02/2022: Orlando, FL @ Wills Pub 01/07/2022: Tampa, FL @ Shuffle Bar 01/12/2022: New Orleans, LA @ Always Lounge 01/14/2022: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) 01/21/2022: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) 01/28/2022: Austin, TX @ Hole In The Wall (Residency: Friday Night Fruit Fight) +++ Jenny Parrott The
Fire I Saw (Parking Lot Panic Attack) Out Now Streaming Link: STREAM FULL LP Track Listing: 01. Knockin’ Back Some Cokes (STREAM) 02. My Hero 03. I Thought (STREAM | VIDEO) 04. Say It 05. Georgica (STREAM) 06. Hallelujah 07. July 08. The Fire I Saw (Is There Anyone To Meet Me?) +++ PLAY, POST & SHARE Jenny Parrott | “Georgica”
[STREAM]: https://Fanatic.lnk.to/JennyParrott-Georgica +++ “Feathery and bouncy… ‘Georgica’ sounds
like floating.” – The Austin Chronicle “There is nothing to not like about
Jenny Parrott.” – Folk Radio UK “American icon Kinky
Friedman has been quoted as saying Jenny
Parrott’s tunes are ‘the best songs I’ve heard since Christ was a cowboy!’
That statement isn’t going to wear out too soon. There is nothing to not like
about Jenny Parrott, be sure to get
more of her in your life. ‘Georgica’
is also our Song of the Day.” Check
outFolk Radio UK’s premiere
coverage of “Georgica” by Jenny Parrotthere
or listen at the links above. In its “What
We’re Listening To Right Now”coverage
of the song, The Austin Chronicle
adds, “Song bells and poco forte flute solos trickle through lyrical breaks,
solidifying the overall angelic airiness of the ballad, a reminder of Parrott's
easygoing verse and strong musical talent.” “‘Georgica’
is the name of my hometown friend's little girl,” Parrott says. “Her mother – the Grandma – asked me to write a song
as a gift to her. We aren’t especially in touch anymore – I live very far away
– but the song has a vibe of sending warm, maternal, motherly well-wishes
through time and space from an older source to a younger one. It’s almost like
a prayer and call for hope for young female energy. When I think about this
song, I almost feel like I'm up in space, singing to the planet.” +++ Jenny Parrott | About
Jenny
Parrott’s 2017 solo debut When
I Come Down was named one of the Austin
Chronicle’s Top
10 albums of that year. Her follow-up full-length The Fire I Saw arrives on
Nov. 12th, 2021. The new album is, naturally, an evolution of Parrott’s seemingly effortless
lyricism, humor mixed with despair, and ultimately, her economic use of
unforgettable melodies and just-right instrumentation that makes you feel like
she’s seeing you even more than she’s seeing herself. “These arms can’t stand an ever loving man. And these
eyes can’t see a never changing me.” The opening lines of first single “I Thought” stop you dead in your tracks. A perfect example of what
Parrott does over the course of an
album that doesn’t even clock in past 25 minutes and doesn’t need to. Parrott takes care of all business
during the brief span of the eight songs on The Fire I Saw, in a way
many songwriters work an entire career towards and never reach. The album was originally going to be a more
standard-length release, but the pandemic changed up Parrott’s plans. “I had to give the album a makeover because I was
planning on having all my buds come over and finish it in the home studio. Most
of my friends in Austin are rootsy-type players, so it would have had that
feel. But I was stuck at home in a damp cul-de-sac, and I was scared of the
virus, and didn’t want anyone in my space,” she explains. Teaching herself Logic, and putting her Roland Juno
into overdrive, Parrott spent time
testing and tweaking her favorite synth patches until she had whittled the
album down to the “eight that I felt were okay.” Some may say, the eight are more than “okay.” American icon, Kinky
Friedman has been quoted as saying Parrott’s
tunes are “the best songs I’ve heard since Christ was a cowboy!,” which, it can
be argued, is a more interesting string of words than anything Kinky could have actually been talking
about, but we get the idea! Parrott has played prisons, a Black Panther reunion party, children’s
shows, on streets all over the world, and in every basement from here to New
York. She has opened for Jonathan
Richman, Pokey LaFarge, and Delbert McClinton. These aren’t mere
credits, they are experiences that you should rightfully expect inform Parrott’s songs. And not all of the experiences need to be so flashy.
