Name: Marry Me by The Family Crest
Duration: 5 min 50 s
Description: The Headwinds EP was recorded by The Family Crest, mixed by Jay Pellicci at Tiny Telephone in San Francisco, and mastered by Jason Ward at Chicago Mastering Services.

Recorded, Mixed & Masterd in 2009 at Flux Studios, NYC.

Produced by FAB, Engineered by Meredith McCandless.



Cog in the Machine

A selection of tracks from the acclaimed debut from New York's fun. The group is made up of indie all stars Nate Ruess (ex. The Format), Jack Antonoff (Steel Train), and Andrew Dost (ex. Anathallo). 

The album is available now in stores and online
http://smarturl.it/aimandignite?IQid=soundcloud

fun. - Be Calm

Like Vines

Lighthouse

Robbing Banks

Just Like the Sea- Pigpen Theatre Co.

Beneath the Brine was recorded by The Family Crest, mixed by Jay Pellicci at Tiny Telephone in San Francisco, and mastered by Jason Ward at Chicago Mastering Services.  These tracks are unreleased. Please refrain from sharing outside your team. 

The Water's Fine

I Am the Winter

She Knows My Name

Make Me A Boat

The digital release of 'Len't - the single includes  the radio edit of 'Lent' and 2 b-sides; the Danton Supple produced 'Foolishly Wrong' and the band's self-produced early favourite 'Stalker's Tango'

All 3 songs can be purchased on iTunes here: https://itunes.apple.com/gb/album/lent-single/id586010772 

Foolishly Wrong

The Headwinds EP was recorded by The Family Crest, mixed by Jay Pellicci at Tiny Telephone in San Francisco, and mastered by Jason Ward at Chicago Mastering Services. 

Marry Me

From the onset, Liam McCormick, the mastermind behind The Family Crest, knew that Beneath the Brine was an audacious project. But so is The Family Crest itself.

The brainchild of McCormick, The Family Crest was started as a recording project in 2009 with co-founder John Seeterlin (bass). “We were in another band and had become disillusioned,” explains McCormick. “John and I were actually planning on leaving music at that point because we wanted something that in ten years we could be proud of.”

Instead of leaving music, they set out to reinvent how it could be created, starting The Family Crest. “We always liked making music with people — getting a bunch of people together and singing. So we put ads everywhere,” says McCormick. “We posted on Craigslist and emailed old friends from school.” The outcome was greater than the original duo imagined, with 80 people credited on the first recording the band produced. From that a band emerged, at the urging of the guest musicians, who wanted to hear the songs performed live. “We’ve worked with a lot of conservatory students as well as people who just sing in the shower,” McCormick adds. “It became a lot about giving these people a chance to express themselves without being locked into a commitment.”

The result is a seven-piece core band boasting over 400 “Extended Family” members who have contributed to the music.  The Family Crest released its album Beneath the Brine in February 2014 and, just with its previous recordings, the San Francisco band set out to capture a plethora of instruments — including bassoon, vibraphone and French horn — in unique places, such as living rooms, churches and cafes across the West Coast.

Beneath the Brine shows that McCormick’s ambition was well placed. The expansive breadth of arrangements – from dark, classical romanticism (“Beneath the Brine”) to horn-laden sounds akin to the Roaring 20s (“Howl”) — are complemented by the incredible range of McCormick’s voice. Beneath the Brine also showcases The Family Crest’s ability to infuse pop into complex arrangements, with songs like “Love Don’t Go” and LIVE105 favorite “The World.” The album is a sweeping soundscape befitting the oceanic theme of the title and what SPIN notes as “ambition wide enough to swallow you whole.”

Named #13 on Paste‘s “Best New Bands of 2014″ list and proclaimed NPR Music’s “Favorite New Artist of 2014,” The Family Crest is looking ahead to its next set of audacious projects. Paste founder Josh Jackson notes that “Even with just seven people on stage, The Family Crest’s sweeping orchestral pop can hardly be contained…. It feels like bigger venues are just around the bend.”

Marry Me

The Family Crest

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