Ellis Ashbrook

Retro Funky Fresh: The Ellis Ashbrook Interview

Ellis Ashbrook may best be described as a contemporary experimental rock group from Brooklyn, New York. But there is really is no way to pigeon hole this incredible band. They describe themselves on their Facebook page as, “Ellis Ashbrook generates ferocious sounds and swarming vibrations. Swim in a psychedelic pool of aquatic delays. Be moved by a band that has rocked audiences all over the Northeast. Their songwriting reverberates beauty and heaviness with respect for the Funk and love of unique grooves. These players and singers have the prowess, technique, and tenacity to play original music that transcends trend.” Ellis Ashbrook‘s album “Merida” is featured in Music Connection Magazine’s latest issue for top picks of 2012. MCM compiled some of the best reviews and highest rated projects from indie artists and showcased them off for the world to see (MCM is a trade magazine that is a staple in any A&R’s office and local Guitar Centers). Recently Pittsburgh Music Magazine had an opportunity to chat with one of the hardest working bands out there…


In what aspects of your music do you think that your influences shine through the most?

I would say the funk of Prince, James Brown and Parliament shines through on a good day, the genre-crossfading of Yes, Frank Zappa, Ween, Beck and Phish most-likely shines through, the hard-rock sexual blues of Led Zeppelin, the spaciness and experimentation of Sun Ra, the out-ness of Brian Eno and Robert Wyatt, the drama of Genesis and The Doors, the fiery passion of Fiona Apple and Love, the fuzzy, kick-ass psychedelia of Smashing Pumpkins, the odd-time rhythmic complexities of bands like Soundgarden and Rush. Really though, almost every artist or band that we attempt to emulate is usually the type that is impossible to pin down or be easily explained , because we appreciate the shapeshifters, those who can’t be defined, those with true grit and personality: Tom Waits, Bjork, David Bowie, Captain Beefheart, John Coltrane, Miles Davis, John Zorn, Sublime, The Velvet Underground, The Grateful Dead, Faust, Can, etc…

Where would you like to see your Selves as a band in five years?
I’d like to see us having basically what we have now but on a grander scale: a more advanced and trippier lighting system, many large projectors and screens to impose our favorite and most thought-provoking/inspirational imagery, videos for our stoned audiences to imagine synchronizations to and lots of musical equipment, better equipment: more double-neck guitars, bass synthesizer pedals, mellotrons, a grand piano, Fender Rhodes, Hammond B-3 organ, gongs, timpanis, lots of bells, samplers, record players, televisions, 12-stringed acoustics, bullhorns, bird whistles, Gibson SG’s, Rickenbacker Basses; everyone in the band having essentially a sampler set-up, a percussion set, and a synthesizer, so you, as well as us, never really know who’s playing what at any given time; while improvising we would have a never-ending arsenal of sounds to choose from. So basically having the combined equipment of the great 70’s prog-rock groups: Genesis, Yes, King Crimson, Rush as well as Led Zeppelin, Pink Floyd, Wilco, and Radiohead.
Also, an audience that really listens is important; an audience that understands the history of the music being played, as well as the evolution of the players, whether they understand consciously or not. A truly give and take situation.

What other creative mediums besides music do the band members participate in?
I enjoy writing, and would like to continue to write essays, poems, short stories, screenplays, novels, self-help books, instruction manuals, and the like. I admire many abstract painters and would love to be involved with that field as well. It’s tough to deviate from music when it seems sometimes that there is not enough space in life for even that. Music Therapy is an intriguing and relatively unexplored path that lends itself toward powerful healing on a grand scale. Also, comedy is a really important aspect to what we do as a band and to our daily lives. I feel like the day is littered with countless references to comedic films and performances, a way to keep things flowing and moving in a positive direction as well as an entertaining form of philosophy and therapy. I’m really inspired by the organized chaos, so to speak, of great sketch comedy troupes such as Mr. Show with Bob and David and Monty Python’s Flying Circus. So creative endeavours in the film and television world is something you can expect from this band one day.

If you could open up for any band (living/dead/current/defunct) who would that be and why?
There are so many great acts that would have been a joy to see night after night, but I would have to say Led Zeppelin, because when it comes down to it, they are probably my favorite band and the one that all of us enjoy thoroughly and equally. It is a major bonding point for all of us. Le - Pittsburgh Music Magazine

It may be bitterly cold outside, but in this intimate North Station club I'm hoping to find some warmth from Ellis Ashbrook. They're a newer band in the psychedelic hard rock vein. Their tunes are melodic, with influences of Soundgarden and Smashing Pumpkins. The set is highlighted by the three-part harmonies of John Barber (lead guitar), Ryan Gildea (rhythm guitar), and Natalie Lowe (keys). The tight rhythm section of bassist Jonathan Granoff and drummer Alex Major reach near Zeppelin-esque heights with their power and inventiveness. In most songs the formula is simple: the rhythm section finds the groove and then the guitars propel the songs into overdrive. Then they start to jam. These musicians have a big sound for such a relatively small group. The tunes are driven by the unpredictability of where the music is heading. The bottom line is they get the feet moving and then get the head thinking. (A.J. Rocktel)
- The Noise

"A super versatile rock/soul/blues/reggae/funk/progressive band with fantastic guitar chops"
-Marion Davis, Manager, The Blackstone (www.blackstoneclub.com)
- Marion Davis

"It just seems that everyone in this band has serious chops. That's right, sounds like some skilled musicians here...Their rock 'n' roll romp, "They Say," put my air guitar in motion, and the ballad "By Finger Tips" gave me the urge to re-consummate my marriage. The vocals are strong throughout and drummer Alex Major puts down rhythmic mayhem during the song "Dig Thru."
-The Noise (Boston, MA) - The Noise

Although they may celebrate being back in NYC on their website, having recently moved to Brooklyn, Ellis Ashbrook is a Boston band. And in every way, the foursome represents the best of Berklee, with music that is virtuosic but not over the top, experimental without being unlistenable. As the complete package, they also had a hand in engineering and mixing their second CD, Assemblage. It's a hell-fueled, spiraling rock record. Check out "$avior Self" as a prime example. Welcome them back to Boston, Friday at Bill's Bar.
- DAVID DAY (Weekly Dig) - Weekly Dig Boston Magazine

"Local outfit Ellis Ashbrook offers intriguing sounding alt rock that draws on prog, grunge funk-metal in equal measures." - Time Out New York

It’s been a while since I covered an indie band, so here is Ellis Ashbrook to the rescue.
Ellis Ashbrook is comprised of John Barber (vocals, guitars), Jonathan Granoff (bass, sonic treatments), Natalie Lowe (vocals, keyboards), and Alex Major (drums, electronic percussion).

As per the description on the Ellis Ashbrook MySpace Page, Ellis Ashbrook generates ferocious sounds and swarming vibrations. Swim in a psychedelic pool of aquatic delays. Be moved by a band that has rocked audiences all over the Northeast. Their songwriting reverberates beauty and heaviness with respect for the Funk and love of unique grooves. These players and singers have the prowess, technique, and tenacity to play original music that transcends trend.

Quite a mouth-full, eh?

While the embedded video below for the song ‘Therefore However and So Forth’ has more of a 70’s rock-feel to it with the chugging riffs, a song like ‘Hard 2 B EZ’ is much mellower and highlights Natalie’s vocals as opposed to John’s. This dynamic offers a somewhat
unique spin on their music.

Songs like ‘A Shot’ show why the band considers themselves to fall within the realm of experimental/psychedelic rock. It’s tracks like this and the following track on their MySpace page, ‘They Say’, which explain why I get the feeling that if someone handed me this band’s music and said ‘Hey, here is this band that never made it big back in 1976, take a listen”, I wouldn’t know any better than to believe them.

