Having previously existed in the shadows of Bright Eyes’ Conor Oberst and consequently been deemed just another player in emo’s most fertile heartland — Omaha, Nebraska’s Saddle Creek Records — it’s no wonder Statistics frontman and multi-instrumentalist Denver Dalley felt slight pressure while making the band’s debut album, Leave Your Name. "The songs are all done/ And as they go down on tape/ The critics click their pens," Dalley speaks-sings up close and languidly on opener "Sing a Song," cutting to the chase right off the bat. Statistics are ready to be labeled — they just want to beat you to it. The song then bursts into a wall of noise built on screaming synth effects, bludgeoning beats and plunging electrified riffs, killing any notions that this would be just another quiet, whiney emo record. "Please don’t pout or sing of love, it’s all been done," Dalley — who also plays in Bright Eyes side project Desaparecidos — continues later on "Sing a Song," as if repeating the nagging voices in his head. He doesn’t need to be reminded; he already knows, having invented a loud and severely impassioned polished rock sound of his own, and Leave Your Name plain proves it. The 11-track album delivers sad moments woven around heart-tugging piano and fragile singing ("2 A.M."), dark, spine-tingling instrumentals made of mighty, spiraling riffs, gritty effects and threatening drums ("Mr. Nathan") and high-energy romps led by reverb-drenched vocals and beautifully layered arrangements ("Hours Seemed Like Days"). While name-dropping is always helpful when looking for media attention, Leave Your Name suggests just what it says — with a wonderful sound like theirs, a name is beside the point; leave it behind.
STATISTICS, whom had been touring Canada with Jade Tree homies DESPISTADO, have sadly pulled out of their remaining dates due to unforeseen circumstances. While Denver Dalley and crew were torn on the decision, the boys leave on the best of terms. Be sure to look out for more STATISTICS dates stateside and beyond in the coming months. DESPISTADO will certainly continue to whip the North into a frenzy as they finish out the tour and plan their US invasion.
STATISTICS’ hook-filled Leave Your Name LP/CD (JT1091) has, since its January release, been making waves with both critics and fans alike. So while the iron is hot, Denver Dalley and crew have taken their glitchy brand of wide-eyed song-craft up to Canada in order to join forces with prairie-homeboys and Jade Tree hotshots DESPISTADO. Denver has been running blog updates through his website – including a running commentary with photos – as the two bands crisscross the "great white north", spreading the rock-and-roll gospel and trying their best to undo whatever damage Alanis had done before them.
Do yourself a favor, show some support, and head out to these shows.
Please consult the Statistics for current dates.
STATISTICS, who have been marathon touring nonstop in support of their shimmering and essential Leave Your Name LP/CD (JT1091), are nearing the home stretch of their two month nationwide jaunt. The band will take a short break before heading out again for some shows in the spring and summer — in the meantime we’ve got a delicious new STATISTICS shirt design for you to check out, so umâ€¦check it out:STATISTICS TOUR DATES
Please consult the Jade Tree tour page for updates.
All dates w/ Now It’s Overhead
26: Tucson, AZ @ Solar Culture (31 E Toole Ave)
27: Phoenix, TX @ Modified (407 E Roosevelt)
28: Los Angeles, CA @ Spaceland (1717 Silverlake Blvd)
29: Pomona, CA @ Glass House (200 W 2nd Ave)
31: San Francisco, CA @ Cafe Du Nord (2170 Market St)
2: Portland, OR @ Dante’s (1 SW 3rd & Burnside) w/ Audio Learning Center
3: Seattle, WA @ Neumo’s (925 East Pike) w/ The Pale
5: Salt Lake City, UT @ Kilby Court (741 S Kilby Ct) w/ VISE
7: Denver, CO @ Rock Island (1614 15th St)
8: Omaha, NE @ Sokal Underground (2234 S 13th St)
Denver Dalley’s a man who’s spent the last year and a half standing at the foot of success. He’s seen his good friend and bandmate Conor Oberst go from local buddy to Hollywood Celebrity practically overnight. (Yeah, I know, but come on, when you’re in Entertainment Weekly and Rolling Stone, on all the late-night shows and have been seen with Winona Ryder, you’re a celeb. Get over it.) Dalley’s quietly observed Oberst’s rise to fame, but he’s also been lucky enough to see the other side of the coin, to see how it really affects people. Due to the rising success of Bright Eyes, Dalley’s had a little extra time to focus on his own projects, as his band with Oberst, Desaparecidos, had to go on hiatus. Thus, Statistics was born.
