Scout Niblett
In the past year or so, Scout's house was the one on the block that you could often hear Rollins screaming out of the speakers at the top of his lungs "And at the end of the day, all you have is yourself and your mind!" Inside, you'd find her studying her birth chart. It revealed that the time was ripe for accessing emotional freedom through self reliance. Such a potent and liberating time...but before the liberation comes, there's the resistance: the forces of nature that hurl breakdowns and shatter attachment.
Indeed, stripped of partnerships both musical and personal, self reliance became survival technique for Scout. Revisiting Rollins' proclamations felt like checking in with an old friend, the friend who doesn't want anything from you, the friend who encourages you - fuck it, forces you to see your own strength. And thus, It's Up To Emma.
Over the course of 46 minutes and nine songs, It's Up To Emma simmers, storms and cascades through an alinear tale of domestic emotional crises, all of which are immaculately rendered in Scout's distinctive songwriting style. The dark news that the record brings is good news for Scout's fans, who look to her to get under the skin and, as if in a trance, live through these songs in an attempt to get everyone a bit of clarity.
In Scout's eyes, the slowly uncoiling spirit world dances with the more chaotic animal called man. Friction between partners generates gradual tension, a sudden fracture that explodes from a backdrop of darkly bruised ego blues. Meanwhile, stars slip icily in and out of constellation mode. It wouldn't work if Scout weren't such a powerful singer or if her insistent guitar lines didn't echo so, or her records weren't so carefully produced to stand the stark details of the performance out against a lush, deeply black backdrop.
From the get go, it seemed inevitable that wherever this record was made it was not going to follow the simple and usual process of old, where Scout and her drummer went in to play the songs live to tape in just a handful of days. With no sense of a partner in crime to back her up, it was time to rally the troops, with a total of three drummer friends taking turns to help stir the pot. The record started to evolve, but together with spit starts and unlucky luck, everything took a really long time and beyond the performances from a handful of talented players (Jose Medeles, Dan Wilson, Saunder Jurriaans, Danny Bensi and Emil Amos), there wasn't anyone around who could help Scout finish the record in the way that was needed. In the end, it was truly up to Emma to get the job done, at home, alone. From the point of view of listening to a record, it seems like a great decision. A lot of the emotion of trying and missing and then hitting it just right elevate the performances throughout It's Up To Emma to a dizzying intensity.
Few songs released this year will seem as terrifying as "Gun," for all the reasons that are obvious and all the reasons that continue to lie under the surface, like the snare that explodes when your conscience unloads. They've been writing "Frankie and Johnny" type songs for hundreds of years, but when it's put in such a contemporary context -man, it's really frightening. And that's just the beginning of the album.
It's Up To Emma looks at how to face the truth of being stripped of "the other." In anger or forgiveness? To resist or to accept? One way or another, the truth remains unchanged, but damn if we know the shortest path to find it. And damn if we know how to stay there. It's Up To Emma shows some of the distance there and back again.
-----
P.G. Six
Pat Gubler, a.k.a P.G. Six came on the scene in 1994, as a member of Memphis Luxure, a noise/rock band from Port Chester, NY. That band morphed into Tower Recordings, a musically omnivorous ensemble that released several albums on the Siltbreeze and Communion labels over the past decade. Pat’s first solo album, “Parlor Tricks and Porch Favorites” (Amish 014) saw the light of day in 2001, followed by “The Well of Memory” (Amish 019) in 2004. “Music From the Sherman Box Series” (AMI 024), a collection of instrumentals arrived in Fall 2006. His music fuses an unlikely range of influences including 60s British folk, country rock, & experimental music. P.G. Six has shared the stage with a variety of performers including: Ghost, Slint, Yo la tengo, Michael Hurley, & The Incredible String Band.
-----
Michael Beach
Michael Beach is a San Francisco-based musician who writes, records, and performs under his own name, and as a member of Melbourne-based trio Electric Jellyfish. 2013 has has also seen him take up guitar duties with Colossal Yes, and bass duties with Meercaz. Since 2008, he has put out records on the Thurston Moore/Byron Coley colab label Ecstatic Yod, Twin Lakes Records, Peru’s Tacu Tacu Records, and Spectacular Commodity.