The band will be performing at Seton Hall University’s Spring Fling concert (located in New Jersey) at the end of April, so if you are in the area, swing by and check them out if the concert is also open to the public! - Outsider Vocals

Don’t be surprised if you find yourself in a debate over whether this Brooklyn-based rock band’s funky harmonics are akin to Ween, 311, Janis Joplin or Phish. Their music teases between their male and female vocalists if they’re not meshing the two into a vocal instrument, while their bassist and drummer introduce highly controlled bouncing ear candy. If you saw them when they were in their early stages in Boston, you may have seen the lead guitarist restring his guitar mid song, unnoticed to anyone grooving to the recording. No wonder they won Best Boston Band and then went on to National Finalists, securing Best Guitar, at the international Emergenza band competition. Among their first shows in New York, they rocked Webster Hall and proved to industry vets that every song doesn’t require a predetermined path. If you’re the type to wonder off the beaten, check out their second album, Assemblage, out today. And don’t be surprised if your grandmother sold her household knickknacks to object assembly artist Tom Deininger who brought it all together for their album cover. - The Daily Rind

Brooklyn band ELLIS ASHBROOK has taken the Boston to New York City circuit by storm. Slamming out groove, hard rock, and prog works for this foursome. Their 2008 release ASSEMBLAGE won them many more fans with its mesh. Prog, funk, and hard rock fans will dig this because experiments never fail to do justice to all three.
The real secret of Ellis Ashbrook’s success isn’t their high caliber talent. It’s the cool charisma they have together. You can put together any number of combos and players with advanced ability, and they still won’t sound half as cool as this Brooklyn quartet.
Barber is a compelling front man. He often sings his heart out with a wide, sweeping vocal that looms large in the imagination.

Drummers like Alex Major only come around once in a lifetime when looking to put a band together with players who have that extra special something. Major plays with a steadiness in his fills and rolls while motoring the band through its lengthy rides of dynamics and tempo changes.

Bass player Jonathan Granoff whip ups all sorts of funky techniques, adds extra depth to the bottom, and often plays the low end like a lead instrument. Keyboard lady Natalie Lowe effortlessly conjures a host of sound effects with her synths, and her usual organ and piano melodies are rich with texture and leap forward with subtle nuances.

“Therefore, However, And So Forth opens the album with an explosion of guitar, bass, and drums. From there, the four piece execute a fine flow of hard rock. Guitarist John Barber slams out phrases with true discipline. His guitar sound is huge, loud, and occasionally bombastic. Bassist Jonathan Granoff keeps the motion fluid, smooth. Drummer Alex Major powers the forward motion. Keyboardist Natalie Lowe fills whatever space she can find with her eerie synth notes.

Lowe’s voice is fetching and plaintive on “A Shot,” holding each note long, stretching out the vocal melody in ways haunting and effective. The rhythm section on this one is progressive, complex, and fun. The rhythm boys manufacture a groove that can keep the listener’s head bopping all the way through to its end.

Rapidly sung and swiftly riffed, “Savior Self” is a basic rock form speeded up in tempo, way up. The band must have challenged themselves to see how fast they could play while still maintaining a solid song structure. They pass with flying colors. Barber impresses as a singer as well as guitarist. He belts out with explosive energy this admonition song about people who seek to convert and save others when they, in fact, are the ones who need help.

Lowe’s song “Hard 2 B EZ” features her playing a beautiful electric keyboard that sounds somewhat like an accordion. Lowe’s mellow, moderately high, silky voice kites above gentle melodies and easy going grooves. Lowe has an elastic range as singer and keyboardist, and she takes the listener on a roller coaster ride of high and low notes, varying tempos, and dynamics. “Skunk” is bopping funk. Funky guitar riffs, loping bass lines, chirpy organ notes, and an infectious backbeat make this fun to try to move one’s feet Or, to just follow along with the swirl of melody instruments that eventually take over and ratchet up even more funk. Lowe and Barber sing coolly together as Lowe injects some oddly appealing synth sounds.

“Mr. Anyone” allows Barber to pay out high pitched wails, crunchy chord progressions, and simultaneous lead-rhythm parts. Totally hip, Barber and Lowe sing the sudden, whispery chorus together. Bass pedal effects give this one a weird, intriguing bottom. Lowe’s racing organ notes and Barber’s freewheeling guitar line, played over hip, intricate progressions from the rhythm section make this one interesting song.

An early Pink Floyd influence informs “More Gain Free Man” when forlorn guitar notes bend and sustain, creating a dream-like, hypnotic atmosphere. A Rush influence shows up when slamming, speedy sounds come out of nowhere. A King Crimson influence can be heard in the intricate, algebraic form structure. Yet, the influences and inspirations are only vague hints inside the wholly original sonic landscape Ellis Ashbrook has summoned up from their combined musical prowess and vocabulary. - Bill Copeland Music News

Ellis Ashbrook delivered fantastic exploratory rock at Ralph’s Diner

By Bill Copeland on January 23, 2011

Last night’s line up at Ralph’s Diner in Worcester, Massachusetts featured the Brooklyn band Ellis Ashbrook, a four-piece featuring singer/keyboardist Natalie Lowe, a stunning talent and stage presence who can whip up all kinds of effects on her synthesizer and vocoder microphone.
Ellis Ashbrook opened with a song called “Therefore, However, and So Forth” from their 2008 CD Assemblage. The song was a flavorful hodgepodge of hard rock and funky organ riffs. The true fire burned in this band as guitarist John Barber played fiery, penetrating melodic phrases.Lowe sang lead vocals with her eerie, silky voice on “We Laughin.‘” A quaint, likable rhythm guitar darted through the song and in funky unison with Jonathan Granoff’s smooth, knobby bass notes. Lowe held vocal notes forever while the band funked out behind her. Her thick, zesty organ chords were full of spunk. There were moments of funk overtones in Barber’s guitar while Lowe made these cool, twitching synth sounds.

“Mr. Anyone” made full use of Lowe’s experimental, explorative synth effects while Barber’s slide guitar screamed out some high pitched squeals. There was a lot of character in Barber’s guitar playing throughout the set. He not only plays crackling, dynamite guitar, he is a powerhouse singer who delivered his verse with a neo hippie sing song cool. At one point Lowe and Barber impressed by singing in unison an avalanche of quirky lyrics. Lowe had a telephone receiver attached to her outfit and she sang part of her song into the phone to create a technologically odd sound.

Bass player Granoff unleashed every funky bomb in his arsenal to great response from the audience. Granoff and drummer Alex Major had their crowd dancing, swaying, and bobbing heads with much enthusiasm. Ellis Ashbrook is what King Crimson would be if King Crimson was cool and had a sexy woman playing keyboards amidst their complex melodic phrases and challenging polyrhythm.

Lowe has a soft timbre that worked wonders singing harmony with Barber and as a lead vocalist she doesn’t sail over the music but sort of gently scales up it. Some of Ellis Ashbrook’s best moments came when Lowe and Barber were playing intricate melodies in unison before bifurcating into challenging melody and counterpoint melody.

The evening headliner, TickleBomb Orchestra, were quite entertaining, a fun and interesting mix of musical talent and comedy. Someone in the crowd next to me called them “an Irish drinking band.” The singer could rap as well as sing a variety of genres in a strong, confident voice and his commanding stage presence was another plus for this group.

TickleBomb Orchestra has a keyboardist who ranged from a 1960s pop rock sound to an earthy almost-bluesy R&B flavor. The band is definitely appropriately named, as they tickle your funny bone through out their talent-packed set. At one point they were singing an original song called “Don’t Be A Prick” before easing into The Monkee’s tune “Stepping Stone” and then eventually playing a cowboy western film score sounding epic that went on a long time, supported by an authentic twangy electric gee-tar.

Each member of TickleBomb gets time to shine. The keyboardist made up a large part of the band’s songs in the first half of their set while their drummer is a human metronome who can keep perfect time in any of tempos and genres in their potpourri of styles. Their bass player often made people feeling like clapping their hands and tapping their feet to his variety of beats and grooves. Yes, their bass player helps keep the beat on specific numbers.

