MY FAKE FUNERAL played a rooftop on Newbury street on May 2nd and it was incredibly fun. The beer was a-flowing, the sun was shining, and our talented friends were playing awesome acoustic sets (Zac Taylor, Kris Roche, Emily Elbert, Yasmin Tayeby, Megan Lui, Sleepy Very Sleepy, Jordan Tarrant, Kelly Bartley– among others). Johnny Nicholson played a song too which was awesome.
Saki and Yasmin organized the event, and it was a smashing success. (More photos below the fold).
Check out this article from BerkleeGroove.com posted April 28 about MY FAKE FUNERAL:
Heavy Rotations’ number one zombie flick aficionado has dropped her name in favor of a more fitting, group-oriented moniker. Ann Driscoll has renamed her solo project My Fake Funeral, derived from the name of a one-act musical theater piece she penned last year. The band still features the same cast of topnotch musicians: Bruno Esrubilsky on drums, Dabbo Caucci on bass, and Justin Hancock on guitar. Continue reading
Boston-based rock quartet, MY FAKE FUNERAL is the brainchild of prolific singer/songwriter, Ann Driscoll. The 22-year old Ohio native, who has delighted and challenged fans and critics alike since her teens with music released under her own name, recruited Justin Hancock (guitar) Dabbo Caucci (bass) and Bruno Esrubilsky (drums) for a new project- MY FAKE FUNERAL in 2010.
Influenced by The Beatles and Harry Nilsson as well as recent icons, The Strokes and St. Vincent, MY FAKE FUNERAL fuses the past and the present into songs described as “dark and edgy content juxtaposed with super-catchy melodies and highly singable choruses” (Berkleegroove.com). Between drummer Esrubilsky’s technical mastery and Brian Viglione-esque showmanship (often standing while playing) and Caucci’s punk-Jamerson bass lines, the rhythm section lays tight, danceable rock grooves below Driscoll’s forceful alto and Driscoll/Hancock’s guitars, which are alternately jagged and jangly.
Uploaded a demo of “Slow Down.” Let me know what you think.
I know everyone has got a mother
I know everyone has got a father
Still I’m half of them I can’t believe it
Does that mean my blood has ashes coursing through it?
Don’t try and tell me that it’s only fate
Don’t try and pass me the collection plate
I’d give a dime for all the times he prayed
If peace not pain defined his final days
His phrases form in mazes
Inside my head
I search for paths to lead me
To what he said
Feel sick, woozy stumbling, out of place
Time ticks, but grief don’t like to leave in haste
Would he be proud of all the things I say?
Would he be proud of who I am today?
Look into my red eyes
I could stand to slow down now
So, I wrote two SXSW recaps: pt1 Party in Round Rock and pt2 The Showcases and promised to write a third, but never did. Well, I suppose the only really notable things I left out were that I had a really great time playing with Black Kettle on St. Patty’s Day at a random gig at an Irish bar on 6th street for the Red Gorilla festival. AND that I saw Mary-Louise Parker on the street on Friday night, which i will expound upon in greater detail in a bit. First BK: Black Kettle got asked to do the gig Wednesday afternoon, and I, having stayed the night with them at Sara Houser and Grant Himmler’s place, was present and ready. The gig went exceedingly well. They sold a bunch of CD’s, and some ladies wanted their picture taken with them. Though I no longer have the time to play with them regularly, it was cool to fill in at a moment’s notice and be able to help out. Plus I got to play Grant’s sweet Jaguar bass.
Rough mixes of “Trash” and “Jesus Don’t Like Beggars” are up at the myspace
“Trash” was produced/recorded by Pete Holland-Recine and “Jesus Don’t Like Beggars” was produced/recorded by Kailynn West. They each contributed to the recording of the other’s song, however. The tracks feature me on guitars, piano, vocals, Dabbo Caucci on bass, and Bruno Esrubilsky on drums/percussion. We still have to finish tracking the Kailynn West-produced “Four Walls” which will feature Justin Hancock on guitars, and further mixing still has to be done on all the tracks. I think they sound real good. “Trash” definitely captures the 60’s/Motown/Beatles vibe I was envisioning, especially with the reverb effects Pete added in the mix so far as well as the guitar tones he was able to get. “Jesus” definitely sounds spooky and spare, which I like. But if you get the chance to listen, drop me a line and let me know your thoughts.
Bernie at MelodyMatters saw our set at Church on 4/17 and posted this video of “Trophy Fuck.” I gotta say, Prescilla (my new guitar) sounds pretty sexy through my brand new VOX AC15 from 1:44-2:05.
Bernie also kindly wrote: “Gotta love these random Berklee bands that show up unexpectedly with sharp playing and clever songs. This a band project of the girl in the torn stockings, Ann Driscoll. I guess you can call it retro pop with post-modern lyrics.”