Poor
Luther's Bones Reviews
Morning Call (Allentown)-
Next To Nowhere..."While Frog Holler might be considered
alt-country, fellow Berks band Poor Luther's Bones is much more difficult
to describe. One thing is certain: the group's sound is unlike anyone
else's in the area. PLB's latest disc, ''Next to Nowhere'' (Heavy
G Records), is an off-kilter psychedelic blend of heavy guitars clashing
with dissonant keyboards and lyrics that create vague feelings of
unease, whether it's on songs relating to insects (''Don't Get Your
Bugs on Me,'' ''Feasting of the Drones'') or tunes enveloped in a
beautiful acid haze (''Here Next to Nowhere''). ''What It's All About''
changes the pace with a catchy pop vibe reminiscent of the Pixies,
and a sense of optimism peeks through on ''Only Possibilities Exist,''
with Dan McGonagle's crashing drums and echoing fuzz guitar by singer-songwriter
Garth Forsyth and Justin Vallone. The disc ends with an uncharacteristically
tender ballad, ''Growing on Me,'' which uses piano and strings. With
''Next to Nowhere,'' Poor Luther's Bones has fashioned a work that
summons a rare feeling of the natural world's subtle effect on the
mind in a way only the best psychedelic music can."
.
Impact- Next To Nowhere..." The opening
track "Beyond The Bizarre" serves as a disclaimer for fans of their
previous album, because on Next To Nowhere, their sound returns to
the psychedelic sounds of the past. Bypassing much of the folk-pop
on the last album, a bigger rock sound is provided that veers into
elaborate directions and over-the-top sounds. Powered by dual guitars,
keyboards and the complete production of vocalist Garth Forsyth, the
music here is entertaining with a trippy edge to it, spinning towards
a pop-oriented daydream of ideas. Tracks like "Don't Get Your Bugs
On Me," "All Skegged Out" and "Feasting of the Drones" are just a
few that stand out." (JC)
Fufkin- Next To Nowhere..."The
latest release from this Pennsylvania band finds them moving from
the rustic sounds of the superb Inside the Outsider to dark and forceful
blues-based rock. This isn't a major departure, as the blues loom
large in Poor Luther's Bones' work, whether it touches on Americana
or psychedelia. This record is at turns blistering in its anger, and
at other points, kind of spooky. Two obvious reference points are
Tom Waits and Captain Beefheart, though generally PLB doesn't get
quite that weird. Yet there's an edge here that is similar to those
artistsl. Yet neither of those artists rock as hard as Poor Luther's
Bones do. This band doesn't quite pound as hard as Led Zeppelin or
pour the molten lava like Queens Of The Stone Age, but they come close
at times.
A large share of the credit for the large sound must be doled out
to the rhythm section. Leo Scott is rock solid on bass, and drummer
Dan McGonagle gets some chances to really pound, and he always gets
the music going, cut after cut. Meanwhile band leader Guy Forsyth
and Justin Vallone star on guitar. Forsyth's rhythm parts are frequently
thick and sludgy, in a good way. And Vallone's leads sting and burn
– throughout the record, the solos are brief, and often the leads
accent, and they always hit their target.
One thing about the hardest rocking songs here is that they have titles
that are appropo for hard rocking songs. "Down So Long", "All Skegged
Out", "Whiplash" – you can judge these songs by their titles. Forsyth
and company wallow in the murk on "Down So Long". Forsyth sounds tortured
vocally as the band bashes away, first with a simple riff, moving
into flailing axes in the chorus. This song seems to be coming from
a sinner who doesn't want salvation: "I've got a little sex kitten/oh...she
butters me up/she cry when I'm missin'/she just can't get enough/she
ain't so pretty to look/she talk kind of ignorant" and then it gets
kind of unintelligible, as Forsyth gets so frenzied. Compressing his
strangulated voice adds to the evil feel of this song.
"Whiplash" has a similar structure, the band starting with repetitive,
swirling riffing. Eventually, the song gets to pounding mode. This
is the perfect companion to "Down So Long". Meanwhile, "All Skegged
Out" resurrects a wooly mammoth of a guitar part that may date back
to Year 1, B.B.C. (Before Blue Cheer). Again, Forsyth (who produces
and writes all the songs) distorts his voice. Here, he sings in a
guttural style, a la the aforementioned Waits and Beefheart. The band
locks in on the primal part, especially McGonagle. The verse/chorus
riff is contrasted by a melodic lead guitar part that is the bridge
out of the chorus, and it provides some respite, though it scarcely
changes the angry tone of the song.
Even when the album isn't set for stun or kill, it's effectively sinister.
On "Devil's Broth", Forsyth sounds like a crazed T-Bone Burnett, who
has given up on that born again stuff. The song could probably be
played acoustically as a folk song. It's a cautionary tale about winding
up in Old Scratch's cauldron: "one squeeze and you'll cough/in the
devil's broth." An organ augments the lumbering "Don't Get Your Bugs
On Me", and Forsyth's phrasing reminds me a little bit of Roger Waters,
though there's not much else that would remind anyone of Pink Floyd
on this track. I will say that Guy sounds like a man who really doesn't
want someone else's bugs on him. "Get Loose" initially sounds like
it might have fit on the last Poor Luther's Bones album, with engineer
Dan McKinney adding a jaunty barroom piano. Yet the song is permeated
with the same hellish tone that pervades this LP – Forsyth seems to
have embraced sin as the way to go. It's fun with a heavy price tag
attached.
No Poor Luther's Bones album (based on my limited experience) would
be complete without at least one foray into psychedelia, and "Only
Possibilities Exist" has a big guitar part that definitely has a paisley
pedigree. And even on the heavy songs, there are melodies, and they
carry songs like "Here Next to Nowhere" and (especially) on "Patch
it Up".
This is now my third journey into the world of Poor Luther's Bones,
and the more I listen to them, the bigger fan I become. I'm struck
by how the band works from a traditional foundation, and finds ways
to sound very different each record. Moreover, each album has a distinct
mood and tone to it. This is a dark album, yet it's not depressing.
It's just a great collection of rock, played with absolute commitment."