By the end of the night the audience had been treated to Ellis Ashbrook’s new, self-defined exploratory rock sound as well as the fun, entertaining quirky mesh of styles presented by the high-flying TickleBomb Orchestra.

Second band on the bill, Hard No. 9, was a huge entertaining package of fun, much in the vein of pure rock and roll joy like Bon Jovi and Kiss. These boys know how to party, and their local hit song “Another Shot Of Whiskey” went over big with the crowd. This band was full of power chords and their lead singer was a total belter in a 1970s classic rock tradition. Opening band The Mad Cowboy was an unusual mix of hard rock and blues. Their guitarist/vocalist sang and played like a lot of simple techniques with a passionate fury. He did have the true energy level and he earnestly aimed for some kind of interpretation of hard rock as defined by the likes of Ted Nugent and Z.Z. Top. Harmonica notes, played by the most talented player in this band, were blowing all over this driving rock, becoming the most interesting element.

It was a night of great music and great experimentation and entertainment at Ralph’s Diner last night. This Worcester night spot certainly puts together an interesting, intriguing mix of exceptionally good and exceptional - Bill Copeland Music News

A little interview with a really fun and energetic young Brooklyn Band.

Ellis Ashbrook is a band with a high-energy sound and performance which involves the participation of their listeners. They make it a point to include visual aspects to their work, even involving their fans in a social way.

Interview:

Where does your name come from?

It's our drummer's porn star name.


How long has the band been together, and has it changed since it’s beginning?

The 4 of us have been playing together for almost 5 years... there have been a few other members who have come and gone. We've had as little as 3 members and as many as 6.

What atmosphere are you trying to create with your music?

Open, horizon-expanding, evolution, mind-revolution, hyper awareness of the mind/body/spirit connection, comfortable consciousness, you know...good times.

Who is your target audience?

All are welcome- dancers, listeners, lovers of music.


Where do you see the band being in 5 years?

Touring the world and probably outer space, underwater, Atlantis and the earth's core.

How important is the aspect of live performance for you?
We love having that direct communication with the audience as opposed to the more indirect art of studio recordings. We feed off the crowd's energy and vice versa. We play live all the time between living in Brooklyn, touring the South and weekends in the New England area.

Where was the first place you performed, where was the best?

Natalie's first show was the Middle East Downstairs in Boston. We've also played The Avalon in Boston (now House of Blues) and New York's Highline Ballroom, The Apollo Theatre, and Webster Hall but the best shows are the roof and basement parties we throw at The Space Palace.


Tell me about “The Space Palace”.

We have this amazing place where we live and curate events. We usually have projection art on display as well as light shows and DJs spinning records in between sets. We play the last 3 hours or so. We are the ones in control, so naturally these parties get the most out of control.


How many albums have you made, and what are their names?

Ellis Ashbrook, Assemblage, and Meridia (due out this Spring)

What can be expected for the upcoming album out in the spring?

It is the most thorough studio representation of the Ellis Ashbrook experience complete with strings, woodwinds, horns, and it is designed to accompany any part of the rollercoaster of life that you are on. We're into dense sonic structures, candied layers, crystalline washes, and werewolf break downs.

If you could say something to all of Brooklyn at once… in 3 words, what would you say?

Be a light.

New music video. http://www.youtube.com/watch?v=WN3tkmXR5vs
New Live video. http://www.youtube.com/watch?v=081KcfH3QiM
Info sites myspace.com/ellisashbrook or ellisashbrook.com
Video site youtube.com/ellisashbrook
Sonicbids page for tour history sonicbids.com/ellisashbrook

- NY Examiner.com

Sometimes I?ll listen to a band I?m unfamiliar with, and my musical palate will have to adapt to the new voices and sounds. Maybe I?ll even skip a song or two during that first sitting, so I can begin picking out favorites and let my ears adjust from there. Not with Ellis Ashbrook.

From the beginning, I am hooked. The appropriately named “Accelerator” kicks off the album with a bang. The band — consisting of John Barber, vocals and guitar; Jonathan Granoff, bass and sampler; Natalie Lowe, vocals and keys; and Alex Major, drums and sampler — knows that first impressions are the most important. Although this is the band?s third album, they refuse to hold back; instead they offer up a dose of music so powerful, you?d think they were playing to save their lives.

In “We Laughin?”, we hear Natalie Lowe?s voice shine through in a cheerful build-up to a rousing ruckus of chaos that just works. It?s reminiscent of years past when eclectic music reigned and genres didn?t strive to be so clearly defined.

As the album continues, it?s easy to see why so many find it difficult to put a label on the band?s stylistic efforts. It?s certainly not easy to clearly define music which does not allow for any preconceived notions. Ellis Ashbrook is a band that wants you to listen, and they?re going to draw you in with their best efforts and keep you addicted until the last word is sung.

I find Meridia to be a powerhouse that doesn?t seem to quit. It?s difficult to pinpoint a particular part of the album that fails to satisfy; however, I find the album winds down about midway through. It would be interesting to hear the album sign off with the same bang they began with. Aside from some of the quieter tracks offered on this record, Meridia is more than just a silly appetizer. Ellis Ashbrook offers you a platter and assures you that you?ll want to hungrily devour every last bit of it.

Though the members of Ellis Ashbrook are originally from Boston, they have recently set up roots in Brooklyn, which has proven to work well for them. The band first won the 2007 Emergenza Worldwide Talent Competition in Boston then went to New York City and placed third in the Emergenza Final during the same year. Currently, Ellis Ashbrook has several shows booked in the coming weeks in NYC and Hartford, Connecticut.

Their forthcoming album, Meridia, is set to be released on iTunes in late May. - thiscoastmag.com

On Wednesday night (9/14), the Brooklyn band Ellis Ashbrook brought their unique sound to Bowery Electric.

Ellis Ashbrook's set was filled with songs spanning all three of their albums, including their newest album, Meridia, which was released in May.

It is hard to put Ellis Ashbrook into one particular genre. Their sound is a mix of psychedelic, indie, funk, jazz and rock, a mixture the band calls “exploratory rock ‘n’ roll.” Singer/keyboardist Natalie Lowe’s vocals have a soothing indie-rock feel, while singer/guitarist John Barber’s vocals and guitar style have a much more Led Zeppelin-esque sound. Their voices meshed well over the funk grooves and hard rock beats set by the rhythm section (Jonathan Granoff on bass and Alex Major on drums). Lowe's keyboards and sound effects gave the music depth.Through this, the band's sound maintains enough of a rock edge, that it keeps the songs moving, which helped avoid lulls in the set's action.
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It was very evident while the band was playing that they have a great degree of musicianship. They looked as if they really felt everything that they played. Highlights of Wednesday's show included Lowe’s clever usage of an old telephone as a microphone to give her vocals the effect of sounding like a vintage radio, and Major’s extended drum solo that even made the rest of the band look on in amazement.

From the moment that the band got on the stage, the whole room started to swell with dedicated fans that seemingly came out of nowhere. Ellis Ashbrook's set was the best attended of the night, and definitely the most active. Everyone seemed to get up and start dancing along, getting into the groove laid down by the band's funky "exploratory rock" sound.

With a set that ranged from laid back psychedelic, to hard rock and more, Ellis Ashbrook have carved out a niche music style that goes unmatched.

Ellis Ashbrook's new album, Meridia, is available now.

