Album Notes

"Don’t listen to Leigh Marble if you’re not going to pay attention. While plenty of folks make perfectly pleasant background music, Marble’s songwriting has a wit and intelligence that deserve more than a cursory listen – there’s a bite behind the bark of his voice and the strum of his guitar." – Barbara Mitchell, Portland Tribune

"Shimmers with compelling acoustic riffs." - Harp Magazine

"A folk-and-run firebrand." - Willamette Week

"In a world where singer/songwriter types are a dime a dozen, this talented chap stands out from the crowd." - Big Takeover

"Every song has a massive hook...Peep is an idiosyncratic delight." - Comes With A Smile

"A sort of outlaw-folk... Marble's got rhythm, attitude and excellent songwriting." - West Coast Performer

*****

Peep, Marble's long-awaited solo debut CD, reveals a talented young artist grounded in the naked truth of American folk, while pushing the envelope out defiantly in all directions. Songs born of critical thought are buoyed by memorable melodies, then pushed out to sea amongst clouds of subtle fuzz. At turns a gentle crooner and floor-stomping rocker, it's like Beck calling a square dance to a crate of Clash records. Sure, there's the authentic sneer to put the vitriol in your veins, but there's also moments when the pretty polish outshines the dirt.

Peep was forged at Leigh's subterranean sonic workshop, Fishboy Studios. After months of solo production, Jeff Stuart Saltzman (Dolorean, The Standard) stepped in to mix the album, which was then passed to John Fischbach (Stevie Wonder, Circle Jerks) for mastering. From the stark, folk reveille of the opening "A Rock From the Sky," to the sensuous groove of the closer "Last Chance," Peep spans an impressive emotional gamut.

Leaving his native New England in the late 90's, Leigh headed west with a tape in his pocket to join the rich singer-songwriter tapestry of Portland, OR. Soon after arriving, he released a split single with Nettwerk recording artist Erin McKeown, produced by Larry Crane (Elliott Smith, Richmond Fontaine). Crane later helped craft "Buttered For Her Pleasure", an album from Marble's witty hip-hop project, the Buttery Lords, coproduced by Marble.

Leigh Marble's music is like a cross between Tom Waits and Fugazi: rooted in folk forms, yet idiosyncratically smart and sharp. Junkyard Americana, some might call it, with a scrappy sound descended from punk rock minimalism. His live show features propulsive drumming from Jason Russell, supple organ and accordion work from Ben Macy, and Marble's tight rhythms pumped out on an amped-up acoustic guitar.