Dovetail

“If The Beatles, The Byrds, and The Beach Boys were all thrown in a blender, put on frappe, and topped off with a dash of Muse and the slightest hint of Queen, you’d have yourself a Dovetail. Dynamic vocals and superb instrumentals make these Texans one HELL of a band that every rock ‘n’ roll lover should see.” - BUZZFEED

Mount Karma // Dovetail (Album Premiere & Track by Track Preview)

There’s been a glut of rock bands who know how to produce accessible rock music with slammin’ guitars, raw vocals and intense emotions. Sure, alternative rock bands that combine folk-indie sensibilities like Imagine Dragons or Half Moon Circle and those who have done well exploring fusion genres like Muse are popular, but have there been any true rock ‘n roll bands lately?

Enter Dovetail, a six-piece rock band from Texas who reminds me of the versatility of rock ‘n roll greats like The Beatles and The Byrds. Is this high praise really justified?

Jump Into Limbo was given the opportunity to preview their debut full-length album Mount Karma which will be launched on 29 October. Find out what we have to say about this album, track by track.

Julie Listen here

As the opening song, this song got me hooked onto the rest of this album. It grabbed my attention with a no-nonsense guitar refrain that repeats throughout as a lead-bass conversation. The chorus kicks and I am absolutely certain that this should be a huge hit. Not surprisingly, Dovetail won the 2012 John Lennon Song Writing Contest in the category of Rock Song Of The Year for this song. Well deserved indeed! To be sure, I had this on replay for days even before starting on the rest of the album.

Big City Listen here

After Julie, I was instantly impressed that this band was something special - and how would they top that opening track? Big City was slightly less than perfect because I thought it had an awkward melody line (I would have preferred a lower key). The saving grace are the harmonies in the chorus and the toned-down and piano-driven bridge section.

Hey, Hey, Mama Listen here

The title of the song gave it away - country-inspired for sure. This track is enjoyable in a slow-anthem-triumphant-singing-in-the-car-on-a-road-trip way. And isn’t that one of the most enjoyable ways to enjoy a rock ‘n roll song? The ebb and flow of the lyrics get your fists up in the air - and keep them there till the next ‘hey!’.

Heavy Listen here

I fully appreciate the extensive dynamic arrangements that were made in this song. The four-part harmonies and piano licks are outstanding, and so are the lyrics in the verses. Unfortunately, I must have missed the metaphor because I’m not quite sure what ‘you’re so heavy’ means…

See The Sun Listen here

See The Sun channels The Beach Boys with its more acoustic arrangement and pop-ish piano chord backing but keeps things interesting with unexpected chord progressions and guitar licks that let you know that this isn’t your typical rock ballad. Kudos to the lead singer in this track, who shows zero restraint in belting out vocally challenging notes. There’s always something new happening in this song that I’m beginning to wonder how the band’s songwriting process is like. For instance, what might their scores look like - if they even have one? The thought of how un-formulaic their song structures are is impressive. I would say this is my favourite slow-tempo song from this album!

Can’t Feel You Listen here

This song delivered that softer, more sentimental side of the band. The chorus is stunning but sad: I’m been wasting away, been wasting a day, been wasting a way that you want me. My only problem with this song? This song should be longer!

Hurricane Listen here

If you liked the first track Julie, this song is in the same thread. Oozing sex appeal the way rock ‘n roll music should (I say it’s because of the guitars), this track is pretty good - but is it enough to follow up on the energy that’s present in Julie? I’d say up the tempo, bring out some more overdrive guitars and hit me with ‘em.

Easier To See Listen here

Ah, here it is! MORE BASS. Finally. Not to be underrated, Dovetail’s songwriting is top-notch in this Muse-like song that sees lead singer Philip Creamer crooning about his vision. I can feel the powerful energy that exudes from this song, and is replicated even in the minor-ish piano melody lines. The fast tempo got me head-banging in a matter of minutes, and will definitely be a joy to see being performed live!

Listen Children Listen here

While I’d like to think that there’d been a lot of thought to make this more lullaby-like song a bridge to the next in making listening to the album a journey. However, I felt that it ended slightly abruptly and didn’t really fulfill its (intended?) purpose. However, it’s not labelled as an interlude, so who am I to judge?

Story Listen here

Simply stunning! I would rarely question songwriters on their production of music, but this song seems perfect for a duet. It’s just calling out for a female vocal (might I suggest a country voice, perhaps Joy Williams of The Civil Wars?) Don’t get me wrong, the song is already fantastic as a classic love song with intense emotions. Now we need to hear the other side of the story - tell it together!