Continue reading on Examiner.com Show review: Ellis Ashbrook at Bowery Electric - New York Rock Music Scene | Examiner.com
- Examiner.com

"Ellis Ashbrook, where do I even begin. I like going to shows without listening to a bands music so I can really give an unbiased review. When I looked at the bands pictures online I thought it would be some lovey dovey tunes, so I had Mel from fauxrealfashion.blogspot.com tag along to give a ladies point of view if need be. I must say I was way off. Yes I was wrong! Don’t get use to it. Ellis Ashbrook brought the funk, the jazz, the soul and rock n roll! Their music definitely makes you happy and you have no choice but to move some part of your body to the the rhythm." - Blaqbook.com

There was a time, largely consigned to memory now, when lead guitar players were not like the rest of us. They were gods; long-haired supermen who strode over the sod with giant platform shoes, despoiling women and melting faces with equal impunity. Thunder crashed in their wake and lightning burst forth from their guitars. The plucking of but a few mere notes by an experienced lead guitarist was enough to summon beasts to defy description, demons from the very banks of the River Styx, and, in some cases, The Devil himself.

In recent times, the role of the lead guitarist has dwindled in much of popular music. Pot-luck dinners and intimate evenings have taken the place of conquest and pillage, and a typical axeman these days is undoubtedly more comfortable ordering a cup of organic fair-trade coffee than shredding for the future of mankind, atop a snow-covered mountain peak somewhere deep in the former Soviet Union. It’s deplorable.

That’s where Ellis Ashbrook comes into the fold. The Brooklyn-by-way-of-Boston based band seems to be on a crusade to bring guitar rock back to its former high place among the contemporary pantheon, and restore the lead guitar player back to his rightful Olympian perch.

Playing at Church on Sept. 30, the band shared the bill with three bands whom, not be a dick, I had never heard of. I arrived too late to catch the first two, and the third was about as fresh as the air inside any room containing Dick Cheney. Like a giant whiff from a freshly opened can of peas. Calling themselves Insigniya (misspelled for reasons I can never hope to comprehend), they were very tight and good at what they were doing. What they were doing, however, sounded like canned jam-band fare.

By the time Ellis Ashbrook took the stage, a little after midnight, I was thoroughly anxious to hear them play.

The band dropped a high-energy set that made me completely forget about the growing rainstorm outside and how I would likely end up walking home in it. Their sound is heavy and intricate, with liberally-used and masterfully-applied delay and the result is a sonic soup of groove-heavy, psychedelically-tinged music, that is accurately portrayed on the Ellis Ashbrook Facebook page as “exploratory rock.”

Lead guitarist and vocalist John Barber hammers and pulls his way through the band’s repertoire with a level of technical ability and flair that becomes ever more scarce with each passing year. Barber belongs to the guitar-god school of rock, a fact that is not difficult to spot when he’s onstage and during Ellis Ashbrook’s set at Church, it was easy to see why the electric guitar holds such a venerated position within the arsenal of traditional rock and roll.

As for the rest of the band, no less accolades are due. Natalie Lowe contributes vocals and keys, Jonathan Granoff lays the foundation on bass and Alex Major commands the drumming duties, and does so in an expertly frenetic fashion. After watching an Ellis Ashbrook show, it’s hard not to feel cheated by many of the other bands one has gone out to see. They make the other guys look like they’re just not trying very hard.

Another thing mentioned on the band’s Facebook page is that the group offers “original music that transcends trend.” Based on my experience at Church, I would have to agree. They put on such a technically proficient and high-energy show, offering music that appears to draw from such an immense pool of influence, that there really is something for everyone. And it’s all of the highest order.

As I walked home later that night, in the howling rain, I was almost impervious to the cruel deluge I had thrust myself into. After all, I had seen the gods of old return. Nothing could ever harm me again.

Anyone who wishes to bemoan the death of rock and roll, would be well served to check out Ellis Ashbrook before making any such rash declarations.

Flowers may be premature. - TheDeliMagazine.com

"Yes, there was a sense that the audience was mesmerized. Sonically, their influences sound like a mix of a buzzing Dark Side of the Moon and Animals-era Pink Floyd, with bits of jazz fusion, Parliament Funkadelic funk (I’m thinking of a track like “Supergroovalisticprosifunkstication” off Mothership Connection) and New Wave. Most of the material they played was from their excellent album Meridia and live they sounded pretty close to how they would sound on the album. After playing their album a number of times, there isn’t a track that I didn’t like, and I was glad to hear them live. I honestly found myself liking the album even more after catching them live. Overall, they play a fun, energetic set and I think that I’ll be catching more of them in 2012. I was impressed by the sound and can’t wait to see what the future brings for such a talented group." - The Joy of Violent Movement

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet's melodic vocals command the listener's attention while the backing band offers a spectrum of sonic options embracing hard rock, rock-pop and in some cases even funk-metal a la Rage Against the Machine. - The Deli NYC

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet's melodic vocals command the listener's attention while the backing band offers a spectrum of sonic options embracing hard rock, rock-pop and in some cases even funk-metal a la Rage Against the Machine. - The Deli NYC

Great fun to be had taking a listen to Ellis Ashbrook, wholesome progressive rock meets exploration and a side-step to a mix of genres. Each piece sits on its own plinth, distinct and complete. I even found some ska references bouncing over the parapet.

Highly capable musicians wander over much ground and there is a danger that any distinctive sound can become lost in the melé, but that matters not a jot. This is a band to listen to – much like an evening in a mixed cocktail bar, you may not know what is coming next, but you know it will be sublime. Unlike the aforementioned cocktail mixing – time with Ellis Ashbrook results in a morning of where is the re-play button, not headache tablets.

The more I listen, the more impressed I become by the skills and structures of the material. It is the sheer diversity which instead of becoming a weakness, is in fact the real strength of the band. A plethora of sounds and tempos appear over a series of tracks, each played and stirred in to the mix with panache and consummate skill. - Indiebandsblog.com

Great fun to be had taking a listen to Ellis Ashbrook, wholesome progressive rock meets exploration and a side-step to a mix of genres. Each piece sits on its own plinth, distinct and complete. I even found some ska references bouncing over the parapet.

Highly capable musicians wander over much ground and there is a danger that any distinctive sound can become lost in the melé, but that matters not a jot. This is a band to listen to – much like an evening in a mixed cocktail bar, you may not know what is coming next, but you know it will be sublime. Unlike the aforementioned cocktail mixing – time with Ellis Ashbrook results in a morning of where is the re-play button, not headache tablets.

The more I listen, the more impressed I become by the skills and structures of the material. It is the sheer diversity which instead of becoming a weakness, is in fact the real strength of the band. A plethora of sounds and tempos appear over a series of tracks, each played and stirred in to the mix with panache and consummate skill. - Indiebandsblog.com

"Take one listen to Ellis Ashbrook and immediately you will feel like you’ve been transported back to the 1960s. The psychedelic pop and rock music that reigned over the era has been updated and reintroduced." - Visionary Artistry Magazine

"Take one listen to Ellis Ashbrook and immediately you will feel like you’ve been transported back to the 1960s. The psychedelic pop and rock music that reigned over the era has been updated and reintroduced." - Visionary Artistry Magazine

I stumbled upon an American band called 'Ellis Ashbrook', who call their genre as 'Exploratory Rock', and well, that was quite interesting to me at first sight. The band comprises of John Barber on the vocals and guitar, Natalie Lowe on the vocals and keys, Jonathan Granoff on the Bass, and Alex Major on the Drums. I got hold of their latest album called 'Meridia' and honestly, I am extremely lucky to have heard it. Here's why:

The album begins with 'Accelerator', and oh boy! Its really as if they stepped up on the accelerator! Amazing intro. I quickly put on my headphones on full volume. This song straight-away touched my heart at one go. The bass, rhythm and percussions were so strong throughout, and the duet vocals were so much synchronised. It reminded me of some tracks from Rush with the amazing keyboard solo towards the end. In one word, 'PERFECT' !

I was too much excited to move on to the next track called 'Slide', which started off with a cool improvisation on the drums, followed by a hard rock riff on the guitar. What I liked the most was the chorus vocals, exquisite! This song has a lot of variations in the rhythm patterns, tempo, and even the vocals. All the members are extremely good at their parts, and listening to them together as a band is even better.