Mundane works just fine, too. Parrott describes the album track “July” as being “written while taking out the garbage in Macon,
Georgia” and opener “Knockin’ Back Some
Cokes” as “a play on how Sam Cooke
is always singing about Coke and popcorn and cake and ice cream,” although she
goes on to rightly remark that her take contains “sinister lyrics about facing
down climate change and the apocalypse.” Similarly stark is the previously mentioned, “I Thought,” which, while taking Parrott’s stock of her ability to love
and be loved, was “written as a response to an abusive relationship at a time
in my life where I swore I’d cut out people with violence in their repertoire.” “A lot of the songs are about life, death, and faith,”
she says. “Like, having enough faith to wonder about your child’s future in ‘Georgica,’” she explains, referring to
another of the album’s upcoming singles, which was written for a hometown
friend that Parrott used to sing
with. “I am trying to be myself with the songs and
performances, instead of putting out a record with the right number of
happy-sounding songs on it,” she says. “You don’t have to use a dude’s guitar
part to spare his feelings! That will only dim the fire within you that you
saw, and you’ve got to feed it.” The Fire I Saw, the second solo album by Jenny
Parrott, is out now. Jenny Parrott is available for
interviews. Contact Josh Bloom
at Fanatic for more information. +++ Jenny
Parrott | Links ASSETS : WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : BANDCAMP : SPOTIFY : APPLE +++ Josh Bloom at Fanatic
Promotion | Contact WEBSITE
: FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL
“I
have never had more fun making a video,” Draper
says. “We shot in Orlando, partially at Fun
Spot amusement park and as the scene turns to night, I dip my toes into
country line dancing. “I
will forever be changed by witnessing authentic country line dancing in person,”
Draper continues. “Everyone
instinctually just knew all the moves, it was so beautiful and graceful. If
these beautiful folks at Cowboys
(the club where the line dancing footage was filmed) one day develop a country line
dance for “‘81 Camaro,” all of my dreams will have come true.” +++ While“‘81 Camaro” is an authentic
country number from the anti-folk pioneering Draper, the sentiments are straight from hericonoclastic downtown NYC roots. “You said money can’t buy happiness, Well then give
away your money, Now tell me how it feels to be free, Are you happy now?,” she
sings. Draper explains, “It’s a song about longing for the days of innocence, all
the while knowing that those days are behind me, but still living for the joy
that each moment has to offer, even if I have nothing but gratitude and the
holes in my pockets to give in return. “It is really the current state of life I find myself
in now as I gear up for a move from New York, where I have lived my whole life,
to the North Carolina coastline.” The tune is the latest single from Draper’s upcoming Patience and Lipstick (Jan. 21st, South Forty Records). +++ Linda Draper | In The Press
“Draper’s
illuminating sound provides a radiant glow.” — No Depression “Not unlike folk mama Joan Baez.” — Time Out New
York “Channeling the finger-plucked folk music of Joni Mitchell and Nick Drake.” — American
Songwriter “Full of atmosphere with elegant,
every-note-in-the-right-place instrumentation.” — Popmatters +++ Linda Draper Patience
and Lipstick (South Forty Records) Jan. 21st, 2022
Track Listing: 01. ‘81 Camaro (STREAM | VIDEO) 02. Tether (STREAM) 03. All In Due Time 04. Begin Again 05. Patience and Lipstick 06. I Surrender 07. Detroit or Buffalo (STREAM) 08. Roll With You 09. The Undertow 10. String 11. I Go 12. Tether (Acoustic Version) +++ Linda Draper | Live
01/21/2021: Brooklyn, NY @ Pete’s Candy
Store (709 Lorimer St., Record Release Show, 9PM) +++ Linda Draper | About
“I asked them what the secret to a long and happy
marriage was,” Linda Draper says,
recalling a post-gig conversation with a pair of married fans. “Jack is very patient,” Ivana, a flight attendant who
works long hours, explained. “And Linda,” she continued, “I always carry a tube
of lipstick in my purse. No matter how late it is, as soon as I turn the corner
towards home, I reapply!” Patience and Lipstick (Jan. 21st,
2022, South Forty Records) is
now the fortuitous title of Draper’s
upcoming new album, and the tunes on the currently Brooklyn, soon to be North
Carolina-based artist’s latest feel like they came about just as naturally. “So the secret to a long and happy marriage is
patience and lipstick?!,” Draper
thought. “You know, I think there’s a song in there somewhere.” Patience and lipstick. The phrase also encompasses another idea: Of being
willing to wait for things to get better and being ready to shine when they do.