Speak Listen here

A poignant song of love that quietens down with the same layering and acoustic techniques - but none of this overwhelms.

Get Down Listen here

This song is memorable for its much simpler chorus ‘It’s gonna get down’ that just sticks in your head. Revamped from an earlier version from their EP, my favourite part is the guitar solo in the bridge, though I would have liked it to continue with further reckless abandon, as the vocals often are. Another chaotic and unexpected ending to the song (if you listen to the entire album, this is common!)

The Road Listen here

The Road embraces some silence, some space to breathe early on before letting the layers meld together into a swirling vortex of almost free-styling piano, trumpet and drums. “I don’t want to live forever, no. I just want to find a good way to go. I don’t want to be a trending, never ending road.” are the melancholic lyrics that lead this song to one of those days of

Mount Karma Listen here

The acoustic set-up and soaring vocals of this song make it a lively, almost folksy experience. Mount Karma is the perfect title for this song, and it represents the entire album as it barrels through themes of love, journey, finding and losing. The harmonies make a resurgence with vengeance, building up the crescendos of the song before it falls back to a poignant refrain “Love on mount karma, when I was younger, my life passed before my eyes.”

Final impressions

Overall, this album was pretty darn good! I would definitely be interested to see how the members could recreate the masterpiece that is this album live! Dovetail consists of Creamer and his brother Daniel, Aaron Haynes, Scott Lee, Tucker Cauble and Matthew McDonald. - JUMP INTO LIMBO

In its first full-length album Mount Karma, Texas-based band Dovetail merges Beach Boy-harmony with ’60s influenced country-rock while still managing to maintain its own sound.

Kicking off the album with “Julie,” its John Lennon Songwriting Contest award winner for best rock song, the band marks its territory quickly. The twangy, western guitar throughout the track stands in stark contrast to the gorgeous overlay of vocal harmony the band provides.

In “Big City,” the band switches into full-on anthem mode as lead singer Phillip Creamer pleads, “Big city slow down and let go.” Creamer’s voice is definitely Dovetail’s ace in the hole; his sound is reminiscent of Matt Bellamy of Muse, minus the operatic perfection.

Never pigeonholing itself to one style on the album, the band brings down the tempo and throws its Keane influences to the forefront with “See the Sun.” This comparison is a little off-putting as Keane recently released a new single, “Higher Than the Sun.”

In “Story,” Creamer lays down a mournful guitar over the bouncy piano. This juxtaposition helps to cement the sense of loss conveyed in the lyrics.

The band takes a spaced-out turn in “The Road,” not unlike British bands Keane and early Radiohead. Creamer exclaims, “I don’t want to live forever, no. I just want to find a good way to go,” and the band ramps up around him, building to a strong climax.

The cult of Brian Wilson has seen a swell in popularity in the past decade with the Beach Boys style of harmony reaching into folk-rock (see Fleet Foxes) and electronic (see Animal Collective). While what Dovetail does may not be radical, it performs it capably.

It has been nearly three years since the band released its first EP Love is War, and it is clear that the group has spent that time perfecting its sound and honing its songwriting skills. Here’s hoping that it won’t take another three years to see its next release. - THE COLLEGIAN

The thing about swagger is, when it doesn’t work—when there isn’t enough substance behind it to make it credible—it’s a recipe for disaster. But when it does—when the songs and arrangements and performances deliver the goods and draw you in—a little swagger becomes the cherry on top, a knowing smile shared between performer and audience.

Texas natives Dovetail—the brother duo of Philip Creamer (lead vocals/guitar) and Daniel Creamer (keys/harmony vocals) with Aaron Haynes (drums) and Scott Lee (bass)—are rock and roll classicists of the first order, borrowing flavors from the Beatles, the Byrds, the Band, and Big Star to create their clever, intoxicating songs. (The former influence is accentuated by the band’s having won the 2012 John Lennon Songwriting Contest in the “Rock Song of the Year” category.)