Moving on, after two power-packed songs, I was expecting a somewhat softer one, and that's what exactly I got in the 'Cat Song'. A wah-wah intro to start with, this one had cool basslines, and some nice drum rolls in the chorus. The guitar solo was what I was looking for now, but it had a drum solo in store too. Way to go.

Ellis Ashbrook somehow knows what should come next, and they sure know it right indeed. After a guitar intro, you get a bass intro by Jonathan Granoff, and peppy, exquisite vocals by Natalie Lowe in 'We laughin'. The chorus effect in the verse was noteworthy. The guitar solo again took me back to the 70s, reminding me of AC/DC and Led Zeppelin, 'Since I've been loving you' to be specific. John Barber, hats off!

Setting up such high expectactions with just the initial tracks, I didn't know what could come next. But yet again, a nice arpeggio by Barber, and beautiful vocals throughout in 'Peripheral Declination'. Alex Major has been consistent throughout the album, with his perfect timings and beats. The drums have been exemplary at all times.

Then comes the 'Climax', literally too. A pleasant track, transporting you to an altogether different feel, a synth-induced background, complementing Natalie's awesome vocals throughout. The violin solo towards the end was a big surprise!

The self-titled track, 'Meridia', was just around a 2 min track, with a variety of experimental sounds fitted together. It seemed as a trailer for this album on second thoughts. 'Unbreakable' flags off with an open snare roll by Alex, followed by Natalie again on the vocals. The improvisation at the end reminded of the epic 'Bohemian Rhapsody' by none other than, Queen!

The last track called 'Bottomfeeder', had John Barber begin on the vocals with the keyboard in the background, and reminded me vaguely of The Who too for a moment. The track progresses with an entry by Alex on the drums, followed by Jonathan on the bass. I loved the 5 second fusion between the guitar, drums and the bass towards the end.

Summing up, I'd fall short of words to describe this album. In terms of the sounds, the originality, the creativity, the mixing, and the synchronisation, Meridia is a FLAWLESS album by Ellis Ashbrook. It was like a fusion of classic old-school with modern rock, done perfectly in their own, freaking way! The amount of work, and the passion is completely evident in each single track, and well, I'd even rate them amongst the best modern rock bands today.
I'm a fan, a big one at that!
- bearockr.in

Meridia is the third full-length studio album from the band Ellis Ashbrook, known as a contemporary experimental rock group, started in Brooklyn New York. The band is made up of vocalist and lead guitarist John Barber, drummer Alex Major, bassist John Granoff, and keyboardist and vocalist Natalie Lowe. Barber and Major have been composing music together since the age of ten, however in high school they turned their duet into a fully formed band. Since high school they have gone on to gain much success, recently playing in venues like the Highline Ballroom in New York City.

Ellis Ashbrook is absolutely an experimental band to say the least. Each track on this album has a new direction, a new vibe, however this does not mean that the album goes in a hundred different directions. There is a definite consistency in each song on the album, and even if it’s not a consistency in sound, it’s a consistency in the vibe and mood and purpose of this album. Ellis Ashbrook tries many different styles, of course some working better than others, with some songs having just classic guitar riffs and piano melodies and others using half of an orchestra. Songs like “Climax” and “No Please Don’t Watch,” do an incredible job of mixing rock music with classical instruments used in less conventional and expected sound. Then there are other songs on Meridia that are successful with just the guitar chords and vocals, like “Cat Song,” however this song still has saxophone parts that push the song to the next level.

Ellis Ashbrook now have a very strong New York following and are known very well in the Brooklyn rock scene. And since their second album release they have gained even more fans in Boston and Providence as well. Meridia is a very fun, part rock, part folk, part experimental album that will leave you wanting to hear more of the ideas that Ellis Asbhrook has come up with in their last two albums.

The Review: 8.5/10

Can’t Miss Tracks

-Cat Song
-No Please, Don’t Watch
-Climax
-Decelerator
-We Laughin’

The Big Hit

-Cat Song - bluesrockreview.com

Filling the sounds of Frank Zappa and early Porcupine Tree with a vibe of the late ‘60s psychedelic sound of touching the prog elements with a bit of danger mixed with alternative and punk at the same time can be a risky choice because some of the genres would have drawn a line in the sand and see if they would accept it or not, with Ellis Ashbrook, they have taken the sounds of the three elements and take it to see where it would land on exactly at the right spot at the right moment.

The band already has two albums in the can and their new album released last year called, Meridia, is completely twisted. There’s a touch of funk, heavy rock, psychedelic elements that goes through the Zappa realm that would have made the master himself very happy with and coming with a sense of humor that would send a touch of enjoyment through the crowd and a way that this band would take the elements of prog and psychedelic music up a notch and creating some danger that would fill around the room and the sound of their music.

Cat Song, which has this ‘70s guitar rock groove that has the band into the realms of how the band pay tribute to Zappa with a touch that resembles the Apostrophe-era that shines almost a touch for Ashbrook to write a score for a Pam Grier film with a funkadelic soundtrack as Peripheral Declination sounds like something out of Yes sole self-titled debut album that has a touch of the guitar and bass resembling a bit of Peter Banks and Chris Squire that is almost a tribute to their heroes.

With the opening Accelerator that kicks the albums off with more of a garage space rock adventure, it goes on this amazing journey through the milky way that features a lot of guitar and bass lines including some moogy and organ solo work that makes it a fabulous ride that sends you to another dimension that you’ve never been to and making it a fun ride. There’s also some mellowing elements with a bit of the spookiness that you’ve never heard before on Climax and Unbreakable which has some jazzy classical thumping beats to it in a mighty roar and has a bit of a Baroque Rock sound.

They’re back again with the spacey music and sometimes in your face atmospheric music with another 6-minute rocker, Decelerator. Bottomfeeder, a haunting, dark piano melody with a militant drum feed comes in with a touch of the sessions from Pink Floyd’s second album A Saucerful of Secrets as the groovy jazz psych funk of No Please Don’t Watch builds into a moving dance as Slide goes into the tones of the Heavy Rock and Alternative sounds of the ‘70s and ‘90s with a dosage of Black Sabbath and Nirvana.

Psych uplifting finale, 22 is very touching because it shows that while Ellis Ashbrook has the psych and prog influence under their spell, there’s a bit of the jazz and a psych bossa nova sound they carry and that is a real wonder and closing the album off to close the curtain. I have listen to Meridia about three times already and overall, this is a must listen to album and adventure you’ll never forget. - Music From The Other Side of the Room

The Best: #6
Ellis Ashbrook – Meridia: Much like the Phenomenal Handclap Band, this album seems deeply inspired by the 70s and bears a resemblance to Pink Floyd, Return to Forever and other acts that played with funk, rock and jazz. I think they actually do it much better than Phenomenal Handclap Band because there’s a sense that the musicians can improvise at will. - The Joy of Violent Movement

When an album leaves one feeling good inside you know it has to have something special about it. Such is the case with Meridia from US rock band Ellis Ashbrook. The release, the third album from the band, is a mesmeric collection of swirling and heated songs which captivate with ease and infectious imagination. It is an instant friend to the ear and an eager perpetrator of heartfelt delights with its irresistible weaves of invention and passionate melodic enterprise. A series of varied peaks without any lows in between Meridia is simply one enormous pleasure.

The Brooklyn based quartet of John Barber (vocals, lead guitar), Natalie Lowe (vocals, keys), Jonathan Granoff (bass), and Alex Major (drums, electronic percussion), draw in influences across multi genres to create a rock sound rippling with diversity and shimmering beauty. It is feisty when it needs to be and as funky as your hips could dream of and the overall blend is a perpetually engaging and fresh pleasure for the senses. With two previously well received albums behind them in their self titled debut of 2006 and Assemblage in 2008, Ellis Ashbrook has taken their sound to a new level with their latest album to be reflected in the what one expects will be even greater acclaim going its way.

