• Audio/Visual
  • Free download of White Hurricane

    To commemorate this snowy occasion here’s a free download of “White Hurricane” off the first tape release, “I really like genetics but I’d rather have a good time.” You can download this song and others off that album at the bandcamp and soundcloud.

    I wrote this song while walking my dog, Flip, after a blizzard. The sloshing sounds are field recordings of that walk, my feet, his dog paws, crunching through the ice crust that covered the ground. The beat birthed the song. Enjoy!

     

  • Audio/Visual
  • Check out Uno Lady’s EarthQuaker Session: “Underground”

    I visited EarthQuaker Devices in Akron, Ohio to record this new song I wrote, “Underground.”

    Video by Chris Tran, Brad Throla and Jess France. Audio recorded by Jeff France at EarthQuaker Audio Recording Laboratory.

    EarthQuaker Devices built me a pedal board and now my sound library feels limitless. I’m sonically inspired – like a  jolt to my creative process. I’m playing around with Avalanche Run, Disaster Transport Sr., Levitation, Arpaniod, Bows, Afterneath, Transmisser, The Depths, Night Wire, and the Organizer. Check out each device here. EarthQuaker Devices pedals are handmade by fellow musicians and music lovers in Akron, Ohio and have a lifetime warranty.

    Check out “EarthQuaker Session: Uno Lady – “Underground”

    AKRON, OH – “Cleveland’s Christa Ebert is a one-woman choir. As Uno Lady, she’s dazzled, confounded, and delighted audiences since 2007 with loop-based compositions for voice, found sounds, and effects pedals. Her avant-garde pop tunes combine doo-wop harmonies and ethereal soundscapes with layered and processed vocals, which range from a smoky tenor to operatic outbursts of melody.

    In this performance of “Underground” she uses the Bows’ treble mode with the Afterneath and Disaster Transport SR to craft an ambient, slightly overdriven wordless backing vocal that sits tight in the mix before adding the melody. From her DIY suitcase podium, she builds layer upon intertwining layer of call-and-response vocal patterns that lift off into a dreamlike fugue state before engaging the Avalanche Run at the song’s end, using the reverse function to bring it all tumbling down, down to the “underground” of the song’s namesake.” Arron Rogers, EQD