Having just finished 12 months of touring including tours of Australia, Europe, and the US both solo and with Electric Jellyfish, Michael Beach has returned to San Francisco to await the release of his sophomore LP, Golden Theft. The album was recently recorded with drummer Utrillo Kushner (Comets On Fire, Colossal Yes) and engineer Phil Manley (Wooden Shjips, Barn Owl) over three days at Manley’s Lucky Cat Studios.
Electric Jellyfish also recorded their second LP in between shows on their last Australian tour. The band heads overseas in May for ten dates in Denmark, Germany, Poland, and Spain. The new LP is due out in November through 80/81 Records.
“Hooky and a little bit heavy, driving and catchy like crazy, and that tempo shift just kills us every time, so unexpected, but so cool…..Drifting from crunchy post punk, to woozy psychedelic drift, to countrified rust belt songsmithery, and several other stops in between… Gorgeous stuff for sure.” – Aquarius Records on Mountains + Valleys
show less
In the past year or so, Scout's house was the one on the block that you could often hear Rollins screaming out of the speakers at the top of his lungs "And at the end of the day, all you have is yourself and your mind!" Inside, you'd find her studying her birth chart. It revealed that the time was ripe for accessing emotional freedom through self reliance. Such a potent and liberating time...but before the liberation comes, there's the resistance: the forces of nature that hurl breakdowns and shatter attachment.
Indeed, stripped of partnerships both musical and personal, self reliance became survival technique for Scout. Revisiting Rollins' proclamations felt like checking in with an old friend, the friend who doesn't want anything from you, the friend who encourages you - fuck it, forces you to see your own strength. And thus, It's Up To Emma.
Over the course of 46 minutes and nine songs, It's Up To Emma simmers, storms and cascades through an alinear tale of domestic emotional crises, all of which are immaculately rendered in Scout's distinctive songwriting style. The dark news that the record brings is good news for Scout's fans, who look to her to get under the skin and, as if in a trance, live through these songs in an attempt to get everyone a bit of clarity.
In Scout's eyes, the slowly uncoiling spirit world dances with the more chaotic animal called man. Friction between partners generates gradual tension, a sudden fracture that explodes from a backdrop of darkly bruised ego blues. Meanwhile, stars slip icily in and out of constellation mode. It wouldn't work if Scout weren't such a powerful singer or if her insistent guitar lines didn't echo so, or her records weren't so carefully produced to stand the stark details of the performance out against a lush, deeply black backdrop.
From the get go, it seemed inevitable that wherever this record was made it was not going to follow the simple and usual process of old, where Scout and her drummer went in to play the songs live to tape in just a handful of days. With no sense of a partner in crime to back her up, it was time to rally the troops, with a total of three drummer friends taking turns to help stir the pot. The record started to evolve, but together with spit starts and unlucky luck, everything took a really long time and beyond the performances from a handful of talented players (Jose Medeles, Dan Wilson, Saunder Jurriaans, Danny Bensi and Emil Amos), there wasn't anyone around who could help Scout finish the record in the way that was needed. In the end, it was truly up to Emma to get the job done, at home, alone. From the point of view of listening to a record, it seems like a great decision. A lot of the emotion of trying and missing and then hitting it just right elevate the performances throughout It's Up To Emma to a dizzying intensity.
Few songs released this year will seem as terrifying as "Gun," for all the reasons that are obvious and all the reasons that continue to lie under the surface, like the snare that explodes when your conscience unloads. They've been writing "Frankie and Johnny" type songs for hundreds of years, but when it's put in such a contemporary context -man, it's really frightening. And that's just the beginning of the album.
It's Up To Emma looks at how to face the truth of being stripped of "the other." In anger or forgiveness? To resist or to accept? One way or another, the truth remains unchanged, but damn if we know the shortest path to find it. And damn if we know how to stay there. It's Up To Emma shows some of the distance there and back again.
