Michael Daross happily admits to being the worst musician in his band. That’s because the group of friends he assembled to record Head For Daylight also happens to include some of the finest musicians in Austin. The new EP wasn’t the fulfillment of a specific vision, as had been the case for Daross’s earlier releases; instead, it was about gathering the right players and letting them interpret the songs in their own way. The result was a sound that surprised even its creators -- warm, catchy,...
Michael Daross happily admits to being the worst musician in his band. That’s because the group of friends he assembled to record Head For Daylight also happens to include some of the finest musicians in Austin. The new EP wasn’t the fulfillment of a specific vision, as had been the case for Daross’s earlier releases; instead, it was about gathering the right players and letting them interpret the songs in their own way. The result was a sound that surprised even its creators -- warm, catchy, and accessible, but difficult to categorize. Head For Daylight combines elements of indie rock, pop, folk, jazz, alt. country, and vintage soul in a blend that supports the album’s unorthodox songwriting.
Although Head For Daylight is not a jazz record, most of the musicians involved have jazz backgrounds as well as rock and pop credentials. Pianist and pedal-steel player Ian Varley (Black Joe Lewis and the Honeybears, Drop Trio), drummer Charlie Fountain(Van Wilks, The Harmony Theory), bassist Kyle Clayton (Akina Adderley, Joanna Barbera, About:Blank), lead guitarist Chuck Couch (Time Out), and vocalist Karla Manzur (Alejandro Escovedo, Deep Edward) all boast jazz experience, as do horn players Thomas van der Brook, Paul Luedke, and Kevin Gibbs. The mixing expertise of veteran rock engineer Lars Goransson (Fastball, Bob Schneider, Alpha Rev, Cotton Mather, What Made Milwaukee Famous) added a layer of radio-friendly polish.
More info, including lyrics, at http://www.michaeldaross.com.
show more...
