Born in Los Angeles in 1968, Jason grew up listening to what was in his parents record collection, including Love, Crosby Stills & Nash, the Beatles, the Zombies, and the Kinks. His love for music started young; he started playing drums made out of ice cream tubs at age 4 and began taking classical piano lessons at 6. He stuck with classical piano for 10 years to the prideful joy of his parents. But somewhere along the way he discovered his sister’s new wave and punk collection, and his fate was set. He dropped piano, picked up the guitar, and joined various bands throughout high school. Not long after graduation, Jason responded to a magazine and and joined the Three O’Clock, with members Michael Quercio (lead vocals, bass), Mike Mariano (keyboards), and Danny Benair (drums). The band released one album with Jason in 1988 on their major-label debut Vermillion for Prince’s Paisley Park record label. The band broke up soon after its release.
Jason spent the next six months living in the U.K. and Europe. He returned to the U.S. and spent a year drifting through college and various odd jobs before his old friend Roger Manning convinced him to move to San Francisco and join his new band, Jellyfish. The band formed with Jason (guitars, bass), Roger (piano), his brother Chris Manning, and Andy Sturmer (lead vocals, drums). Though the group gained recognition in alternative circles and released a moderately successful debut album, 1990′s Bellybutton, Jason wasn’t allowed to contribute his own songs to the band. This fact, topped by his concern that the band was trying too hard to sound like their influences rather than an original band, led to him leaving Jellyfish after their first release. He vowed never to join another band again.
In 1993, he played with Fabulon on All Girls Are Pretty Volume 1, contributing guitar and bass on a few tracks. During this time he worked as a session player for several other bands as well. Pretty soon he came into contact with multi-talented musician Jon Brion, who invited him to jam with him and his bandmates in their rehearsal space. It didn’t take long for Jason to break his vow to steer clear of bands; he soon joined their band, later named The Grays. Made up of Jason, Jon Brion (lead vocals, keyboards, bass), Buddy Judge (guitars), and Dan McCarroll (drums), The Grays hated the confines of most bands and decided to do everything in their power to avoid the pitfalls. Despite their earnest efforts, problems ensued in the band, and they released just one album, 1994′s Ro Sham Bo. They scored a small hit with Jason’s album opener, “Very Best Years.” (Side note: Jason’s father Avery did all the illustrations and photography for the album’s cover and inside sleeve.)
Once again bandless, Jason kept busy recording at his home studio on a 4-track machine. He intended to release an all-covers album and recorded songs by his favorite bands and artists. This album never happened, and the majority of these songs were shelved. (Only in 2001 would these recordings see the light of day on Japanese indie label Air Mail Recordings’ release Everyone Says It’s On.)
In 1995 he worked with Eric Matthews on Eric’s album It’s Heavy in Here, and finally got what he had been looking for: a solo record deal. Through Elektra Records, he released Jason Falkner Presents Author Unknown in 1996. This album was a solo effort in the truest sense: he wrote all the songs and played every single instrument on every track, and even produced it by himself. The album received rave reviews by practically every music critic who heard it, yet it didn’t achieve much commercial success.
In this same year he also contributed to Brendon Benson’s album One Mississippi, co-writing seven songs, as well as playing various instruments on Susannah Hoffs’ ’96 release. 1997 saw Jason continuing session work with Eric Matthews’ second album, The Lateness of the Hour, contributing various instruments, co-producing and assisting on five tracks.
In early 1999 he issued his sophomore effort, Can You Still Feel? Again, it was a complete solo effort, but this time was co-produced by Nigel Godrich, best known for producing Radiohead’s enormously successful OK Computer. Soon after this album’s release, Jason got fed up with being ignored by his own record label and got out of his deal with Elektra. Not being able to stay out of the studio, he contributed instrumentals on songs by Chris Cornell and Soulwax, and produced the Brown Eyed Susans album Afraid of Heights.
In 2000 Jason kept very busy, touring and contributing to various projects. He recorded “Song For Her” for the Songs For Summer tribute cd, played on Roger Manning and Brian Reitzell’s album Logan’s Sanctuary, and contributed on some tracks and even a couple live shows for the band Air.
