Pivitplex

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风格: #基督摇滚
地区: 欧美

艺人介绍

"Nobody is sure who to compare us to," says Pivitplex’s lead singer Scott Brownson. "I believe that the lyrics and music influence each other, and I just allow the songs to happen." And that is certainly true of Pivitplex’s sound—it’s fresh and unique, it can’t be classed as trendy New Wave throw-back or melodic American rock with British pop overtones – it’s almost too cool for that…

Brownson started the band in his native Montana, so perhaps it is the mountain air that adds to the creativity, but whatever the secret inspiration, Pivitplex’s new album The King in a Rookery oozes melody, raw guitar overtones and intelligently insightful lyrics. It’s a huge leap forward—both sonically and in songwriting from the band’s debut release Under Museum Quality Glass. Good songs extend past trends and influences of now—and The King in a Rookery is exactly that—an album packed full of really good songs.

Pivitplex’s debut album: Under Museum Quality Glass was an independent effort which offered up the radio hit “You Know” and introduced Pivitplex to a large audience with a national release on BEC Recordings in 2003. The band hit the road covering over 30 states developing a strong fan base and sharing the stage with bands like Switchfoot and Audio Adrenaline.

“We took a very different approach” when it came time to record a new album," says Brownson. Constant touring and 3 years of trials and joys fueled the content of the new songs. “Being away from family, the sudden death of my brother-in-law, my daughter’s recovery from a coma. I have had some joyous highs and sad lows. I had to allow the songs that were flowing out of me to just be."

They took what was an evolving sound and joined forces with GRAMMY winning producer Jason Burkum. Together they ed Pivitplex’s sound, combining vintage rock sonics and refreshing melodic harmonies. “I wanted to allow the songs to breathe and specifically chose not to over do the saturated guitars that is so common nowadays,” says Joby Rudolph, guitarist. “We let the notes and the tone of instruments come through—letting the melody have the impact instead of big distorted guitars. In a way it was like putting together this giant puzzle; from tracking drums in a backstreet studio to backing vocals in the bedroom—but the pieces fitted perfectly.”