This dynamic and very impressive debut album kicks off with the contest-winning song, “Julie,” an alternately woozy and apocalyptic little gem that manages to move through three or four distinct moods in under four minutes, deploying acoustic rhythm guitar, piano and organ, bass, drums and newest member Tucker Cauble on lead guitar. What pushes the song from good to great, though, is that little bit of swagger, the confidence with which the band propels the song through its changes.bim_ad_daily_vault_print_250

Vocally, Philip Creamer has a bit of the, well, keening quality of Keane’s Tom Chaplin, but the influence I hear even more—not in the songwriting, but in the performance—is Jeff Buckley. As a vocalist, Creamer seems fearless, swerving, diving and soaring through these songs, extending syllables, building drama and leaving you guessing about how he’s going to play off the melody next. (He also sounds a bit like Monterey’s very own Casey Frazier [link], though it seems unlikely they’ve ever crossed paths…)

As a band, one of the things Dovetail do best is understand how to break a song down to the essentials and build it back up, as they do on “Big City,” highlighting how the lead and harmony vocals, lead and rhythm guitars, keyboards and rhythm section fit together. The arrangements always feel loose and organic, yet they’re consistently detailed and layered.

Classic rock influences are all over “Hey Hey Mama,” whose playful arrangement behind Creamer’s unpredictable lead vocal suggests nothing so much as the aforementioned Jeff Buckley fronting the Black Crowes. Album highlight “Heavy” is a potent, inching-toward-psychedelic power-pop number that Creamer propels into the stratosphere on the choruses, turning the song’s one-word title into a four-syllable mini-aria as little fullisades of acoustic guitar punctuate the lines.

And so it goes through the gauzy, off-kilter ballad “See The Sun,” the vintage echo of “Can’t Feel You,” and the slithery, powerful “Hurricane.” As you move into the latter third of the album, the boys throw a wider range of ideas and influences into the pot and stir, with “Story” sometimes feeling like a lost U2 ballad with its dreamy, echoey guitar and unsettling vibe, while “Get Down” features a melancholy, hitching melody at the core of a dense, greasy arrangement that’s punctuated by sharp squalls of electric guitar. The closing title track ventures briefly into Tin Pan Alley territory with a playfulness and bravado suggesting Queen.

For a listener of a certain age, Dovetail sounds like a memory of summer nights by the water, sitting on the trunk with the car stereo turned up and all the doors open. It’s a classic sound, affectionately rendered, but what really makes it work is how thoroughly the band inhabits it. There is not a false note here, just pure passion and considerable talent and, yes, a little bit of swagger that carries this album to the promised land. - THE DAILY VAULT

Artist: Dovetail
Song: 'Big City'
Who: Dovetail is a six piece band with frontman and songwriter Philip Creamer as the driving force and voice. They are mostly inspired by the 60s and 70s harmonies driven anthemic rock ‘n pop. From the nightingale vocals of The Byrds to the country rock of The Eagles
Home: Dallas, Texas
Work: debut EP ‘Love is War’ (2010) / debut album ‘Mount Karma’ (2012), re-released last October (see Soundcloud link at bottom) by their New Jersey based label ‘Ok!Good Records’
Music Is The Dope: big ‘choruses-harmonies-melodies-orchestrations’ are back. Frontman Philip Creamer’s voice takes the fine crafted songs to a stadium sized level. Rock ‘n Roll euphoria ! Oh… and long, very long hair is back too… - MUSIC IS THE DOPE

Saying that Dallas-based rock band Dovetail is a throwback rock band from the ’60s or ’70s is kind of a slight knock to both the band and music that from then. They aren’t a cover band or something.
Dovetail isn’t here to overindulge us with sounds of cheapened nostalgic pleasure. In saying that, I’m not so naive to think Philip and Daniel Creamer would have arrived with this specific sound without the guidance of a few notable music figures.
I guess what I’m saying is that while the harmonies remind us of The Beatles and The Beach Boys, their arrangements can spark images of Queen, and there are hints of T. Rex glam and Laurel Canyon folk, and songwriting they’re not just cherry-picking the great qualities of all these bands to create their sound without any reference or reason. The rock and roll experience isn’t one old enough to think Dovetail (and most rock bands for that matter) aren’t feeling the same way about things bands from the ’60s and ’70s were.
There’s a genuine voice from the Creamer Brothers and company. There’s a sincere, organic process happening here.
After hearing their 2013 major label debut Mount Karma, you know Dovetail isn’t in the business of trying to recreate what the elder statesmen of rock did. If that was the case, they’d have just recorded Magical Mystery Pet Sounds or something to that effect. What’s the fun in that?
Throughout, they show their range jumping from legitimate rock ramblers like “Hurricane,” Wilcoesque folk ballads like “Big City,” the simple stripped down “Can’t Feel You,’ and the elegantly building magnum opus title track “Mount Karma.” Though it isn’t drastically longer than any other track, “Mount Karma” feels like a grandiose crescendo with varying smaller pieces that create the larger whole. It’s really a microcosm for the entire record.
Earlier this week, we caught up with lead vocalist and guitarist Philip Creamer on the phone and discussed the writing of Mount Karma, being a rock band from Dallas, and what’s next for Dovetail. They’ll be playing tonight (Saturday, Jan. 4) opening for fellow Dallas-based rockers Jonathan Tyler & The Northern Lights at The Blue Light.
Follow Dovetail on Twitter here, like them on Facebook here, and watch/listen to “Julie” below. - NEW SLANG

