I play Omnichord and sing. I used to do entirely covers, but have been writing original songs for the past few years. I am also in the band Lucky Witch & the Righteous Ghost, please look us up on Soundcloud.

T&A.  Tanuja Desai-Hidier / Atom Fellows.


They make music.

ADAM SWIDERSKI - Guitar, Vocals
SARAH MALINDA ENGELKE - Keytar, Vocals
BRIAN BAIR - Drums 
NEIMAH DJOURABCHI - Bass
AUDREY MARSHALL - VOCALS
SEAN WILSON - LEAD GUITAR

"If Fellini had made beach movies, Supermajor would have been their elegiac, enchanted house band. “Cemetery Eyes” is an anthem pouring out from and then somehow all around the dashboard of some convertible that went off a too-sharp curve on the Pacific Coast Highway in 1966 and never returned to Earth, picking up alien angel doo-wops and Eno buzzes from the ether and the future along with its irresistible elysian guitar jingle and synth fizz while it was in the air with no interference. “Your Drift Is a Drug” has that motorcycle-kickstart rhythm, recoiling on itself as it chews up distance, wrapped up in sensations torn away from the disappearing landscape. Happier yet still wiser, Supermajor are pop prophets and sibyls who haunt a collective hit parade without ever having had to die, as rock and roll never does, because they know that youth only passes from soul to soul. There is no more radio but there’s still ritual, and Adam Swiderski’s headlining songs are testaments of movie-star confidence and morality-play caution while Brooke Tarnoff’s and Sarah Engelke’s are séances of ’70s arena-diva sorrow and transcendence, “I See You Clearing” a prayer for hearts put back together from each others’ pieces and “Shotgun” the proto-punk hall of fame B-side. Everything converges for “A Little Piece of the Sun,” the kind of half-album-length epic that whole societies of counterculture would collect around. Supermajor makes the music of the flattened spheres, orbiting eternally on black tracks and then shooting you into the day each time the needle has to lift off." -Adam McGovern http://mcgovernix.wordpress.com/2014/07/08/off-the-chart/

It was spring of 2000 when keyboard player, Josh Wexler, gathered a handful of eager musicians he had met during his time at NYU. Sparks flew immediately as the guys found shared interests from all areas of music from jazz to metal. From their Williamsburg basement studio, the Rock Mahal, the band began making an eclectic and avant garde blend of music fueled by Country Club Malt Liqueur 40's and a substance simply referred to as "bonitz". Featuring a four-piece rhythm section with a three-piece horn section front and center, and multiple vocalists, Country Club & the Porn Horns was born. 

The band's early live shows were pure electricity. Young and full of piss and vinegar the boys delivered an onslaught of complex orchestration, jams, and performance art. Their costumes were wild and their antics even wilder, which fed the energy of the music and the crowd. A seminal performance at the former Acme Underground which featured a Country Club drinking contest, aerosol fireballs, sonic exploration, and New Orleans dance music, confirmed the boys' suspicion that they were developing something special.

Soon after that show Wexler moved to New Orleans but the band charged on. With Josh gone the band's sound inevitably began a slow shift toward a more guitar driven aesthetic. CCPH cut the four song EP "Stuff to Snack On" in 2003 and followed that up with their first full-length album, "The Stationwagon Revolution", in 2004. The album was a culmination of the eclectic, exploratory early years, and a hint at what was to come. The tongue-in-cheek, southern rocker "Whiskey Tits" became a crowd favorite as songs like "Squeeze It In", "Wishing Well", and a cover of Fear’s “New York’s Alright if You Like Saxophones” indicated a move to a more focused and rock-based sound.

Following a legendary release party onboard the Lightship Fryingpan the band began making northeast swings. Although the live shows were not as experimental as in years past, the energy and humor remained the same. CCPH’s shows have been described as “high-brow riffing mixed with low-brow humor”. The sound was getting bigger and the shows were becoming a blitzkrieg of well rehearsed and well delivered, power-trio-based, horn-infused, vocal-lead, unadulterated rock-n-roll.

In 2006 the band recorded the “Friends Don’t Make Forearms EP” with Joel Hamilton. The EP had a determined drive, leaning on influences from garage rock, arena rock, and grunge, and Joel’s production style gave the album an appropriately enormous sound. With performances at Mercury Lounge, Union Pool, Southpaw, and around the northeast the live shows continued to impress and ignite crowds.

In 2007 CCPH cut the 7” single “2 Under Par” and threw a second legendary “boat party”. Continuing to play live, the band also began a stretch of intense writing as they looked to make another LP. At this time the band felt that the name Country Club & the Porn Horns induced a vision of the avant garde and outlandish style of their past and did not properly represent the current state of the band. As a result they changed the name to Claws of Paradise–a nod to Charles Bukowski–and released a self-titled, 13 song, debut album in 2008. One reviewer described the songs as “early Sabbath doom mongering, the skin-breaking riffs of Guns N’ Roses, the scarred blues of grunge’s most wanted. And all this jump started with a nitro shot of brass.”

Claw of Paradise supported the album with a tour of the eastern seaboard and the mid-west. At the end of the summer of 2008 they decided to take an hiatus and pursue other musical interests. Although there was never an official breakup the hiatus continues. Today the boys are as close as ever and these lunatics have even began to sprout offspring–a scary thought. There is talk of starting the Pecker Patrol Brother’s Family Band, but we will have to wait on that a few years. 

I've made sounds for TV and live human events and in between.  

---from iheartsfbands.com---
Andy Strong is a mad man in the best possible sense. And it seems the Damn Fanatics all seem to fit that mold.
My first time witnessing their live spectacle was on a patio at a birthday party. The sun was still out, but their attitude boldly suggested “night time”. The Damn Fanatics are damn fascinating, with a unique sense of fashion (there were top hats and a Jack Skellington head, oh and Andy had some serious BLING), bizarre riffs, and stage antics that bring one back to CBGB’s in the late 70s. It is safe to say the Damn Fanatics are, as my good friend puts it, 'on some whole other shit."

----from sfgate.com----
The Damn Fanatics serve up a hearty mix of classic rock sounds, modern electronic influences and southern blues twang that are at once familiar and unique. Sometimes raw, sometimes refined, and always danceable - The Damn Fanatics will get your blood pumping and your boots a’scootin.

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