Two Faces and a Vase singles

That Kind Of Girl

Recorded at Sixtyten Studios
Produced by Steven Warstler
Mastered by Zach Shipps

Vocals, Guitar, and Bass by Tim Korenich
Drums and Percussion by Nelson Overton
Saxophone by Dean Tartaglia
Upright Bass by John Holkeboer
Backing vocals by Alexandria Granados

Music and lyrics by Tim Korenich
except "How We've Grown" by Adam Rich

What'll It Take

 I wrote this song while I was thinking about Davey Rogner's epic journey picking up trash across this country. I took the song's title from the name of the group he was working with: Pick Up America. I like to say things about this song like, "This song is about picking up trash." But it's not exactly that.

It's kind of about making trash. And making money. And how they are probably the same. And only when we are living in a Water World where all the water is Fisher Price toys and Chinese food containers are we going to a sense of what a waste our waste is.

Pick Up America

The first single from My Son Bison's debut LP, 'Two Faces and a Vase'

www.mysonbison.com

Dane Galloway - vocals, twelve-string guitar
Joel Sephy Gleiser - piano, vocals
Nick Krolak - upright bass
Kirk Kubicek - drums, glockenspiel, other percussion

feat. Koofreh Umoren - trumpet

Engineered, mixed, and mastered by Ron DiSilvestro
Art by Joe Boruchow "Conversation"



Two Faces and a Vase

From the PARKED IN HELL cassette, Young Man's Fancy out March 18th, 2016.

Recorded and mixed by Jack Shirley at The Atomic Garden 2008.

www.terrymalts.com/parkedinhell

Magic Bullets // Able Bodies

The Brotherhood of Lizards // On Planets Where I Was Young (Bonus Track)

Order LP/CD: http://www.slumberlandrecords.com/catalog/show/308
Order DL: http://smarturl.it/latpitunes

Terry Malts’ third album is a long time coming, 3 years to be precise. But the time was spent well. Between stints of touring and local shows, Bassist/vocalist Phil Benson and guitarist/vocalist Corey Cunningham wrote and re-wrote songs over the course of a year in Los Angeles where Cunningham had moved since the release of their last album, 2013’s "Nobody Realizes This Is Nowhere."

The idea was to broaden the Terry Malts concept and create a kaleidoscopic pop album that has a mixture of moods, each song turning to a different sound inspired by the records the band have loved over the years. The driving punk (Buzzcocks, The Undertones) that has been a cornerstone of the group’s sound sits snugly with songs steeped in indie-pop and power-pop (The Chills, Dwight Twilley).

Once the band was ready to record they enlisted Monte Vallier (Soft Moon, Weekend, Swell) to co-produce at his Ruminator Audio studio in San Francisco. It is the group’s first album recorded in a studio. 2012’s "Killing Time" & "Nobody Realizes This Is Nowhere" were both recorded in various practice spaces by guitarist Corey Cunningham and the group was intent on shaking the lo-fi tag.

The freedom of the studio allowed the band to expand on their sound with the addition of 12-string electric guitars, piano, organ, and sound effects. From driving opener “Used To Be” through jangling ballad “Gentle Eyes” to first single “Seen Everything” and haunting closer “When The Nighttime Comes,” Terry Malts have put the augmented sonic palette in the service of some of their strongest tunes yet. The resulting album, "Lost At The Party," is a lovingly-crafted love letter to pop music in all it’s forms.

XV

My Son Bison