Album Notes

In his youth, singer/songwriter/multi-instrumentalist David Stükenberg, nom de plume Stükenberg, lived in roughly twenty homes with his mobile family, attended twelve different schools, won and lost many grade school fights (the unspoken initiation of the new and/or preacher’s kid), abated 131 poisonous snakes (Floyd Co., KY neighborhood record), evaded gun and hatchet toting rednecks (literally), studied everything from JuJitsu to German and escaped a life threatening (not literally) ambiguous Nashville publishing contract. All of which, in some way served to meld and inspire his full-length debut Mountain of Pieces at the ripe age of 21. Stükenberg’s childhood revolved around his father’s missionary work, which exposed him to many new people, places and cultural variances that inevitably played a large role in shaping his music into something much grander and worldly than one would expect to hear from a young artist currently based in SE Wisconsin. His rich, warm voice floats over a sea of musical influences as varied as Chopin, The Beatles, gospel, Rage Against the Machine, Count Bassie, Radiohead, bluegrass, Pink Floyd, and Thelonious Monk - a multitude of genres and decades that has helped him to developed a sound that is new, yet familiar and one that he can truly call his own. The sounds that emanate from these twelve compelling new tracks on his Machine Records release, offers everything from a Latin-infused horn peppering of the indelible melody and catchy chorus of "Don’t Mind" - a song that successfully taps into the uplifting, sunny optimism of ’60s pop while sounding right in tune with today’s indie music scene, to "Senses", which takes on a decidedly more somber tone and beautiful balladry – augmented by poignant strings and lilting piano, as well as Stükenberg’s own sensitive, inviting voice which comforts the listener like a good book and blanket on a cold winter’s day. What once started as an escape for a young, guitar dabbling, somewhat outcast, quickly evolved into crafting songs of his own, and eventually what this prolific new artist describes as a "need" or something he must get out of his system via the "great psychological drain pipe" and signals the inevitable genesis of a new song. This leads us to today and his showpiece, Mountain of Pieces, where we can hear the finery of this effort and the evolution of Stükenberg’s musical passion with a sound that is just as full as his past. With versatility, heart and a wealth of talent, the horizons for this young artist are limitless.