Philip Creamer knows John Lennon. Not personally, of course, but the Dovetail frontman certainly has a kinship with the late Beatles singer-songwriter.
He’s grateful for that connection. In January 2012 Creamer entered his Dallas band’s tune “Julie,” a cut from 2012’s debut full-length album Mount Karma, into the international John Lennon Songwriting Contest. By July “Julie” had snagged the grand prize in the rock category among the first batch of contestants. Six months later “Julie” took home the most fan votes when pitted against the winner of the second batch of rock-song entries.
That earned Dovetail’s “Julie” the coveted Lennon Award for rock song of the year. Creamer and his bandmates had already won $10,000 in gear and prizes. It also makes “Julie” a contender for song of the year, for which it will compete against 11 song winners in the other musical genres. The winner, to be announced in July, takes home $20,000 in cash.
“Entering the John Lennon Songwriting Contest is one of the many things we did as a band after the release of Mount Karma in an attempt to bring attention to the songs nontraditionally,” Creamer, 29, said in an email exchange. “I entered through Sonicbids.com. I only entered ‘Julie,’ though I struggled between different songs on the record.”
Creamer said he’s entered about six songs in various contests over the years. But this was the first victory.
“When I read the email and realized ‘Julie’ had won, I went upstairs, proceeded to find my brother and freak out just a little bit!”
Dovetail consists of Creamer and his brother Daniel, Aaron Haynes, Scott Lee, Tucker Cauble and Matthew McDonald. Record producer Beau Bedford occasionally performs in concert with the band.
The Lennon contest served as the catalyst for a slew of activity with Dovetail. The group signed a recording contract with New Jersey-based OK!Good Records. Mount Karma will be re-released by OK!Good, tentatively in August. It will give the record, which was independently put out by Dovetail, much-needed national distribution.
“I am very excited about the re-release of Mount Karma for many reasons,” said Creamer. “The first is that we get to release the album to a much greater audience this time around. It’s a definite milestone on our road. With so much out there, it takes a lot of help to cut through the noise. It’s nice knowing this record will be heard in many places across the world, and we feel it is a record people of all kinds can appreciate.”
Plus, the band’s show May 24 at the Foundry Bar in Dallas marks the limited-edition release of a 7-inch vinyl single featuring “Julie” backed with a new song, “Hey Hey Mama.” Both “Hey Hey Mama” and “Big City,” another fresh track, will be on the re-release of Mount Karma.
“Big City” and “Hey Hey Mama” capture a sharp evolution for Dovetail. The songs are still very much in keeping with the gauzy melodies, cascading keyboards and rhythm-intensive guitar riffs that characterize Dovetail, but there’s a slightly harder edge, a more pointedly precise sound.
“‘Big City’ and ‘Hey Hey Mama’ are certainly a continuation of our growth as a band,” said Creamer. “I think they reflect the place we are today, though we chose to record these two particular songs because they were written at the time of the bulk of Mount Karma and we wanted to continue the feeling of the time. I think the songs more accurately reflect our own musical preferences in the arrangement and sonic aspects, while allowing space for the increasingly lead role of piano and harmony.”
Lyrically speaking, the two songs evoke personal emotions for Creamer.
“‘Hey Hey Mama’ is a bit of an unintentional nod to our love of psychedelic rock and family-style harmony, maybe even some of the early ’70s country-rock we love so much. ‘Big City’ takes away the pain for me. It’s got a bit of that positive spirit I really believe in, you know, a bit of the belief that when we get away from all the business of life we can really experience beauty, and maybe even peace.”
Peace, now there’s a word connecting Creamer to John Lennon. That songwriting contest changed the course of Dovetail’s journey.
“After five years as a band, this is all definitely a welcomed shot in the arm. However, while we haven’t been performing locally as much lately, we have been traveling a lot, getting the record deal signed and revisiting the Mount Karma tracks for the re-release. We’ve been climbing the mountain, even if it’s often unseen.” - Dallas Morning News

It’s a lazy weeknight and the windows at Whitehall Exchange in the Bishop Arts district are open. A group of three young musicians sit around a table sipping on whiskey and water talking about the journey of their first full-length record and their impossibly cool sound. These musicians comprise part of the local band Dovetail and their new album Mount Karma has grabbed the attention of the Local Edge and the adoring public alike.