For Draper, the road to this record
has been long, and not just because she has paid so many dues on the NYC
songwriter scene, starting with her debut album Ricochet twenty years
ago. While Patience and Lipstick leans more
country than any previous Draper
album, anyone who may try to push her into the gentile, soon-to-be-North
Carolinian corner, needs to know that the vulnerability in Draper’s songs is matched with the strength and attitude of a New
Yorker. Draper faced down and blew away many an audience at the
Lower East Side’s songwriter testing ground Sidewalk Cafe (RIP) in the early years, and her first four albums
were produced by noted iconoclast, Kramer
(currently seeing his own resurgence with the re-boot of his groundbreaking
record label Shimmy Disc.) Talk is cheap still they keep speaking in their
crooked tongues Trying to sell me the idea we’re all in this together I beg to differ... I beg to differ We were never all in this together There is no tether nor was there ever The lyrics are from “Tether,” the first single from Patience and Lipstick, a
perfect example of Draper’s special
way of twisting a dark tune, tinged with the appropriate cynicism, into a
sing-along. Draper wrote the song just as the pandemic was shutting down
the city. “I was amazed and disgusted with how, literally
overnight, every TV commercial, news outlet, and talk show was suddenly
barraging us with these insincere and overly sentimental messages about how we
are all in this together,” she says. “If there is anything that maybe everyone
can all agree on these days, it is that we are not all in this
together.” It is a message of passion, blunt truth, and Draper’s personal reality, and it calls
for patience. And it’s the album’s follow-up single “‘81 Camaro” that has gotta be the lipstick. “My dream is for the folks at Cowboys (described
online as “Orlando’s Best Country Nightclub”) to make up a country line dance
for this song that I can actually learn how to dance to with them,” Draper exclaims. The tune truly has the potential to become a standard
in that way, which makes Draper’s
other dream of having Lucinda Williams
cover it, seem plausible. Patience and lipstick. Draper also identified with this in her decision to cover
the 1972 Barbara Keith song “Detroit or Buffalo,” another of the
album’s many highlights. “As soon as JeffEyrich (Draper’s current producer, and himself a country music authority,
having toured as bassist with all-time great, Tanya Tucker) shared this song with me, I instantly knew I wanted
to cover it,” Draper remembers. “Barbara’s voice, and the message in her
lyrics, are timeless, raw, and fearlessly vulnerable.” On the fearless tip, Draper is also embarking on another new journey (a metaphorical
one, not her upcoming relocation.) “The name is inspired by the area in Montana next to
where my mother’s side of the family has had their ranch since the 1930s,” she
explains of South Forty Records, her
newly formed label. “With the label, I’ve decided to provide a musical
homestead, by honoring the music for the generations that came before and
preserving it for the generations that will follow.” It’s an endeavor inspired by her family’s near-century
long relationship to the land, delivered with an acknowledgement that the
effort may only bear its greatest fruit in the distant future. However, when it
does, there is little doubt that Draper’s
talents will impress. Patience and lipstick. Patience and Lipstick, the latest album by Linda Draper, is scheduled for release on Jan. 21st, 2022 preceded by the singles “Tether” (Oct. 8th), “‘81
Camaro” (Nov. 5th),
and “All In Due Time” (Jan. 7th). +++ More about
Linda Draper
Linda Draper grew up in a musical home as the daughter of a classical
guitar virtuoso who studied with Andres
Segovia. She began playing guitar and writing songs as a child and
eventually became a fixture in the downtown New York City’s anti-folk music
scene on the Lower East Side. Since 2001, Draper
has released numerous albums, toured the US and UK, and opened for acclaimed
musicians such as Teddy Thompson, Melissa Ferrick, Luka Bloom, and Eilen Jewell.