In 2001 Jason contributed to Air’s 10,000 Hz Legend. He also spent the summer months through November touring with them as bassist. New York indie label spinART Records released Necessity: The 4-Track Years, a disc comprised of old 4-track demos. Indie label Air Mail Recordings in Japan also released a double-cd set called Everyone Says It’s On in 2001, featuring one cd of demos and unreleased songs along with another cd of covers, many of which have been released on various compilation albums. His main project of the year was an instrumental album of Beatles songs for kids called Bedtime With the Beatles: Instrumental Versions of Classic Beatles Songs released by Sony Wonder . He also covered “Do Ya” for Not Lame’s Lynne Me Your Ears: A Tribute to Jeff Lynne. While in France, he worked with Roger Manning and Brian Reitzell again, recording together as TV Eyes (formerly called Softkore).
2002 proved to be another busy year for Jason. He spent the summer touring in Europe again as bassist with Air, contributed on several artists’ albums (including Beck, Aimee Mann, and Travis), produced an album for The Lilys, and performed a televised live show with Travis in Europe. He played a scattering of solo gigs in Europe as well as a couple of shows with a backing band in the States in November and December.
TV Eyes released their first single and played their first two gigs in May 2003. Jason headed to the studio in June to begin recording his third solo album. He also spent time in the studio helping out various friends on their new records, including Air’s Talkie Walkie and Beck’s upcoming effort.
In January and Feburary of 2004 Jason joined Travis on the road as the opening act for their 12 Memories tour. At the shows he debuted his EP Bliss Descending.
Cannoneers formed in early 2010 in Los Angeles, CA and released their debut 7-inch vinyl of, "Sadie Was a Girl/Shake the Law," in May 2010 at Spaceland in Silver Lake with support from Spectrum (Sonic Boom, Spacemen 3), and The Meek.
In early 2011, Cannoneers were named the residency band at the prestigious Echo Monday night residency in Echo Park, CA. After 5 capacity shows and a swelling number of live support...the band are set to finish their first full length LP with Mark Rains at Station House Studios in Echo Park. The LP is scheduled for release in May/June 2011.
The band's sound has been likened as Kevin Bronson (Buzzbands.la) put it..."the music of the new L.A. quartet is easy to swallow: It's garage rock 'n' soul that harks back to the swaggering British bands of the early '90s and to grittier '70s before. Absent the current scene's fetish for synths and electro trickery, Cannoneers keep things so straight-ahead you'd think black leather jackets never went out of style."
New Maximum Donkey
Four guys, eight eyes... and songs you will not forget until tomorrow... when you're sober again. Benny, Jeremy, Dylan, and Tim are the guys in the band. They are a barrel of intestines... come, let us adore them. They are spectacular, they are incredible, they are marvelous, and most of all... they are mediocre. And if that doesn't do it for you.. they are NEAT! Watch in disgust as they ruin what could be something good.
The Hunting Accident
“Every human being, even the youngest, is already old – that is, so close to death that he or she does not, in any case, have time to efface the accidental quality of the accidents of which his or her life is composed… We human beings are always more our accidents than our choice.” – Odo Marquard “In Defense Of The Accidental”
For some reason you are a person, or perhaps one of those very clever apes, who finds himself reading a band bio. You probably feel like you have some choice in the matter, but I assure you this is not the case.
If you’ve heard of Piebald (not completely unlikely) or Arlo (somewhat more unlikely), then you have heard Travis Shettel, Aaron Stuart, and Nate Greely in their spunk-filled youth (gross).
If you haven’t heard of either, don’t feel bad, I’ll fill you in. Arlo made a couple records for Sub Pop in 2001 and 2002, some people called them power pop, compared them to Sloan and The Posies. They toured their butts off across the U.S., Europe, and Japan, with folks like Foo Fighters, The Shins, The Walkmen, and Rilo Kiley. They got weirdly popular in Japan for a little while, got in some fights, and broke up in 2004.
