Adam Meckler is a trumpet player, composer and educator living in Minneapolis, MN. His 18 piece big band The Adam Meckler Orchestra has become one of the most exciting bands on the scene. The AMO's debut album 'When the Clouds Look Like This' was released in September of 2014. By December it was listed among 2014's Best Jazz Releases on iTunes. Adam holds Faculty positions in trumpet and Jazz at McNally Smith College of Music, and MacPhail Center for Music. He tours and records with Youngblood Brass Band and Nooky Jones and plays regularly with a host of bands around the Twin Cities including The Jana Nyberg Group, Jack Brass Band, The Graydon Peterson Quartet and The Pete Whitman X-Tet. His latest release Wander is now available through www.ShiftingParadigmRecords.com

Will Anderson: Lead Vocals, Guitars, Piano
Kit French: Saxophone, Keyboards, Vocals
Alex Hargrave: Bass
Johnny Stubblefield: Drums
Nate McFarland: Lead Guitar, Vocals

For the members of Mercury Records group Parachute, the name of their third album, Overnight, could well be a sly commentary on the hard work and commitment it’s taken for them to experience the success that’s been building over the last four years and first two albums. Their 2009 debut Losing Sleep featured the Top 15 single, “She is Love” (boasting more than 6.5 million views), while 2011’s The Way It Was included the #1 iTunes Rock Song “Kiss Me Slowly” (co-written with Lady Antebellum) and the Top 15 hit “Something to Believe In.”

Or it could refer to the late evenings put in by chief songwriter Will Anderson, burning the midnight oil, writing in his new Nashville base, after moving from the band’s hometown of Charlottesville, VA (where they were discovered and signed to Dave Matthews Band’s Red Light Management out of college). Anderson composed more than 50 songs for the album with a variety of collaborators, including Ryan Tedder (the first single, “Can’t Help”), as well as Grammy winner Chris DeStefano [Kelly Clarkson] and Ashley Gorley [Carrie Underwood, Keith Urban] on the title track.

“Even though there’s plenty of pressure to break through on your third album, the actual recording process was much less stressful,” says Will about the band’s sessions at Ocean Way in Nashville with producer Oren Yoel, a young contemporary who has worked with hip-hop phenom Asher Roth as well as Miley Cyrus, among others. “All of us were on the same wavelength. We all kind of knew exactly what we wanted without having to say it out loud. There was a weird sense of peace that we knew where we were going and where we needed to be.”

From the pop fervor of “Can’t Help” and the powerful simplicity of “Hurricane,” composed on acoustic guitar by Will after a long frustrating day, to the ‘80s Phil Collins-meets-U2 flair of “Waiting for that Call” and the slow Peter Gabriel/John Mayer jam of “The Other Side,” Parachute prove adept at combining guitarist Nate McFarland’s Edge-influenced arena-rock guitar licks with Will’s melodic sense of what will resonate with their passionate fan base. 

It’s no surprise for anyone who has followed the band’s history. Will has been playing with drummer Johnny Stubblefield, bassist Alex Hargrave and saxophone/keyboardist Kit French since they were high school classmates in Charlottesville almost 10 years ago. Anderson met Nate while attending University of Virginia together, and the guitarist joined the band six years ago.

“We’re just now getting to know one another as musicians as well as we know each other as people,” says Will. “We wanted to capture a sound in the studio that reflected us as a band. And we all know which parts each of us had to play to get that sound.”


The band’s stylistic palette can run the range from old-school legends like Stevie Wonder, Elton John, Paul Simon and Bruce Springsteen to newer acts like U2, Coldplay, Weezer, Ben Folds, Maroon 5 and John Mayer.

With producer Yoel, the band has even begun to stretch the boundaries, with Will’s spoken word vocals adding almost a hip-hop flavor to a new song called “Didn’t See It Coming,” about an actress friend of theirs in Hollywood excited to land a gig, only to discover it was an X-rated feature.

“That’s probably the catchiest song I’ve ever written,” he says. “I just laid down this spoken-word track, thinking we’d replace it later, but everyone loved it so much, we kept it on.”