Draper has also seen her songs
licensed for commercials and television. She is now embarking on her biggest challenge to date
with the formation of her own label, South
Forty Records. Patience and Lipstick,” Draper’s
upcoming new album, was produced by Jeff
Eyrich, mixed by Grammy®-award winning engineer, Dae Bennett, and features performers David Mansfield (Strings), Jeff Eyrich (Bass), and Doug Yowell (Drums and Percussion). It
is the inaugural release on the artist’s own label South Forty Records. Linda Draper is
available for interviews. Contact Josh Bloom
at Fanatic for more information. +++ Linda
Draper | Links ASSETS : WEBSITE : FACEBOOK : INSTAGRAM : YOUTUBE : SPOTIFY : APPLE
: SOUTH FORTY RECORDS +++ Josh Bloom at Fanatic
Promotion | Contact WEBSITE
: FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL
Self-directed clip was shot in one-take in bathroom at
Austin’s Hole In The Wall bar where Parrott plays a record release show this
evening. +++
Jenny
Parrott as photographed
by Carrie Jane Fink. Design by Catfish. +++ PLAY, POST & SHARE Jenny Parrott | “I Thought”
[VIDEO]: https://www.youtube.com/watch?v=FKqZPwOoCLk +++ “A soaring solo effort... Turns the heat way up with
intricate synth-work and some of her finest vocal performances to date,” says NPR member station KUTX, Austinin
its “Song of The Day” coverage of
the title track from Jenny Parrott’s The Fire I Saw, out today. Hear “The Fire I Saw (Is There Anyone To Meet
Me?)”here. “Queer artist Jenny
Parrott doesn’t need a seat at your table,” says
Adobe & Teardrops, a
publication committed to representing voices in the Americana world that are
too-often overlooked: Women, BIPOC, and LGBTQ+ individuals, in its “I Thought”video
premiere coverage and wide-ranging interview with Parrott. Check it out here. +++ The bathroom at the Hole In The Wall club in Austin, Texas is the setting for the
self-directed “I Thought”video by Jenny Parrott. “The bathroom there is like a character,” Parrott says. “A place where women,
femmes and non-binary people go to hang out, to fool around and party, and to
get away from men for a second.” Parrott
says that the video also shows “how violence and love can be all around, and
how it can be very hard for many of us to know where the safe spaces are, or
who is a safe loved one.” “I Thought” also stars dancer Terrance Carson of Ballet
Afrique, Ally Means on Viola,
and Carrie Jane Fink as Parrott’s partner in the clip. +++ Jenny Parrott | Live
11/12/2021: Austin,
TX @ Hole In The Wall (Record Release Show, RSVP) 11/16/2021:
Nashville, TN @ Nashville Vinyl Tap 11/17/2021: Knoxville,
TN @ Albright Grove Brewing 11/27/2021: Eureka
Springs, AR @ Gotahold Brewing 12/04/2021: Austin,
TX @ Radio Coffee & Beer (w/ Sabrina Ellis) 12/30/2021: Gainesville,
FL @ Lightnin' Salvage Enterprises 12/31/2021: High
Springs, FL @ Riverine Reunion (Oleno State Park 1894 SE Oleno Park Rd, 7PM) +++ Jenny Parrott The
Fire I Saw (Parking Lot Panic Attack) Out Now Streaming Link: STREAM FULL LP
Track Listing: 01. Knockin’ Back Some Cokes (STREAM) 02. My Hero 03. I Thought (STREAM | VIDEO) 04. Say It 05. Georgica (STREAM) 06. Hallelujah 07. July 08. The Fire I Saw (Is There Anyone To Meet Me?) +++ PLAY, POST & SHARE Jenny Parrott | “Georgica”
[STREAM]: https://Fanatic.lnk.to/JennyParrott-Georgica +++ “Feathery and bouncy… ‘Georgica’ sounds
like floating.” – The Austin Chronicle “There is nothing to not like about
Jenny Parrott.” – Folk Radio UK “American icon Kinky
Friedman has been quoted as saying Jenny
Parrott’s tunes are ‘the best songs I’ve heard since Christ was a cowboy!’
