Archives for posts with tag: Ryan Hurtgen

The Ryan Hurtgen Interview via The West Coast

Photo courtesy Perfect Beings

Photo courtesy Perfect Beings

Perfect Beings [My Sonic Temple]brings together elements that are well reminiscent of GenesisThe Lamb Lies Down On Broadway /  YesGoing For The One era Prog Rock with a new twist to a new era of sound with the spontaneous yet well thought out instrumentation recorded almost completely live with  strong vocals plotting out a rock opera for the modern chip ready times.

While Perfect Beings played it safe at first by posting the more ballad oriented “Walkabout” to YouTube, this only eludes to the multi-textured beast of greatness that goes from “Helicopter” with its “Going For The One” modern arena prog rock that could touch a lot of fans of the genre in the sweet spot of the ears that has been missing in music for thirty plus years to the 2112/Neil Peart style of ideas within the mammoth “Removal of The Identity Chip”  which could be a modern take on “Watcher Of The Skies”.

Johannes Luley during recording session. Photo courtesy Perfect Beings.

Johannes Luley during recording session. Photo courtesy Perfect Beings.

Founded upon the nucleus of guitarist, Johannes Luley [Moth Vellum] and vocalist / songwriter,  Ryan Hurtgen [Rene Breton], Perfect Beings does not disappoint on their freshmen release with like minded musicians, Dicki Fliszar [Bruce Dickinson] on drums, Jesse Nason  on keys while Chris Tristram [Slash, Marjorie Fair] manages some Chris Squire – Rickenbacker Bass squawk on some lines.

Although it is easy to reference some of the original prog era giants, Perfect Beings manages to hit some touchstones without sounding retro. It sounds fresh in 2014 and has been reviewed all over the web with very favorable quotes and every review, so far, on Amazon has given the album five stars.

To be honest, this will be the greatest prog album this year not only because they will make happy ears among die hard adherents, but, in fact, this is a great performance album that can sit on the top shelf with the above mentioned works as well as maybe Pink FloydWish You Were Here and it’s “Welcome To The Machine” motif.

Vocalist, Ryan Hurtgen is well known in East Nashville circles from a couple of years ago with his Rene Breton project. He made the move to California and in the end it has proven to be a really productive time.  Maybe it’s because he gets to surf quite often, or maybe it’s the So Cal attitude that works well. In any case, Ryan caught up with The Nashville Bridge to talk about this latest project and the meaning of music in these tumultuous unknown times in the music business.

Brad Hardisty / The Nashville Bridge: How did you get involved in this project?

Ryan Hurtgen during Perfect Beings session. Photo courtesy Perfect Beings.

Ryan Hurtgen during Perfect Beings session. Photo courtesy Perfect Beings.

Ryan Hurtgen / Perfect Beings: Johannes had two others guys that he had on a prog rock project that he wanted me to come in and sing on. I said yes but, I never even met those two other guys. They dropped out.  The other two guys that he was going to start the band with dropped out and they couldn’t do it anymore. They had kids so, Johannes was like, “why don’t you and I start our own project?”

TNB: So, you were in from the beginning of this project?

RH: Yeah, we found the other band members through the web and started the band.

TNB: Was the prerequisite that they had to have a feel for doing the prog thing?

RH: Oh yeah. It just happened to be that the drummer, Dicki, who has played with Bruce Dickinson, has a daughter that goes to school with Johannes’s son here in L.A. and they met at a school function and they were talking about it. Johannes said, “why don’t you come jam with us?” Dicki came and we got the concept and so then there were three of us and then he knew Jesse from when he was in another band and he was totally into Prog keyboard things and decided to join the band too. So, we needed a bass player.We tried probably ten bass players and we found Chris Tristram on YouTube playing along to a Yes song and he had like a 100,000 views and it was just sick!  Johannes was like this is the guy that replied to one of our craigslist adds and that is how we found him.

TNB: I noticed that Chris sounds like, right off the bat, half way through the first song “Canyon Hill” like a little bit of Chris Squire.

RH: Exactly. That was exactly the style we were going for and he uses a Rickenbacker bass. So, we were going to go with this other guy just because we had to get the project going and then he contacted us and we were like, sure. Automatically

TNB: A lot of the ideas are like sci-fi but they are real like “Removal of The Indentity Chip.” That is physically something that could happen ten years from now. Did you guys kind of look at it that way?