Leave Your Name is an album in name only. It’s a very brief affair, and it’s not really a traditional album–of the eleven songs on the record, many of these tracks are nothing more than instrumental transitions between full-length songs. Though this might be seen as a lazy move, in Statistics’ case, it’s not, because these little clips form a really cohesive bond, making Leave Your Name less of an album as it is a scathing symphony slash song cycle about emo, celebrity and being a musician. He calls music journalists on the carpet ("Sing A Song"), talks about music technology ("Hours Seemed Like Days"), dealing with girls who don’t really realize they’re nothing more than groupies ("2 A.M.") and discusses the conflict between touring musician and having a normal lifestlye ("The Grass is Always Greener.") Soundwise, it travells from pretty instrumentals ("Circular Memories") to driving, radio-friendly indie-rock ("Sing a Song,") depressing atmospheric rock ("2 AM") and engaging piano movements ("Chairman of the Bored").
Leave Your Name is a really enjoyable and surprisingly solid affair. True, there may not be that much in the way of substance–it’s too short to really offer that much–but when listened to as a whole, it’s a really impressive, interesting and thought-provoking record. It may be brief, and it may not be particularly gossipy, but Leave Your Name is a most interesting snapshot about what a member of the overhyped Omaha scene happens to think about his life–and the life of those around him.
The full-length Statistics album has come quickly on the heels of the self-titled teaser EP, but nothing could have been too soon considering the sense of wanting I was left with after hearing that disc. "Leave Your Name" presents eleven tracks of Denver Dalley’s elegant indie rock laced with electro-pop. It’s a mellow, sublime piece of music that’s engaging and stimulating at the same time. It’s the kind of calming music that would be perfect to wake up to; it’s fused with just the right amount of energy to lift the spirits without as much as jolt.
There’s some instrumental soundscapes on the disc just as there was on the EP. In what has got to be the biggest improvement since that EP, the tracks are strung together much more smoothly. It’s difficult to tell sometimes where one track ends and the next begins. As a result, there’s not much to detect in the way of filler; the album as a whole is immensely satisfying.
If a band like Sigur Rós provides the soundscape to the arctic circle, Statistics might just do the same for the North American midwest.
STATISTICS are nearing the end of their decadent spree round the country with Engine Down, but for those who didn’t get to see Denver Dalley and crew first time round, fear not because they are already making another fling out. This time with Athens based sweethearts .
STATISTICS are currently touring in support of their newest full length, LEAVE YOUR NAME LP/CD (JT1091) and recent press seems to be unrelenting in their praise. Check the links below and we will keep you posted with more news and tour dates as the band shows no sign of slowing down.
Please consult the Statistics for current dates.
Booking info: [EMAIL]email@example.com[/EMAIL]
Denver Dalley hails from Omaha, home to some of indie rock’s finest bands – among them, Desparecidos, the band he co-fronts with Conor Oberst. Though Desparecidos may be what Dalley is currently best known for, Leave Your Name could change that. Statistics, Dalley’s one-man side project, dabbles in electronics to create experimental, at times spacey, indie rock. Clocking in at just under a half-hour, the album is extremely consistent with one track melding seamlessly into the next. The opener "Sing a Song" kicks things off with huge guitars riffs, catchy choruses and well-placed synths. "Hour Seemed Like Days," which draws the most influence from Desparecidos, is another standout and is the only song on the album from last year’s Statistics’ self-titled EP. Other highlights include "The Grass Is Always Greener," which features Cure-like synths, and the lush and dreamy "2 A.M."
