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Momzer

Garage band: You know what this means. You know what this sounds like. Momzer doesn't sound like that. But they've been playing in each other's garages, and each other's parents' garages, and some garages they rented, and a couple basements of people they barely even knew, and some living rooms when spouses and upstairs neighbors were insanely understanding and no garages were available, for 20 years. So. Momzer is a garage band.

Indie band: You know what this means. You probably have your own idea of what indie bands sound like. Momzer doesn't sound like that. Or, sometimes they do, a little. It's been a running joke with the band's family and friends for all this time. Mark spent his non-Momzer formative time in a dance/party band, Rex is a Portland punk scene vet, Jonas (one of the guitar players) likes synth pop and Glen (the keyboard player) likes everything but most of all guitar bands. So all of them draw ideas from each other and sometimes even try to sound like some of the people they listen to and still wind up sounding like Momzer. Around 1990, they all decided they didn't want to be rock stars. Fifteen years later, they're still springing music on anyone who'll listen. 'Cause they love it a lot. So. Momzer is an indie band.

Momzer have been building tunes and taking them apart and surprising each other and catching unsuspecting listeners and even some people who don't know them off-guard for a long time, now. There are blues elements and folk elements and a wild range of pop elements running through their music. They sing about escaping and staying put, parenting and stealing, soured friendships and stupid politics and good books. They might surprise you, too.

Glen (the keyboard player) is an accomplished writer, if you would like to visit his website....

here's a link www.glenhirshberg.com

 

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DISOGRAPHY

SMA115: Various Artists - Payola 2 (Album) 2006

Track 1.Momzer - Butterfly pavillion

US: $13.95

NZ: $20.00

PT038: Various Artists - Bulletholes 2: Let me take you hostage (Compilation Album) 2005

Track 14.- Butterfly pavillion

US: $13.95

NZ: 20.00

PT031: Momzer - Goodnight Nobody (Album) 2005

1.Butterfly pavillion 2.Mum 3.Waiting for Ann Marie 4.Declaration day 5.Goodnight nobody 6.Henry M 7.I may not see your name again 8.Coyotes and snakes 9.Late 10.Bobbleheads

US: $13.95

NZ: $20.00

REVIEWS AND ARTICLES

DRILL MAGAZINE ISSUE 15 OCT 2005: Momzer: Goodnight Nobody A Modern American Classic! Who would have thought that Great Grandma's old upright piano could be dragged out of the attic to lead the arrangements on what I now call 'A Modern American Classic'. 'Goodnight Nobody' by Californian lads Momzer is just that. I've never heard piano so superbly recorded, especially in its full antiquity, every hammer, mallet, dampener, squeak and once intonated - now detuned harmonic are precisely captured. But piano is only part of this fine collection. This album revolves around Glen Hirshberg's intensely personal, poetic lyrical style, his iconic vocal sound (Gaelic-tinged American accent, not unlike Brian Molko but much more masculine) and glorious piano / organ tying together a rock band of dynamic brilliance. And this album definitely rocks. I'd easily put it up there with other American classics like The Rain Parade's "Emergency Third Rail Power Trip", The Replacements' "Let It Be" and REM's "Murmur". In fact, all tracks deserve recognition or a quick mention. The opening rhythmic guitar on 'Butterfly Pavilion' hooks you in immediately and it has this infectious but dainty piano riff in the chorus that's a killer, sort of Placebo-ish in pace and style without the electronics. 'Mum' is up next and Great Grandma's piano never rocked like this beneath intense, personal lyrics. It gradually builds to a jam of screaming guitar and menacing bass. 'Waiting for Ann Marie' wins me over instantly as it's signature is backwards guitar, giving an overall Stipe meets Rain Parade feel. The tone in 'Declaration Day' is changed subtly with a Wurlitzer (type) piano, sharp drumming, subtle interjecting bass and chorussy-80s sounding guitar picking (not unlike late Pretenders) that all pieces together perfectly with the emotive vocal. This song could easily cause tears to well due to the lyrical beauty and tender soundscape. By track 5, 'Goodnight Nobody', I was caught up in this musical novel that's just too good to put down. At the end of the day, you're exhausted so what else do you do but start saying goodnight to inanimate objects, to the things you are meant to do and to the stresses of parenting. Almost child-like, almost nursery rhymes, charming and witty. Lyrically, it seems to challenge hope, hopelessness & disappointment. Poetry is never this good. Doh, I nearly forgot to mention the music of tender jazz inspired drumming, subtle organ & bass and a touch of the ivories. I loved 'Henry M' when I first heard it on the Drill sampler a few months back. A great, dark pop song featuring a poignant description of terminating blindness (unless I've perceived it incorrectly). The chorus sticks in your mind ... traits of a great song. 'I May Not See Your Name Again' didn't entice me quite as much but it's still brilliant. 'Coyotes & Snakes' features clever use of stabbing tremolo on the guitar amp and more lyrical magic in its description of the south-west deserts. Track 9 - 'Late' is slightly more funky with an apt, Tina Waymouth style bass line, kicking in and out. It swiftly rocks to an up-tempo, almost punkish anthemic ending. A clever, effortless cross-over of styles. 'Bobbleheads' - Wow! Someone's been staying up all night writing songs. Once again, great use of Great Grandma's piano leads this masterpiece. Every idiosyncrasy of the upright is brilliantly captured. Complete with chirping crickets, poetic descriptions of outdoor observations and memories in the still of the night are woven together in a haunting, chilling and emotive quilt. Are the Bobbleheads some sort of childhood demon? As an album, Goodnight Nobody does more for piano rock that Gerry Lee Lewis, Bruce Hornsby or Ben Folds ever did. The liner notes mention that it was recorded & mixed in various home studios in San Francisco, LA and San Jose. If this is true, an album this good could cause the death of commercial studios as we know it. It's all wrapped up with very professional looking artwork, a great hidden track (11) and if I was to give this a rating out of 5 stars, the NZ flag wouldn't have enough of them. Rohan Belton Smashed Records Gold Coast, Queensland, Australia www.smashedrecords.com
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