Artist description From distant places come distant travelers. The search for cock marlin continues with the expeditions of contradictory rhythms and multi-lingual manifestations, fantastic journeys? Perhaps? The mystique of cock marlin is deemed by some as a legend, yet the American Watercolor Movement have displayed themselves as a guild of musical soldiers; disturbingly beautiful, melodically logical. Attempting to unveil the secrets that lie in the supposed lost recordings located in the depths of the lush Carpathian Alps. The songs creep through wells of decibel cacophonies within the hair-raising elements of Native American chant, international language (beats ITC) a molded element arises that is maniacally fruitful. Perhaps?

Music Style Post Rock Euro Trash

Similar Artists David Bowie, Silver Apples, Neu!, Joy Division, the Fall, Can, the Police, Gil Scott Heron, Talking Heads, the Sea and Cake

Artist History The American Watercolor Movement started in the fall of 1998, thought up with the assistance of various train rides home, to mingle around the four-track in the basement of their flat at 302 Sip Avenue. Jason Cieradkowski and John Fesken, inspired by their families war-torn pasts, upon the stoop, the stories, the emotions, earning respect in the barrio, set out to record what is now called, “Flapjacks, Sunrise and Verne”, which was eventually released on the Perhaps Transparent label. The intentions of the American Watercolor Movement and the international elite exhibit their drive to dance and compel. Incorporating the use of multi-lingual lyrics, extracted from written poems, (sometimes spoken, sometimes sung), layered over radiant multi-instrumental forums of sound, made cohesive by the rhythm of steady drum patterns and melodious bass lines (beats ITC). For a year and half they received accolades from friends and associates involved in the various artistic communities that abounded. And then the question arose, when and how would they perform live. After experimenting with a few different line-ups and sparse live performances, they solidified a gallant ensemble: composed of Marcos Garcia, Kimberly Shannon, Mark Townsend and Brian Wilson. Each member in their own right an artist, visually, orally, aurally, (touching). 2003, the band is reformed, recording all new material, discarding the four-track aesthetic, perhaps to capture the band in a more clarifying, dynamic sense. Will the four-track be gone forever? One may never know, but remembrances intertwined into their live show, the community’s mouths agape, and dance they will, and they will dance.

Group Members Jason Cieradkowski, John Fesken, Marcos Garcia, Carla Parisi, Kim Shannon, Mark Townsend, Brian Wilson.

Instruments Drums, Bass, Guitar, Keyboards, Vocals, Percussion

Albums And The Maps Came Down (2003), Sunrise, Flapjacks and Verne (1998)

Press Reviews Copper Press Review American Water Color Movement Flapjacks, Sunrise and Verne A diverse album with one unifying element, that of a twisted, slobbery thread of damaged genius that flosses every song, no matter how serious, how silly, how awful or how pretty they are. This CD-R (Perhaps Transparent is a CD-R label) opens with the lucid raveup of "Cupid's Without Pants," which features wicker-stick shuffle drumming, noodling melodies, castoff vocals that recalls Mayo Thompson at his least annoying. The poignant "Silver Gultch 1886" follows, and slows the rambling momentum begun on the first song to a drunken crawl as the brittle guitars are plucked for all their fragile beauty as the singer enunciates his regret to the snap of saltine cracker snare. The desperate insistence of "Dresden" reinstates the pace of the first song with a steady drum clip, over which horns, guitar and voice fade in and fade out. "Automobiles and Broken Legs," with its hyper, tinny strums, off-kilter singing and clamorous cymbal splashing and "Wipeout" drum break, is a fairly basic but rewarding musical stab, if only for the moment it lasts. "Contraband Cowboys (Tough Love)" is an obnoxious combination of the two prior songs, but I like it. "Marie," is a hilarious tribute to Spinal Tap. "Kiss my glove. Put it in your mouth. Smell the glove. The love is all around." The breathless singer and the nasty guitar solo take the song to its most ridiculous end. The American Water Color Movement throw the humor into high-brow gear with "Marie," which is probably the sleeper song of the year. Over spare percussion and chiming harmonics, a man affecting the accent of a serious German artiste (think Sprockets) tells a story of traveling the Black Hills of Montana to hit a hip party at a hot pub. Along the way, he meets a woman who takes him on, long before he is ready. As the song intensifies, we learn of his plans gone awry, and in the end, we're left to know all this dead sexy lover wants is to be loved, to be held, to be touched. I thought about quoting some of the lyrics, but I would end up reprinting them all, for the story depends on each line building upon the previous. While the album continues for another seven tracks, I'm going to stop here, because if these tunes don't sound like they interest you, then you wouldn't have the patience to listen through the back-half of the CD to find the Gems buried within, anyway. I normally never, ever do this, but since it might clinch the deal for someone: This record is recommended for fans of early-Pavement, listenable Red-Krayola, Meringue, Home, Wingtip Sloat, Angels of Epistemology, et al. OK. That probably narrows it down to six people. If any of you six are reading this, you know what to do. Steve Brydges--Copper Press

Location Jersey City, New Jersey - USA

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