STATISTICS LEAVE YOUR NAME LP/CD (JT1093) is right out the gate and already making waves. Back to back issues of Rollingstone have zeroed in on Denver Dalley’s glitchy brand of wide eyed, spatial song-craft (or as they put it, “dreamy, seductive melancholia.”) as the indie-release to bet on in 2004 and Spin’s “Next Big Thing’s” Issue gives LEAVE YOUR NAME a solid B, advising, "pick a style, kid; we’ll make you famous.”
As reviews keep pouring in it seems like they’re not alone in thinking so:
Furthermore, following the cancellation of Desaparecidos’ jaunt on the Plea for Peace tour has left Denver with a straight-outta-the-oven-hot record and a bunch of free time. His immediate solution? Tour like hell! So be sure to check the Jade Tree site for constant updates and show your support for STATISTICS as they round the country playing with Engine Down throughout February.
Please consult the Statistics for current dates.
Booking info: [EMAIL]firstname.lastname@example.org[/EMAIL]
I remember reading the insert in Rage Against the Machine’s debut, where they seemed quite adamant in their statement that none of the recording was made using anything other than guitar, bass, drums and vocals. Even though I knew less about music production then, I was still surprised at the animosity of “rock” musicians towards their peers who chose to use electronics in their music.
Now, almost a decade later, while some of that attitude has disappated, I still hear people speak disapprovingly about those “pseudo-musicians” who compensate for their alledged lack of talent by using computers and keyboards. However, the truth of the matter is that while keyboards and computers certainly make it possible for anyone to make music, it certainly doesn’t help an untalented person make good music.
Luckily for Statistics, Denver Dailey has talent in spades.
His best known project is probably his Pinkerton-inspired collaboration with Bright Eyes’ Connor Oberst in the excellent and underrated Desaparecidos, who effectively showed us that Bright Eyes’ alter-ego had far more to offer than maudlin ruminations about life. Playing guitar and acting as primary songwriter in that band, Dailey fine tuned his ear for catchy melodies, and for finding energetic dynamics in the most unlikely places.
And it is in these unlikely places that we find Leave Your Name, because electronics aside, Denver has produced a record which could translate perfectly into a live band setting. Statistics is clearly and undeniably a rock band. Take the opener, “Sing a Song”, which begins with pulsing beeps and layers on a drum machine as Denver whispers something disparaging about music critics. But seconds later, as his vocals jump an octave or two and the wall of guitars crash into the song, you couldn’t be faulted for hearing a little Desaparecidos in the track.
Later, on “Mr.Nathan” – probably the highlight of the record – he shows that you can carry an entire song without vocals, and still provide the kind of visceral rock edge and dynamics at which some of the best frontman have failed. And while comparisons to Ben Gibbard’s Postal Service project are inevitable, “Mr. Nathan” shows exactly why those comparisons are unfounded.
If I had to find a flaw with the record, it’s that some of the ideas are overused, like the soft-electronics leading to huge guitar-based chorus, and others are barely acknowledged before being thrown aside, like some of the more interesting rhythm sections. But those small criticisms aside, Dailey has shown unequivocally that he deserves equal praise to his peers in the critically lauded Omaha indie scene.
Led by Denver Dalley, who also co-fronts the Omaha, Nebraska, indie band Desaparecidos with Conor Oberst, Statistics come on like a more abstract, art-damaged version of the Cure. Stringing together synths, wall-of-noise guitar, found sounds and Dalley’s softly cooed vocals, their full-length debut is lacking in tunes but full of dreamy, seductive melancholia.
(RS 940, January 22, 2004)
Take Desaparecidos and subtract all the sharp edges – Take a file and round off the corners so that they don’t cut as you pass by them in the hallway. That’s what Statistics is. Denver Dalley has a knack for crafting brilliant indie rock that stands up easily to his other project, the aforementioned Desaparecidos, without the gritty, hard-to-listen-to-for-any-amount-of-time parts. But make no mistake, Dalley rocks just as hard on his own.