A week preceding their CD release party at the Granada last month Dovetail had several promotional contests on their Facebook. The day before the show I entered on a whim and actually won. I’ve never won anything and was beyond stoked. Having only heard a few songs from their previous EP I knew them more by reputation and association than anything but I was excited to see what they had to offer live as well as on record.

Dovetail’s live performance is a dynamic cocktail of classic and contemporary touches such as impeccable three and four part harmonies, vintage clothing and obscure John Lennon covers. Normally I’d consider this a recipe for certain failure brought on by unbelievable arrogance. But the undertaking of reinterpreting the angsty masterwork of a former Beatle was done so humbly I found myself caught up in the excruciating honesty of “Mother” and actually choked up as they followed this with “Can’t Feel You,” a melancholy original about giving up the ghost in welcome worn romance. Their solid rhythmic core leaves ample room for emphasis to be placed on Daniel Creamer’s keys and Philip Creamer’s vocals, reminiscent though certainly not derivative of the great Freddy Mercury. The melodic structure of the vocals and Tucker Cauble’s spacey guitar riffs give a transcendent quality to their tunes that is neither contrived nor pretentious.

Two years in the making, Mount Karma tells a story not through the linear progression of a concept album but rather like an exhibit in impressionism where collectively the songs create vignettes or scenes that can be strung together and take on a new meaning. Songs like the breathtakingly definitive “Speak” and searing archetypal single “Julie” stand solidly in the position of major events without giving concrete detail. The title track, “Mount Karma” is placed last on the album describing a journey of unintentional self-discovery. “It’s all about growth – our growth,” says vocal and keys co-writer Daniel Creamer. Lead vocalist and brother Philip backs that statement up, “We’re pursuing knowledge of what life is for us. We’re in heavy pursuit of what our purpose is.” He continues, “People feel like they’re creating their own reality, well, is that right or is that wrong? We got to the top of that idea and saw it from a different perspective, that’s Mount Karma.”

Initially Mount Karma was scheduled to be recorded in 14 days by engineer and producer Beau Bedford in early 2010 but as the band’s sound developed and the concept grew things were re-recorded and new tracks were added. “Beau is a staple in our music. He brings out the best in all of us.” Daniel says in reference to the producer who also took the stage with the band last month at the Granada for their CD release party. As is typical of Bedford’s work, the sound from the record is the same sound one gets in the live performance and vice versa, a signature he seems to be establishing for himself and the artists lucky enough to work with him.

In our conversation at Whitehall Exchange it becomes increasingly apparent that the emphasis in their endeavor is solidly on the music. They list such icons as George Harrison, Bob Marley, The Beach Boys and Queen as their influences and drawing inspiration from local acts such as Quaker City Night Hawks, Kirby Brown and Weekend Hustler. The plan for now is to continue performing together and working and writing with Beau Bedford.

Mount Karma is available on iTunes. If you’re interested in seeing Dovetail live check them out on Facebook and Twitter. - Blitz Weekly Magazine

Not to sound cliché, but a name is everything. So, upon hearing the title, “Mount Karma”, doesn’t it make you think that you may in for the journey of a lifetime?

Now know that “Mount Karma” is the first full-length album from the Dallas group, Dovetail, and listening to this twelve track record is indeed a journey.

The album comes nearly three years after the release of the group’s first EP, “Love is War”, and since I first saw the band in early 2010, they have been mentioning that their full-length would “be ready soon”. Now, two years later, it finally is.

Spending such time creating an album is an obvious sign of perfectionism, which could either count towards the quality or be a huge strike against it. For Dovetail, they pull off the former with ease.

