Ezza Rose

Since 2009, Ezza Rose has been cultivating a sound of her own. Drawing on several influences from the likes of Etta James, Stevie Nicks, and her residency in Portland, Ezza writes and performs music which reflects the listeners’ lives back at them while hinting at a new perspective. The fluidity of love, the ebb and flow of relationships, and getting caught in the machine of expectations and technology, all are deconstructed with flowy rhythm, aggressive electric guitars, and dreamy vocal melodies.

Ruler’s music—hook-heavy, assertive, inspiring—is made for motion. It’s a soundtrack for moving forward, for getting better, in terms of both healing and self-improvement. Built on main man Matt Batey’s lifelong fears, anxieties, addictions and failures, not to mention his preternatural gift for creating instantly classic indie rock, Ruler’s songs follow that old adage by Robert Frost: The best way out is through. And in this case the best way through is with the volume cranked all the way up.

No platitudes or love songs here—only raw interior monologue and deep character analysis. For most us, this stuff is hard to confront and even harder to articulate. Batey’s lyrics are pointedly specific—so much so that they’re immediately relatable. And they’re set to soaring tunes that are beautifully, earnestly upbeat. Amid his brilliance and artistry, Batey exposes himself as one of us. That’s his purpose and his gift, spelled out in Ruler’s bold, beautiful songs: Life hurts, but it's great, and that’s it.

Bodies On The Beach began as an exercise in musical isolation and exploration for Navid Eliot, and quickly became a project built around spontaneity and collaboration. With the addition of two Seattle music scene stalwarts (Evan Gackstatter and Andrew Ginn), the home recordings of Eliot began to shift: from art project to art-centric rock n roll.

As in his work in the nationally-celebrated Planes On Paper, Eliot’s fingerpicking remains the simple, skeletal foundation of Bodies On The Beach, though now amidst swirls of tape delay and reverb. Author Ari Rosenschein described the colliding of styles by saying, “like other self-aware tunesmiths, Eliot knows that good tremolo guitar and song chops go a long way.”

Gackstatter and Ginn each contribute elements of their previous musical experience into Bodies On The Beach’s sound, with bass lines adding the weight and depth of Gackstatter’s post-grunge project, Dweller On The Hill, and drums that reference, in equal parts, the lilt and simplicity of The Beach Boys and Nilsson, a style familiar to fans of his retro-pop Colorworks project.

Bodies On The Beach released their first single and B side, “Coaster,” on March 5th, playing local release shows (for a band whose members live in two cities) in Portland and Seattle. They’ll be featured at this year’s Treefort Music Festival, and several other first rate Northwest Festivals this summer, dates TBA.

$10.00 - $12.00

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