Statistics blends keyboards into the mix, and concentrates more on crafting songs of depth and interest, which reduces the sonic ambivalence found in so much of Desaparecidos’ music. The rhythms here are more intricate and engaging. The melodies more skillfully crafted. The guitars more full bodied and transfixing. The songs are full of feeling and primitive desire. "The Grass Is Always Greener" is an example of a sublime song that begins with lulling pads and jangling guitars, only to build into a frenzy of emotion and carefully controlled noise, which slowly fades, leaving only a brilliant drum loop playing. "Hours Seemed Like Days" runs the gamut of expression (like so many of these songs), but relies almost entirely on a more pure rock guitar to carry the song to its conclusion, recalling some of the finer moments of Bob Mould’s career. "It used to be that hours seemed like days/ let’s go back in time/It used to be that hours seemed like days/ let’s just press rewind." These are the remnants of emo at their very best. The songs blend together seamlessly, negating the normal effect produced by a collection of songs of shorter length. Rather, Leave Your Name feels like a whole; complete in its sincerity and magnificence.
Everything about Statistics makes me wonder why Dalley spends his time playing in other projects. Perhaps it’s just that he needs to be involved in something not so beautiful to turn around and create something of such beauty. A Doctor Jekyll and Mister Hyde sort of thing. Yin and Yang. Balance.
When your first CD came out last year, I remember reading about it as a "Denver Dalley side project". Is that what it was intended to be?
That’s kind of what it was. At the time I was a member of Desaparecidos, so Statistics was something I did in my free time while Connor was working on Bright Eyes. But since then it has become more of a full-time thing, because it’s becoming so hard for us to work on Desaparecidos again. We’re hoping to maybe record, but I don’t think we’re going to tour again this year. Statistics has become my main thing.
I also remember reading that Desaparecidos was a side project for Connor since he’s in Bright Eyes, which would make Statistics a side project of a side project.
I guess that’s not how it’s turning out. I guess I can see why people call them side projects, because there’s a main project and then something else you’re working on. I get the logic and I get the point of origin, but it’s definitely changed.
And solo work is sometimes assumed to be a side project.
Yeah, exactly it’s not a full band out there.
Well you’re here today with a full band, right?
Well, normally I tour with two other guys. This tour, neither of those guys are on it; neither could make it. So it’s me and the bass player from Desaparecidos and then the drummer from Despistado is going to fill in.
Do you think some people will confuse Despistado with Desaparecidos?
Yeah, we’ve wondered that. It’s a funny coincidence. We met those guys at SXSW, because we were both playing the Jade Tree showcase. And we were joking about that. It’s a small world; we both have these bands that start with D and are hard to pronounce.
I was surprised to see that Despistado is the headlining band on this tour. They’re pretty new on the scene compared to you.
Well, they’re from up here and this is our first time in Canada, my first time ever being in Canada. I think they’re more established here than we are. And I’m pleased with the order. I’ve been in some other bands, but I’m still very new in Statistics.
How’s Canada treating you so far?
It’s been great. We didn’t have any trouble at the border or anything. I know so little about Canada, that’s why I’m excited to be here. Two of my other bands went through the States so many times that it all starts to look so familar. I don’t need directions to a lot of clubs now, and I know all the promoters – which is great, at the same time I was really looking forward to this because it’s all new.
How are things in Omaha now? You must have tornado warnings and stuff going on?
Yeah, we just had, outside of Omaha like an hour away, like eighteen tornados in one night.
Must be scary…
It should be, but I’m one of those idiots that just wants to see a Tornado so bad. I know that it’s horrible, but I just want to see it, like, in a field, where no one gets hurt and I can just watch it. I’m fascinated by them, but I guess it is kinda scary. It devestated some towns in Nebraska.
The first images I ever saw of Omaha were the movie "About Schmidt". And it’s funny because I was just talking about this movie with the band Moneen since they have a song called "Life’s Just to Short Little Ndugu".
His house is just a few blocks away from my house. I grew up in that neighborhood. Where he had that camper parked is where I live. But yeah, there’s not much to Omaha. The town’s just big enough that you won’t go crazy, but you bump into everyone you know. And when you meet someone, it turns out you had some of the same friends. Sometimes I’m super proud to be from Omaha, and sometimes I almost resent it in a way. People are like, "oh, you’re from Omaha, so of course you’ve got three different projects…"
Really, is it like that there? When I think of the Omaha scene, I just think of Saddle Creek Records. Since there’s just the one big label, it’s like you’re assumed to be on it if you’re playing music in Omaha.
