JINNRAIL

"I hate my life for a living," sings Jinnrail's Reade Tilley. At first this might seem like the kind of slacker sentiment that would have made the early nineties proud, but Tilley is not the idle sort. Self-described in "Friends Like I Am" as a "simple hard working man," the singer and his L.A.-based bandmates are a studied and assiduous outfit who have crafted one of the most rugged, diverse and tightly played albums of this young year. The sixteen numbers that make up Million Lifetimes run the gamut from Britpop to roots rock to grunge without ever breaking stride. "Sell My Friends" is a scruffy rocker; "Hey Man" sounds like Definitely Maybe-era Oasis and "14 Stab Wounds" is a blazing rave-up that brings to mind Jane's Addiction and Lynyrd Skynyrd. Jinnrail have paid their dues touring around the United States and the songs here sound road-tested and comfortably broken in. The benefit of this is that the band has developed a profound understanding of their material and not only do they know all the turns of each composition, they know exactly how to take the corners. That being said, the strength of Million Lifetimes is that it's tight and loose at the same time. Witness the spry "Vermont To Sunset" which sounds like Springsteen's East Coast soul narrated by Squeeze, or "That's How She Do" which has all the languid bluesy swagger of The Black Crowes. And what of "Longterm Thing"? Quite simply, it's a hell of a pop song. "Well I'll bet your sorrows," sings Tilley, "That tomorrow/There's something bright." For Jinnrail, it's hard to argue with that.
—Alex Green

- caughtinthecarousel.com

Ever read Rainer Maria Rilke’s “Letters to a Young Poet?” It’s a book detailing these letters that the author Rilke receives from a young poet named Mr. Kappus, who is seeking advice regarding his poetry. Anyway, in describing the life of the emerging indie musician, Jinnrail lead singer Reade Tilley draws from these letters (in both a clever and non-prick way). At one point in the book, Mr. Kappus writes that he can’t decide whether to be a poet or not. Rilke replies, “The question is not whether to be a poet; it’s whether you can not be a poet. If you don’t have to be a poet then by all means, don’t be a poet. But, if you can’t not be a poet, then the decision is already made for you.”
Elegantly precise; so many of the incredible artists featured on PensEyeView do the things they do not for the glitz, glamour and girls, but simply because they love it (the girls are a nice bonus though). The life of the upcoming musician can be very rewarding, but at the same time it accurately weeds out those who lack the passion to succeed, giving way to artists that truly do. Jinnrail, which also includes Marc Jordan, Matthew Wiley and Lance Causey, is one of those bands full of real enthusiasm for what they do. And they have every right to be excited - They’re good. Really good. Hell, some of their tunes have already been featured in shows on FOX and MTV with plenty of regular airplay on XM, college radio and international radio.
Their latest release, “Million Lifetimes,” debuts next month. It is unadulterated Jinnrail, an essential blend of “New York City street smarts, haunted Southern summers and some laid-back California sunshine.” Tilley describes the collection as “a single life full of numerous lives,” soaring through perspectives and emotions that make the album as thought-provoking as it is satisfying. You can witness this live at one of the bands frequent shows where you should expect to get more than “a burger and a Coke — you get the whole cow, a bucket of Tabasco and as much rocket fuel as you can drink.” If this is the first you’ve heard of Jinnrail, it definitely won’t be your last — believe me. Get into the XXQ’s.

XXQs: Jinnrail

PensEyeView.com (PEV): How and when did Jinnrail first form as a band?

Reade Tilley (RT): JINNRAIL started in Queens, NY back in 2000. I answered an ad: “Band seeking lead singer.” Met and worked with some great guys. Since then a few names have changed, but everyone’s had an impact.


PEV: Growing up, what kind of music were you listening to? Do you remember the first concert you ever attended?

RT: When it was just mom and me, whatever was on the radio in the car, otherwise music didn’t really factor into our lives until I saw a classical concert on PBS. Then she somehow figured out how to afford a piano and lessons. The local symphony back home in Florida used to do these free (or really cheap) Saturday morning shows, rehearsals really. They’d play in jeans and T-shirts, barefoot or something. That was probably my first concert. When I found rock, I was done with piano lessons.


PEV: Was there a certain point in your life when you knew that music was going to be a profession rather than just a hobby?

RT: Not to sound like a prick, but there’s a bit in Rilke’s “Letters to a Young Poet” where the young poet, Franz Kappus I think his name is, writes to Rilke and says he can’t decide whether to be a poet or not, and Rilke writes back that the question is not whether to be a poet, it’s whether you can not be a poet and if you don’t have to be a poet then by all means don’t be a poet because it’s a crap life. But if you can’t not be a poet, then the decision is already made for you and you’re fucked so just deal with it. For me, it’s been like that.


PEV: What were your first years in the music business like for the band? When you were first starting out? Did you ever think you’d be where you are now, then?

