James Everest, Mary Everest, Nathan Pederson, Ryan Lovan, Ben Durrant, Jessica Hayssen, Channy Moon Casselle, Elizabeth Bonacci & Bethany Lacktorin.
影響
Sergei Prokofiev, Sparklehorse, John Coltrane, FOG, Neil Young, Nyfe Ostergaard, Lou Rawls, Ice Cube, Burt Bacharach, The Pilgrim Jubilees, Matt Portwood, The Mad Professor, The Carpenters, Billie Holiday, ELO, The Beatles, The Pretenders, Fugazi, The Who, The Rolling Stones, Dinosaur Jr. Husker Du, The Suburbs, The Replacements, Soul Asylum, Arcwelder, The Hangups when they had John Crozier, A Few, REM, ZZ TOP, U2, The Police, AC/DC, Everything But The Girl, BB King, The Meters, Stevie Wonder, Public Enemy, DOSH, Pavement, Petlya Nesterova, John Coltrane, Happy Apple, Babes In Toyland, The Pixies, Eliot Smith, Miles Davis, Squarepusher, Orbital, Charles Maynes, Mr Rogers, Cookie Monster,The Velvet Underground, The Clash, David Bowie, Bruce Springsteen, Nile Rogers, Charles Mingus, The Waterboys, Aztec Camera, Can, Prefab Sprout, Wire Train, The Smiths, Atmosphere, Casino Royale, The Sensational Williams Brothers, Alice Coltrane, De La Soul, James Brown, Sly Stone, Prince, Albert King, Steve Cropper, Poor Line Condition, Tortoise, Stereolab, The Microphones, Low, Radiohead, Nas, DJ Stage One, Fat Kid Wednesdays, Detroit, Aphex Twin, U-ziq, Sonny Rollins, Martin Dosh, Roisin Murphy, Why?, etc
風格近似
"Hush Money is full of ambient, down-beat but often sweet guitar-pop la Elliott Smith, with the arty sonic flourishes that Lateduster fans would expect"
- Minneapolis StarTribune 8/6/04
"a painstakingly lush collection of songs layered with guitar and keyboard loops, sweeping synth and effects-pedal washes, and pretty, breathy faux-naive vocals. "
- Chicago Reader 7/30/04
"James started off the evening with an acoustic guitar strapped around his body, but oh, so much more was in store than just the strum of those six strings. You see, his band was beneath his feet. His pedals looped the percussion of his hand against the strings, the gentle picking of a melody, a bow scraped across the strings and then the strumming of chords. How many different sounds can you get from one hollow-bodied instrument? Add to that maelstrom the sharp ring of the glockenspiel, a trumpet’s wail and the screams and faux beat-box looped from James’s mouth. Then came the gritty vocals winding their way through the sound. His sister Mary added some piano and there were two violinists seated in front of the stage. This was like the lo-fi bedroom experimentation of a musician with a new eight-track recorder—adding layer after layer to a simple song. As the song went along and loops were added and deleted, it became impossible to tell what sound was coming from where. Where are those timid squeals of feedback coming from? Is that a violin, a piano or an electronic oboe? Do I hear tap dancing? Is this really happening? The sound was looping, building and swelling to its climax, then suddenly, with a couple taps of his feet, James Everest’s melodious cacophony came to a halt with barely an echo left hanging in the air." - HowWasTheShow.com Aug 2007.
based in minneapolis, singing songs over layered realtime loops. Other past and current projects include: Lateduster, The Sensational Joint Chiefs, Roma Di Luna, Sans Le Systeme, Neotropic, Vicious Vicious, Endless Winter, Mandrew, The Dijonettes, Gordonovich, Fresh Squeez, and The Captain Blasted Blues Band. Since 2004, music director for the Catalyst Dance Company, based in Minneapolis. Host and curator of the "Making Music" conversations series at The University Of MInnesota's WHOLE Music Club. Co-curator of the Capture! dance film series at Bryant Lake Bowl Theater.
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