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 soundtrack.