The album immediately infuses emotions with full enthusiasm through opening track Accelerator. With a dawning electronic breath the song unfolds its arms to envelope the senses with a mighty indie pop feast of elegance. From the initial voice of Lowe there is an immediate Blondie lilt to the song before it evolves into a more rock orientated flow as the vocals and excellent guitar of Barber join the party. Electronic bursts and spotlights of sound keep things wonderfully warm and casual alongside the firmer thrust of the song which by this point and as it approaches its climax ripples essences of Oingo Boingo.

Second song Slide takes no time in showing the variety of the album and music of Ellis Ashbrook in general. A pacing melodic tease split with sharp guitar play and surges of muscle the song is a hypnotic fusion of Alice In Chains/Nirvana and classic rock brought with a breath of psychedelic warmth. Again vocally the song radiates infection and class whilst musically the band turns contagion into an art form.

As the album continues to envelope the senses songs like the jazz funk flight of magic which is Cat Song, the brilliant hypnotic tropical treat Peripheral Declination, and the crystalline shimmering No Please, Don’t Watch, leave the heart desperate for more. Peripheral Declination is especially irresistible and a rival to the opening pair for best song on the album, its magnetic Mike Patton crossed with Beck craft impossible to stay away from.

As mentioned there are varied heights of excellence on the album but there is never a time the album leaves one merely satisfied, songs like Climax, the folk rock gem Unbreakable, and the emotive Bottomfeeder, leading thoughts and emotions on a sensual experience as rewarding as the more boisterous and irrepressible tracks elsewhere. As Meridia progresses its air evolves from an urgent and energised beginning into a mellower and more passionate atmospheric ambience especially over the latter six or so tracks, though it still offers plenty of stirring bursts as in the closer 22 to compliment and invigorate the pulsating beauty and impressive songwriting.

Taking extras spices found in the likes of Talking Heads, Led Zeppelin, The Smashing Pumpkins, Ween, and Pink Floyd to name a few, Ellis Ashbrook manipulates them into their own unique sound to offer something which is as we said at the start rather special. Meridia is a gift for the ear, time to treat yourselves.

http://www.ellisashbrook.com/

- Ringmaster review introduces

Ellis Ashbrook aims to bend genres and make a sound that is completely unique. They succeed in the quest in their most recent album, Meridia. They sound dirty and grungy one moment and the next fun and bubbly. There are hints of acid-trippy music, like some of the Beatles' later work. And, like most occasionally grungy sound, you can hear echoes of Nirvana. You even get a little funk, a little doo wop and a load of cocktail lounge sound. Overall, I would definitely suggest downloading this album if you are looking for a new spin on the same old genres, or maybe if you are planning on hosting a cocktail party and need a soundtrack. - altrocklive.com

Closing the evening was Ellis Ashbrook. It was an unfortunate time slot for the exceedingly talented prog band; they didn’t get started till about one fifteen in the morning. The upside of course was that they didn’t have to leave the stage at any particular time; perfect for a group that enjoys going off on a good and lengthy musical tangent. Referencing Rush (the synth years) to Jefferson Airplane and even King Crimson, the quartet’s musical prowess and expertly crafted songs were solid throughout. With atmospheric songs like “Snakey’s Got Demon Eyes Big Time” and “Desert Raft”, Ellis Ashbrook is actually making the jam band relevant again. Despite poetic, at times obtuse lyrics, their songs are immensely fun to listen to; you could imagine spacing out in your apartment in Haight Ashbury with Ellis Ashbrook on the stereo. One of their closing numbers was Led Zeppelin’s seminal “Rock and Roll” which really was exceptionally good for a cover, rousing a group of clearly wasted B&T revelers to dance in some hellish circle of inebriated joy. It felt inappropriate and completely out of place - but I guess after two in the morning, all bets are off. - feastofmusic.com

Brooklyn-based Ellis Ashbrook is back with their third album of intriguing, hard driving modern psychedelic rock music. I have heard the term genre-bending, and although that may apply to many Brooklyn bands, this band is bending out some acute angles here. First and foremost, this is rock music. They have psychedelic touches, progressive rock jams, funk rhythms, and several lighter touches of many sub-genres. This is a long player, and although there are moments when my mind wanders, I am usually back quickly enough as this band always has something up its sleeve to snap me back at attention. There is some skill in the song writing, clearly, and the arrangements are big and bold.

Songs to try out first:

"Cat Song" - Some nice funk moves with spacey synth/electronica/guitar breaks ending a rather progressive jam.

"Climax" - Over six minutes of what starts off as a loungesque rocker and ends up like some gloriously bombastic Queen song with violins. Climax, indeed!

"Decelerator" - Another long song with many shifts from quiet/loud or slow/fast. Ultimately the musical storyline is well constructed. - DC Rock Live

Mercurial NY-based band are steeped in deep-track classic rock influences. Call it cosmic-hippie-psych-prog on the tunes "Unbreakable" and (with a whiff of Jefferson Airplane) "Climax," both sung by Natalie Lowe whose lofty delivery fits the lyrics' swirl of existential epiphanies. Radically different, however, is the song "Cat," a chunky, percussive, uber-funky weed-rocker, sung by John Barber. Though they can seem like two distinct bands in need of consistency, EA's schizo-sonics could by right on target to hit the next wave of progressive music. - Music Connection Magazine

Prog-rock Rambos, Ellis Ashbrook is a contemporary powerhouse of a quartet, drenched in a thousand and one riffs per second, hooks that annoy you enough and then etch inside of you. Plus, harkening back to late 60s prog-rock outfits, Ellis Ashbrook rocks both male and female singers, creating textures on top of dual synths and John Barber’s endless supply of fire. Still underground, Meridia has that garage rock sound, not over-produced, but it lacks in consistency it makes up for in balls-out awesomeness. Their vocals are lost in the swoon of instrumentation, so even after a hundred listens I’m not sure what they’re singing on about.

Yet, lyrics and vocals have never stopped rock n’ roll before, and it shouldn’t deter you from Meridia. No one knows what R.E.M. or Pearl Jam are going off about, but that’s okay, as long as it’s sung passionately, and same with Ellis Ashbrook. The ticket is John. The rest of the bands is capable of keeping up with him, but Prog-Rock needs the lead of guitar.

“Accelerator” starts off the album with scorched guitar zinging like Soundgarden. “I need a rush!” goes the chorus, sung jointly by John and Natalie Lowe. They aren’t singing about much importance, but they don’t let that slow down the clear-cut point of the song.

“Slide” has a more metal guitar riff, but it’s awesomely sexy. Here are some of the lyrics: “Opting to talk/not to talk/I’m ripping my shirt/ not to fall/ too soon/ I’m walking to block/ how I start/ what I want/ when I stoop/ I can lose/ what I need/ to cocoon.” See? It’s frustrating when lyrics get lost in the shuffle, but the song is too damn cool to make it arguable.

They leap from the heavier, more Rush and Coheed and Cambria sounding prog to the jam-oriented glimmer of bands like Umphrey’s McGee. On “Peripheral Declination” the synths keeps things going and John takes on a softer approach to singing.

“Unbreakable” sounds like Fairport Convention, especially with the female vocals and lines like, “And so I go/ to fight other battles.” It does have a slight disco bridge, but it’s done tastefully.

In fact, Ellis Ashbrook runs the gamut, the cool breeze adult contemporary gust of “Climax” to the five minute piano ballad “Bottomfeeder”- and everything in between, but smoothly so that a listen from beginning to end is not boring or conversely disjointed. It’s a musical mission to get all these influences to make sense, and they do through love of rocking out. Bassist Jonathon Granoff and drummer Alex Major are no slouches, really the conduits of the rocking out, energizing tempo changes, and overall instilling great gusto to the mix for John and Natalie (who also plays keys) to find their jams.