That makes sense. There are a bunch of bands that are getting out there and finding labels outside of town, though.
Let’s talk more about the new album, since that’s why we’re all here today.
I don’t know where to start. Mainly I’m thinking that it’s a lot better than the EP from last year. I mean, the EP had a few really good songs, with some kind of instrumental stuff in between. Whereas, the new CD flows so much better. It’s almost like one long song, because you can’t always tell where the songs start and stop, but you can hear it progressing or evolving. There’s still some songs that stand out, but overall it’s really complete. Now I have no idea how to phrase that into a question…
No, I like that. The EP was kinda thrown together. It was a demo, really. I actually went into the studio and recorded more songs, but those were the ones I thought were some of the stronger ones, and I thought I could make them work as an EP. I sent that as a demo to Jade Tree, and they thought we could put it out as an EP. The album, though, I definitely wrote it as an album. I wrote one song into another, and left a gap for the end of Side-A on vinyl. I don’t know, I think it’s fun to be able to go through to hear the one track you want to here, or hear the whole thing in its entirety.
I think on the next album, I want to do each song with vocals, and then have preroll instrumentals, so that it still ties together. Not like there’s instrumental tracks and vocal tracks, but it will still flow. I like to switch it up between a more straightforward pop song, as well as a moodier, ambient instrumental piece. I feel like albums are, and I know it sounds really cliche, like the soundtrack to your life. I want to have a variety of moods to it. Some albums that you listen to are great, but every song has got the same feel to it. I want to do something more that’s all over the place.
How much does the artwork play into that? How much did you design or influence the artwork?
That was actually really fun for me. I finished the album, and gave it to my friend. I told him the name of it and some of the themes, and I told him to do whatever he sees in it.
Both the EP and the album have artwork that’s like a snapshot of where to be when you’re listening to it. One, just sitting somewhere in your house, not doing a whole lot. Like, I thought it was a good CD to put on early in the morning for when you’re pouring yourself a bowl of cereal. And two, just staring out the window, thinking about life.
Yeah, with the EP I definitely wanted to be sitting at a desk. That was just some office somewhere in Los Angeles. But it doesn’t look like an office. It could be at home.
What was the deal with the package being upside down?
I just thought that would be funny. I like how wide open the back of a CD tray is; it can hold a bigger picture. I thought it would be funny to make that the front cover. When people try open it they get all confused.
What about the name "Leave Your Name"? Something to do with an answering machine?
Exactly. That’s why the guy who did the layout took so many pictures of phone lines. But in a way it’s the same as going with the name Statistics. I want people to be able to interpret differently. You can look at it as all the name-dropping, "featuring members of Desaparacidos", stuff like that. Or, you can look at it as what I’m doing right now. My thing was the irony of wanting to talk to someone so bad, reaching out to them, but then getting stuck with that generic "leave your name" message followed by a beep. It’s one of those ironies. It can mean something different to someone else. To each his own.
I interpreted the name Statistics as being something like the opposite of music. You know, it’s just facts, numbers – no emotion, or anything. But on the other hand, statistics can be interpreted differently and used for different purposes.
And, it groups people that have nothing to do with each other. I mean, for one person, statistics might be baseball facts. For somebody else, it’s the number of drunk driving deaths. I think for music, and film, there should be some interpretation to it. That’s why sometimes I’ll phrase things more broadly instead of being specific, because I like it when people give it their own meaning or apply to their own lives. Nothing groundbreaking, but… (shrug)
Expecting nothing is sometimes the greatest thing you can do. I remember the time where I made the realization in school that as long as I was expecting a D on every test, I was never let down. I somewhat carried this philosophy over to most of my music listening because I find that if I am expecting too much, I am let down a majority of the time.
