Band/Artist: The Great Escape
Location: Los Angeles
Styles: Alternative, Pop
Similar to: Black Keys, The Heavy, Adele, The Dead Weather, Janis Joplin, American Authors, Arctic Monkeys, Amy Winehouse
CD: Self-Titled
Members/Instruments:
Amie Miriello – Vocals
Malte Hagemeister – Guitar
Kristian Nord – Drums
Production: Produced by Kristian Nord & Malte Hagemeister for Nordmeister
Bio:
This is why they still call it the Golden State: The 49ers found it in the dirt, a century later the Dogtown kids discovered it in the shape of backyard pools, and now, some four decades further down the road, The Great Escape, a foot-stomping, genre-busting three-piece from Venice, have struck that California vein again –
with their own blend of raw energy song craft.
Inspired by everything the West Coast has come to stand for – the surf, the sun, the laid-back attitude, the proverbial Dream –, every single track, every chorus, every story they tell oozes that fun-loving, grit-digging vibe and feel. And you can just tell they had to go the extra mile to unearth what they were looking for: After all, two of them, Kristian Nord (drums, production) and Malte Hagemeister (guitars, production), are originally from Hamburg, Germany – these guys came a long way to live that Dream. Joined by powerhouse singer Amie Miriello, a Connecticut native and seasoned performer, they are about to release their debut album, a collection of songs that offers just what it says on the tin – A Great Escape.
Having first met while songwriting for other artists, the three L.A. transplants quickly realized they had a shared vision: Together, they wanted to create an update to that 60s, 70s sound when rock and pop music was still raw and unpolished. When it didn’t come attached with layers of irony or slick braggadocio. When it was nothing but a celebration of emotional storytelling, bold statements and heartfelt sentiments, poured into lavish melodies and harmonies. Hence the chorus, “this is a time to celebrate/What a beautiful escape,” as Amie sings over the pounding, surf’n’blues-heavy bliss that is “It’s Getting Better”.
Channeling the classic, timeless approach of their all-time favorites (e.g. Hendrix, Joplin, Cohen, Stones, the Beatles), but also nodding to their contemporaries (Adele, The Black Keys, The Heavy, Jack White), The Great Escape’s self-produced debut full-length has this no-holds-barred approach written all over it: “All I Think About” is all clapping, until the track breaks open into a huge chorus about longing, whereas horn-fuelled “Rebel” showcases intense dramatics and the amazingly powerful, raspy voice of Amie: “some people call me insane/they just ain’t on my level”. Elsewhere, the playful, sun-drenched “Secret Song” even flirts with gospel, soulfully majestic “I Want It All” is pure retro splendor, and even though “Let’s Go” sees them take off to higher and higher levels, they certainly know how to conjure minimalist, sweet and melancholy daydreams (“Don’t Wake Me Up”, “I Just Can’t Help Myself”) as well.
“Lots of first takes made it on the album, and most vocals were recorded right after writing the songs,” explains Malte, whose “demo guitars often stayed because they just had that right feeling.” Keeping things spontaneous and DIY, it’s “all about the performance, not about perfection,” Kristian adds. “When a take had the right kind of vibe to it, we just moved on and didn’t even second guess it.”
Album guests include old studio hands such as Stanley Behrens on blues harp (Jimmy Smith, Canned Heat, War, Willie Dixon), Kevin Dorsey on vocals (Michael Jackson’s vocal director, Ray Charles, Santana, Aretha Franklin), Zac Rae on B3, piano and keys (Lana Del Rey, Norah Jones, Santana), as well as a shape shifting horns section comprised of Katja Riekermann (Rod Stewart, Al Green) and Marco Palos (Los Lobos, Louis Prima Jr).
Trying to discover her true self, she has “traveled far and wide, but never understood,” Amie sings on “I Just Can’t Help Myself”, and yet it seems that after all this traveling and digging, they have finally struck the kind of “pay dirt” that really shines in their hearts and minds: “Don’t need a stake in the ground,” she sings elsewhere, “that’s not for me/Flow with the rhythm of the sound and the beat.” That’s more like it: A steady flow, no blinders, no rules. Music that feels more like an endless Hang Ten, pure, unfiltered playfulness on top of a wave, rather than some quick, steely-eyed Eureka moment.
With packed high-energy shows around L.A. already under their collective belt, The Great Escape have come to bring that gritty rawness they scooped out along the way.