Mike Bennet
Copacetic- Next To Nowhere..."Depending on your
predilections, the idea of "psychedelic rock from the backwoods of
Pennsylvania" might stroke you one of a few different ways; the grizzled
stoner record shop owners among you might find yourselves salivating,
while someone like me might want to flee. And while this disc wasn't
completely my bag of tea, as it were, I found it surprisingly listenable,
and there was something to like in almost every track. This is about
the dozenth album from Poor Luther's Bones mastermind Garth Forsyth,
released on his own Heavy G Records (which sounds like it should be
an old-school gangsta rap label). Forsyth and his band keep things
tolerable by showing restraint and keeping the songs relatively short
and mostly pretty melodic, with a welcome lack of the self-indulgent
noodling, Renaissance-Faire instrumentation, or other jam-bandery
you might expect. His leaping-off point is more Sgt. Pepper-through-White
Album-era Beatles than Pink Floyd or Grateful Dead, though the songs
go off in some different directions as well, with mixed results: "Down
So Long" sounds like the White Stripes meet Sonic Youth, which is
kind of interesting, while "Get Loose!" sounds like Wilco redoing
Dylan's "Everybody Must Get Stoned", one of the most annoying songs
in rock history, so that's no good. It's not hard to imagine the band
teaming up with Flaming Lips/Mercury Rev producer Dave Fridmann for
a future album; I'm not sure if the band has the desire to move past
recording and releasing their own records, but I think they're at
a level where they're ready to rise above their current level of obscurity."
Exoduster- Next To Nowhere..."Having formed over
a decade ago during the zenith of the real true alternative spirit
before the commercialized WHFS’s of the world took over and guided
forth the grunge movement and the alternative crap rock arena filler,
Poor Luther’s Bones have heard a slew of praise throughout their storied
history. Art rock from Pennsylvania would be the last thing you would
have expected to be a part of that history but indeed it still rings
true to this day. Artsy fartsy as it is, there’s plenty of early Elton
John pop hidden under the murky crevices of delightful intelligent
psychedelic meanderings."
Smother- Next To Nowhere..."After a million releases
between Poor Luther’s Bones and bandleader Garth Forsyth’s solo material,
PLB continues to be one of the better local struggling bands that
you’ve never heard of. Well, it is not exactly a million, try twelve,
but still with such a vast number of records you’d think PLB would
be on the lips of more individuals. Formed in rural Pennsylvania in
1992, the moving parts of PLB focus on arty indie rock that merge
sounds and can only be characterized as tunnel eclectic. That is,
PLB aren’t all over the musical map on the thirteen tracks, just all
over with rock. And in some respects, PLB share common traits with
David Thomas from Pere Ubu (particularly, on “Devil’s Broth”). Besides
from Forsyth, PLB’s current line up includes Leo Scott on bass, Dan
McGonagle on drums and Justin Vallone on guitar. Coming off the first
track “Beyond the Bizarre,” you are thinking PLB may be one of your
new favorite bands. The hook on “Beyond the Bizarre” is downstroking
guitars and a catchy chorus that sucks you to indie rock honey. Yet,
by the third number “All Skegged Out,” you realize that Next to Nowhere
is a bit or miss and you have to search out the gems. In doing so,
you are met with the super hot riff on “What It’s All About,” “Feasting
of the Drones,” “Growing on Me” and “Patch It Up.” Other numbers can
strike you as quite pedestrian. The experience and number of solid
elements on Next to Nowhere suggests Poor Luther’s Bones can knock
out an exceptional record if they focused their energies precisely.
Otherwise, they may just continue to be dabbling along."
Splendid
Ezine- Inside the Outsider..."Ostensibly an autobiographical
concept album regarding a certain quirky, obscure indie band's place
in the music industry, Inside The Outsider is a turning point for
this long-running outfit from rural Pennsylvania. Where past efforts
threatened to float by in a scattered, druggy, let's-try-anything
stupor, this one seems more focused and direct. Leader Garth Forsyth
hasn't entirely abandoned his love of swirling, layered psychedelic
pop gone alt-country, but maybe adhering to a theme (however leniently)
accounts for this great leap forward in clarity.
With only two out of twelve tracks passing the three-minute mark,
these are pop songs, but not necessarily plain and simple ones. "Do
It For Fun" graciously swerves but never spirals out of control: its
horns and mellifluous ba-ba-bas register like Sly and The Family Stone
covering Burt Bacharach or Jimmy Webb. "Hang Jaw" juxtaposes a Jerry
Lee Lewis-style banging piano with a fun, fun, fun Beach Boys surfin'
beat; it turns out a little like Split Enz, with Forsyth stretching
out the title across four measures while mockingly blurring the rest
of the lyrics together to the song's frenzied rhythms. "She Ain't
You" and "Next Stop" are jaunty, gentle toe-tappers akin to late '60s
Kinks or early '70s Elton, with lots of pianos, but also more than
a few mewling guitars.
For all this accessibility, Poor Luther's Bones hasn't lost any cynicism
or wit -- it ain't hard figuring out which side of the whole art vs.
commerce argument they fight most fiercely for. The title "Jagged-Cut
Melody" should tip you off: what begins with adult-contemporary calm
is soon interrupted by rude guitars, and the song pushes and pulls
between the two near-extremes without ever obscuring the hook. "Holy
of the Holiest" is a most explicit country-western saloon sing-along,
yet lyrics like "All the queens and the closet junkies get high /
You can't escape the range of their vigilant eyes" place it firmly
in Mekons territory. "(That's What Keeps You) Goin' On" drops all
the niceties and rages head-on into snarly psych-pop grandeur, teeming
with aggressive quips, acidic, filtered vocals, and what sounds like
kazoos (!) in the chorus.
Perhaps that argument isn't so clear-cut. While no sellout by any
means, Inside The Outsider has a much better chance of attracting
a wider audience than the band's less user-friendly releases. I don't
believe that Forsyth doesn't care about increasing his sales, or that
he wants to remain obscure; otherwise he wouldn't have included a
song as straight, serious, and reflective as the graceful, reverent
"Black Nanny". But when he groans, "So help me God / it's the firing
squad", you know it's with a tricky mixture of dread and sardonic
amusement." Chris Kriofske
Pop
Matters- Inside the Outsider..."A certain super-huge
music glossary site lists Poor Luther's Bones as rap, perhaps mistaking
their label Heavy G with the immortal Heavy D. No matter, Poor Luther's
Bones are so far out of the mainstream's ears, I can't imagine too
many complaints from rap fans ending up with the Bones' psychedelic
folk/pop/country/rock pastiche. But that's also a shame, because then
at least someone would hear this record, and people should. This Berks
County PA outfit surprised me as without a doubt the best album I've
ever reviewed for short-takes (which isn't a lot, but still…). Garth
Forsythe reminds me a lot of Jack Logan for his ability to handle
multiple genres with easy grace. Songs like "Jagged-Cut Melody" and
"Do It For Fun recall the Beatles, Velvets, Big Star, all the biggies,
but not the grit-your-teeth forced way many bands of higher stature
do. I'm more than pleasantly surprised. I think I'm a new fan."
