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*BüTZER RELEASES NEW ALBUM*
*featuring French and American vocalists *
Atlanta, GA (April, 17 2013) – Beloved instrumental composer and
songwriter, Jeffrey Bützer, is releasing *Collapsible*, featuring French
vocals and a different musical direction.
The new focus of *Collapsible* will be no surprise to fans of Bützer’s live
shows, who have seen the addition of vocalist Cassi Costoulas in the past
few months and the shifting of Bützer’s accompanying artists referred to as
“the Bicycle Eaters.” *Collapsible* is Bützer’s exploration of French pop
and spaghetti western sensibilities.
Originally set to be released as an instrumental album, *Collapsible * was
recorded over a year ago with the intention to be Bützer’s final toy pop
album. Fellow toy pianist, Lionel Fondeville developed a love for the
unpublished songs and began writing lyrics in his native French to Bützer’s
work. Bützer and Fondeville ended up with a full album of collaborations
and decided to pull in Atlanta native Cassi Costoulas to perform the songs
live, as Fondeville lives in France. *Collapsible* is a combination of
Fondeville and Costoulas’ vocals in both French and English and Bützer’s
Also featured the album: Kristin Haverty on cello, Don Chambers on vocals,
Brent Hinds on banjo, Bill Taft on cornet, P.W. Shelton on banjo and bass,
and Chad Shivers on guitar. Bützer plays accordions, toy pianos, piano,
melodica, resonator bells, glockenspiel, piano horn, guitar, percussion,
bass, and drums and Matt Steadman is the Executive Producer of *Collapsible*
Bützer performs regularly as both Jeffrey Bützer and Jeffrey Bützer and the
Bicycle Eaters. Bützer has released 7 full albums and EPs since 2006 and
has toured in Hong Kong, France, and the US.
*LINK TO WEBSITE: *http://jeffreybutzer.bandcamp.com/**
The Atlanta five-piece recently released a 4-song 7-inch EP (via ISP), titled Consequentialist Communiqué, and it's a melting pot of punk inflections. "Leave the Blade Bloody" is the opening number that wields sharp organ stabs that are synced up perfectly with pounding drums, giving the song a bold sway, and guiding the way for raspy vocal melodies before the organ goes off on a Doors-meets-the Stranglers kind of trip. "Face Time" bares the mark of a musical palette that's been shaped by the Replacements, ramped-up on post-breakup sour grapes. "Believe It" buries an Irish drunk punk slur under an old-school SST chug, and "Will You Be Mine" is a big, anthemic closer that ties it all together.
Each of these songs appeal to the working class stiff that lives in all of us, but there's more to it than three chords and shouting. These are songs crafted by men who have paid bills, lived life and been through some shit, and now they're laying it all down in song the only they know how. There's a measured approach to songwriting at work here that takes a broad view of worldly punk and boils it down to a layered, dynamic sound. That said, Consequentialist Communiqué also has the unmistakable feel of being the group's first record. There's chemistry at work here, but it's still brewing. All signs point to something greater on the horizon. For fans of the Stranglers, All Night Drug Prowling Wolves, Pogues and the Replacements. "Will You Be Mine" mp3
Whether he's alone or with a full band, the sound is unmistakeably Brian Slusher, otherwise known as Slushco. His latest is Sometime Tonight, a five-track EP which starts off with the story of a man struggling against his identity and place in the world--"Up on a Bridge" has Slusher singing softly into your ear, in a manner that's both seductive and an entreaty to run like hell. Slushco's tunes are short and sweet, each under five minutes. The track "#1 Fan of Your Car" is about as raucous as it gets, with a steady backbeat and fun rhyming convention. As with previous releases, synthesizers feature prominently, but Sometimes Tonight focuses less on their danceability and more on building an atmosphere to house the stories.
Slusher (a producer and sound engineer as well as musician) is quietly prolific, gifting these small releases to the etherworld instead of one big album every couple of years. The result is an expansive catalog of moods and textures, each encouraging the listener to be a little more thoughtful during the short time he has with you.