With Denver Daily’s (the guitarist and main songwriter for Desparacedos) first experimental EP was released on Jade Tree, I thought it was a boring audio journey into mediocrity. In turn when I got this full length to review, I was expecting very little. Needless to say I was blown away. Far and above that of his previous, unfocused work. Starting off with the first song, Denver catches your attention with his most radio friendly song ever written. Then him and his friends, a Omaha who’s who list, create a very atmospheric and all encompassing record. I hear influences like Christie Front Drive, Mogwai, At The Drive In and The Cure leaking there way into this full length.
Now this is far from being groundbreaking for a band, but for one man to achieve this is quite an accomplishment that is not something to scoff at. It is bittersweet, biting and breathtaking all rolled into one package. A must for fans of anything Saddle Creek or Matador has put out in the past year or two.
STATISTICS LEAVE YOUR NAME LP/CD (JT1091) hits stores today. Denver Dalley’s follow up to his gorgeously schizophrenic mixture of pop hooks and electro cool contained on last years self-titled EP, finds the front man (and main songwriter in Desaparecidos) blasting onward and upwards both in terms of songwriting and production. Refusing to be pinned down to any one style and the record spans the sonic spectrum with an impressive collection of power pop song craft, steadfast hooks and textural soundscapes. The distinctive, eleven-song LEAVE YOUR NAME, is a bittersweet gem, a singular vision, and lays claim to a sound that is very much it’s own.
Please consult the Statistics for current dates.
Booking info: [EMAIL]email@example.com[/EMAIL]
Writing and playing guitar for the Desaparecidos, this is Denver Dalley’s side project. "Leave Your Name" is the follow up to his EP, both released on Jade Tree, and "Leave Your Name" simply elongates the sound depicted on the EP, but is perhaps a much more inquisitive endeavor, suddenly suprising the listener with a simple riff that sounds akin to a pop punk song in the intro; or with the often anti-climactic, dark sound of the synths and guitar layers.
Though the sound of a clean guitar hook can get repetitive on this record, Dalley encorporates quite a myriad of hooks and ideas that are to-the-point and comes across as totally original. And, truly, few bands come across sounding like this; synth blasted dark pop with spacey, dreary chords and structures. Though the lyrics are nothing compelling and the songs meaning almost directly to the point, it’s the occassional variety of styles I was able to appreciate on this disc. For, after the droning, depressing "Accomplishment," Dalley envelopes the listener with a huge pop guitar line that reminds me of "Read Music Speak Spanish," but as if it were only a fluke, the next song continues the dreary dark journey the disc seems to keep coming back to.
While most of the songs are quite dark and slow, and sometimes take awhile to enjoy, the disc is a thoughtful, hypnotic disc that makes you wonder whether Dalley should stay in Desaparecidos or not. Well, maybe not that good, but it’s a pretty innovative, moody disc that makes the sound a dreary, rainy day would make.
Statistics is a creation of Desaparecidos guitarist Denver Dalley. He combines eletronic pop (which is produced through synthesizers) with guitar hooks. The songs that stick out the most also have some drum and bass, as well as piano. Dalley has a nice voice. He sings in a loud and high pitch or a low, mellow pitch. The electronica part of the band is the thing that grabs your attention first. It is interesting to listen to because it is a different style. The combination of these synth sounds with regular rock music provides for a decent outcome.
"Sing A Song" is the opening track. It quickly introduces a techno vibe. A guitar soon joins, along with Dalley’s singing. The song gets a little heavier throughout the chorus. There is some drumming added in and the guitar riff picks up. The lyrics are pretty clever in this song as well, as they talk about critics of music. Altogether, the song has a nice foundation and gives the listener a pretty good idea of what is to be found on the rest of the album. Another song, "The Grass Is Always Greener", leans more towards the full-band vibe. The opening guitar riff grabbed my attention right at the beginning. The vocals are performed very well throughout this song. Dalley sings "and the grass is always greener" in his uniquely soft-voice. Track 10, "Reminisce", is another song that features a full band sound. This song has the same type of feel as the one talked about before. The best part about this song is the intro and chorus. They have a nice combination of guitar and drums that are distorted.