Perfect Beings cover art. Courtesy of Perfect Beings.

Perfect Beings cover art. Courtesy of Perfect Beings.

RH: It’s based off the 2013 book by Suhail Rafidi, TJ and Tosc that was based on the future and it is fairly possible you know? In twenty years. We understand what is going to happen, you know how globally with the international concern how they use the tool for future ideas. Asia kind of understands this so, things are based on darkness and light and the idea would make it easy for us to communicate through.

TNB: Tell me about some of the other ideas, like “Program Kid” and things like that.

RH: Well, it’s an Opera that revolves around TJ and Tosc. So, it’s a story from the beginning and  I wanted to keep the idea of maybe dying like the portal from life to death.

TNB: Have you guys been gigging out in LA yet or?

RH: We have been opening shows out here.

TNB: Are some of the established bands aware of what you are doing?

RH: Well, we are number one on the Prog Archives. We are definitely getting a lot of really good recognition.

TNB: The thing is it fits that style but it is not a regression to the 70’s, it’s like a modern take on it really.

RH: I think it’s pretty unique, I think there are melodies with production skills, I can break it apart and then build it back up. We didn’t want to make Pop songs. We wanted to make an operatic piece of music.  I almost think that the Rock community needs to get out of the past a little bit and kind of see what is happening in the future and see places in the future. I feel like they’re really stuck in the 70’s like nothing is ever going to get as good as the golden age. You know what I’m saying? Progressive has a lot to offer like Dream Theater

TNB: I think of what like King Crimson did. Twenty years later, they sounded totally different then when they started, in other words, they are always looking at a new approach.

RH:  It’s kind of funny because, we are like mining the past in order to tell a story about the future, but it’s time to be in the present.

TNB: You are one of the most interesting people I have met. I thoroughly enjoy your progression of what you are doing and the different things that you are trying to do.

Dick Fliszar, Drums, Perfect Beings in session. Photo courtesy Perfect Beings.

Dick Fliszar, Drums, Perfect Beings in session. Photo courtesy Perfect Beings.

RH: In this day and age, as far as a label, it’s like everything I’ve done is just like because I was interested in going in a certain direction. Johannes and I have encouraged them to do a drum solo and play just as hard and as fast as you can in a certain section and we are going to embrace the feeling of the day. We are just trying to have fun with it so then let’s make it as complicated as we can, you know. We are not thinking like “we need to have a radio single”. We are thinking, no, we don’t need to have to have a radio single.

TNB: It was the same thing as with Rush on 2112 when they were told by the label that they need something commercial  and they went totally the opposite.

RH: I remember that. It was a different culture back then. It would have been interesting to be a part of, you know. You’d have to dog your manager. I don’t know if that’s smart but, you know, artists really know what they are doing. I mean, the music industry  had these old cigar smoking guys trying to figure out what was going, so they just trusted the artist to know what was popular and what was good so you know, they got a lot of good music out at the time. Nowadays, it’s like the A&R people and the label think they know what people like and they have taken it away from artistic integrity, you know.

TNB: Yes. I think it is even more so with Engineers and Producers because of what you can do with Pro Tools.

RH: Right.

TNB: Imagine if they had “quantized” Exile On Main Street or if they had pitch-corrected Billy Holiday?

RH: Right, yeah totally.

TNB: I saw the clip on you tube about how you guys recorded and I assume you recorded live.

RH: It was a live recording, right. There is no manipulation. We did overdub but…

TNB: I know you have excellent pitch and I don’t know if you tweeked it a little but, if you did, it was a minor change because there is no metallic sheen on your voice other than a special effect on your voice on the one song.

RH: We wanted the effect of a machine so you can hear that effect but, those other songs, I sang those.

TNB:  Any ideas about touring or doing any gigs around California?

RH: We have to get some people involved first. We don’t have any kind of management or booking so everything has just been done by us. All of the recording process. We are doing all of our own booking. We all have jobs. Some of us have jobs that would make it pretty hard to be out on the road right now.

TNB: That can be difficult.

RH: Yeah. I don’t know what is going to happen.  It is going to take some time to make it happen. If it does, it will be mainly in Europe. We are getting a publicist.

TNB: Europe, that would be cool.

RH: I want to play but there are a lot of things that we need to do before we are out there touring.

TNB: All you need is money.

