The Dustbowl Revival
The Dustbowl Revival is a Venice, California-based roots collective that merges old school bluegrass, gospel, jug-band, swamp blues and the hot swing of the 1930’s to form a spicy roots cocktail. Known for their inspired live sets, the Dustbowl Revival boldly brings together many styles of traditional American music. Imagine Old Crow Medicine Show meeting Louis Armstrong’s Hot Seven Band in New Orleans or Bob Dylan and Fats Waller jamming with Mumford & Sons on a front porch in 1938.
Growing steadily from a small string band playing up and down the west coast (hundreds shows in the last two years), DBR has blossomed into a traveling collective featuring instrumentation that often includes fiddle, mandolin, trombone, clarinet, trumpet, banjo, accordion, tuba, pedal steel, drums, guitars, a bass made from a canoe oar, harmonica and plenty of washboard and kazoo for good luck.
Described alternately as "Hee-Haw on mescaline" and "CBGB-meets-Grand Ole Opry," The Defibulators are first-and-foremost a live band, and their boundless energy and infectious sense of joy onstage have quickly earned them a devoted following in a city not known for its love of country music. Through four years of relentless touring since the release of their "Carter Family-meets-Ramones" (AMG) debut, 'Corn Money,' the band's sound has evolved and their songwriting matured, but it still took a supreme effort to walk away from the stage. "We get carried away with playing live and we want to just keep going," says singer Erin Bru. "We really had to force ourselves to stop and record."
The wait was well worth it. Recorded in Woodstock, NY, at The Isokon with D. James Goodwin and Eli Walker, and Sunset Park, Brooklyn, at Motherbrain with co-producer Brian Bender (Langhorne Slim, Jose James), 'Debt'll Get'em' is a 10-track, au courant, urban take on classic country. The record channels the frenetic energy of their legendary live shows into tight, punchy hooks and foot-stomping sing-alongs. From "Pay For That Money," a pedal steel and fiddle lament about debt, to "Ponytail Run," a dreamy ode to beauty just out of reach, the album is full of gorgeous harmonies and razor-sharp wit. "Everybody's Got a Banjo" is a biting, 70's swamp funk-inspired nod to the instrument's recent ubiquity ("If you don't know how to play it, well it still looks cool"), and "Cackalacky" is the tongue-in-cheek story of an Appalachian musician who moves to New York City to make it big in roots music. Strange as that idea might sound, it's not too far from the truth for The Defibulators.
The Wild Reeds
Beneath the hair and the torn tights lie the folk-rock melodies and jazzy overtones that is The Wild Reeds. Since December 2009, The Wild Reeds have shared a common purpose, to work hard and develop good, honest music that reflects the deepest caverns of their hearts. The three young women rotate around the stage exchanging roles and tossing around a variety of instruments such as guitar, harmonium, banjo, auto harp, and mandolin while wooing their audiences with their acclaimed three-part harmonies.To date, they have independently released two albums (Songs for the Morning, Afternoon, and Evening and Even When the Strong Winds Blow), toured the West coast, and played a myriad of places in the Los Angeles music scene.