Let's get the basic facts out of the way first. We're The Irreverends, a 5-piece rock band out of Boston, MA. This is our self-released eponymously titled 4-song EP. Brian Brown (Bill Janovitz, Juliana Hatfield) formerly of the renowned Fort Apache Studios, recorded it to 2' 24-track analog and mixed to 24-bit digital at Analog Divide Studios in Allston, MA. The Irreverends walk the line between roots rock and populist pop with some indie singer/songwriter mentality tossed into the mix for good measure. John Brookhouse (guitar), Brendan Reilly (bass) and Adam White (vocals, guitar) have been playing together in various lineups for several years, and together with veteran indie-rock drummer Chris Keene (formerly of Boston's punk-noir band The Takers) and keyboard player Elio DeLuca, we play rock and roll with the passion it deserves but too often lacks. Although birthed in Boston, we were individually reared in various spots in Maine, farming towns and little cities long past their glory days that inconspicuously dot Interstate 95 to the West and to the East, and it's places like these where many of our songs take place. Cradled in a culture of desperation, alcoholism and poverty, we consciously decided to pack it up and move to the more fertile fields of Boston, a choice that carried it's own rewards and consequences, but ultimately allowed us to pursue the band as more than just a regional diversion. This EP represents the rootsier side of our songwriting. The characters populating the songs, from the classic-rock quoting teenager in Annalise to the ex-metalhead reflecting on his lost youth and love in Evangeline, attempt to articulate the frustrations and failed hopes so common in places with names like Lewiston, Bangor, Windham, Manchester, Moline, etc. In John Brookhouse, The Irreverends have a guitar player of uncommon skill, and his fluent yet aggressive soloing on Evangeline, gritty riffs on Ghettos on Fire and twin guitar lines on Annalise lead the band through songs that update the American rock sound while acknowledging it's forbearers. It is our sincere hope that we have married the lyrical concerns of our characters with music that, while modern, carries echoes of the rock and roll they might hear from their speakers, and that the listener might appreciate the combination of the visceral and the cerebral.
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