— Michael Metivier
Fufkin.com-Inside
the Outsider..."Last year, I was finally introduced to the
world of Garth Forsyth. He's the frontman for this veteran band, and
he has waxed over a dozen albums, either with the Bones, or solo.
Whereas last year's That The World May Sing Far Away Music, Honky
was like a ride through a spooky funhouse, mixing blues based rock
with psychedelia and occasionally veering into harrowing Tom Waits-type
territory, this album plays much differently. But for a couple of
songs, it barely resembles the same band.
Well, a couple of songs and the fact that, like its predecessor, this
album is pretty diverse within the parameters that the band has set
for itself. But I can't easily describe those parameters -- all I
know is that Forsyth is a terrific songwriter with a great band. I
will say that the one common element that binds the two albums is
Forsyth's demonstrated fluency in blues based music. He also shows
equal acumen with folk and country, which touches some songs.
I suppose in spots, this might be compared to bands like Sparklehorse
and Grandaddy. Right now, I'm listening to "Jagged Cut-Melody", which
lives up to the title -- the melody is sort of Kinksy and Forsyth
warbles it into a triple thick guitar riff in the chorus. The use
of dynamics is obvious, but it works. And Toby Martin's drumming is
rock solid, giving this song an insistent pulse. Scoring even higher
in Kinksiness is "Isobel", which sounds like it somehow straddles
the sound of Village Green Preservation Society and Muswell Hillbillies,
with an appropriately fey tenor vocal and some pounding piano.
Forsyth also shows a flair for rustic music that is at times haunting.
"Black Nanny" floats in on Rachel Lamdin's quiet violin part, which
is then joined by Forsyth's acoustic guitar strum and his expressive
vocals. This song is a look back at an independent woman and exudes
a feel of doom for a tragic heroine. I actually hear traces of the
Rolling Stones's "Wild Horses" in the melody of this song, but it
certainly stands on its own. This song truly resonates.
Ms. Lamdin is also a welcome presence on "Love Is Danger", a delicate
and lovely piece where Forsyth sings at the top of his range. This
makes his voice as fragile as the music itself. The closer "Losing
a Blue" is even lovelier. This dreamy track makes good use of horns,
courtesy of P.J. MacIntosh. The intimacy and feeling on this track
are readily apparent, as Forsyth pines for a lover -- or maybe a woman
he wishes were his lover. This song is as good a sonic replication
of heartache as I've heard in a while. While Forsyth excels on the
personal numbers, he's just as good on his backwoods smackdown of
the self-righteous, "Holy of the Holiest". He also can rock out. "Hang
Jaw" is a runaway train of a song, with the guitars and piano hurtling
down the tracks, reminding me of an Americanized Mott The Hoople or
Faces. The band also rocks on "(That's What Keeps You) Goin' On",
a psychedelic buzzer that is the only song that could have appeared
on the last Poor Luther's Bones album. The guitars are laden with
effects, Forsyth's voice sounds appropriately anguished as he sings
"so help me, God/it's the firing squad" and the backing vocals shouldn't
work, but they contrast the bitter anger of the lead vocal very well.
There's even a song that will grab Wilco fans, as "She Ain't You"
is in the same vein as the bouncier material on Summerteeth.
I could go on and on. I just hope I'm conveying a sense of how accomplished
a work this is. This is a great record from a great band who deserve
tons more recognition." Mike Bennett
Impact
Press- Inside the Outsider..."Superficially, the majority
of the songs within Insider The Outsider are fairly traditional folk
influenced pop, but there's something else here. One can recognize
a kindred spirit to Olivia Tremor Control in some of the more psychedelic
moments, often there is a strong British Invasion influence, but the
most common element is a refreshing openness of thought. The willingness
to stretch genres and lay out an honest emotion sets this group apart."
(SJM)
Aural
Innovations- Inside the Outsider..."These folks play
simple mellow '60s country-folk/indie-rock that sounds kinda lazy
at first, but its melodies are the kind that don't seem to catch on
till after a few listens, I guess because main guy Garth Forsythe's
vocals and others' performances are just "low-key" and often fairly
derivative. Still, this latest listen has been pretty enjoyable. "Do
It For Fun" has mellow horns, piano and a real nice vocal from
Garth and bah-bah-baaahhh backing vox. Hmmm... that's basically what
I wanna say about a lot of these tunes. "Vertigo Landslide" is some
nice British-sounding mellow psyche with violin and organs, not really
psyche in the "trippy" sense, just the '60s. "Hang Jaw" is cool, but
a little too catchy and way too happy, upbeat old-timey piano-stompin'
rock 'n' roll. But then "Black Nanny" is a very somber ballad with
slow weepy country fiddle. "(That's What Keeps You) Goin' On" is my
absolute favorite - heavy-handed lumbering psyche-rock that pounds
the old Bevis Frond nail right in the gut, with somewhat pissy Britishy
vocals, too. They're from rural Pennsylvania, though. "Holy of the
Holiest" is more catchy country stuff, honky-tonk piano and fiddle
again. "She Ain't You" is maybe a bit like Kinks, Beatles or Pretty
Things... good stuff... as is "Isobel" actually - I think I'm getting
it now. Look forward now to hearing more from these old bones, they
definitely have something here that can be improved on the more they
find their own style, and I'm sure now I'll be returning to this disc
even though the review is done."
Poor Luther's Bones Reviews
Morning Call (Allentown)-
Next To Nowhere..."While Frog Holler might be considered
alt-country, fellow Berks band Poor Luther's Bones is much more difficult
to describe. One thing is certain: the group's sound is unlike anyone
else's in the area. PLB's latest disc, ''Next to Nowhere'' (Heavy
G Records), is an off-kilter psychedelic blend of heavy guitars clashing
with dissonant keyboards and lyrics that create vague feelings of
unease, whether it's on songs relating to insects (''Don't Get Your
Bugs on Me,'' ''Feasting of the Drones'') or tunes enveloped in a
beautiful acid haze (''Here Next to Nowhere''). ''What It's All About''
changes the pace with a catchy pop vibe reminiscent of the Pixies,
and a sense of optimism peeks through on ''Only Possibilities Exist,''
with Dan McGonagle's crashing drums and echoing fuzz guitar by singer-songwriter
Garth Forsyth and Justin Vallone. The disc ends with an uncharacteristically
tender ballad, ''Growing on Me,'' which uses piano and strings. With
''Next to Nowhere,'' Poor Luther's Bones has fashioned a work that
summons a rare feeling of the natural world's subtle effect on the
mind in a way only the best psychedelic music can."