Beginning the record is the song, “Heavy”, which starts with a very nice chord progression on an acoustic guitar. You can sense it is building to something, especially when some rather harmonious singing is heard. Then it happens. A wave of sound crashes against your ears as the song comes to life. There is a very nice part on the piano at this point, though one or two of the keys actually sound out of tune to me from what the rest are. It doesn’t subtract from the song however, instead adding to its character. As soon as he opens his mouth, it’s evident that Philip Creamer’s voice is immaculate, and as he sings the chorus “…You are heavy, you should know I love you. You are heavy, you should know I feel that way…” he forces his voice into a slightly higher register, but manages to display complete control over it. Also, in the second verse when he again sings the line, “…Then I see that golden sunrise, it brings a little hope and pulls us through…”, he, in conjunction with the music his band mates produce, do a perfect job of making you feel that emotion; hope.

The second song, “Listen, Children”, isn’t as much a song as it is more an interlude or segue into the next track, “Easier to See”. “Deep inside your heart, are you who you thought you’d be?…” asks Philip as soon as it starts. He again pushes his voice higher when singing the line that is the songs title, but this time he seems to reach his limits. His voice never cracks, and the fact that he has such an impressive range must definitely be applauded, though he just doesn’t sound as comfortable this time. The odd thing is the first time he sings that in the song is the only time it sounds that way. The chorus is where the song really shines, as drummer, Aaron Haynes, does some quick beats leading up to it before it takes off, and the way Daniel Creamer laces they keys into the end of each chorus is marvelous.

The album hits a bit of a lull (in a good way, of course) with “Story”. Love lost is the main theme of the song and the chorus tells you some basic but very wise words, “We write this story as we go, and we can’t take back the stones we throw…”. We could all learn from that, if we so choose. The highlight of the song comes at the bridge, when the music dies down a bit and Philip sings, “I can still remember how the sun fell on your face. The passage that you quoted when you said you’d never walk away.” The emotion he pours into that line and the desperation that can be heard in “…when you said you’d never walk away.” is palpable. Being able to stir emotions and make the listener feel is the single greatest effect a band could hope their music would have on its listeners, though so few these days are even able to achieve that. It’s even rarer that you find a singer who can not only do that, but convey it so well on a recording.

One of the many tracks that stand out to me is the next one, the aptly named, “Hurricane”, whose lines often mirror characteristics of the storm. The intro is quite catchy, especially the sole key that is repeatedly tapped. “…And I sit in silence with your ghost. I am afraid of you the most…” Philip sings, as the song takes a chaotic turn at the chorus. It’s of course - The Music Enthusiast

Dovetail’s latest release, “Mount Karma,” has been a long time coming. Since their first EP, much has happened as life does—the number of members has increased, their style has matured and their sound has become more fruitful. Time served them well. The album, just like their show Saturday night at Granada Theater, begins with a jingle of guitar and smooth, syrupy vocal harmonies that catapult the listener back in time to a late ‘60s/early ‘70s pop groove. “Mount Karma” carries that sway through favorites like “Easier To See,” “Can’t Feel You” and “Mount Karma.” There are several strong, emotional moments where the songs settle into harmonically dense territory, filling the ear with gospel-inspired vocal flourishes that reach high into the rafters.

Decked in an orange paisley blazer and silver-sheen pants, Philip Creamer is clearly a showman, recognizing that sometimes, in addition to a pitch-perfect, wistful tenor, a frontman could do with a little more … pizzazz. And for Dovetail, it works. Their sound—with lyrics covering the spectrum from love-gone-wrong to soul-searching, and classic pop melodies weaved through a bygone era of old-school, soulful, rock ‘n’ roll groove—lends itself to certain ‘je ne said quoi’ style statements. And when half-way through the set Creamer pulls off the blazer to reveal a cape with two roosters on the back, I found myself asking, “Oh, why the hell not?”

Dovetail performed an energizing set spanning nearly their entire record. With seven people on stage contributing vital soundscapes, it made for an intense and welcomed sensory overload. Not to mention the early ‘70s, “American Bandstand” and “Top of the Pops”-style video projections, cutting on-stage visuals with trippy color washes. This is what a show should look and feel like, and it was a blast. - La Mode Dallas Magazine

Dallas, TX – 102.1 The Edge, the historic Granada Theater and La Mode Dallas invite you to experience the release of Dovetail's Mount Karma, for an evening packed with music, fashion, libations and dancing. Early ticket buyers will receive a FREE Mount Karma CD at the show. In addition to Dovetail, event-goers will witness the musical brilliance of Salim Nourallah, Menkena, RTB2 and roots artist Wesley Geiger. www.dovetailband.com. - ZVENTS.COM

Today marks the iTunes release of Dovetail‘s debut album, Mount Karma. With vibe to spare, the Dallas hippie-rockers are offering twelve tracks or classic rock and pop influenced sunshine.

