Stükenberg

Today Relix.com premieres "Brighter From Here" which will appear on the forthcoming album by Stükenberg. Novella, the third record from the Austin-based group, is set for release on November 12. Led by songwriter and multi-instrumentalist David Stükenberg, the group's sound has been characterized as Appalachian-Rock, while the forthcoming release finds inspiration in early Fleetwood Mac's eerie backwoods melodies and the distorted, almost-Pentecostal energy of a church service led by Rage Against the Machine. - Relix

ARTISTdirect is pleased to reveal that rockers Stükenberg will release Novella on November 12. We're exclusively sharing the album cover art, track listing, title and release date right here and right now, for you.

Despite their name, they're not a Euro act! They're an Austin-based rock outfit with decidedly American influences. - Artist Direct

The album is one of my favorite local releases this year so far. Original and collaborative, these folk-pop songs bristle with honesty and delicate harmonizing.

The varied instrumentation, along with the metallic and echoey acoustics of the silo, give these folk and chamber pop songs swells of billowing orchestration.

What makes the soaring parts so dramatic is Stukenberg's ability to scale back to a quiet sigh. The opening seconds of the first track, "Concussions in Heaven," are some of the best on the whole album: the opening guitar line emerges slyly out of a whisp of chatter and laughter.

["Letter to a Televangelist (Prove Me Wrong)"] bristles without sounding didactic and is melodically varied to boot, taking flight into a muscular chorus.

http://host.madison.com/entertainment/music/blog/article_61d066c8-3b7d-11df-bfb3-001cc4c002e0.html - 77 Square - Cap Times

The album is one of my favorite local releases this year so far. Original and collaborative, these folk-pop songs bristle with honesty and delicate harmonizing.

The varied instrumentation, along with the metallic and echoey acoustics of the silo, give these folk and chamber pop songs swells of billowing orchestration.

What makes the soaring parts so dramatic is Stukenberg's ability to scale back to a quiet sigh. The opening seconds of the first track, "Concussions in Heaven," are some of the best on the whole album: the opening guitar line emerges slyly out of a whisp of chatter and laughter.

["Letter to a Televangelist (Prove Me Wrong)"] bristles without sounding didactic and is melodically varied to boot, taking flight into a muscular chorus.

http://host.madison.com/entertainment/music/blog/article_61d066c8-3b7d-11df-bfb3-001cc4c002e0.html - 77 Square - Cap Times

The titular farm building served as both inspiration and studio, where Stukenberg's lush orchestral arrangements and delicate voice reached ever upward.

Much like Sufjan Stevens, the banjo-plucking Stukenberg oversees a wide array of musicians contributing to compositions like the gorgeous "Concussions In Heaven," a hazy dream of ghostly backing vocals and light taps of percussion. - The Onion - A.V. Club

The titular farm building served as both inspiration and studio, where Stukenberg's lush orchestral arrangements and delicate voice reached ever upward.

Much like Sufjan Stevens, the banjo-plucking Stukenberg oversees a wide array of musicians contributing to compositions like the gorgeous "Concussions In Heaven," a hazy dream of ghostly backing vocals and light taps of percussion. - The Onion - A.V. Club

Also like [Sufjan] Stevens, Stükenberg rose above the gimmick of his album—which was recorded entirely in a grain silo—to create something that harnessed the focus intrinsic of self-limitations. - The Onion - A.V. Club

Stukenberg, a five-piece conglomeration from southeastern Wisconsin, has honed in on a sound and style somewhat comparable to David Bowie, Nada Surf and Pete Yorn, but one that has evolved into their own. The local band’s sound begs instant connection and a beauty found in both simplicity and in ornate design – think Death Cab for Cutie as a reference point – while their slow-charging beats and mid-tempo pop waves reflect a certain Beatles fascination. - ~ Play In The City Blog ~

It's funny but the wealth of talent right here in our own backyard of SE Wisconsin never ceases to amaze me. The latest case-in-point is the young East Troy-based singer-songwriter Stükenberg (David Stükenberg for those of you in the 53120 area) who has just released his debut full-length effort Mountain of Pieces on the local label imprint, Machine Records. On it, the 21 year-old has produced a sprawling collection of timeless sunny '60s pop mixed with enough eccentricities to keep trendsetting music bloggers scrambling for superlatives for quite sometime.

The album opens with the striding pop of "Don't Mind," which, with Sergio Mendes horns, George Martin strings and a pleasing chorus, wastes no time in setting the positive, uplifting nature of this effort. This tone is further carried on through numbers such as the smile-inducing "Fights" and "Otherwise," the latter which culminates from an inviting pop number into a swelling gospel-infused bit of psychedelia, complete with euphoric soulful vocals reminiscent of Clare Torry's from Pink Floyd's "The Great Gig In The Sky."