.
Impact- Next To Nowhere..." The opening
track "Beyond The Bizarre" serves as a disclaimer for fans of their
previous album, because on Next To Nowhere, their sound returns to
the psychedelic sounds of the past. Bypassing much of the folk-pop
on the last album, a bigger rock sound is provided that veers into
elaborate directions and over-the-top sounds. Powered by dual guitars,
keyboards and the complete production of vocalist Garth Forsyth, the
music here is entertaining with a trippy edge to it, spinning towards
a pop-oriented daydream of ideas. Tracks like "Don't Get Your Bugs
On Me," "All Skegged Out" and "Feasting of the Drones" are just a
few that stand out." (JC)
Fufkin- Next To Nowhere..."The
latest release from this Pennsylvania band finds them moving from
the rustic sounds of the superb Inside the Outsider to dark and forceful
blues-based rock. This isn't a major departure, as the blues loom
large in Poor Luther's Bones' work, whether it touches on Americana
or psychedelia. This record is at turns blistering in its anger, and
at other points, kind of spooky. Two obvious reference points are
Tom Waits and Captain Beefheart, though generally PLB doesn't get
quite that weird. Yet there's an edge here that is similar to those
artistsl. Yet neither of those artists rock as hard as Poor Luther's
Bones do. This band doesn't quite pound as hard as Led Zeppelin or
pour the molten lava like Queens Of The Stone Age, but they come close
at times.
A large share of the credit for the large sound must be doled out
to the rhythm section. Leo Scott is rock solid on bass, and drummer
Dan McGonagle gets some chances to really pound, and he always gets
the music going, cut after cut. Meanwhile band leader Guy Forsyth
and Justin Vallone star on guitar. Forsyth's rhythm parts are frequently
thick and sludgy, in a good way. And Vallone's leads sting and burn
– throughout the record, the solos are brief, and often the leads
accent, and they always hit their target.
One thing about the hardest rocking songs here is that they have titles
that are appropo for hard rocking songs. "Down So Long", "All Skegged
Out", "Whiplash" – you can judge these songs by their titles. Forsyth
and company wallow in the murk on "Down So Long". Forsyth sounds tortured
vocally as the band bashes away, first with a simple riff, moving
into flailing axes in the chorus. This song seems to be coming from
a sinner who doesn't want salvation: "I've got a little sex kitten/oh...she
butters me up/she cry when I'm missin'/she just can't get enough/she
ain't so pretty to look/she talk kind of ignorant" and then it gets
kind of unintelligible, as Forsyth gets so frenzied. Compressing his
strangulated voice adds to the evil feel of this song.
"Whiplash" has a similar structure, the band starting with repetitive,
swirling riffing. Eventually, the song gets to pounding mode. This
is the perfect companion to "Down So Long". Meanwhile, "All Skegged
Out" resurrects a wooly mammoth of a guitar part that may date back
to Year 1, B.B.C. (Before Blue Cheer). Again, Forsyth (who produces
and writes all the songs) distorts his voice. Here, he sings in a
guttural style, a la the aforementioned Waits and Beefheart. The band
locks in on the primal part, especially McGonagle. The verse/chorus
riff is contrasted by a melodic lead guitar part that is the bridge
out of the chorus, and it provides some respite, though it scarcely
changes the angry tone of the song.
Even when the album isn't set for stun or kill, it's effectively sinister.
On "Devil's Broth", Forsyth sounds like a crazed T-Bone Burnett, who
has given up on that born again stuff. The song could probably be
played acoustically as a folk song. It's a cautionary tale about winding
up in Old Scratch's cauldron: "one squeeze and you'll cough/in the
devil's broth." An organ augments the lumbering "Don't Get Your Bugs
On Me", and Forsyth's phrasing reminds me a little bit of Roger Waters,
though there's not much else that would remind anyone of Pink Floyd
on this track. I will say that Guy sounds like a man who really doesn't
want someone else's bugs on him. "Get Loose" initially sounds like
it might have fit on the last Poor Luther's Bones album, with engineer
Dan McKinney adding a jaunty barroom piano. Yet the song is permeated
with the same hellish tone that pervades this LP – Forsyth seems to
have embraced sin as the way to go. It's fun with a heavy price tag
attached.
No Poor Luther's Bones album (based on my limited experience) would
be complete without at least one foray into psychedelia, and "Only
Possibilities Exist" has a big guitar part that definitely has a paisley
pedigree. And even on the heavy songs, there are melodies, and they
carry songs like "Here Next to Nowhere" and (especially) on "Patch
it Up".
This is now my third journey into the world of Poor Luther's Bones,
and the more I listen to them, the bigger fan I become. I'm struck
by how the band works from a traditional foundation, and finds ways
to sound very different each record. Moreover, each album has a distinct
mood and tone to it. This is a dark album, yet it's not depressing.
It's just a great collection of rock, played with absolute commitment."
Mike Bennet
Copacetic- Next To Nowhere..."Depending on your
predilections, the idea of "psychedelic rock from the backwoods of
Pennsylvania" might stroke you one of a few different ways; the grizzled
stoner record shop owners among you might find yourselves salivating,
while someone like me might want to flee. And while this disc wasn't
completely my bag of tea, as it were, I found it surprisingly listenable,
and there was something to like in almost every track. This is about
the dozenth album from Poor Luther's Bones mastermind Garth Forsyth,
released on his own Heavy G Records (which sounds like it should be
an old-school gangsta rap label). Forsyth and his band keep things
tolerable by showing restraint and keeping the songs relatively short
and mostly pretty melodic, with a welcome lack of the self-indulgent
noodling, Renaissance-Faire instrumentation, or other jam-bandery
you might expect. His leaping-off point is more Sgt. Pepper-through-White
Album-era Beatles than Pink Floyd or Grateful Dead, though the songs
go off in some different directions as well, with mixed results: "Down
So Long" sounds like the White Stripes meet Sonic Youth, which is
kind of interesting, while "Get Loose!" sounds like Wilco redoing
Dylan's "Everybody Must Get Stoned", one of the most annoying songs
in rock history, so that's no good. It's not hard to imagine the band
teaming up with Flaming Lips/Mercury Rev producer Dave Fridmann for
a future album; I'm not sure if the band has the desire to move past
recording and releasing their own records, but I think they're at
a level where they're ready to rise above their current level of obscurity."