RH:  Why isn’t creativity, why aren’t real artists honored with money now? Why can’t artists make money now with the internet? Information is free and there is a plethora of noise you know.

Photo art courtesy of Perfect Beings.

Photo art courtesy of Perfect Beings.

TNB: It’s a scary thought. One guy is releasing his album on a satellite and Wu Tang Clan is doing only one vinyl pressing and they are going to take it around on tour and then they are going to sell it for a million dollars to recoup their cost. It’s just bizarre. In a perfect world you guys would be on Atlantic Records working with some A&R guy who is into Yes who would be calling every FM radio station to get you guys on the air. There would be stacks of records at Tower Records when the release comes out.

RH: Yeah, totally. You are right. It feels really strange to me because we just released it and like we have just gotten incredible five star reviews around the board. I think it’s a masterpiece of music.

TNB: I think it’s sits with the best symphonic rock albums.

RH: I haven’t gotten any call from any labels. I can’t get people to call me back in the industry. People who have got it and listen to it, have given us incredible praise. I have been doing this music thing for a while now. I haven’t really asked for much, I have recorded on my own, I have toured on my own, I have put out records thinking that at some point I will make something really good and I am going to get better and better and then eventually it is going to be recognized and I am going to have a career.

TNB: The only real way now to make money is selling your music to commercials or like ESPN like this local band MODOC did.

RH: Yeah, this record is a Progressive Science Fiction Rock Opera, like let’s go out and sell a Pepsi.

TNB: It’s right in there with masterpieces like The Wall.

RH: Yeah, our culture needs stuff like that.

TNB: It’s like you have to find satisfaction in what you do for yourself.

RH:  All I can say is as an artist I am going to continue making more music that is more challenging and that is why I wanted to do a Prog Rock project, because it was challenging. I don’t want to play into that mainstream system based around commercialism.

TNB: Hopefully it pays off.  There should be a double gatefold copy of Perfect Beings around.

Jesse Nason, Keyboards, Perfect Beings. During recording of the new album. Photo courtesy Perfect Beings.

Jesse Nason, Keyboards, Perfect Beings. During recording of the new album. Photo courtesy Perfect Beings.

RH: I guess at this point in life I can say whatever I want and just say who cares. It’s not like I’m mad anymore. It’s almost a shame  because of what’s happening with the internet and illegal down loading, record companies have shut down, but, it’s not just record companies, a bunch  of artists have lost money. A lot of studios have closed down. Not only that, but it is people in hometowns in record stores. There’s no Blockbuster video anymore. There is no local record store. You know, those were jobs for local kids. Those businesses employed local kids in small towns all across America. They worked at a record store and not only did they work at a record store but they perpetuated good music to other kids in that community. There was a place in that community for people to hang out and I think it is interesting that we wrote this record and that is has all of these dystopian concepts in it and yet you see it happening now even with art itself.

TNB: It’s almost like half of the people that buy records now are musicians themselves.

RH: Musicians have become the commodity. Now, photographers and everything, it’s like, now I have a licensing company, pay me so many dollars a month and I’ll pitch your song, but there is no guarantee you’ll get anything. So, it’s like you have predatory music companies that have popped up all around and for good reason because everybody has Garage Band [software] and everybody can make their own record now in their own room with beats and whatever. It’s like, “I made a record and I’m going to be on a TV show.” They will never get a placement but they are paying a $100 per month and these guys are making money off of them. I don’t mean to be all negative. I am happy that we were able to make this record and there are people into this and there is absolutely a lot of beauty in the world.

TNB: We really need a product that is going to save the music business whether it is music or whatever.

Chris Tristram, Perfect Beings during recording session, photo courtesy Perfect Beings

Chris Tristram, Perfect Beings during recording session, photo courtesy Perfect Beings

RH: Well, Neil Young is coming out with PONO now.  The PONO thing is a cool thing and how cool is it that we are getting away from MP3’s? I mean, talk about saving the music industry. It really makes music sound good again. The listening experience is really important to people now and people are really excited about listening to vinyl with really good speakers and having listening parties and shit. Until people change the concept of, “I can listen to this on my iphone!” and just plug it in and have MP3’s then it won’t improve.

TNB: It’s like, I have been collecting a lot of vinyl over the last couple of years. I will pull out Bob Marley and people say it sounds like “full spectrum”. I will do a side-by-side of “Is This Love” on a CD remaster and the original vinyl and you can see the bits of Bob Marley’s voice that are missing on the digital copy.