RT: I never doubted. Of course, somewhere between New York and LA we’ve hit all the cliches right on the head — the van, infighting, meltdowns, meetings with fat rich guys who could change your life but don’t, who don’t hear a note but who say “I love the band” like they’ve said it a million times, and they have.


PEV: Having had music aligned with FOX, MTV, XM Satellite and college radio. What was it like the first time you heard one of the Jinnrail songs on the radio?

RT: Drinking a beer in a New York bar, trying to chat up the girl serving drinks, a song came on the radio and I thought, “Hey, I know this… Who plays this?” When I realized it was me singing, I didn’t jump around or anything; I was more dumbfounded than anything. But then I started smiling, and I don’t think I stopped all night.


PEV: What can fans expect from your “Million Lifetimes” (debuts February 26, 2008)?

RT: Some might say “multiple personality disorder,” but I don’t hear it. The songs all sound like they’re from the same place to me: a single life full of numerous lives. The person behind the cash register isn’t a retail slave at home. They’re a lover, a maniac, a kid, an addict, cowboy, stockbroker, queen, priest in training… Who knows?


PEV: How is “Million Lifetimes” different than others out today?

RT: I’m not going to compare our stuff to what other artists are doing, but I will say that - like many indie bands out there — we were more concerned with the integrity of the songs than we were with their appeal.


PEV: How is “Million Lifetimes” different from your previous works?

RT: Maybe more ugly and more beautiful.


PEV: Is there a certain environment you surround yourselves in when you sit down to write music?

RT: I never sit down to write music. I’ve done it once and the results weren’t great. It’s just there in my head, like a radio playing…


PEV: How have all your friends and family reacted to your success?

RT: Friends are all happy. Family is happy, even if they don’t really get it.


PEV: Having traveled everywhere, what city do you think offers the best appreciation for music? Why?

RT: All places have different relationships with music. If you’re in the country lying in bed at night listening to the radio, or if you’re walking out of a city club with the sunrise in your face and your ears ringing, it’s all good.


PEV: What is life on the road like for the band? Best and worst parts?

RT: There’s a certain member of the band who produces as much gas as a utility company, and that sucks while driving. Best parts are the people, dive bars, loud music from local bands we meet, girls, not washing dishes or working a register or sitting in an office or whatever else is not playing music.


PEV: Is there an “up and coming” artist or band right now that you think we should all be listening to?

RT: JINNRAIL (and anyone in your local indie music scene)


PEV: Is there someone you have not had the chance to work with or collaborate with, that you would like to?

RT: Sure, tons. Brian Eno, Bjork, Sepultura, Lou Reed, Rick Rubin, Roger Waters, Lucinda Williams, Damian Marley, Monica Bellucci…


PEV: When the band is not traveling or performing, what can we find you doing in your spare time?

RT: Motorcycles, reading, writing - and traveling and performing.


PEV: What’s one thing we’d be surprised to hear about the members of Jinnrail?

RT: I can’t tell you that.


PEV: If we were to walk into your practice studio what would we find?

RT: A lot of things that make loud noises, and some Vietnam War-era recruiting posters from the Chinese army.


PEV: What is a live Jinnrail performance like?

RT: You show up expecting a burger and a Coke — you get the whole cow, a bucket of Tabasco and as much rocket fuel as you can drink.


PEV: In one word, describe Jinnrail.

RT: Ready


PEV: So, what is next for you?

RT: Bigger, faster, better. Punch that button on the great glass elevator: Up and Out.


For more information on Jinnrail, check out www.Jinnrail.com
http://penseyeview.wordpress.com/2008/01/27/todays-feature-january-26-27-2008-jinnrail/

- Pen's Eye View

... The gems of this album are found in "That's How She Do" (easily one of the best tracks) and, appropriately, "Million Lifetimes." "That's How She Do" has a solid sound and confident lyrics — take it from a Kentucky girl, it is the epitome of Kentucky whiskey rock. Switch over to "Million Lifetimes" and you'll figure out what makes Jinnrail's sound so good; this track is as breezy and calming as the love the lyrics make, reinforcing the band's uncanny ability to match the feeling of words with the feeling of music...

Karen Brandt - playbackstl.com

“Provocative and lyrical storytelling at its best with driving rhythms and energy that can best be described as the meeting of The Cult and Nirvana bundled-up tightly in a uniqueness which can only be defined as JINNRAIL. An absolute must-listen”

- CDbaby.com

“The epitome of cool”
- demodiaries.com

“A majority of the songs are the kind of
sexy rock that just makes you want to... well, have sex” - melaniespunkshop.com

The previously NYC based Jinnrail started when a guy from Kentucky and a Floridian decided to join the New York music scene, then head off to L.A. and add their bassist. Their new release shows their innovative blend of Southern Rock influences with a little British invasion, and a shot of country. This band recalls psychedelic/hippie style, with an updated punk/garage band spin. Sell My Friends applies a little bit of early blues, then blasts into Marshall’s set on 10. Unique and catchy. Hey Man evokes Puddle of Mudd, with a different spin. Million Lifetimes and Extraordinary are the ballads, in case you need them. My Problems is a kind of spooky sounding complaint song, but in a good way (if that makes sense).
A taste of various moods and styles uniquely delivered. Add in a few rockabilly and blues riffs for good measure, and you have a diverse album. You’ve uniquely found a non-stereotypical sound and style!
By RME - Skope Magazine

Jinnrail's sound is reminiscent of many acts over the years, from the Rolling Stones to Oasis, and more. It's the type of blues rooted rock that has a familiar feel, but with a distinctly modern twist. And that is part of the music's appeal. It's familiar and new at the same time.

