Jesse Marchant, who records under his initials JBM, started writing music as a kid. What began with the composing of classical pieces for guitar in his youth morphed 5 years ago into the writing of songs and experimenting with recording and arrangements, and soon led Marchant to writing lyrics and singing. His debut album, Not Even In July, released on Partisan Records in 2010, was a quiet surprise; exquisitely crafted, timelessly warm and deeply human. It was recorded by Henry Hirsch in his 19th Century church studio in Hudson, NY, produced by Marchant, and was praised for it’s sparse, yet rich and complete sound and for the maturity and candor in Marchant’s performance and storytelling. Spreading by word of mouth and soon gaining the passionate support of NPR, Paste, Filter and more led to opening gigs and tours with artists such as A.A.Bondy, St. Vincent, Sondre Lerche and Nathaniel Rateliff.

While his debut was written partly of the despair of his time living in Los Angeles, followed by a long period of seclusion in the Adirondacks, his follow-up was the result of an even more intense withdrawal, written and recorded in a studio that Marchant set up in a rented house in upstate NY, where he played most of the instruments himself and handled all of the recording duties. Stray Ashes tested the limits of loneliness and self-discipline, and revealed itself to be a dark, dynamic and raw album. It flows with refined grace and intense force, with the elegance in restraint of Marchant’s haunting vocals and arrangements enveloping the listener in a sound that is at once eerie and comforting.

John Congleton mixed the album, beautifully complementing Marchant’s production.

JBM has since toured the US with Other Lives, Damien Jurado, as well as the mercury prize-wining Alt-j, and has received substantial praise for his mesmerizing live performances, alone or with his band.

Marchant is most noted for his atmospheric sound and highly accomplished guitar playing skills and multi-instrumentalism.

He was born in Montreal, Canada and resides in New York City.

Anders Parker

Anders Parker of Varnaline, Gob Iron and also of the collective band New Multitudes, currently #1 on Billboard's Heatseekers. Anders will be performing an array of his music from over the years.

ROLLING STONE REVIEW: Anders Parker, the singer-songwriter formerly known as Varnaline, has crafted a resolute set of songs that moves fluidly from rugged country-indie to scorched-earth rockers to frosted cabin-in-the-woods-style ballads. Tell It to the Dust is bursting with cameos, including Kendall Meade (Mascott) and Jay Farrar (Son Volt), both of whom especially lend credence to Parker's already elemental songs. "Keep Me Hanging On" is one of those songs that's so perfect, it seems more born than written; Parker's dry, slightly bruised vocals stirs up Meade's supple, simple alto until they match the same emotional pitch. "Doornail (Hats Off to Buster Keaton)" is a maelstrom of a song that leaves blisters in its wake. Tell It to the Dust is Parker's obvious bid for recognition -- and proof that he should get it. (MARGARET WAPPLER)

on New Multitudes JAY FARRAR, WILL JOHNSON, ANDERS PARKER AND YIM YAMES PAY HOMAGE TO WOODY GUTHRIE ON "NEW MULTITUDES" – Like a cadre of musical brothers finally coalescing after years on the road apart, Jay Farrar (Son Volt, Gob Iron, Uncle Tupelo), Will Johnson (Centro-matic, South San Gabriel), Anders Parker (Varnaline, Gob Iron) and Yim Yames (My Morning Jacket, Monsters of Folk) gratefully deliver New Multitudes, an intimate interpretation of American icon and musical legend Woody Guthrie's previously unrecorded lyrics.

Set to coincide with the centennial celebration of Woody Guthrie's birth year, New Multitudes is being released on Rounder Records as a 12 track release and a 23 track deluxe, limited edition. The limited edition features original Guthrie lyric sheets, the 12 track release, and 11 additional compositions recorded by Farrar and Parker.

Under the invitation of Nora Guthrie, Woody's daughter, to tour the Guthrie archives, each of the four songwriters were offered the chance to plumb and mine the plethora of notebooks, scratch pads, napkins, etc. for anything that might inspire them to lend their voices and give the words new life.

"These guys worked on an amazing group of lyrics" says Nora. "Much of it was culled from Woody's times in L.A. Lyric wise, it's a part of the story that is still mostly unknown. From Woody's experiences on LA's skid row to his later years in Topanga Canyon, they are uniquely intimate, and relate two distinctly emotional periods in his life."

The spirit of Guthrie may have been involved in more ways than one, as all four songwriters mentioned the immediate connection to the songs they chose, or as they would suggest, "chose them." The writing came together quickly, as if the mischief muse who originally penned them latched himself to each writer's grey matter upon first contact.

Musically, it is this sense of collaboration that makes New Multitudes not just another trite and traditional acoustic regurgitation of back porch blues. From the ragged jangle of its opening track, "Hoping Machine", the loping lilt of "Fly High", the floorboard stomp of "No Fear", to the lush warmth and sudden sonic gut punch of "My Revolutionary Mind" the cohorts deliver a lesson in discovering a song's sweet spot. It's the function and preparedness of each artist's dogged work ethic gleaned the old-fashion way; veracious songs, road weary odometers, and sweat stained live shows, all attributes of the man they are honoring.

Names of War

Names of War is the music of Andrew Carlson; a native of Youngstown, Ohio now living and working in Brooklyn, New York. Having served as a bass player and sideman for such Brooklyn acts as The Building, JBM, Leverage Models, and St. Vincent, Names of War finds Carlson out front toting a collection of songs long in incubation. These songs, which comprise the debut NoW album “The Guest Room”, surround and spiral out of Carlson’s father’s sudden death in 1998. To record and perform this material, he cast Names of War restricting the personnel to the instruments he and his father played: bass, guitar, saxophone and clarinet. The resulting music is romantic, even melodramatic, underscoring raw, earnest, and emotive vocals.



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