Exoduster- Next To Nowhere..."Having formed over
a decade ago during the zenith of the real true alternative spirit
before the commercialized WHFS’s of the world took over and guided
forth the grunge movement and the alternative crap rock arena filler,
Poor Luther’s Bones have heard a slew of praise throughout their storied
history. Art rock from Pennsylvania would be the last thing you would
have expected to be a part of that history but indeed it still rings
true to this day. Artsy fartsy as it is, there’s plenty of early Elton
John pop hidden under the murky crevices of delightful intelligent
psychedelic meanderings."
Smother- Next To Nowhere..."After a million releases
between Poor Luther’s Bones and bandleader Garth Forsyth’s solo material,
PLB continues to be one of the better local struggling bands that
you’ve never heard of. Well, it is not exactly a million, try twelve,
but still with such a vast number of records you’d think PLB would
be on the lips of more individuals. Formed in rural Pennsylvania in
1992, the moving parts of PLB focus on arty indie rock that merge
sounds and can only be characterized as tunnel eclectic. That is,
PLB aren’t all over the musical map on the thirteen tracks, just all
over with rock. And in some respects, PLB share common traits with
David Thomas from Pere Ubu (particularly, on “Devil’s Broth”). Besides
from Forsyth, PLB’s current line up includes Leo Scott on bass, Dan
McGonagle on drums and Justin Vallone on guitar. Coming off the first
track “Beyond the Bizarre,” you are thinking PLB may be one of your
new favorite bands. The hook on “Beyond the Bizarre” is downstroking
guitars and a catchy chorus that sucks you to indie rock honey. Yet,
by the third number “All Skegged Out,” you realize that Next to Nowhere
is a bit or miss and you have to search out the gems. In doing so,
you are met with the super hot riff on “What It’s All About,” “Feasting
of the Drones,” “Growing on Me” and “Patch It Up.” Other numbers can
strike you as quite pedestrian. The experience and number of solid
elements on Next to Nowhere suggests Poor Luther’s Bones can knock
out an exceptional record if they focused their energies precisely.
Otherwise, they may just continue to be dabbling along."
Splendid
Ezine- Inside the Outsider..."Ostensibly an autobiographical
concept album regarding a certain quirky, obscure indie band's place
in the music industry, Inside The Outsider is a turning point for
this long-running outfit from rural Pennsylvania. Where past efforts
threatened to float by in a scattered, druggy, let's-try-anything
stupor, this one seems more focused and direct. Leader Garth Forsyth
hasn't entirely abandoned his love of swirling, layered psychedelic
pop gone alt-country, but maybe adhering to a theme (however leniently)
accounts for this great leap forward in clarity.
With only two out of twelve tracks passing the three-minute mark,
these are pop songs, but not necessarily plain and simple ones. "Do
It For Fun" graciously swerves but never spirals out of control: its
horns and mellifluous ba-ba-bas register like Sly and The Family Stone
covering Burt Bacharach or Jimmy Webb. "Hang Jaw" juxtaposes a Jerry
Lee Lewis-style banging piano with a fun, fun, fun Beach Boys surfin'
beat; it turns out a little like Split Enz, with Forsyth stretching
out the title across four measures while mockingly blurring the rest
of the lyrics together to the song's frenzied rhythms. "She Ain't
You" and "Next Stop" are jaunty, gentle toe-tappers akin to late '60s
Kinks or early '70s Elton, with lots of pianos, but also more than
a few mewling guitars.
For all this accessibility, Poor Luther's Bones hasn't lost any cynicism
or wit -- it ain't hard figuring out which side of the whole art vs.
commerce argument they fight most fiercely for. The title "Jagged-Cut
Melody" should tip you off: what begins with adult-contemporary calm
is soon interrupted by rude guitars, and the song pushes and pulls
between the two near-extremes without ever obscuring the hook. "Holy
of the Holiest" is a most explicit country-western saloon sing-along,
yet lyrics like "All the queens and the closet junkies get high /
You can't escape the range of their vigilant eyes" place it firmly
in Mekons territory. "(That's What Keeps You) Goin' On" drops all
the niceties and rages head-on into snarly psych-pop grandeur, teeming
with aggressive quips, acidic, filtered vocals, and what sounds like
kazoos (!) in the chorus.
Perhaps that argument isn't so clear-cut. While no sellout by any means, Inside The Outsider has a much better chance of attracting a wider audience than the band's less user-friendly releases. I don't believe that Forsyth doesn't care about increasing his sales, or that he wants to remain obscure; otherwise he wouldn't have included a song as straight, serious, and reflective as the graceful, reverent "Black Nanny". But when he groans, "So help me God / it's the firing squad", you know it's with a tricky mixture of dread and sardonic amusement." Chris Kriofske
Pop Matters- Inside the Outsider..."A certain super-huge music glossary site lists Poor Luther's Bones as rap, perhaps mistaking their label Heavy G with the immortal Heavy D. No matter, Poor Luther's Bones are so far out of the mainstream's ears, I can't imagine too many complaints from rap fans ending up with the Bones' psychedelic folk/pop/country/rock pastiche. But that's also a shame, because then at least someone would hear this record, and people should. This Berks County PA outfit surprised me as without a doubt the best album I've ever reviewed for short-takes (which isn't a lot, but still…). Garth Forsythe reminds me a lot of Jack Logan for his ability to handle multiple genres with easy grace. Songs like "Jagged-Cut Melody" and "Do It For Fun recall the Beatles, Velvets, Big Star, all the biggies, but not the grit-your-teeth forced way many bands of higher stature do. I'm more than pleasantly surprised. I think I'm a new fan." — Michael Metivier
Fufkin.com-Inside
the Outsider..."Last year, I was finally introduced to the
world of Garth Forsyth. He's the frontman for this veteran band, and
he has waxed over a dozen albums, either with the Bones, or solo.
Whereas last year's That The World May Sing Far Away Music, Honky
was like a ride through a spooky funhouse, mixing blues based rock
with psychedelia and occasionally veering into harrowing Tom Waits-type
territory, this album plays much differently. But for a couple of
songs, it barely resembles the same band.