That statement isn’t going to wear out too soon. There is nothing to not like
about Jenny Parrott, be sure to get
more of her in your life. ‘Georgica’
is also our Song of the Day.” Check
outFolk Radio UK’s premiere
coverage of “Georgica” by Jenny Parrotthere
or listen at the links above. In its “What
We’re Listening To Right Now”coverage
of the song, The Austin Chronicle
adds, “Song bells and poco forte flute solos trickle through lyrical breaks,
solidifying the overall angelic airiness of the ballad, a reminder of Parrott's
easygoing verse and strong musical talent.” “‘Georgica’
is the name of my hometown friend's little girl,” Parrott says. “Her mother – the Grandma – asked me to write a song
as a gift to her. We aren’t especially in touch anymore – I live very far away
– but the song has a vibe of sending warm, maternal, motherly well-wishes
through time and space from an older source to a younger one. It’s almost like
a prayer and call for hope for young female energy. When I think about this song,
I almost feel like I'm up in space, singing to the planet.” +++ Jenny Parrott | About
Jenny
Parrott’s 2017 solo debut When
I Come Down was named one of the Austin
Chronicle’s Top
10 albums of that year. Her follow-up full-length The Fire I Saw arrives on
Nov. 12th, 2021. The new album is, naturally, an evolution of Parrott’s seemingly effortless
lyricism, humor mixed with despair, and ultimately, her economic use of
unforgettable melodies and just-right instrumentation that makes you feel like
she’s seeing you even more than she’s seeing herself. “These arms can’t stand an ever loving man. And these
eyes can’t see a never changing me.” The opening lines of first single “I Thought” stop you dead in your tracks. A perfect example of what
Parrott does over the course of an
album that doesn’t even clock in past 25 minutes and doesn’t need to. Parrott takes care of all business
during the brief span of the eight songs on The Fire I Saw, in a way
many songwriters work an entire career towards and never reach. The album was originally going to be a more
standard-length release, but the pandemic changed up Parrott’s plans. “I had to give the album a makeover because I was
planning on having all my buds come over and finish it in the home studio. Most
of my friends in Austin are rootsy-type players, so it would have had that
feel. But I was stuck at home in a damp cul-de-sac, and I was scared of the
virus, and didn’t want anyone in my space,” she explains. Teaching herself Logic, and putting her Roland Juno
into overdrive, Parrott spent time
testing and tweaking her favorite synth patches until she had whittled the
album down to the “eight that I felt were okay.” Some may say, the eight are more than “okay.” American icon, Kinky
Friedman has been quoted as saying Parrott’s
tunes are “the best songs I’ve heard since Christ was a cowboy!,” which, it can
be argued, is a more interesting string of words than anything Kinky could have actually been talking
about, but we get the idea! Parrott has played prisons, a Black Panther reunion party,
children’s shows, on streets all over the world, and in every basement from
here to New York. She has opened for Jonathan
Richman, Pokey LaFarge, and Delbert McClinton. These aren’t mere
credits, they are experiences that you should rightfully expect inform Parrott’s songs. And not all of the experiences need to be so flashy.
Mundane works just fine, too. Parrott describes the album track “July” as being “written while taking out the garbage in Macon,
Georgia” and opener “Knockin’ Back Some
Cokes” as “a play on how Sam Cooke
is always singing about Coke and popcorn and cake and ice cream,” although she
goes on to rightly remark that her take contains “sinister lyrics about facing
down climate change and the apocalypse.” Similarly stark is the previously mentioned, “I Thought,” which, while taking Parrott’s stock of her ability to love
and be loved, was “written as a response to an abusive relationship at a time
in my life where I swore I’d cut out people with violence in their repertoire.” “A lot of the songs are about life, death, and faith,”
she says. “Like, having enough faith to wonder about your child’s future in ‘Georgica,’” she explains, referring to
another of the album’s upcoming singles, which was written for a hometown
friend that Parrott used to sing
with. “I am trying to be myself with the songs and
performances, instead of putting out a record with the right number of
happy-sounding songs on it,” she says. “You don’t have to use a dude’s guitar
part to spare his feelings! That will only dim the fire within you that you
saw, and you’ve got to feed it.” The Fire I Saw, the second solo album by Jenny
Parrott, is out now. Jenny Parrott is available for
interviews. Contact Josh Bloom
at Fanatic for more information. +++ Jenny
Parrott | Links ASSETS : WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : BANDCAMP : SPOTIFY : APPLE +++ Josh Bloom at Fanatic
Promotion | Contact WEBSITE
: FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL
RIYL: Galaxie 500, Yo La Tengo, The Feelies; “Like I
missed the last PATH train, so I had to sleep in the Hoboken terminal,” says mixer,
Joe McGrath. +++
The Nervous Hex (L-R): Ryan
Traster, Corey Zaloom, Dylan Schultz. Photo credit: The Nervous Hex +++
“The Nervous
Hex deliver guitar-driven euphoria… Rich in hypnotic layers of guitar,
splitting the difference between ‘80s college rock jangle and peak shoegaze.