Anderson is most proud of “Hurricane,” a song he wrote before going to sleep by strumming an acoustic guitar.

“It’s like the feeling you get when you think you’re never going to be able to write another song,” explains Will. “Once I started, it all came spilling out.”

Anderson credits guitarist Nate with creating parts that were “just perfect” for each song. “He really nailed it, with a unique spin to every song that made them epic, but at the same time, within a pop framework. That’s something we’ve always tried to do, melding his rock guitar to my sensibilities, making it work both for the arena and within the melodic sense of strong hooks. I think we really nailed it this time.”

Having played more than 400 shows over the last few years, touring around the country with everyone from NeedtoBreathe to Andy Grammer, Parachute’s live show continues to grow and impress. They’ve also played before several million at a New Year’s Eve celebration in Times Square, as well as appearing on NBC’s The Tonight Show with Jay Leno, ABC’s Good Morning America and Jimmy Kimmel Live and CBS’ The Early Show. The band’s songs have been featured on MTV’s The City along with CW’s One Tree Hill, Vampire Diaries and 90210.

“It’s so nice to have three albums’ worth of material to choose from in concert,” says Will, while the band has always played an eclectic variety of covers, from Spencer Davis Group’s “Gimme Some Loving” to vintage tracks from Elton John, Billy Joel, Bruce Springsteen, Stevie Wonder, the Commodores and Motown. “We’re just now hitting our stride as a live band. We’re better musicians who have come to trust one another. We all have our pocket and fill it. But we still have a long way to go.”

Overnight has a little something for everyone. Longtime fans will recognize their favorite band, with a fresh sound bound to intrigue newcomers.

“The last album was like taking a brand-new car straight off the lot,” says Will. “This album is just as fun to drive, but it’s like a vintage Mustang, a little more muscle and grittier, built to last.”

On their third Mercury Records album, Parachute is firmly in the driver’s seat.


@chancetherapper
The Social Experiment
Social Works
Social Functions

An excerpt from Fred Meriwether’s, “On the Origins of Experimental Composition,” –
 -“ [s]ome of the best examples include –but are not limited to –Animal Collective, the honorable Boredoms of Japan, Pink Sergeant Floyd, and notably, Svveet Road. The musical collective Svveet Road sets a certain benchmark for which to begin comparing bands or artists classified by the generous moniker of ‘experimental.’ To label the musical think-tank Svveet Road as such is somewhat of a misnomer if anything –seeing as their music tends to contain many comparative themes of influence while bringing a sound of their own like nothing else coming out of the Midwest. Their exaltation of chaotic noise as well as harmonious beauty presents many troubles in classifying exactly what one would call them, but perhaps… that is the intent. 
Finding their roots in humble Sioux Falls, Svveet Road first met as high school students who liked the same music that no one else they knew appreciated, at least in the way they did. This affection for the absurd led to a further exploration of eclectic themes in sound resulting in the formation of their official collective, Svveet Road. Consisting of Jef Thor, Will Tiensvold and Adam Pflaum in the beginning, the collective has shifted since to include Wil Beringer while Pflaum attends to personal duties.
As expressed in their ambiguous musical habits, Svveet Road’s inspirations appear far and wide amongst the likes of experimental, grunge, punk rock, classic rock, classical composition, both early and modern jazz, French house, dubstep, folk, underground, spoken word, philosophical discourses, atmospheric electronica, forest music, internet culture, and many other fine influences rooted deep in the details of both their music and art. Ranging from their use of the ‘Max Headroom’ incident to the many times the band fervently chants ‘Yeah art, yeah art indeed’ while performing, it is safe to say that they function as a band intending to express the purest forms of creativity attainable in a dusty music studio in the basement garage of Wil’s father. 
With their first and second albums being drastically different, these gentlemen have…”


Booking : brasstracksgroup@caa.com
MGMT : nathaniel@afterschool.club
say hi : brasstracksmusic@gmail.com

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