RH: That’s vinyl, man.

–          Brad Hardisty, Nashville, TN    thenashvillebridgeathotmaildotcom

Catching Up With Everybody

John Hatton backstage at The Mercy Lounge, The Billy Block Show, May 2014 , photo - Brad Hardisty

John Hatton backstage at The Mercy Lounge, The Billy Block Show, May 2014 , photo – Brad Hardisty

Nettie Rose was back in town working on her album and returned to The Billy Block Show at Mercy Lounge sounding better than ever. I was caught by surprise when I got a message from her current bassist,Johnny “Spazz” Hatton [Brian Setzer Orchestra] letting me know about the set that night.

Nettie was decked out like a prohibition era June Carter speakeasy chanteuse. John was sharing some of his knowledge on the upright with Billy’s son, Rocky Block who hosted later that night. Speaking of Billy Block, he looks to be recovering very well and was sitting in on the drums midway through the night with another group.

Billy was featured on the cover of Nashville Scene magazine recently behind the drum kit and everybody is happy that he is doing well.

John Oates, Record Store Day 2014, Grimey's, photo - Brad Hardisty

John Oates, Record Store Day 2014, Grimey’s, photo – Brad Hardisty

Record Store Day was another great success this year with the Groove featuring Nikki Lane who brought several copies of her new album on vinyl to be available only at The Groove until the official drop date several weeks later. The New West label vinyl sounded great and features local picker Kenny Vaughan (Marty Stuart) and Dave Roe (Johnny Cash) on bass. The album was recorded with Dan Auerbach (The Black Keys) at the helm really is a local Nashville tour-de-force.

photo courtesy of Ryan Hurtgen

photo courtesy of Ryan Hurtgen

More photos and stories from Record Store Day will be forthcoming as well as an extended interview with Ryan Hurtgen [former band Rene Breton during his Nashville days] and his new project out in California called Perfect Beings. The new recording done almost completely live sounds close to a modern take on 70’s prog like Yes, Gentle Giant and early Genesis. It has already been touted as the “Prog Rock Album of The Year” in some reviews.

Franklin, Tennessee is set for an extended Americana Music Festival dubbed the Americana Experience beginning on May 22nd and running for ten days! The Franklin Theater has featured several artists known for the genre such as Darrell Scott over the last couple of years.

There are so many events that have developed in the local area that Nashville Scene dedicated a month to month guide is this current week’s issue to help plan the summer months festivities.

On the short list, CMA Fest and Bonnaroo coming up next month followed by East Nashville’s Hot Chicken Festival on the 4th of July and the Tomato Festival not too long after that.

Uncle Dave Macon Days 2013 photo 1, photo - Brad Hardisty

Uncle Dave Macon Days 2013 photo 1, photo – Brad Hardisty

Uncle Dave Macon Days in Murfreesboro is one of the best old time music festivals and competition in the country and features some great jams in the park July 11th-13th.

NAMM returns in July with KISS and Def Leppard playing the Bridgestone Arena on opening night.

I just got my second magazine cover with Performer Magazine in April that featured an interview with Atlanta’s Black Lips that was supposed to be about the new album production but ended up being about their recent tour of the Middle East that was made into an Indie film and seemed to be a mind blowing experience all these months later.

Tristan Dunn, jamming with The Tim Boykin Blues Band, Birmingham, AL, photo - Brad Hardisty

Tristan Dunn, jamming with The Tim Boykin Blues Band, Birmingham, AL, photo – Brad Hardisty

Birmingham utility musician and vocalist Tristan Dunn is staying under my roof for the month of May and jamming on blues harp and vocals with just about every band on Lower Broad as well as Printer’s Alley. Tristan is gigging with current American Idol alumnus Casey Thrasher in Tuscaloosa, Alabama tonight.

Outside commitments are keeping me busy and spread a little thin lately but I will get some things up real soon! It’s always a good day to buy a vintage tube amp or

– Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

 

Interview With Ryan Hurtgen

ReneBreton.Headshot.1[1]“I’d like to share with you all the new Rene Breton album Between City and Country.  For those of you that haven’t heard from me in a while, in the last year I moved from Nashville to Los Angeles.  These songs are all impressions of this journey.  In many ways the album is auto-biographical, however I do think it resonates with many young people migrating around between cities, through country, looking for their place, a new adventure, love, and the American Dream.  I’ve chosen to release the album now because I feel it is a summer album and will be good to listen to while traveling and doing summer things.”  – Ryan Hurtgen – Rene Breton

Ryan Hurtgen left Nashville in July 2011, less than a year after the release of Rene Breton’s Asleep In Green for what looked like would be another stepping stone in the album’s success.   