During Stükenberg's youth his family was constantly moving from one place to another (having lived in no less than twenty different homes and attending a dozen schools) and the influences of his vast surroundings have also, no doubt, played a major role in shaping the broad musical landscape on Mountain of Pieces. Gentle balladry abounds on the introspective tracks "I See" and "Senses," while an effervescent groove lays the foundation for the after-hours cocktail-pop of "Hypothesis," which finds the musician stretching out beyond the confines of classic '60s and '70s rock.

Despite his stout songcraft, the taut musicianship from his band and rich arrangements, Stükenberg's secret weapon may just, however, be his vocals. Whether powerful and passion-soaked, or lighthearted and jaunty, his voice always has a warm and inviting nature that manages to pull you deeper into many of these musical delights - showcasing the mountain of talent brimming from this budding young musician - concertlivewire.com

It's funny but the wealth of talent right here in our own backyard of SE Wisconsin never ceases to amaze me. The latest case-in-point is the young East Troy-based singer-songwriter Stükenberg (David Stükenberg for those of you in the 53120 area) who has just released his debut full-length effort Mountain of Pieces on the local label imprint, Machine Records. On it, the 21 year-old has produced a sprawling collection of timeless sunny '60s pop mixed with enough eccentricities to keep trendsetting music bloggers scrambling for superlatives for quite sometime.

The album opens with the striding pop of "Don't Mind," which, with Sergio Mendes horns, George Martin strings and a pleasing chorus, wastes no time in setting the positive, uplifting nature of this effort. This tone is further carried on through numbers such as the smile-inducing "Fights" and "Otherwise," the latter which culminates from an inviting pop number into a swelling gospel-infused bit of psychedelia, complete with euphoric soulful vocals reminiscent of Clare Torry's from Pink Floyd's "The Great Gig In The Sky."

During Stükenberg's youth his family was constantly moving from one place to another (having lived in no less than twenty different homes and attending a dozen schools) and the influences of his vast surroundings have also, no doubt, played a major role in shaping the broad musical landscape on Mountain of Pieces. Gentle balladry abounds on the introspective tracks "I See" and "Senses," while an effervescent groove lays the foundation for the after-hours cocktail-pop of "Hypothesis," which finds the musician stretching out beyond the confines of classic '60s and '70s rock.

Despite his stout songcraft, the taut musicianship from his band and rich arrangements, Stükenberg's secret weapon may just, however, be his vocals. Whether powerful and passion-soaked, or lighthearted and jaunty, his voice always has a warm and inviting nature that manages to pull you deeper into many of these musical delights - showcasing the mountain of talent brimming from this budding young musician - concertlivewire.com

East Troy's Stukenberg is a quintet of musicians employing twice as many instruments, which in concert creates music that is refreshing as it is accessible.

Emerging from the youthful noodling of frontman David Stukenberg, the band is now a fleshed-out five-piece, and the new dynamic works for several reasons.

First there's Stukenberg's voice, which is not dissimilar to singer songwriter Howie Day's breathy croon. Then there's the genre-defying cocktail of the music. With the mash-up of organ, acoustic guitar, harmonica, mandolin, accordion and cello, the band's most prominent sound reflects the dusty road pop melodies of Ryan Adams, minus the self-loathing poetry.

Lastly, there's Stukenberg's wide-eyed debut, "Mountain Of Pieces," released April 1 in a beautifully designed digipack. "Don't Mind" opens the album brightly, a strong intro that sets a sunny pace. Carried by horns and harmonica, "Fights" follows as a jangly ditty, rich with emotion.

But before you go dubbing "Mountain of Pieces" as the feel-good record of the year, songs like "Hide & Seek" and "Senses" bring you down to a comfortable, melancholic place we like to call heartbreak. And isn't that the crux of rock 'n' roll, anyway?

The unexpected mood juxtaposition works well, and paints an interesting, yet familiar tapestry of song throughout the album. "Starbuck Algeria" boasts a seamless flow between an Afro-beat chorus, a somber string symphony, and finishing with a vocally harmonic crescendo -- no small feat for a budding band to pull off so successfully. - OnMilwaukee.com

East Troy's Stukenberg is a quintet of musicians employing twice as many instruments, which in concert creates music that is refreshing as it is accessible.

Emerging from the youthful noodling of frontman David Stukenberg, the band is now a fleshed-out five-piece, and the new dynamic works for several reasons.