-----
P.G. Six
Pat Gubler, a.k.a P.G. Six came on the scene in 1994, as a member of Memphis Luxure, a noise/rock band from Port Chester, NY. That band morphed into Tower Recordings, a musically omnivorous ensemble that released several albums on the Siltbreeze and Communion labels over the past decade. Pat’s first solo album, “Parlor Tricks and Porch Favorites” (Amish 014) saw the light of day in 2001, followed by “The Well of Memory” (Amish 019) in 2004. “Music From the Sherman Box Series” (AMI 024), a collection of instrumentals arrived in Fall 2006. His music fuses an unlikely range of influences including 60s British folk, country rock, & experimental music. P.G. Six has shared the stage with a variety of performers including: Ghost, Slint, Yo la tengo, Michael Hurley, & The Incredible String Band.
-----
Michael Beach
Michael Beach is a San Francisco-based musician who writes, records, and performs under his own name, and as a member of Melbourne-based trio Electric Jellyfish. 2013 has has also seen him take up guitar duties with Colossal Yes, and bass duties with Meercaz. Since 2008, he has put out records on the Thurston Moore/Byron Coley colab label Ecstatic Yod, Twin Lakes Records, Peru’s Tacu Tacu Records, and Spectacular Commodity.
Having just finished 12 months of touring including tours of Australia, Europe, and the US both solo and with Electric Jellyfish, Michael Beach has returned to San Francisco to await the release of his sophomore LP, Golden Theft. The album was recently recorded with drummer Utrillo Kushner (Comets On Fire, Colossal Yes) and engineer Phil Manley (Wooden Shjips, Barn Owl) over three days at Manley’s Lucky Cat Studios.
Electric Jellyfish also recorded their second LP in between shows on their last Australian tour. The band heads overseas in May for ten dates in Denmark, Germany, Poland, and Spain. The new LP is due out in November through 80/81 Records.
“Hooky and a little bit heavy, driving and catchy like crazy, and that tempo shift just kills us every time, so unexpected, but so cool…..Drifting from crunchy post punk, to woozy psychedelic drift, to countrified rust belt songsmithery, and several other stops in between… Gorgeous stuff for sure.” – Aquarius Records on Mountains + Valleys
Scout Niblett
In the past year or so, Scout's house was the one on the block that you could often hear Rollins screaming out of the speakers at the top of his lungs "And at the end of the day, all you have is yourself and your mind!" Inside, you'd find her studying her birth chart. It revealed that the time was ripe for accessing emotional freedom through self reliance. Such a potent and liberating time...but before the liberation comes, there's the resistance: the forces of nature that hurl breakdowns and shatter attachment.
Indeed, stripped of partnerships both musical and personal, self reliance became survival technique for Scout. Revisiting Rollins' proclamations felt like checking in with an old friend, the friend who doesn't want anything from you, the friend who encourages you - fuck it, forces you to see your own strength. And thus, It's Up To Emma.
Over the course of 46 minutes and nine songs, It's Up To Emma simmers, storms and cascades through an alinear tale of domestic emotional crises, all of which are immaculately rendered in Scout's distinctive songwriting style. The dark news that the record brings is good news for Scout's fans, who look to her to get under the skin and, as if in a trance, live through these songs in an attempt to get everyone a bit of clarity.
In Scout's eyes, the slowly uncoiling spirit world dances with the more chaotic animal called man. Friction between partners generates gradual tension, a sudden fracture that explodes from a backdrop of darkly bruised ego blues. Meanwhile, stars slip icily in and out of constellation mode. It wouldn't work if Scout weren't such a powerful singer or if her insistent guitar lines didn't echo so, or her records weren't so carefully produced to stand the stark details of the performance out against a lush, deeply black backdrop.
From the get go, it seemed inevitable that wherever this record was made it was not going to follow the simple and usual process of old, where Scout and her drummer went in to play the songs live to tape in just a handful of days. With no sense of a partner in crime to back her up, it was time to rally the troops, with a total of three drummer friends taking turns to help stir the pot. The record started to evolve, but together with spit starts and unlucky luck, everything took a really long time and beyond the performances from a handful of talented players (Jose Medeles, Dan Wilson, Saunder Jurriaans, Danny Bensi and Emil Amos), there wasn't anyone around who could help Scout finish the record in the way that was needed. In the end, it was truly up to Emma to get the job done, at home, alone. From the point of view of listening to a record, it seems like a great decision. A lot of the emotion of trying and missing and then hitting it just right elevate the performances throughout It's Up To Emma to a dizzying intensity.