Many bands who've tried that formula often sound to derivative. It's hard to glean what parts of the music actually come from the band's character from what they are trying emulate. Jinnrail does a great job of balancing this aspect of their music. It's easy to hear where they draw their creative influence from, but it does not prevent them from letting their own personalities shine through.

The drawback to the album's sixteen cuts is that the best material is within the first twelve. It's not that the last four songs are poorly done, but by that point, I found myself ready to move on, or wanting to skip back to an previous track.

Overall, Million Lifetimes is well-done and worth a listen. Jinnrail's strength is their ability to draw from the past to create songs with modern elements. They do it well, and have presented some fairly kick-ass rock tunes for all of us to enjoy. - Type3 Media

Los Angeles, CA, February 26, 2008 – Imagine the sounds that would be conjured up if The Who and Coldplay got together to jam in a NYC dive bar to the songs of The Doors while doing shots of Jack Daniels with The Cult. This is Jinnrail. Influenced by the band’s diverse backgrounds and travels, Million Lifetimes, OUT TODAY on Girlfight Records, showcases flavors from Kentucky’s whiskey rock, Southern California’s laid–back rhythms and New York City’s street smart attitude.



Reade Tilley (vocals), Marc Jordan (drums), Matt Wiley (guitar) and Lance Causey (bass) create straightforward rock ’n roll on their new full-length that has fans across the globe screaming for more. Radio-friendly songs including “Hey Man,” “Extraordinary,” “Million Lifetimes,” “Summer Can Change You” and “Longterm Thing” bring solid pop rock beats, catchy guitar rhythms and engaging vocals to the table with meaningful and heartfelt lyrics that paint picturesque scenes in the mind of the listener.



The first single off of Million Lifetimes, "My Problems," is a traditional, Doors-style blues arrangement with a sensual, electronic presence. “To me, the song isn't really ‘about’ anything per se,” says Tilley. “It's more of just a meditation on everyday frustrations and pursuits: daily issues to be dealt with, trying to close the distance between the life you have and the life you want, and sex, of course. Always sex.” Currently in the studio, expect to hear more of this sound from Jinnrail on their new release scheduled for fall 2008.

Jinnrail’s audience continues to grow through exposure in a number of various mediums. The band recently landed a track in the movie Happily and several of their songs have been licensed by FOX and MTV. The band also receives regular airplay on XM Satellite and college radio. If fans miss Jinnrail performing throughout LA or at one of their frequent Viper Room appearances, they can catch them on tour in 08. - Ink 19

Classic rock is back in a big way, and myriad bands have harkened to its banner, playing tribute to the heros of yesteryear and remodeling the genre for a new age. But few bring anywhere near the creativity to the remake/remodel festivities that Jinnrail do on Million Lifetimes. The set is a master class in classic rock, and a thesis on how the style has seeped into and out of a dizzying array of other genres. Almost every one of the 16 tracks on the album explores a different facet of the style. A variety of numbers showcase classic rock's own roots, beginning chronologically with "That's How She Do", a blend of storming R&B and blistering rock-a-billy. Fast forwarding a decade, with "Hey Man" and

"14 Stab Wounds" Jinnrail illustrate how R&B transmogrified into hardrock. The latter traces rock's antecedents directly back to finger-pickin' blues, "See My Friends" teaches how Americana too eventually electrified, while "Summer Can Change You" breezes

its way from surf-y R&B through British Invasion, and into the soaring leads of classic rock.

After winding through the British Invasion and onto psychedelia and progrock, Jinnrail then begin exploring classic rock's effect on later generations, encompassing punkrock, post-

punk and New Wave along the way. The anthemic "Girls Are Weapons" rolls '60s era Rolling Stones into The Cult, and adds a shout-along new school psych-riven punkrock chorus. That's cool, "My Problems" is genius. Built on a rubber band-y bass line and art-rock electronics, the song slides into driving hardrock and out onto acoustic R&B. "Vermont to Sunset" is equally inspired, jazz-fusion that blends in a touch

of The Doors and a tinge of hiphop. There again, virtually the entire set is this inspired. Best of all, the melodies are strong, the hooks lethal, the choruses catchy, and the playing and vocal performances stellar throughout. From bruising rockers to the gentle Americana of the twinned closing tracks, you'll need to indeed live a Million Lifetimes to hear a rock record as intensely creative and enjoyable as this.

- All Music