It has been almost two years and on the eve of Rene Breton’s new release, Between City And Country, The Nashville Bridge caught up with Ryan after watching the new videos, “Left Coast” and “Connection” that shows a departure from their first release that kind of showcases an almost M. Ward hangs in Laurel Canyon soaked in a post “OK, Computer” pop environment with a real prog keyboard twist and shiny happy “Eureka, I have found it!” California vocals.

Brad Hardisty / The Nashville Bridge: Why did you head out to California?

Ryan Hurtgen: Originally, the reason was I was in a relationship and she was from L.A. I moved out here to be with her and start a new music career. I had already been in Nashville five years and I was ready for a change. So, we did it.  We arrived here. That was the original reason to just find new adventures, new types of people, cultures, thinking that kind of thing.

TNB: What did you find out in California?

cali postcardRH: All that’s proven to be very true. Some people have a very progressive mindset out on the West Coast. Really, the West Coast is a very spiritual place. Its very open- minded and it’s very, like, about not seeing the rules of things or the borders of things. It’s about a kind of free your mind with no rules attitude. The spirit of the 60’s still does really exist here. I think it’s definitely more of the underbelly of things like the way it was back in the 60’s.  The mentality still does exist here in the art and in the culture.

It’s different than Nashville because Nashville is very traditional. Nashville is very stuck in tradition. You know like in songwriting. There are rules to things and there are ways to doing things; more practical. You know both ways of approaching things are great. I think that Nashville was very good for me in that sense. It taught me a lot of rules, but, I think I reached a point where I needed a change. But, I think it is kind of ironic because this album is more “poppy” than the Nashville project, but, for me as a person, I definitely expanded my world a little bit more out of being about the necessity for my own self and like something more.

TNB: Tell me a little bit about what happened after you got out there.

RH:  I guess I’ll tell you the whole story. I just made a cup of tea. I got up and went surfing at like 5 AM and then I just dozed off on the couch.

TNB: Where do you surf?

topanga canyonRH: I go to Topanga Canyon. I surf there, but, I live in Echo Park; pretty much downtown. I’m going to go outside and find a place to get in thought mode.

Well it’s about 82 degrees. It’s one of the reasons I definitely stayed. Alright, I found a place in the shade here. So, basically I hit a wall in Nashville. Okay in the last interview I said I was going out to California and I didn’t know what I was going to find there. I was finding a new direction and I think I was talking about how in songwriting   I was really into the “surreal” thing there with Asleep In Green. That was the direction and method I was using for that album, but, I wasn’t totally set on keeping that theme with the next record and I then I said in that article that I wanted to go more towards more Pop songwriting which appeared to be very true. I ended up going in more of a pop direction.

I moved out here and just completely lost everything. I lost the band that originally was on tour. We had a record label and a booking agent and I was in a serious relationship and all of my ducks were in a row and it was lining up to be this nice perfect music life. Then the bottom fell out.

It was kind of hard because I felt responsible for everything. I was the main songwriter of course on everything and then it just unwound. I found myself out here and my girlfriend and I just went out in a bad way. It was a ball of fire, crash and burn. I left and I was living out of my car out here. I was determined not to leave. I was determined to stay out here and see what it had to offer and try to use this opportunity to draw on more of a path of solitude and I did that.

I moved into this sailboat and I lived there for two months. I didn’t have anything. I didn’t have phone service there. I couldn’t even talk on my phone from the boat. I could go onshore and get service there, but, where I was actually at I couldn’t get service. I didn’t have internet. I just had a journal. I had an acoustic guitar. I had a little Casio keyboard with some drum samples.  So, I set up a little studio in this boat.

topanga surfI found this broken surfboard on the side of this guy’s house. I was working odd jobs at the time like painting or I was working on people’s yards and just anything I could find and I found this surfboard that was broken in half and I fixed it up and had that with me.