Meridia comes highly recommended because it’s not confined to rules and proves that this sound is not dead nor even rehashed. This is fresh stuff.

Bottom line: A wonderful rock album. Male and female singers, devilish drum and bass, and everything you’d ever ask for in a rock album. - angelica-music.com

“How would you describe your sound?” It’s a pretty standard question, that usually results in lots of false starts and contemplative grunts, but not for Ellis Ashbrook. “We’re a mix of 70’s decadent, 90’s apathy, and hippy dippy guitar solos and jams.” A not-so-typical answer from a not-so-typical band. While Ellis Ashbrook’s origins begin in Rhode Island, its current and most enduring lineup was formed in Boston where Alex Major (drums), John Barber (guitar, vocals), Jonathan Granoff (bass), and Natalie Lowe (keyboard, vocals) were attending college. They eventually packed up and moved to a Brooklyn apartment where they write, live, and occasionally throw a wicked party for friends and fans.

Where did the band’s name came from?

EA: It’s my [Alex] porn star name. If you take your first pet and your street name, it gives you’re your porn start name.

You guys have been around for a while, but this lineup really started in 2006. When did you know you were going to actively pursue this? Was it for fun or did you want something serious to come out of it?

EA: It was always a serious thing that we wanted to do. We started recording before there was even an album. We just started recording whatever we were doing, taking it seriously and writing better songs. It’s always been a passion of ours to make it as professional and awesome as possible to compete with the best of what’s out there.

A lot of bands seem to come and go fairly quickly. What do you think the key to success is?

EA: Longevity comes from having a core and solid musical background. Having a strong foundation and a having a scene and following that understand the music. It’s not really about quantity, it’s about having quality listeners who take the music seriously. We also try to collaborate equally, which a lot of bands don’t do. It goes back to how much you actually care about the music.

Let’s talk about your fans. What have you done to cultivate your fanbase? What keeps them coming back for more?

EA: Well, one thing we do is throw shows in the apartment we live in. We’ve been here for five years and spent a lot of time building relationships with places like Arlene’s Grocery and doing residencies there. We also play on nights were people actually want to go out. We try to plan things in advance and make it as fun as possible. We’ll provide certain edible and drinkable things and we’ll even give people a ride back to Brooklyn if you come to a Manhattan show. We’ve been doing these shows for two and a half years. It’s not just forty-five minutes or an hour of music, it’s the whole night, the whole experience.

Has there ever been a situation where someone has been in your space and you’ve realized that it would probably be better if they weren’t there?

EA: Yeah, but that’s a risk we’re willing to take. Most people are very respectful of our stuff and it’s rare that anything gets broken or stolen. We have a very symbiotic trust with our fans.

Getting back to the music, you’ve released three albums together. How has the band evolved over time?

EA: The first album was released before Natalie was in the band and the second album was a mix of stuff that we sort of created separately. But on the latest album, Meridia, everything is different. Meridia is a meeting place where we all wrote every part of it and agreed on every part of it. We work together equally, so that no person in the band is the single songwriter. There’s the challenge of working with people, especially because we all live together, but we overcome the negativity and break through.

What do you love most about playing live?

EA: Playing live. Writing new music and playing it for people who have never heard it. The jam aspect of it. We don’t always have a set list so we just come up with a lot of it on the fly. Every show is totally unique in that way, because it always depends on who is in the room.

New York is full of music venues and lots of artists would love to play here. Why do you think it’s such an important place to share your music?

EA: If you can get into one of those places and play in front of a packed room? It’s the best experience that you can have as a band. There’s a big circuit here and there are different spaces for different bands. We’ve been fortunate to play in a lot of the better venues through a lot of hustling and believing in ourselves. It’s not easy. It’s a very tough city and there’s a lot of competition. Everyone wants the best nights and the best spots, but if you can get hooked in with the right people and you’re a good band, then you’re set. In New York, no matter how many people you’re playing for or where you’re playing, people are always going to be happy that they’re in New York. You’ll think, “Well, I could be in a bigger place or a better place, but I’m still in fucking New York and it’s the best city in the world so.” It’s never a disappointment.

Last question. Who are some of your favorite local bands - Examiner.com

Interview: Ellis Ashbrook

Brooklyn band Ellis Ashbrook played a show at Bowery Electric on Wednesday night (9/14), displaying their very unique brand of funky, psychedelic indie rock. The band released their newest album, Meridia, back in May.

I had a chance to meet with the band after their show to talk about the band, their new album, the New York music scene, playing live, and their devoted fans.

When did you guys start playing together as Ellis Ashbrook?

Natalie Lowe (vocals/keyboards): The band has been together for many years. I joined five years ago. So, we’ve been this line-up for the last five years basically.

Jon Granoff (bass): I think it was August, right? August of 2005?

Alex Major (drums): …2006…

Jon: 2006

Natalie: right about there

How did the band form, in general?

Alex: Well, John (Barber, vocals/guitar), the guitarist, and I grew up together in Rhode Island. We’ve just been writing a lot of songs over the years… and we’ve had other musicians come and go, but these two have stuck for the longest, had the most success with the best chemistry as a four piece.

John: Should we go in the van?

Jon: It’s very hot in there. You don’t want to go in there.

Natalie: Too hot in the van

You guys just released a new album in May, called Meridia. Could you tell me more about the album?

John: It’s a lot of different styles, a lot of different songs. It’s funky, jazzy, heavy, hard rock, psychedelic mainly.

Natalie: water-themed…

John: shiny, explosive…

Jon: It kind of has this arch where it sort of peaks in the middle and comes back down and lands safely at the end.

John: It’s enjoyable, fun and entertaining to listen to.

John: definitely a journey

::laughs::

John: It’s a musical journey!

I actually kind of wanted to talk about that…

John: …and it sounds great on vinyl too…

I wanted to ask about that also…

Yeah, I kind of heard an arc in some of the songs. You have songs on there like “Accelerator” and “Decelerator…”

Jon: Yeah, there’s some kind of thematic continuity throughout. There are certain songs that reference moments in other songs…

Alex: just try and emulate your life, it goes up and down, and…

Natalie: …hopefully up again…

Jon: …cyclical…

Alex: …cyclical, a lot of peaks and valleys. It’s like being underwater and there’s like, all these mountains… It’s like mountains under water. Like, cruising through, like, a space pod kind of thing. Underwater space pod.

Natalie: cruising through a space pod!

Alex: cruising through the undiscovered country of the modern…

At this point, a homeless man interupts our interview to ask for money, to which Natalie replies that we are doing an interview and are broke. He makes her repeat the word “broke” several times before moving along. We all have a good laugh and agree that this bit stays in the interview. Continuing…

John: It’s trying to be experimental while also being, you know, accessible.

You said that you released it on vinyl…

Jon: yeah. Double-album on vinyl, it’s four sides, A,B,C,D, and they each have their own story to tell. They each have their own peaks and valleys within their own… within the four parts.

Natalie: each part is a microcosm of a larger picture, which is the way the world really works.

Jon: we also believe in analogue sound, so that’s why we did that. Whereas, you know, CDs are digital, it degrades the sound in a certain way. We’re purists. We believe the most pure way to deliver it is how it is meant to be heard, which I think is on vinyl. I think things are changing and that’s why we’re releasing it.

Alex: We wanted the warmth to come through

Jon: exactly. Like the music industry, you know, back to the cyclical, thematic thing with the album, the music industry happens in cycles too, so it’s kind of like… it’s a microcosm for what’s going on.

John: album-oriented rock… much like the rock music of the early 1960s and 1970s.

How is Meridia different from your last two albums?

Alex: It’s more focused, and, better songs…

Natalie: you can’t say that

Alex: better playing

Natalie: we’re always getting better, so better playing, but…

Jon: sound quality is better. The production was the best we’ve done, so that is a big difference in what we’ve done previously. Everything was done at the same studio in Brooklyn, Excello, sort of near Williamsburg. It was mixed and recorded there, and then it was mastered in Budapest, that was the only thing we did out of the US.