Well, a couple of songs and the fact that, like its predecessor, this
album is pretty diverse within the parameters that the band has set
for itself. But I can't easily describe those parameters -- all I
know is that Forsyth is a terrific songwriter with a great band. I
will say that the one common element that binds the two albums is
Forsyth's demonstrated fluency in blues based music. He also shows
equal acumen with folk and country, which touches some songs.
I suppose in spots, this might be compared to bands like Sparklehorse
and Grandaddy. Right now, I'm listening to "Jagged Cut-Melody", which
lives up to the title -- the melody is sort of Kinksy and Forsyth
warbles it into a triple thick guitar riff in the chorus. The use
of dynamics is obvious, but it works. And Toby Martin's drumming is
rock solid, giving this song an insistent pulse. Scoring even higher
in Kinksiness is "Isobel", which sounds like it somehow straddles
the sound of Village Green Preservation Society and Muswell Hillbillies,
with an appropriately fey tenor vocal and some pounding piano.
Forsyth also shows a flair for rustic music that is at times haunting.
"Black Nanny" floats in on Rachel Lamdin's quiet violin part, which
is then joined by Forsyth's acoustic guitar strum and his expressive
vocals. This song is a look back at an independent woman and exudes
a feel of doom for a tragic heroine. I actually hear traces of the
Rolling Stones's "Wild Horses" in the melody of this song, but it
certainly stands on its own. This song truly resonates.
Ms. Lamdin is also a welcome presence on "Love Is Danger", a delicate
and lovely piece where Forsyth sings at the top of his range. This
makes his voice as fragile as the music itself. The closer "Losing
a Blue" is even lovelier. This dreamy track makes good use of horns,
courtesy of P.J. MacIntosh. The intimacy and feeling on this track
are readily apparent, as Forsyth pines for a lover -- or maybe a woman
he wishes were his lover. This song is as good a sonic replication
of heartache as I've heard in a while. While Forsyth excels on the
personal numbers, he's just as good on his backwoods smackdown of
the self-righteous, "Holy of the Holiest". He also can rock out. "Hang
Jaw" is a runaway train of a song, with the guitars and piano hurtling
down the tracks, reminding me of an Americanized Mott The Hoople or
Faces. The band also rocks on "(That's What Keeps You) Goin' On",
a psychedelic buzzer that is the only song that could have appeared
on the last Poor Luther's Bones album. The guitars are laden with
effects, Forsyth's voice sounds appropriately anguished as he sings
"so help me, God/it's the firing squad" and the backing vocals shouldn't
work, but they contrast the bitter anger of the lead vocal very well.
There's even a song that will grab Wilco fans, as "She Ain't You"
is in the same vein as the bouncier material on Summerteeth.
I could go on and on. I just hope I'm conveying a sense of how accomplished
a work this is. This is a great record from a great band who deserve
tons more recognition." Mike Bennett
Impact
Press- Inside the Outsider..."Superficially, the majority
of the songs within Insider The Outsider are fairly traditional folk
influenced pop, but there's something else here. One can recognize
a kindred spirit to Olivia Tremor Control in some of the more psychedelic
moments, often there is a strong British Invasion influence, but the
most common element is a refreshing openness of thought. The willingness
to stretch genres and lay out an honest emotion sets this group apart."
(SJM)
Aural Innovations- Inside the Outsider..."These folks play simple mellow '60s country-folk/indie-rock that sounds kinda lazy at first, but its melodies are the kind that don't seem to catch on till after a few listens, I guess because main guy Garth Forsythe's vocals and others' performances are just "low-key" and often fairly derivative. Still, this latest listen has been pretty enjoyable. "Do It For Fun" has mellow horns, piano and a real nice vocal from Garth and bah-bah-baaahhh backing vox. Hmmm... that's basically what I wanna say about a lot of these tunes. "Vertigo Landslide" is some nice British-sounding mellow psyche with violin and organs, not really psyche in the "trippy" sense, just the '60s. "Hang Jaw" is cool, but a little too catchy and way too happy, upbeat old-timey piano-stompin' rock 'n' roll. But then "Black Nanny" is a very somber ballad with slow weepy country fiddle. "(That's What Keeps You) Goin' On" is my absolute favorite - heavy-handed lumbering psyche-rock that pounds the old Bevis Frond nail right in the gut, with somewhat pissy Britishy vocals, too. They're from rural Pennsylvania, though. "Holy of the Holiest" is more catchy country stuff, honky-tonk piano and fiddle again. "She Ain't You" is maybe a bit like Kinks, Beatles or Pretty Things... good stuff... as is "Isobel" actually - I think I'm getting it now. Look forward now to hearing more from these old bones, they definitely have something here that can be improved on the more they find their own style, and I'm sure now I'll be returning to this disc even though the review is done."
Fufkin.com-That
the World May Sing Far Away Music, Honky..."One of the most fascinating
things about the British Invasion was how so many of the R & B and straight
blues loving acts of that era evolved into the gurus of pixie-dusted psychedelia.
Listen to an old Pretty Things record and then to one of their psychedelic
gems -- it takes a while to find the blues band lurking underneath the
harmonies, percussion and other acid-tinged delights.
This brilliant mess of a disc doesn't reconcile this dichotomy so much
as it holds it up to the light so you can clearly see that the blues-psych
bridge runs two ways. Mastermind Garth Forsyth has been leading Poor Luther's
Bones for over 10 discs, and this record shows that he can do everything
from shambling mid-period tracks in the vein of Pink Floyd, to Small Faces
psych pop to stomping Kurt Weill/Tom Waits fun house freak outs. Neither
modern nor retro, this music is just suspended in its own dimension.
Forsyth sings with a voice that channels a bit of Bob Dylan and a bit
of Roger Waters. Though, when necessary, he can dial it down to a resigned
croon, or agitate it to a crazed bellow. He also plays a slew of memorable
lead guitar parts that accent, and sometimes key, the well-crafted songs.
Many of the songs are drifting and atmospheric. "Night Garden" is meditative
and paranoid. The song has a spartan slow tempoed rhythm section and two
lead guitar parts -- one guitar is picking strings that spell out the
melody (which Forsyth wanders on and off of, while intoning lyrics like
"when you're dangling by your thread/and you're all alone again"), while
the other provides an undercurrent of spookiness, the leads often played
bottleneck style. This song is like a stroll through the haunted woods
at midnight -- there's a trepidation that's palpable.
