Drab Majesty - The Demonstration

Drab Majesty is an inter-dimensional platform aimed at channeling aural and visual messages founded by a human being from Los Angeles in 2013. The human communes directly with it’s spiritual muse/assumed alter-ego Deb Demure to demonstrate the power in relinquishing ownership to a divine design, thereby handing inspiration over to the spirit world – essentially serving as a contractor in business with the Collective Consciousness.

Relying on those principles, Drab Majesty, from its inception, set out to achieve no specific style, yet over the span of a European tour, several US tours, an LP entitled “Careless” (released and reissued 3 times on DAIS Records), 2 cassette EP’s, and a 7-inch on (Weyrd Son/Brussels), Deb has honed in on a pointed aesthetic.

While inherently guitar-driven music in the vain of The Chameleons or Red Lorry Yellow Lorry, Drab Majesty’s sound is often nuanced by ethereal washes of icy keyboards and arpeggiated synthesizers, backed by heavy mechanized percussion and forked pulsing synth bass, all adorned with reverb-laden vocals reminiscent of a hallowed cathedral.

Digital Album

Posted on January 28th, 2017 under Releases, ,

Drab Majesty - Careless

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother’s apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn’t help but notice the disconnect between the glow of his grandmother’s temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics, aging transgender prostitutes, and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared – there was a nobility in their failure, reflective of the dignity of the city’s vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb’s musical podium for this undertaking.

Raised in a music-centric household, Deb would find the time to teach himself to play his father’s right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt’s Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry’s Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy’s falsetto reflecting the sepulchral ambiance of church visits with his grandmother.

Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of “mid-fi” synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, “UNARIAN DANCES”, he also shared a split 12″ with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless.

Written over the course of 2 years, “Careless” is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Listen here and order here.

Posted on August 18th, 2015 under Releases, ,

Sightings - Amusers and Puzzlers

After the release of their well-received ninth studio album, Terribly Well, and their successful month long European tour in 2013, Sightings did the unexpected and quietly disbanded without notice or explanation. More than 15 years in the trenches and making a mess throughout New York City, the band made more of a polarizing impact to formalized underground music that most of their peers. Sightings would have been a national treasure if the whole country was laid to waste in Armageddon.

During the sessions that birthed Terribly Well, a complimentary album was recorded in tandem which, while not intended to be their final statement, produced the jaded epilogue from the mouth of experimental rock’s most lasting monolith. Amusers and Puzzlers is the schizophrenic culmination of their brand of damaged rock. Isolated noise patterns shifted from Mark Morgan’s unorthodox guitar patterns sewn up from his nervous, scattered vocal phrasing. Richard Hoffman’s stampede-like momentum on bass slammed against Jon Lockie’s drum triggers made the past couple decades crash into itself.

Listen here and order here.

Posted on July 13th, 2015 under Releases, ,

Drab Majesty - Unknown to the I

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother’s apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn’t help but notice the disconnect between the glow of his grandmother’s temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics, aging transgender prostitutes, and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared – there was a nobility in their failure, reflective of the dignity of the city’s vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb’s musical podium for this undertaking.

Raised in a music-centric household, Deb would find the time to teach himself to play his father’s right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt’s Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry’s Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy’s falsetto reflecting the sepulchral ambiance of church visits with his grandmother.

Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of “mid-fi” synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, “UNARIAN DANCES”, he also shared a split 12″ with synth pop forefathers, Eleven Pond.

Listen here and order here.

Posted on May 31st, 2015 under Releases, ,

Them Are Us Too - Remain

Emerging quietly from the California bay area through their limited edition demos and intimate performances over the last two years, Them Are Us Too have gained a cult following within independent music circles as a young, new take on the revered “4AD sound” of dreamy goth-pop anthems. With a nod to 80’s shoegaze sensibilities, Them Are Us Too creates songs about tragedy and loves-lost that draws devoted listeners to their nostalgic and innocent sound. Kennedy Ashlyn Wenning’s vocals have been repeatedly compared to Kate Bush, Harriet Wheeler, and Elizabeth Fraser, with a pitch-perfect octave range carrying songs gracefully between optimistic joy down to undisturbed melancholia – all within one moment of verse. Guitarist Cash Askew paints a layered and complex backdrop using signature reverberation and washes of stringed ambient tones, akin to Robin Guthrie, Ronny Moorings and Kevin Shields.

Perfectly executed songwriting with effortless simplicity and vernal drive, Them Are Us Too’s debut album, Remain, rivals the comparative magic behind the early 4AD catalog and zeitgeist of early Creation Records. Massive, seraphic sound and heartbreaking nostalgia crafted into 8 songs of uncompromising and immaculately orchestrated beauty. At only 21 years of age for both members, Them Are Us Too mask their irrepressible youth underneath their limitless imagination and unparalleled talent, dedicating themselves fully to their uncanny musical creation.

The debut album “Remain” on Dais Records was recorded and produced by Joshua Eustis (Telefon Tel Aviv, Nine Inch Nails, Sons of Magdalene).

Listen here and order here.

Posted on May 9th, 2015 under Releases, ,