With their 2009 release of You Should, San Francisco-based quartet Blisses B shaped an emerging genre, blending elements of bluegrass, rock, folk and pychedelia into a brilliant mix of melodious invention. Since then, their penchant for musical exploration has only increased, encompassing such a diverse collection of musical influences as to make their genre almost indefinable. “Blisses B [doesn’t] so much cross genre divides as run a steam roller over them,” reports Americana UK. Its aptitude for innovation and genre-defying sounds will almost certainly make Blisses B one of the most interesting bands to watch in 2011.
Blisses B consists of frontman Nathan B. Libby and multi-instrumentalists Benjamin Keegan, Matthew McBride, and Nicholas Testa. Libby explains the origins of the band’s name in an interview for Bird in the Tree:
Blisses B is my nickname from childhood. My middle name is Benjamin and that’s the B part of it, the Blisses is really simple…we were playing some sport in the street, as kids do on a constant basis, and I did something blissful and it stuck. Some friends still call me it to this day. Ultimately, I told myself when I started a musical venture I would call it Blisses B. I think the name harkens back to a time of youth and foresight, and I like that element. Our music benefits from this because our approach is similar in that we don’t stray far from unforced creativity and imagination.
Between its four members, Blisses B incorporates a wide array of instruments—guitar, keyboard, mandolin, piano, banjo, percussion, bass and twelve string guitar—each one used in both traditional and untraditional ways to create a sound that is uniquely Blisses B. They are currently playing a number of venues in California and areas of the Pacific Northwest in promotion of their sophomore LP, Thirty Days, Sixty Years.
Thirty Days, Sixty Years is a thoughtful, reflective album, “exploring the parameters that define our lives… and the personal equations that result from the many caveats that can extend and shorten [them].” Album opener, “Regal Goodbyes” starts this theme off, as Libby sings, “Why try feeble? Ignite that ego. We’re armed with past plans; they end in bed pans.” But the premise is best surveyed in the title track and “Cattywompus;” have a listen.
“Regal Goodbyes” by Blisses B from Thirty Days, Sixty Years
“Thirty Days, Sixty Years” by Blisses B from Thirty Days, Sixty Years
“Cattywompus” by Blisses B from Thirty Days, Sixty Years
The album’s sound is difficult to define; and, as we at The Indie Kind were listening to it, comparisons were drawn to the likes of Wilco, Modest Mouse, Andrew Bird, Clap Your Hands Say Yeah and many others. But, while some assertions seemed valid (“choruses like Modest Mouse” / “guitar melodies akin to Andrew Bird”), it quickly became obvious that Thirty Days, Sixty Years is a work of utmost originality. And despite its blending of so many styles, the 11 tracks are never cacophonous. Instead, each style and instrument is expertly crafted together—along with Libby’s striking vocals—into a coherent work of art.
Thirty Days, Sixty Years was recorded, produced and engineered entirely by Blisses B. Bassist and backing vocalist Nick Testa personally tracked, mixed, and mastered the album. Artwork was provided by Benjamin Keegan’s brother Graham Keegan, making every aspect of Thirty Days, Sixty Years a DIY success.
Check out Blisses B on:
Facebook
Twitter
Myspace
SoundCloud
Purchase Thirty Days, Sixty Years at:
____________________________________________________________________________________________
If your indie band is looking for exposure, then The Indie Kind wants to feature you. For details, see our Music Submission Guidelines and contact us at theindiekind@gmail.com.
I had never heard of Blisses B., but this feature encouraged me to check them out.
I listened to the new album cover to cover right away. My first thought was Modest Mouse too, but that comparison was put to shame by track after track of unique sound.
I think my favorite song was “Thirty Days, Sixty Years.” The sound gives a fun, modern twist to folk or blue grass roots.