This bluesy Edgar Allen Poe vibe comes through even better on "Here Comes
the Fuzz". This time Lee Scott's bass carries the melody, and Forsyth's
singing is more animated. This is a slowed down blues tune that is akin
to some of the tracks on the new Radiohead album, without all of the technology.
Then again, who needs technology when you have cool creeping lead guitar
runs?
This misty mysticism is the backbone of the record. Other songs like the
"Why", which utilizes dynamics effectively, and rocks as much as any song
on this disc, and the lurching "Swooper 9" are further examples of how
Poor Luther's Bones takes the menacing nature of classic ‘60s psych-rock
and makes it either scathing (on "Why") or large and beautiful ("Swooper
9").
As the contrast between "Why" and "Swooper 9" indicates, this is an album
that is defined by different angles. Not just musical ones, but tonal
ones. Though the overall spectral mood dominates, there are other faces
revealed throughout the collection. There's the charming twang-drawl of
"Foggy Turns", the folk-rock strum of "Lumps" and the wistful gentleness
of "No Waves in Kansas", with some jazzy guitar and soothing vocals.
Still, Poor Luther's Bones are best when things get fiery. That is the
best way to describe "Vipers", with it's piercing lead guitar and throbbing
rhythm. The song explodes in the chorus, as Forsyth rants along to his
own Eastern modal guitar parts. It's a collision of Those Bastard Souls
and Outrageous Cherry, with Richard Thompson on lead guitar. "Henry Hite"
is more traditional psych-pop, telling the tale of the titular titan (Henry
Hite, the giant...get it?). The chorus is sold by Forsyth's passionate
vocal. Whimsy in a grim fashion.
And littered about are sloppy drunken tunes in the Weil/Waits mode that
I mentioned above. Songs like "Orangatango" and "Weak Knees" add another
dimension that gives this album breadth. Also adding to the proceedings
is the solid production. Forsyth knows when the mix needs to be clear,
does a great job of separating the lead guitar parts and also has a good
feel for letting everything overload into a maelstrom. I have no idea
how well known these guys are. Regardless, they need to be better known.
Forsyth and his bandmates have an organic feel for the blues and psych
stuff that makes this disc stand out." Mike Bennett
Noreasterzine - That the World May Sing Far Away Music, Honky...
"In an earlier review I was talking about the universality of
emotions versus the individual's perception. Here is a perfect example
of the individual (or a group of individuals in this instance) expressing
a unique experience in a universal manner.
This record is poppy in a manner similar to Fuck or The Flaming Lips,
and like these two bands, Poor Luther's Bones uses some pop formula, interlaced
with a unique style and unexpected alterations to the traditional verse/chorus
repetition, to create tunes that are musically and lyrically original.
The production is mid-fi, something similar to the sound of a Railroad
Jerk album, and the songs are great. My personal favorite is "Here
comes the Fuzz" -- watch out for the Pig Man!! I'm guessing that
these guys are from Eastern Pennsylvania, but I can't say that for sure
and their website isn't that informative. But you can listen to some of
their tunes and contact them for a disc at www.poorluthersbones.com.
For fans of any of the aforementioned groups in this review, I suggest
you pick this up, because it is really fun, rockin', and has a style and
color all its own. Play this album loud in your car so "that the
world may sing far away music, honky."(self -released) LD
Skratch -That the World May Sing Far Away Music, Honky..."Poor
Luther's Bones is definitely one of the most creative bands I have heard.
The album's title, artwork, and danceable track "Orangatango "
clearly displays the band's unique musical and lyrical style. The band
knows how to incorporate piano, organ, and horns,creating an undeniably
twisted and diverse work of art." Kathleen
Space City Rocks- That the World May Sing Far Away Music, Honky..."
There's this club in Washington, DC., called The Black Cat. It has dark
walls, low lighting, and black and white checkered tiles on the floor.
You enter the dance club area through double doors after climbing metal
stairs. Common are the studded belts and rubber bracelets of the '80s
but everyone dresses however they want, really. It's slightly seedy overall,
with loud but great music; by the time the night is through, with all
the dancing and all the drinking, it feels vaguely like you've stepped
into Alice in Wonderland. You've had a great time and heard some good
music, but everything seems a bit off kilter. Naturally, you immediately
want to tell people all about the experience you've had. That the World
May Sing Far Away Music, Honky, by Poor Luther's Bones, reminds me of
that club and that feeling. Poor Luther's Bones is a group from Berks
County, Pennsylvania, although if I hadn't read that they were from the
States, I definitely wouldn't have guessed. Their whole vibe says "London
punk-pop" to me -- just before it switches over to trance-y, darker tunes
like "Night Garden." They've been compared to The Flaming Lips, and on
some of the tracks ("Why," for example), I can see where that comparison
stems from. It's hard, however, for me to compare them to one group or
one sound. On this album they run the gamut: surf punk on "La La Land";
Brit-pop on "Walking Time Bomb"; and even ska-like brass on "Primitive
Man." By far the quirkiest track has to be "Orangatango"; I'm not even
sure how to describe this song -- "fun," I guess, would be the best word,
because every time I hear it I can't help but laugh. The vocals are very
guttural, clipped, and strong. I get the visual of a very grumpy kid singing
the words, complete with foot-stomping, trying very hard to be serious.
Add to that heavy acoustic, flamenco-style guitar, high-hat, and lots
of brass, and the CD culminates in a frenzy of instruments and then just
sort of stops short. Although this is only my first exposure to the band,
that ending seems appropriate." (JR)
Sponic - That the World May Sing Far Away Music, Honky...
"By definition, Outsider Art is the product of a person shut out
from the rest of the world. Because of this, the type of trade utilized
is self-taught, in no way influenced by anyone else. Work usually runs
along the line of being eccentric but is appreciated for the amount of
passion. Today this term is used more to describe eccentricity than the
works and ideas of someone isolated from the world. Nowadays people are
eccentric and self-taught by choice.
Somewhere, somehow in the Keystone State there lives a group of fellas
who don't necessarily go against the grain as much as they just ruffle
it. And with That the World May Sing Far Away Music, Honky Poor Luther's
Bones spins their homemade kaleidoscope of numbness, grogginess and temperament.
"Walking Time Bomb" opens the disc with sweet twangy guitar
crunchy drums and lead man Garth Forsyth's honky-talking. It's the kind
of off kilter madness that gets accepted after people see others accepting
it (umm…yeah). "Almost There" and "La Land" are
two other bonafide tunes. These Pennsylvania boys earn their keep with
That The World May Sing Far Away Music, Honky, being their fifth self-released
album.