So, every day I could go out and surf with those waves which proved to be really good, like, healthy for my mind and everything I was going through. But, it was a real time of reflection and what are you doing? I didn’t know any one out here.  I just holed up in the boat and read books and did a lot of meditating. Thinking about what direction I was supposed to go as an artist.

At the time it was kind of sweet because I was being played on the radio out here and I didn’t have a band.  I didn’t have a label. I didn’t have anything. Everything we had worked so hard to get to… it was like, we were starting to see the fruits of our labor and I wasn’t really able to act upon it. I was just a witness to it.

So, I was thinking a lot about where I wanted to go and what direction I wanted to go and I thought well, jeez man, look where I’m at? You should just be telling your story as an artist. Especially nowadays, it takes a certain kind of person to say I am going to live the life of an artist; to say I’m going to do that for my life and I might not make a living from it or I might not get anything from it, but, it’s a journey that is important to take on.

Art is not that important, but, at the same time it is the most important thing in a lot of ways.  I was thinking: well, you know, there are all kinds of people just like me that are going through this same situation actually. There are a lot of people that are leaving their homes and leaving town and losing their friends  and they are getting in relationships and they are confused about love and wondering where they need to be and all caught up in between something.

Topanga Road 1930sYou know I grew up in the country. So, like moving from the country to the city was a big change for me. I think a lot young people in this nation are having those kinds of experiences. They are moving around. They are migrating.  So, that’s when I came up with the album title Between City And Country.

topanga above sunsetI was thinking I was living in Nashville, “Country City Capital” of the world and now I’m living out here in the big city, L.A. and wow so that title struck me, that’s a good theme.  That says a lot about our modern day critique of modern technology, cell phone technology, how we connect with one another and rural life and city life and what all that means and how we are changing as a culture.

I kind of wanted to make it an autobiography about myself because I couldn’t really hold back the emotions I was going through and expressing myself as a songwriter that way because that was all that was on my mind. I couldn’t really create any kind of a fictional surrealist thing. It was all very like I got to say this. I got to get this out for myself.  In a way I’m not doing this record for anybody but myself right now.

At times, I thought, isn’t that really a narcissistic kind of thing to do as an artist to be all consuming to yourself and be all about your story? But, in actuality, I think I kind of made peace with that and I think one of the things I learned as a songwriter is that you can’t try to force something. You don’t have control over your own expression. You can say, well, I want to try to write a really happy song. But, if you are not feeling happy or sad, for that matter, than it is probably going to be hard to write something that is that way. You know what I mean.

I think we are just vessels for whatever is coming out of us is actually a pretty good experiment at looking at yourself and seeing yourself in writing a song and then going back and looking at it and see where did these words come from. What do they mean? You can sense a lot about yourself that way. So, that was one of the issues I was going through in writing these songs.

ReneBreton.020.BW[1]Then I met Collin and Jackie out here. Collin knew Jackie and they both knew about the band from before they met me. They already knew Rene Breton and I’m like, I don’t even have a band now and I’m looking.

Collin builds synthesizers. He’s a scientist. He works on a particle accelerator. He’s totally smart, like a Whiz kid and he is a classically trained pianist.  So, we hooked up together and he was bringing all these electronics out and ideas I was never exposed to. I thought, well, wow, this guy is really into the idea of Between City And Country. Not only lyrically, but, emotionally. He was talking about these topics and we connected musically too.

We took electronic instrumentation and meshed it with acoustic instrumentation and that is kind of the theme of the record as well. Musical instrument wise, it ties onto modern technology mixed with traditional acoustic guitar and drums and piano and that kind of thing.

So, then we started playing shows. We have been playing all year. We have been working on this record.  It’s kind of weird for me now because I’ve kind of moved passed it in a lot of ways. But, it still rings true, a lot of the sentiments on the album.

TNB: Have you played shows with the new material?

RH: Oh yeah, we have been playing all year.

TNB: Where do you play at in California?

RH: We play at The Bootleg Theater in Silverlake. We’ve played at The Satellite, at the Echo. We’ve played in Venice Beach. We have been up to San Francisco. We played two shows at The Hotel Utah, a really awesome place. I just want to become, just like an L.A. scene band at this point.

TNB: The new music is available now as a download.

RH: We’ve decided to release this project as a name your own price download.  Please support us with whatever you can, every bit helps.

rene breton new 01http://renebreton.bandcamp.com/

–          Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com