Few songs released this year will seem as terrifying as "Gun," for all the reasons that are obvious and all the reasons that continue to lie under the surface, like the snare that explodes when your conscience unloads. They've been writing "Frankie and Johnny" type songs for hundreds of years, but when it's put in such a contemporary context -man, it's really frightening. And that's just the beginning of the album.
It's Up To Emma looks at how to face the truth of being stripped of "the other." In anger or forgiveness? To resist or to accept? One way or another, the truth remains unchanged, but damn if we know the shortest path to find it. And damn if we know how to stay there. It's Up To Emma shows some of the distance there and back again.
-----
P.G. Six
Pat Gubler, a.k.a P.G. Six came on the scene in 1994, as a member of Memphis Luxure, a noise/rock band from Port Chester, NY. That band morphed into Tower Recordings, a musically omnivorous ensemble that released several albums on the Siltbreeze and Communion labels over the past decade. Pat’s first solo album, “Parlor Tricks and Porch Favorites” (Amish 014) saw the light of day in 2001, followed by “The Well of Memory” (Amish 019) in 2004. “Music From the Sherman Box Series” (AMI 024), a collection of instrumentals arrived in Fall 2006. His music fuses an unlikely range of influences including 60s British folk, country rock, & experimental music. P.G. Six has shared the stage with a variety of performers including: Ghost, Slint, Yo la tengo, Michael Hurley, & The Incredible String Band.
-----
Michael Beach
Michael Beach is a San Francisco-based musician who writes, records, and performs under his own name, and as a member of Melbourne-based trio Electric Jellyfish. 2013 has has also seen him take up guitar duties with Colossal Yes, and bass duties with Meercaz. Since 2008, he has put out records on the Thurston Moore/Byron Coley colab label Ecstatic Yod, Twin Lakes Records, Peru’s Tacu Tacu Records, and Spectacular Commodity.
Having just finished 12 months of touring including tours of Australia, Europe, and the US both solo and with Electric Jellyfish, Michael Beach has returned to San Francisco to await the release of his sophomore LP, Golden Theft. The album was recently recorded with drummer Utrillo Kushner (Comets On Fire, Colossal Yes) and engineer Phil Manley (Wooden Shjips, Barn Owl) over three days at Manley’s Lucky Cat Studios.
Electric Jellyfish also recorded their second LP in between shows on their last Australian tour. The band heads overseas in May for ten dates in Denmark, Germany, Poland, and Spain. The new LP is due out in November through 80/81 Records.
“Hooky and a little bit heavy, driving and catchy like crazy, and that tempo shift just kills us every time, so unexpected, but so cool…..Drifting from crunchy post punk, to woozy psychedelic drift, to countrified rust belt songsmithery, and several other stops in between… Gorgeous stuff for sure.” – Aquarius Records on Mountains + Valleys
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In the past year or so, Scout's house was the one on the block that you could often hear Rollins screaming out of the speakers at the top of his lungs "And at the end of the day, all you have is yourself and your mind!" Inside, you'd find her studying her birth chart. It revealed that the time was ripe for accessing emotional freedom through self reliance. Such a potent and liberating time...but before the liberation comes, there's the resistance: the forces of nature that hurl breakdowns and shatter attachment.
Indeed, stripped of partnerships both musical and personal, self reliance became survival technique for Scout. Revisiting Rollins' proclamations felt like checking in with an old friend, the friend who doesn't want anything from you, the friend who encourages you - fuck it, forces you to see your own strength. And thus, It's Up To Emma.
Over the course of 46 minutes and nine songs, It's Up To Emma simmers, storms and cascades through an alinear tale of domestic emotional crises, all of which are immaculately rendered in Scout's distinctive songwriting style. The dark news that the record brings is good news for Scout's fans, who look to her to get under the skin and, as if in a trance, live through these songs in an attempt to get everyone a bit of clarity.
