In the early 1990's, downtown NYC was busy incubating a creative
ethic which fused urban realism with a sense of innocent discovery.
The era spawned a number of rock groups which continue to bear fruit,
both in fact and in influence (a line could well be drawn between
the likes of Jon Spencer, Ivy, Speedball Baby, D-Generation and
Madder Rose to the current wave of rock is back outfits).
Madder Rose, begun in 1991 by Mary Lorson and Billy Coté, drew
near-instant attention from audiences and industry for their natural
marriage of savvy songwriting with innocent delivery. In the
intervening years Lorson and Coté's principals have shown
themselves truly committed to full-spectrum expression through
music, leading us to their present release, Piano Creeps, a
collection of compositions stemming from their work creating
music for film.
"Billy and I really enjoy the freedom of the instrumental format,
since there is no requirement to 'get to the chorus' or
stick to the
pop writing songwriting roadmap" explains Lorson. "Piano Creeps
allowed us to exercise our arranging muscles, and try out as many
ideas and instruments as we could record." As Billy says, "Any
out of tuneness, out of timeness or accidents during recording
became intentional after the fact!"
Atmospheric, evocative and sparkling with beauty, Piano Creeps
will mesmerize you from the start. Featuring 12 mainly
instrumental compositions (Dig A Hole, See The Stars and
Americana #1 being the exceptions), the album intrinsically weaves
pianos, percussion, horns, weirdo guitars and analog synths to
create a dark dreaminess. Put simply, Piano Creeps is the perfect