Swampdweller | My Favorite Monster

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United States - Washington

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Jazz: Acid Jazz Hip-Hop/Rap: Hip Hop Moods: Mood: Party Music
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My Favorite Monster

by Swampdweller

Like Kurt Cobain fronting The Beastie Boys in Pat Methany's basement. Swampy-D rides again.
Genre: Jazz: Acid Jazz
Release Date: 

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Tracks

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1. Intro
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0:24 $0.99
2. Stolen From the Ancients
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4:32 $0.99
3. Fog Mud Queen
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3:02 $0.99
4. Swamp Angel
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5:23 $0.99
5. Swamp Ugly
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3:48 $0.99
6. The Swampdweller
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3:09 $0.99
7. Lower Curtis
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4:33 $0.99
8. Dragontail (remix)
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4:49 $0.99
9. Circular Data (remix)
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8:42 $0.99
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ABOUT THIS ALBUM


Album Notes
Marc grew up in Portland Oregon, and received a full scholarship to Berklee College of Music where he studied with legendary teachers Joe Viola, George Garzone, and Ed Tomassi. After graduating in 1995 from Berklee, headed to Seattle where he helped form the critically acclaimed group Bebop and Destruction with fellow Berklee-ites John Wicks and Dan Heck. The group which has only had two personnel changes in its ten year history has produced four recording and appeared at numerous festivals, including the Earshot Jazz Festival and Bumbershoot. For the last six years, Bebop and Destruction has appeared at Seattle’s Owl n’ Thistle Pub.

The Stranger, Sept. 1, 2005
The 10 members of Seattle's Swampdweller want to funk you up—but not in predictable ways, thankfully. Featuring local stalwarts Reggie Watts (vocals), Andy Sells (turntables), Marc Fendel (alto sax), and Joe Doria (Hammond organ), Swampdweller flaunt snazzy jazz chops as well as an affinity for hiphop scratching and galvanizing, exotic rhythms. You can imagine seasoned crate diggers, soul-jazz fans, and dreadlocked jam-band aficionados all lifting lighters to Swampdweller's serpentine groove science.

Seattle Weekly, Aug.31st, 2005
The self-titled debut of this Bebop & Destruction offshoot, led by B&D's Marc Fendel, is one of the smartest, most addictive Seattle albums of 2005. With six songs totaling just under an hour, it's unhurried, but its acidic jazz (not acid jazz, thank God) is frisky anyway, with the compositions shifting their layers like a happy, groove-oriented Frankenstein. Highly recommended.


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