In Scout's eyes, the slowly uncoiling spirit world dances with the more chaotic animal called man. Friction between partners generates gradual tension, a sudden fracture that explodes from a backdrop of darkly bruised ego blues. Meanwhile, stars slip icily in and out of constellation mode. It wouldn't work if Scout weren't such a powerful singer or if her insistent guitar lines didn't echo so, or her records weren't so carefully produced to stand the stark details of the performance out against a lush, deeply black backdrop.
From the get go, it seemed inevitable that wherever this record was made it was not going to follow the simple and usual process of old, where Scout and her drummer went in to play the songs live to tape in just a handful of days. With no sense of a partner in crime to back her up, it was time to rally the troops, with a total of three drummer friends taking turns to help stir the pot. The record started to evolve, but together with spit starts and unlucky luck, everything took a really long time and beyond the performances from a handful of talented players (Jose Medeles, Dan Wilson, Saunder Jurriaans, Danny Bensi and Emil Amos), there wasn't anyone around who could help Scout finish the record in the way that was needed. In the end, it was truly up to Emma to get the job done, at home, alone. From the point of view of listening to a record, it seems like a great decision. A lot of the emotion of trying and missing and then hitting it just right elevate the performances throughout It's Up To Emma to a dizzying intensity.
Few songs released this year will seem as terrifying as "Gun," for all the reasons that are obvious and all the reasons that continue to lie under the surface, like the snare that explodes when your conscience unloads. They've been writing "Frankie and Johnny" type songs for hundreds of years, but when it's put in such a contemporary context -man, it's really frightening. And that's just the beginning of the album.
It's Up To Emma looks at how to face the truth of being stripped of "the other." In anger or forgiveness? To resist or to accept? One way or another, the truth remains unchanged, but damn if we know the shortest path to find it. And damn if we know how to stay there. It's Up To Emma shows some of the distance there and back again.
-----
P.G. Six
Pat Gubler, a.k.a P.G. Six came on the scene in 1994, as a member of Memphis Luxure, a noise/rock band from Port Chester, NY. That band morphed into Tower Recordings, a musically omnivorous ensemble that released several albums on the Siltbreeze and Communion labels over the past decade. Pat’s first solo album, “Parlor Tricks and Porch Favorites” (Amish 014) saw the light of day in 2001, followed by “The Well of Memory” (Amish 019) in 2004. “Music From the Sherman Box Series” (AMI 024), a collection of instrumentals arrived in Fall 2006. His music fuses an unlikely range of influences including 60s British folk, country rock, & experimental music. P.G. Six has shared the stage with a variety of performers including: Ghost, Slint, Yo la tengo, Michael Hurley, & The Incredible String Band.
-----
Michael Beach
Michael Beach is a San Francisco-based musician who writes, records, and performs under his own name, and as a member of Melbourne-based trio Electric Jellyfish. 2013 has has also seen him take up guitar duties with Colossal Yes, and bass duties with Meercaz. Since 2008, he has put out records on the Thurston Moore/Byron Coley colab label Ecstatic Yod, Twin Lakes Records, Peru’s Tacu Tacu Records, and Spectacular Commodity.
Having just finished 12 months of touring including tours of Australia, Europe, and the US both solo and with Electric Jellyfish, Michael Beach has returned to San Francisco to await the release of his sophomore LP, Golden Theft. The album was recently recorded with drummer Utrillo Kushner (Comets On Fire, Colossal Yes) and engineer Phil Manley (Wooden Shjips, Barn Owl) over three days at Manley’s Lucky Cat Studios.
Electric Jellyfish also recorded their second LP in between shows on their last Australian tour. The band heads overseas in May for ten dates in Denmark, Germany, Poland, and Spain. The new LP is due out in November through 80/81 Records.
“Hooky and a little bit heavy, driving and catchy like crazy, and that tempo shift just kills us every time, so unexpected, but so cool…..Drifting from crunchy post punk, to woozy psychedelic drift, to countrified rust belt songsmithery, and several other stops in between… Gorgeous stuff for sure.” – Aquarius Records on Mountains + Valleys
show less
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