Meanwhile, on the east coast, Aaron and Travis were in Piebald, being more hardcore, or post-hardcore, or some kind of -core. They stayed together a few years longer than Arlo due to better record sales and superior conflict resolution skills, put out five albums on various labels, and wandered the globe, playing shows with Jimmy Eat World, Jejeune, Saves The Day, Dinosaur Jr., and probably more stuff they can’t remember. By 2008 they called it quits as well.
Suddenly bandless and therefore jobless for the first time since high school, these strays were taken in and fed by other bands. Travis played with The Duke Spirit for a while, and started and ended a band called The Was. Nate toured with his Sub Pop labelmates The Elected, and then with the Seeds (yes, with Sky Saxon, it was trippy). They returned to Los Angeles around 2009 with improved chops and broader horizons, recruiting Pete Beeman (Burning Brides) on drums and Ryan Jebavy (Nighttime) on keys, and formed The Hunting Accident. Check out the songs on our music page, browse the photos, come to a show. Let’s be friends
Lovers Drugs is an indie band based out of Los Angeles, CA. The band formed in 2009 and quickly recorded their first EP in early 2010. Influenced by British rock bands, Lovers Drugs concentrated on promoting their sound through music videos and live shows including dates on Warped Tour 2010. The band released 6 music videos (one for every song on the EP) and spent the rest of 2010 touring the West Coast. In-between touring, Lovers Drugs found time to record their new full length CD which was just released in June 2011. More video projects and live shows are in the band's future including famed Los Angeles indie festival Sunset Junction.
Born and bred in sunny Southern California, Los Angeles-based rock group, King Washington delivers an easy, new California sound. The strong Southern California heritage of the band members is made manifest in their songwriting. King Washington fuses elements of their California roots in the folk rock music of the 60s and 70s and builds upon them with a blues tinted indie-rock flavor of tightly tuned and beautifully blended vocal harmonies, winding, lyrical melodies, subtly surprising progressions, and a dose of pushing the limits. They have taken what we love about the classics and added a new rock edge, crafting a flavor all their own.
Founding member Tyson Kelly, of the San Fernando Valley, brings the heat to vocals, guitar, and keys. SoCal native and lead guitarist George Krikes brings jazz guitar prowess and vocals to the group. Billy Lee, also a Valley native, holds down the fort on bass and tight tenor vocal harmonies. Beneath it all, David Contreras, the only non-native member hailing from Hamburg, Germany, completes the rhythm section with a spicy, steady beat on the drums.
King Washington began as a teenaged garage-band dream over ten years ago. Since then they have evolved and matured into a distinguished group with an impressive original repertoire, sound, skill, and stage presence. Since 2009, they have released their debut EP, Grenadine (2009), and two notable full-length albums. The Gears (2012) received editorial praise:
“In an ideal world, King Washington would be topping the pop charts with The Gears. Highly melodic and intellectual without isolating the listener… This quartet have far more to offer than their musical ancestors; the members of King Washington are scholars in the arts.” – 7 Bit Arcade
The Overload (2013) continued to reveal the band’s insatiable appetite for pushing their creative abilities and talents:
“Some try to replicate the past merely for the sake of nostalgia but for King Washington they are not trying to churn out what you have heard before, instead they have taken the music they love as a base and built their own unique sound around it. Part folk, part rock, part blues, part pop, part just about every genre going, King Washington cover it all and with (“The Overload”), they have presented a collection of songs to relish, to rock out to and above all else, to enjoy.” –Room Thirteen
With a natural grace for connecting with each other and their music on stage, King Washington delivers an exceptionally polished yet intimate live experience. LA Weekly voted them one of the top ten live bands, and audiences co
ntinue to laud their tight and dynamic live show:
“What you’re going to get from KW is the epitome of music being purged from the soul on stage. There is feverish, passionate playing of instruments, phenomenal harmonies […], a perfectly crafted set that will keep you interested and waiting to see what they throw at you next.”-Badass Bands Blog
The band has received notable radio plays and has opened for
Micheal McDonald, Arctic Monkeys, Crash Kings and recently toured with Collective Soul. They are currently finishing their third studio album due to release this summer. King Washington has made waves since their beginnings, and this talented group is just getting started!