‘Leave Your Name’ has a lot of good things going for it. The addition of electronic sounds definetly raised the level of interest for me. Some of the songs on the album tend to get a little boring and/or repetitive. I think a little more synthesizer would have added much more to the songs. However, the way Dalley sings and the way he throws his guitar talents into the mix provides for an overall decent album.
"The Grass Is Always Greener"
Statistics is the brain child of Denver Dalley, guitarist for the Desaparecidos. When band-mate Conor Oberst’s Bright Eyes got huge Dalley found himself with some hiatus time on his hands. Statistics is the result, a one man effort featuring guitar, drums, bass, and a host of synths to layer and create a stripped down and (what else) sad feeling album. He blends basic stripped down indie rock sounding music with these big spacey synth riffs that add to it a surreal, out of place feel. Statistics has been compared heavily to 80s synth-pop, mainly duran duran, the cure, and a few other unnotables, but it really does stand well on its own outside those comparisons. It seems the only press it has gotten has been Bright Eyes or Conor Oberst related, but this is way more listenable to me than Bright Eyes. I was totally put off by all the descriptions and comparisons, but when it comes down to it, this is a pretty damn good release. It is heartfelt, engrossing, and overall impressive for coming from one man. The only thing I would say is that if you are not a person too interested in basic stripped down indie rock or mostly into heavier stuff, this album may not be too persuasive, but I would encourage you to at least try it out. Four stars for a good release.
Immediately following the release of the STATISTICS LEAVE YOUR NAME LP/CD (JT1091) on January 20, the band will begin a month of dates supporting Engine Down. Also, several sites will be featuring the record as the release date nears, including , and , so please pay these sites a visit for more information.
Please consult the Statistics for current dates.
Booking info: [EMAIL]firstname.lastname@example.org[/EMAIL]
Denver Dalley, guitarist for the local band Desaparecidos, will be at the show to celebrate the release of a new full-length CD by his side band, Statistics.
What started as a hobby has turned into a labor of love for Joe Vavak.
Since 1999, his underground music Web site – www.somedaynever.com – has grown bigger, better and more visible.
The Web site will celebrate its fifth anniversary at a concert Friday at Sokol Underground.
The evening also is a CD release show for the new full-length record by Statistics, the project of Denver Dalley, guitarist for local band Desaparecidos.
"Leave Your Name" is the follow-up to Statistics’ self-titled debut EP, a lush electro-pop gem that was released last summer on Jade Tree Records in Wilmington, Del.
"I tried to stay true to the sound established on the EP," said Dalley, who will be on tour through mid-April. "I actually recorded this back in August, so I am excited to get this out there and to work on more things."
Vavak, a 24-year-old photography student at Metropolitan Community College, said he is amazed at how much his site has taken off.
"Back when I first started, I got excited if I got 30 visits a day," he said.
Today, his Web site gets from 750 to 1,000 visitors a day.
It also offers more features, including a message board, product giveaways, MP3 downloads and a calendar of coming concerts.
"We list twice as many shows as a year ago," said Vavak, who estimates he spends about 15 hours a week maintaining the Web site.
Vavak hopes to have an online store up and running sometime this year.
Last month, Vavak and friend Mike Perry created Someday Never Records, which this year expects to put out new material from local bands Roarbot and The Show is the Rainbow.
With a Someday Never Records compilation disc in the works, Vavak is looking forward to a busy year of spreading music to the masses.
"It’s part of who I am," Vavak said. "I don’t think I could stop."
The record release show for the STATISTICS Leave Your Name[/I] LP/CD (JT1091) is taking place this week in Omaha, NE at the Sokol Underground (Downstairs). Doors at 9 pm, cost is $5, and Little Brazil and Mr. 1986 will also be playing. If you live in the area be sure to head out to the show and be among the first to hear Leave Your Name[/I] live.
Yet another promising release from the small town of Omaha, Statistics contribute more songs of reflection and introspection for your aching heart to absorb throughout winter. As a solo project of Denver Dalley, most known for his participation in rock outfit Desaparecidos, Statistics skillfully combines pop elements with mainstreamo undertones. Imagine Desaparecidos making out with the Postal Service and you have Statistics. It’s good. I would go into more depth about the record, but with out any of the artwork or lyrics I feel like to continue putting forth my own energy is unnecessary.
