Press Review

4 guys


“New York band finds sweet victory in a wicked game.”

“Thank you for listening to our self-titled debut LP. It is the compilation of over a decade of sleepless nights, joyrides through cities while we cackled, tribulation and victory.

They told us that we didn’t have homogenized sound and we took it as a compliment. In the beginning we thought we could go it alone and the process of creating this work we learned that we could do so much more by bringing other talented people onto our team. Our friends are all over these recordings.

Nick’s voice can take paint off the walls in one song and soothe your broken heart in the next. Jesse’s guitar is a living thing. Tim dutifully keeps time in the finest rock and roll tradition and Gary applies wisdom and an uncanny sensitivity with the bass.

Thank you for taking this time in your life to listen to this time in our lives. This album is not just a mere compilation of songs but an invitation to take part in a journey through the things in life we all experience.”




Broken Down – full song


Soul Survivor– On this runaway train of a song, Nick breaks it down on topics like compassion and self-reliance while the bands goes back and forth from a simmer to a boil. The end of the verse cocks like a gun and fires into the chorus. Sample showcases his blues heart in a high notes screaming guitar solo while the rhythm section takes you down a long dark tunnel.


Opium Den – Keyboards and violins open the curtain on a cyclic story of an addiction. The band goes to ethereal places while Horace relates in riddles that reflect an unmistakable hip-hop influence. The band just keeps adding to the drama, finally exploding through the ceiling with intense guitar solos and roller coaster vocal runs. The curtain closes the way it opened and things start looking up again.


Queen of Hearts – The band bumps along in a simple alternative shuffle while the violin brings an almost wild west flavor. The music of the verse is sedated as Horace relates the shortfalls of an impossible and dysfunctional romantic relationship. The chorus resonates with a shared experience; our storyteller makes it clear that he is aware of his situation yet still powerless to pull away from it. Sample does not fail to bring the big guitar solos and Brosnan and Ljungquist reliably bring the explosive low end that makes the song bump.


Big Hungry World – The band warns of the vulnerability of life on the edge in what starts as a blues number and finishes as a rock song. Nick brings soul as the band tips its hat to its classic Rock roots. Each verse builds in intensity, steps in with a fiery guitar solo and culminates in Nick and the boys burning down the house in the dressing down that it is the final verse.


One’s and Two’s – The band comes in with ominous tones that deliver on their threats in a full punk rock power-chord glory. The electricity clears out a space where Horace draws the parallels between addiction and a mistress and the downward spiral that always ensues. The chorus is fast and heavy and Nick powerfully expresses the story of futility of trying to give up something you don’t really want to give up. The bridge washes out into a space that is pregnant with possibility; Sample delivers on that promise for something big and electric, and Nick showcases the power of his emotional toolbox. This song tells you where this band is from.


Ish – Just when you thought, you had ‘em pegged the boys show you the softer more sensitive side of what they do.  Horace shows where he is from while he tells the sad story of an impossible love in velvety R&B runs that characterize the Motown movement. While the band plays along with the soft tones of a quiet confession, you can’t help but think that you are hearing Nick in his natural element. The song builds and finally embarks on a bridge made of braided vocal harmonies, building a tension that finally releases into a guitar solo that matches the sadness of the story. After another chorus, the music drops and we hear the storyteller’s secret heart.


New Reality – Nick takes you on an introspective journey while the band colors the room in somber tones. Horace delineates the border between performer and audience and how art can bridge the two. Sample shows an unsuspecting “David Gilmoresque” side to his playing in a solo that elevates and shifts.


Daddy’s Worst Nightmare – The band cures any doubt about its heavy rock tendencies while it tells the story of youthful rebellion and conveys the self-assurance of young ignorance with the tongue in cheek knowledge that this defiance won’t lead anywhere good. The band turns on a dime with big stops and big drops while the boys show off their chops. It starts in fast and heavy and finishes the same way.


The Fix – Our narrator comes in reassuringly to save the day while the band builds the house in staccato notes on a foundation of funk. The bridge showcases Brosnan’s plethora of nasty tricks and finally fires off into the chorus, riding on one of Horace’s infamous long notes. This song bounces off the walls and reminds you what the meat and potatoes of this group is: Rock n’ Roll.


There You Were – The band tries its hand at bubble gum punk rock that tells a refreshingly happy story. The lyrics about new found infatuation feel fresh and well placed on what feels like a punk standard of the Green Day vibe. One might notice it has a twinge of tongue-in-cheek in the writing but is a refreshingly light moment in a somewhat weighty album.


Wicked Game – The band shows you how it covers songs with this beautiful American classic by Chris Isaac. Nick twists in the wind with vocal melodies while the band gels in a sea of guitar reverb. But like they always do, the band builds tension and Horace keeps upping the ante, verse after verse. Sample weeps on guitar and drifts in and out. But the band keeps driving this quiet little classic into an explosive fireball until Horace pours out the longest note of the album. And then again.


Pack Your Bags – Nick sings this ballad to the simplicity of acoustic guitar arpeggios. The verses, reflect a secret wish while strings enter the scene and the chorus introduces a melody to sing along with. The band truly shows the most basic and elegant end of a very diverse spectrum.


Can’t Walk on Love – it’s one instrument away from being a country song and It’s the band’s anthem about hanging in there through the adverse trials and tribulations of perusing the big dreams. They take a break from the minor chords of most of their tunes, and come in with an earnest ballad about following your heart. Nick comes across in a “just folks” way, but the band holds no punches in the way of big time production and doesn’t fail to hold true to their reputation of bringing a simmer to a boil.


Hit Song – The 7th Squeeze closes out the album with a knock down drag out party anthem that burns down the house. Brosnan delivers the goods in straight-forward four-to-floor style, and Sample and Ljungquist go right there with him while Horace teases and incites the audience to get onboard. The chorus is a tongue-in-cheek yet somehow sincere delivery of the song’s namesake. The song rattles and bangs into the sunset and the album ends on a positive note.