Mount Karma was produced by Dallas guru Beau Bedford, a man who’s been writing/performing/engineering an impressive army of big bluesy pop and 100-proof rock & roll with the level-perfect mix of soul, grit, and spit-shine. Alongside Dovetail, Mr. Bedford is responsible for the most recent efforts of Larry g(EE), The Roomshounds, and Kirby Brown–all of them, records insisting to be turned up to ’11. Check out Dovetail’s live performance of “Julie,” shot from Bedford’s cabin in rural North Texas. - The Majestic Show BLOG

Upon first look, the boys of Dovetail seem as if they come from another decade. Dressed in retro scarves, vests, and numerous pieces of jewelry, these fellows appear to be headed to Woodstock. But Dovetail's new album, Mount Karma, doesn’t overdo it with the late ‘60s vibe. Instead, the band lightly borrows from favorite parts of musical history, mixing it with ample parts pop.

It has been four years since the release of Dovetail’s EP Love is War, and the guys have been hard at work writing, performing, and fine-tuning the tracks that make up their first full-length album, which they are proudly releasing independently. The band has found its sound between then and now, maturing and discovering what works and what doesn’t. The harmonies are rich and pitch perfect, the sound organic.

Throughout the 12-track record, it is apparent that the boys are polished and well-versed in what it takes to make a song catchy. They move from the verse to the chorus seamlessly while drawing the listener in. Their sound is not too complicated, yet not too simple. Mount Karma walks the line and does it well.

The driving force behind the whole album is lead singer Philip Creamer’s vocals, which sound eerily similar to that of Tom Chaplin of post-Britpop outfit Keane. But unlike Chaplin, Creamer’s voice has more energy behind it – something akin to Muse’s Matthew Bellamy but less stylistically operatic and epic. Creamer can hit those high notes with ease, but when he attempts to soar to even greater vocal heights, that's when we hear him reach his limits. It's refreshing to see a vocalist who isn’t afraid of imperfection. The vocals bring a humanity to the record, as opposed to auto-tuning the flaws away. His honesty makes the record shine.

Dovetail celebrates the release of Mount Karma on Saturday, March 24 at the Granada Theater along with Salim Nourallah, Menkena, and RTB2. Ticketholders will receive a free copy of the album.

Key tracks to listen to: “The Road,” “Mount Karma, “Hurricane,” and “Heavy.” - Pegasus News - Dallas

“It’s a revelrous sonic landscape of timeless pop sensibilities with triumphant falsetto vocals, floating piano tinkerings and clean, moving rhythms. Philip Creamer’s voice skims Freddie Mercury territory, hitting the piercing octaval notes out of the ballpark. Thanks to younger brother Daniel Creamer, the piano melodies are more classic than fairweather novelty, which lends a complementary hand to Scott Lee’s ’60s pop-infused bass lines and Aaron Haynes’ sharp rat-tat-tats. ” - ENVY MAGAZINE - DALLAS

“With a soulful sound similar to the Black Crowes and a psychedelic presence that takes you back to the days of T-Rex, Dovetail tugs at your heartstrings with their beautiful lyrics and stunning blend of harmonies.
Dovetail released their first EP entitled “Love is War” two years ago, and is now preparing to release their first full-length album, “Mount Karma”. The band worked closely with Texas-native producer Beau Bedford, who is most famous for writing songs alongside Angelo Petraglia (Kings of Leon Writer/Producer) and Robinson (Black Crowes Writer/Producer).
“Mount Karma” was a two-year process in which the band grew in their music, as well as band members. From four to seven: Daniel Creamer (Keys/Voice), Phillip Creamer (Voice/Guitars), Aaron Haynes (Drums), Scott Lee (Bass), Tucker Cauble (Primary Guitars/Backing Voice), Beau Bedford (Backing Voice/Guitar) and Matthew McDonald (Backing Voice/Percussion).
With the capability to reach high-piercing notes, the powerful voice of front man Creamer has often been compared to that of Queen’s Freddie Mercury. Watch the intimate performance of their featured track, “Can’t Feel You,” and you’ll know what I mean.” - LAFAMOS PR BLOG