( This CD comes out January 20th, 2004)
STATISTICS LEAVE YOUR NAME LP/CD (JT1091) is available for pre-order today (Released January 20, 2004). The debut full length opens with a hushed electro-whisper that is quickly squashed by a rising blanket of guitars surging into a grand crescendo, all culminating in a hypnotic keyboard rumble that finishes the track outâ€¦and that’s just the first 5 minutes!
STATISTICS front man (and main songwriter in DESAPARECIDOS), Denver Dalley refuses to be pinned down to any one style and the record spans the sonic spectrum with an impressive collection of power pop song craft, steadfast hooks and textural soundscapes. A temperamental CURE married to the booming rock of ZWAN, Twin Peaks if scored by labelmate PEDRO THE LION- the distinctive, eleven-song Leave Your Name, is a bittersweet gem, a singular vision, and lays claim to a sound that is very much it’s own.
Warning: implode() [function.implode]: Invalid arguments passed in /home/jadetree/public_html/news/wp-content/plugins/extension-bbcode/Extension BBcode Bata.php on line 175
The debut full-length from STATISTICS, LEAVE YOUR NAME LP/CD (JT1091), is scheduled to be released on January 20, 2004 (Available for preorder November 18). Recorded this summer with AJ Mogis (Bright Eyes, The Faint) at Presto studios, the eleven-song album is in a league all of its own. Complete track listing and album cover art can be viewed below.
1. Sing A Song
2. Leave Your Name
3. The Grass Is Always Greener
4. Mr. Nathan
6. Hours Seemed Like Days
7. Chairman Of The Bored
8. 2 A.M.
9. A Number, not A Name
11. Circular Memories
Witness the inner workings of indie rock marketing: Saddle Creek, looking to up the output of the burgeoning Omaha Scene, releases an album by the Desaparecidos, which is little more than a side project for Conor Oberst, whose Bright Eyes outfit is part of the holy trinity (along with the Faint and Cursive) of Omaha’s "explosion". The kids eat up the Desaparecidos because it’s Oberst’s other band, and all things Omaha are golden right now. But what to do while Conor’s busy with Bright Eyes and there doesn’t seem to be anything on the horizon for the Desaparecidos? Enter the slightly savvier Jade Tree, who know a thing or two about cultivating the farm team (see all Joan of Arc offshoots for reference). Here, we are presented with Statistics.
"Sta-who?" you ask. Answer: Denver Dalley of the Desaparecidos. The other guy from Conor’s other band. Thus ends lesson number one: how to take a kid no one’s ever heard of and make you pick up his record.
All this business talk is not meant to suggest that Statistics’ debut EP lacks merit. This fifteen-minute teaser for an upcoming full-length is a decent slab of indie rock. Everything here is Dalley’s doing — guitars, vocals and electronic rhythm section. The sound lies comfortably among peers like Pinback or Earlimart, though it’s neither as melodically entertaining as the former nor as lush as the latter. "A Memory’s" reverse-gated drums are as old as Licensed to Ill, and "Hours Seemed Like Days"’ distorted vocoder vocals went out of style right around the same time Cher made her eighth comeback.
Statistics’ saving grace is that Dalley is not a bad songwriter, though he often belies his influences (a little Superchunk here, a little Folk Implosion there). The beats behind "A Flashback" can certainly cause a little ass-shakin’, while the rugged guitars keep things appropriately rockin’. Dalley has no problem blending the guitar work with the electronica, and his vocals are seldom put up front, so these five tracks have a cohesive texture, culminating in the standout, "Cure Me".
Statistics is entering a genre — indie-tronica — that is relatively fresh, but quickly filling up with talented acts (see the Postal Service, Denali, the Notwist, etcetera). Dalley’s bid for a place in the ranks is commendable, if not top-notch — a pleasant but far from essential introduction. It’s definitely enough to put Statistics on the radar. If he can raise the ante on his full-length, due later this year, he’ll turn a lot of heads.