It’s an aural feast for those who love the sound of indie rock guitars.” – Treble +++ The Nervous Hex S/T EP Out Now (Dead Stare) Streaming Link: STREAM FULL EP
[VIDEO]: https://www.youtube.com/watch?v=PBP8HGgooF8 [STREAM]: https://fanatic.lnk.to/TheNervousHex-PositiveFeedbackLoop +++ Check out the
premiere of “Positive Feedback Loop” by The Nervous Hex at Ghettoblaster
Magazine or the links above! “Thurston Moore
of Sonic Youth said that Today
by Galaxie 500 was ‘the guitar album
of 1988,’” says Ryan Traster of The Nervous Hex. “It made me want to
take a stab at making the second best guitar album of 1988.” Of “Positive
Feedback Loop,” the closing track on the band’s debut EP, out Nov. 5th, the band’s Dylan Shultz says, “Dead bored after
another in a long line of disappointing nights out, I stumbled across a strange
inverted chord that built into a hazy, driving progression which matched my
frustration. “The melody hit right, but the first lyrical swing was
more of the same bummer stuff I’d been writing, so I asked myself, ‘why
bother?’ The little thought experiment spun into me trying to encourage my
younger self to try again after a big bad ole breakup. Long story short, can’t
win if you don’t risk losing... again.” +++ PLAY, POST & SHARE The Nervous Hex | “Wash”
[VIDEO]: https://www.youtube.com/watch?v=A1OEd_8FENQ [STREAM]: https://Fanatic.lnk.to/TheNervousHex-Wash +++ “Revolution lies behind your eyes. /
Stop looking towards the sky.” “Sonically,I
was in a deep Shoegaze rabbit hole for this one,” says Ryan Traster of The Nervous
Hex about “Wash.” “It was during
a particularly rainy winter in Portland, and I was messing around with a lot of
textures and weirdo tunings and stuff. “Lyrically, I wanted to explore the idea of looking
inward to spark revolution, whether that be a personal revolution, cultural
revolution, or both. Side-stepping the notion that there is going to be a
savior that swoops in and really changes things.” +++ The Nervous
Hex | About
“Thurston Moore
of Sonic Youth said that Today
by Galaxie 500 was ‘the guitar album
of 1988,’” says Ryan Traster of The Nervous Hex. “It made me want to
take a stab at making the second best guitar album of 1988.” The Nervous
Hex will release the first rumblings
of this worthwhile endeavor on Nov. 5th
with its self-titled four-song debut EP via Dead Stare. Hear
the lead track “Wash” now. Based on both coasts – Traster (Guitar/Vocals) is in Southern California, Corey Zaloom (Bass, Vocals) and Dylan Schultz (Guitar, Vocals) are in
Brooklyn – The Nervous Hex brings
together three successful longtime DIY-ers. Traster has numerous solo albums album to his credit, in
addition to his stint with Midwestern Emo heroes Small Towns Burn A Little Slower (Triple Crown / Rise Records),
and Zaloom and Schultz have variously performed with artists such as A Bunch of Dead People, Swampboots, Riverwild, Galaxy Queens,
and Tourmaline. The members of The
Nervous Hex are also old friends and former bandmates, reconvening in a new
formation to find a new sound. Along with the pursuit of 1988’s guitar album
silver medal per the Thurston / Galaxie quote above, the songs on “The Nervous Hex EP” also give off
potent late 80s / early 90s, Hoboken / Yo
La Tengo / Feelies vibes. Or, as the band’s mix engineer Joe McGrath (Morrissey, Green Day, Velocity Girl) viscerally describes, “It feels like I missed the
last PATH train, so I had to sleep in the Hoboken terminal.” Despite the distance, “The Nervous Hex EP” is meant to “announce this band into
existence,” according to Traster, as
the trio is already working on new music and plans for touring in 2022. The self-titled debut EP by The Nervous Hex is scheduled for release on Nov. 5th, 2021 on Dead
Stare. +++ The Nervous Hex | Links INSTAGRAM : BANDCAMP : DEAD STARE +++ Josh Bloom at Fanatic
Promotion | Contact WEBSITE
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