John: Carmatronic Studios in Budapest, Hungary, via the super internet highway.

Jon: Aside from production, the songs have changed, like, this is a four-piece now, for this album, whereas previous albums it was a different line-up. There was five of us, or sometimes six. We have other musicians that play with us, but the core on this album was the four of us, which is the first time we’ve done that.

Alex: …and we all wrote it. We all - Examiner.com

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet explores a spectrum of psychedelia involving layers of underwater-esque effects, bright reverb, and swirling guitars and synths of their 2011 release "Meridia." - The Deli NYC

"The band Ellis Ashbrook is one of the most important bands that has surfaced in many years. Although I come from a jazz background and love good rock music, I am truly impressed with the originality of the band which gives me hope that there is still good rock music being recorded and performed live. Love you kiddies!" - "The Good Doctor" Michael D. Anderson, WFMU-FM

"To us they sound like early Red Hot Chili Peppers, had the Peppers’ drug of choice been LSD instead of smack. " - The Grand Victory

Material: Call it rock fusion if you will. Blending several subgenres into their own unique brand of art rock, Ellis Ashbrook deliver an intriguing set of songs echoing Led Zeppelin, Pink Floyd, and others. They step outside the box, mixing traditional rock with original sonic embellishments. Ellis Ashbrook got their start in Boston's legendary basement party scene where they were a regular fixture before making the move to New York City. Wrapping up their fourth week in residency at this popular lower East Side venue, the foursome captures audiences with songs like "Therefore, However and So Forth." Their display of virtuosic guitar solos and an overall collage of rhythmic rapture culminates with an over-the-top version of Peter Gabriel's "Sledgehammer."

Musicianship: The playing is stellar and highly skilled, which is not surprising since several band members attended Boston's Berklee School of Music. although not officially the frontman, John Barber seems to fill that role with his show-stopping guitar riffs and expressive vocals. Sharing the spotlight is Natalie Lowe whose vocals are a stark contrast to Barber's. Lowe's voice, with its plaintive and ethereal quality, is reminiscent of Enya while shades of Grace Slick appear at times. Major's prominent drumming is integral to the band's success, never overshadowing the band while simultaneously covering general percussion with ambitious dexterity. Granoff on bass lays a strong foundation while showcasing some novel sounds as well.

Performance: Ellis Ashbrook's presentation was an outstanding example of the "sum of the parts." Individually, each player focused on being part of a united tapestry of sound. Adding each color and brushstroke and then blending it all together completed this aural canvas. Musicians so fully immersed in their performance left little room for audience interaction (which with any other band might seem off-putting) but worked in the group's favor, furthering their mystique. They played songs of varying lengths, some with long instrumentals, doing whatever it took to achieve their musical statement. The audience couldn't get enough.

Summary: Ellis Ashbrook put an artictic spin on a traditional genre. With their intense commitment and common vision they have created a synerhy with their music which is complex, interesting highly skilled and full of showmanship. " - Music Connection

Great fun to be had taking a listen to Ellis Ashbrook, wholesome progressive rock meets exploration and a side-step to a mix of genres. Each piece sits on its own plinth, distinct and complete. I even found some ska references bouncing over the parapet.

Highly capable musicians wander over much ground and there is a danger that any distinctive sound can become lost in the melé, but that matters not a jot. This is a band to listen to – much like an evening in a mixed cocktail bar, you may not know what is coming next, but you know it will be sublime. Unlike the aforementioned cocktail mixing – time with Ellis Ashbrook results in a morning of where is the re-play button, not headache tablets.

The more I listen, the more impressed I become by the skills and structures of the material. It is the sheer diversity which instead of becoming a weakness, is in fact the real strength of the band. A plethora of sounds and tempos appear over a series of tracks, each played and stirred in to the mix with panache and consummate skill. - Indiebandsblog.com

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet's melodic vocals command the listener's attention while the backing band offers a spectrum of sonic options embracing hard rock, rock-pop and in some cases even funk-metal a la Rage Against the Machine. - The Deli NYC

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet's melodic vocals command the listener's attention while the backing band offers a spectrum of sonic options embracing hard rock, rock-pop and in some cases even funk-metal a la Rage Against the Machine. - The Deli NYC

The intertwining and harmonizing vocals of Natalie Lowe and guitarist John Barber create the foundation of Ellis Ashbrook’s atmospheric and encompassing sound. The Brooklyn quartet's melodic vocals command the listener's attention while the backing band offers a spectrum of sonic options embracing hard rock, rock-pop and in some cases even funk-metal a la Rage Against the Machine. - The Deli NYC

“Ellis Ashbrook is really the greatest rock band of the 21st century, and one of Brooklyn’s best kept not-so-secrets at this point."
-Shane Hall

Taken from the Article What you’re listening to: Shane Hall By Victor D. Infante TELEGRAM & GAZETTE STAFF

- telegram.com

Ellis Ashbrook seems like it’s just a New York for the convenience. Rather than using Brooklyn as an excuse to deserve something, Ellis Ashbrook just knows New York’s a place that happens to have a lot of people who will show up to get fucked up…off of music, of course.

There was too much rock for the small stage. Headlining in the Old Office at The Knitting Factory last Thursday, Ellis Ashbrook sucked the audience in as the smoke machine engulfed the room—the stage melted away and what was left were people bonded together by the band’s progressive and heavy grooves. John’s unique voice fit into each genre with confidence, whether jumping from psychedelic to salsa to a dub. Though they play with these other sounds, there’s noarguing they’re wholly rock. In your face unlike a traditional keyboardist, Natalie certainly does not fade into the background. Her voice and her confidence as a rocker are impressive. The songs are round and intelligent and their presence is tight, not unlike Incubus in their S.C.I.E.N.C.E days. Every player has the prowess, technique, and tenacity to play original music that transcends trend. Many of the constant changes turn to the upbeat so the songs are nothing but dynamic, and the liquid hooks never lose you by becoming too drawn out.

Ellis Ashbrook’s musicians are dedicated to this one project, unlike many other Brooklyn musicians. They were just signed by Chakra-5-Records out of Burlington, Vermont, and here is where this diversity will work to their advantage. If anyone’s to bring Brooklyn’s timeless musical seed to Burlington’s fertile ground, it will be Ellis Ashbrook. - TheDeliMagazine.com

Ellis Ashbrook seems like it’s just a New York for the convenience. Rather than using Brooklyn as an excuse to deserve something, Ellis Ashbrook just knows New York’s a place that happens to have a lot of people who will show up to get fucked up…off of music, of course.

There was too much rock for the small stage. Headlining in the Old Office at The Knitting Factory last Thursday, Ellis Ashbrook sucked the audience in as the smoke machine engulfed the room—the stage melted away and what was left were people bonded together by the band’s progressive and heavy grooves. John’s unique voice fit into each genre with confidence, whether jumping from psychedelic to salsa to a dub. Though they play with these other sounds, there’s noarguing they’re wholly rock. In your face unlike a traditional keyboardist, Natalie certainly does not fade into the background. Her voice and her confidence as a rocker are impressive. The songs are round and intelligent and their presence is tight, not unlike Incubus in their S.C.I.E.N.C.E days. Every player has the prowess, technique, and tenacity to play original music that transcends trend. Many of the constant changes turn to the upbeat so the songs are nothing but dynamic, and the liquid hooks never lose you by becoming too drawn out.

Ellis Ashbrook’s musicians are dedicated to this one project, unlike many other Brooklyn musicians. They were just signed by Chakra-5-Records out of Burlington, Vermont, and here is where this diversity will work to their advantage. If anyone’s to bring Brooklyn’s timeless musical seed to Burlington’s fertile ground, it will be Ellis Ashbrook. - TheDeliMagazine.com