First there's Stukenberg's voice, which is not dissimilar to singer songwriter Howie Day's breathy croon. Then there's the genre-defying cocktail of the music. With the mash-up of organ, acoustic guitar, harmonica, mandolin, accordion and cello, the band's most prominent sound reflects the dusty road pop melodies of Ryan Adams, minus the self-loathing poetry.

Lastly, there's Stukenberg's wide-eyed debut, "Mountain Of Pieces," released April 1 in a beautifully designed digipack. "Don't Mind" opens the album brightly, a strong intro that sets a sunny pace. Carried by horns and harmonica, "Fights" follows as a jangly ditty, rich with emotion.

But before you go dubbing "Mountain of Pieces" as the feel-good record of the year, songs like "Hide & Seek" and "Senses" bring you down to a comfortable, melancholic place we like to call heartbreak. And isn't that the crux of rock 'n' roll, anyway?

The unexpected mood juxtaposition works well, and paints an interesting, yet familiar tapestry of song throughout the album. "Starbuck Algeria" boasts a seamless flow between an Afro-beat chorus, a somber string symphony, and finishing with a vocally harmonic crescendo -- no small feat for a budding band to pull off so successfully. - OnMilwaukee.com

It's to be expected that someone adept in the art of moving from city to city as a kid should not only need to look to music as an escape hatch, but in turn, to have that music be as far-flung as his own hometown track record. David Stükenberg, the kid with suitcase always in hand (he was the veritable "son a preacher man"), finally landed in southeastern Wisconsin after hanging out in the South for many years, getting schooled in a wide range of subjects and what one might loosely term as "diversity studies." It translates nicely into his music.

Mountain of Pieces, Stükenberg's full-length debut, sounds like something many musicians hatch after many, many more years. It's no doubt that Stükenberg's life-schooled, gospel-tinged pop is an after-effect from his upbringing. Vocals are the centerpiece of the music – equal parts jazz and soul, Stükenberg's boyishly pleasing voice adding a winning element to the between soft soul revival and bouncy piano pop. Rhodes piano, harmonica, cellos, banjos, toy pianos, trumpets and guitars populate the songs backed by solid gospel choir vocals, creating a jaunty effect. Mountain of Pieces comes off as a Spoon-ish-sounding work, minus the smarminess, turning more into folk and soft soul revival tendencies. Remember the Milwaukee rock band Hudson? There are elements of their style of funk here, too.

The best songs on Mountain of Pieces make use of the energetic youthfulness Stükenberg, at 21, naturally falls into encapsulating, such as his solid opener "Don't Mind" with it's crunchy organ lines and horns. The relaxed percussive soulfulness of "Hypothesis" is a sonic study of a sunny afternoon, but nicely clouds over with acid lyrics. Only slight tendencies to become too dear in some spots cause Mountain of Pieces to falter, letting the acoustic, singer-songwriter moments drag down an otherwise buoyant album. - Vital Source Magazine

It's to be expected that someone adept in the art of moving from city to city as a kid should not only need to look to music as an escape hatch, but in turn, to have that music be as far-flung as his own hometown track record. David Stükenberg, the kid with suitcase always in hand (he was the veritable "son a preacher man"), finally landed in southeastern Wisconsin after hanging out in the South for many years, getting schooled in a wide range of subjects and what one might loosely term as "diversity studies." It translates nicely into his music.

Mountain of Pieces, Stükenberg's full-length debut, sounds like something many musicians hatch after many, many more years. It's no doubt that Stükenberg's life-schooled, gospel-tinged pop is an after-effect from his upbringing. Vocals are the centerpiece of the music – equal parts jazz and soul, Stükenberg's boyishly pleasing voice adding a winning element to the between soft soul revival and bouncy piano pop. Rhodes piano, harmonica, cellos, banjos, toy pianos, trumpets and guitars populate the songs backed by solid gospel choir vocals, creating a jaunty effect. Mountain of Pieces comes off as a Spoon-ish-sounding work, minus the smarminess, turning more into folk and soft soul revival tendencies. Remember the Milwaukee rock band Hudson? There are elements of their style of funk here, too.

The best songs on Mountain of Pieces make use of the energetic youthfulness Stükenberg, at 21, naturally falls into encapsulating, such as his solid opener "Don't Mind" with it's crunchy organ lines and horns. The relaxed percussive soulfulness of "Hypothesis" is a sonic study of a sunny afternoon, but nicely clouds over with acid lyrics. Only slight tendencies to become too dear in some spots cause Mountain of Pieces to falter, letting the acoustic, singer-songwriter moments drag down an otherwise buoyant album. - Vital Source Magazine