Walter Etc.,formerly known as Walter Mitty and His Makeshift Orchestra, is the ongoing musical project of childhood friends led by self-proclaimed cult leader, Walter. Based in California and Oregon, the group embodies an unstated DIY ethic, recording most their albums in bedrooms and living rooms, and playing unconventional venues such as donut shops. Recently the band has evolved into Walter Etc. adding eclectic instruments and broadening their range of genres. They have the debut full length under the new guise releasing in summer 2017.
Peach Kelli Pop
Peach Kelli Pop originated when Allie Hanlon, originally a drummer, decided to try writing and recording songs in Ottawa, Canada in 2009. Hanlon started out writing not for an audience but for herself. The intimate quality of her bedroom recordings have been maintained to this day. On first listen one will hear high-pitched harmonies and thick layers of trebly guitars but just below the surface lays an evocative darker side to the music that often goes unnoticed.
Peach Kelli Pop is known for her catchy and tongue-in-cheek songs inspired by video games, Chinese food and conspiracy theorists, illustrating not only her playfulness but also her wit and her angst. Hanlon also grapples with more serious topics like the pressures and challenges women face and the weight of love. Some songs feature the sounds and words of frustrated heartache and recognizable sorrows.
Those that spend enough time with Hanlon’s music will grasp its depth –both musically and emotionally. Peach Kelli Pop plays with the type of urgency and immediacy that appeals to an audience with short attention spans. Hanlon fronts Peach Kelli Pop’s energetic live shows on guitar and vocals and is backed by an assembly of female musicians. The live band consists of an additional guitarist, a bassist, a keyboardist and percussionist and a drummer. Hanlon has been playing with all female musicians in recent years because she recalls being inspired by seeing other women play shows as a teen. In the male-dominated music world, it affirmed her own potential for writing and playing music.
Tyler Broderick has been writing music under the Diners moniker since he began to write what would be become his first album, Throw Me A Ten, in 2011. The Phoenix, AZ-based musician followed it up with 2014's Always Room, a tightly focused and dreamy guitar pop record equally indebted to the pop proclivities of Brian Wilson as much as the humble, earnest qualities of Dear Nora. The sentimental hooks and heartfelt lyrics of the record proved equally undeniable in the live setting, as the band toured extensively and shared the stage with pop and punk acts as varied as Frankie Cosmos, Tony Molina, Porches, the Smith Street Band, and fellow Phoenicians AJJ.
Diners' appropriately titled third album, Three, sees Broderick taking his affable music in a more experimental direction. Broderick recorded Three with frequent collaborator and engineer Jalipaz Nelson, glazing the basic pop-framework of his tunes with lush instrumentation and radical production more akin to Electric Light Orchestra than your typical bedroom pop record. It's an ambitious decision for the young songwriter whose modest demeanor might not reveal his grand intentions, yet Three never finds itself bogged down by excess, but instead strikes the perfect balance between memorable melodies and challenging ideas.