Do they want to get signed? I don't know and I don't really care. "Vipers"
and "Night Garden" make up some of the mellow front porch in
the middle of the night-vibes Poor Luther has to offer. "Orangatango"
finishes the album with a bizarre carnival-esque (I swear I won't name
drop here) vaude marching tune complete with horns and hammer dulcimer.
Poor Luther's Bones is a weirdness definitely influenced by others. The
ability for any of us not to be influenced by anything is impossible.
But this influence tells them to ruffle the grain and cackle, ruffle the
grain and cackle. Garth and his friends aren't afraid to be bizarre, they
aren't afraid to have fun." Rob Heater
Ink 19- That the World May Sing Far Away Music, Honky..."Weirdness
for weirdness sake. That might sound better in Latin, but I don't have
the skill to translate it for a record review. However, it sums up my
first impression of this Pennsylvania group. Opening cut "Co-pilots of
the Amoeba" is a rambling sound collage, a la "Revolution No. 9." After
this little slap to the face of the listening public, we slide into a
more traditional sound of melody and lyric. The sharp, pointy edges of
rock and roll are sanded down, or maybe just knocked flat with a hammer
on this prolific disc. Poor Luther starts with a sort of folksy, bluesy
sound on such cuts as "La La Land" and "Weak Knees," yet a harder edge
develops on "Vipers" and we migrate to a more traditional rock sound.
Yes, they do pass through a phase where they deign to play familiar sounding
chords, sing edgy vocals and put forward that disorganized sound we come
to expect from live shows in dive bars. That, too, passes, and we trek
on to Pink Floyd of the Ummagumma days with mid-disc tunes like "Low Fly"
and "Swooper 9." If nothing else, this band will take you on a walk around
the block. Overall, this is a very challenging record which does not appeal
that strongly on the first pass, but repeated spins bring out some interesting
subtleties, and one can almost play a game of "What band does this track
sound like?" I hear dozens, but the similarity is often subtle and subject
to heated discussion. If you had to drive cross country with only this
disc to entertain you, you'd either fall in love with it, or fling it
into a Kansas wheatfield. I'm still deciding, but that's not a bad thing,
because it's such a fine line between brilliant and futile.
Morning Call - That the World May Sing Far Away Music, Honky...
"For the more adventurous there is the twisted-out rock of Poor Luther's
Bones, as heard on the Oley band's latest collection, "That the World
May Sing Far Away Music, Honky." Taking inspiration from such diverse
sources as Tom Waits and the Grifters, head Bone Garth Forsyth uses odd
time signatures and dissonance to depict an alluringly strange world implicit
in titles such as "Walking Time Bomb", "Vipers" and
Here Comes the Fuzz. "Among all the skewed folk rock and eerily pretty
melodies, Forsyth and his Bones dig a lot deeper than most to come up
with a real sense of sadness and wonder." John Terlesky
Impact Press - That the World May Sing Far Away Music, Honky...
" Well, I can't. I just can't put a label on this. As soon as I get
one song figured out, they change it up. These guys go from purely experimental
noise and voices to something akin to Fireside Theater to the Beatles
to latter day Pearl Jam. They're all over the place. Have a listen for
yourself! (SH)
Aural Innovations -That the World May Sing Far Away Music, Honky...
" The band come from Pennsylvania and have been around for about
10 years. This is their fifth release. There are 20 tracks on this CD,
all between 2-4 minutes long. The band certainly try to and succeed at
creating their own brand of weird pop music, in the same sense (but a
different way) that say Olivia Tremor Control do. The bio has them compared
to the Flaming Lips and at times I can see that. The band have some very
funny lyrics and I can imagine the guys sitting around smoking a few joints
and making up weird shit! What more to say... If you like interesting,
strange singer songwriter type things with a clear American sound, go
for it. I think you will grow to appreciate the art they are creating."
Scott Heller
Magnet - Big Ears for the Future... "Like a Pebbles
sub-obscuro or lo-fi Flaming Lips…Poor Luther's Bones makes an art
rock sound uncluttered by current fashion." Fred Mills
Alternative Press - Big Ears for the Future... " This
LP is brilliant- a hallucinatory surf-rock quirk circus with shivery vocals
quivering… perfect for picking mushrooms in the dark. Get it, get
it. " Jim Santo
Ink 19 - The Lord and the Lard.... " Features some
mighty fine saw playing alongside bluesy piano and carefully brushed drums,
paving the way for a wicked kazoo and jaw harp duet…I'd expect the
Lord and the Lard to be busking at the dankest corner of the subway and
liking it that way." Kurt Channing
Carbon 14 - Poor Luther's Bonafide Home Recordings.... "This
latest batch of recordings from the unbelievable yet still unsigned Poor
Luther's Bones is easily on par with Palace's latest works, though a bit
more 'back porch' sounding. These recordings are truly homemade, with
an evident love for the music poured into every track…there's something
about PLB that I find irresistible. Another band whose records I'd like
to put out." Larry Kay
Demo Universe - Lost Days of Hironymous... Since last heard
on Big Ears For The Future, Garth Forsyth lost his band (save some cameos),
found a guy named Bruce (hallo, Bruce!), and composed a spine-chilling
collection of songs that move through the woods like a haunted fog. "Living
in the middle of nowhere drives me crazy," Garth told an interviewer
for Red Moon Martini, "and my music has become my outlet." The
first side is a slow descent into sleepy madness; you know something's
going wrong, but you're incapable (or disinclined) to escape. Buried in
the backyard to the strains of "Orangatango," you emerge as
a mindless Zombie (or is that Beefheart?) dancing "Last Of A Dying
Breed." Like Tom Waits chugging coffee and formaldehyde, Forsyth
and Siekmann get high, play with dead things and wander off into the thorny
garden of "Low Fly" (flowers by David Lynch, topiary by Stanley
Kubrick):
Stain - Expanding Submarine Kazoo... "This is music
that is void of any effort to attract the attention of any one audience
or to duplicate any one genre. It's wholesome, experimental, and very
American sounding." Steve Anderson
Magnet - Dr. Slinky... "This is one for the adventurous;
ultra-rural Mertztown, Pa-based Poor Luther's Bones' four song EP covers
a lot of territory… This one's the goods, babe." Larry Kay
