Eisley is a rock band from Tyler, Texas, consisting of four siblings (Chauntelle, Sherri, Stacy, and Weston DuPree) and their cousin (Garron DuPree), all of whom were born and live in Texas.

The band was formed in 1997 as Chauntelle and Sherri began working in their bedrooms on music together after being inspired by bands such as the Beatles, Jeremy Enigk, and Radiohead. Younger sister Stacy (who was then 8 years old) became frustrated over their insistence that she was too young to be a part of the band and wrote her own song without their help before she was inducted. Their brother Weston (who was then 10 years old) soon joined the band as the drummer.

Boyd and Kim Dupree, parents of the four DuPree siblings, ran a venue called Brewtones Coffee Galaxy by occupying the space of their church on days when it was not in use. Eisley, then known as the Towheads, began years of service as the house band, giving them their first exposure. At Brewtones, the band played with many other acts such as Ester Drang, Midlake, Waterdeep, and others. The band played numerous weekend shows at the venue until they became too busy with other opportunities.

The band has had an unstable bass lineup over the years. After friend Amy Whittaker left in 1998, Taylor Muse filled in as a non-member, contributing the band’s first name, Moss Eisley, but soon left to continue working with his other bands, including Quiet Company. (Recently, he joined Eisley for a solo performance at Brewtones.) Good friend Jonathan Wilson stepped in to become their bassist in late 2001 but decided to step down in July 2005 during their tour with Hot Hot Heat. Jon remains a good friend of the band and lives in Eisley’s hometown, Tyler, Texas. He was replaced as bassist by Garron DuPree, the DuPrees’ then fifteen year old cousin in 2005.

The band’s name changed several times in their early years. They began as The Towheads, before changing their name to Moss Eisley, after Mos Eisley, a town in the Star Wars films. When the band signed in 2003, there were worries of legal troubles with the name. After considering “Neverland” and “Sinclair”, they eventually decided just to drop the “Moss” portion of their name and became simply “Eisley.” The only known printed reference to the band’s Neverland name (which they officially used for approximately two weeks) can be found in an issue of the Dallas, Tx monthly music magazine Harder Beat.

After burgeoning on the Dallas scene in 2001, playing hundreds of shows throughout Texas and garnering a fan base as an indie band, Eisley was signed to Warner Bros. Records in 2003. The band won ‘Best New Artist’ from the Dallas Observer Music Awards in the same year. The band had some early radio success with the song “Telescope Eyes” from the Laughing City E.P.. It was ranked top 25th most played song on FM 102.1 (”The Edge”) in Dallas, Texas in 2003. Eisley has recorded videos for “Marvelous Things”, “I Wasn’t Prepared”, “Telescope Eyes” (the version from Room Noises), and “Memories”, which can be viewed on the official website, but largely the band’s strong, steady, organic growth comes from touring and an aggressive online marketing approach.

Played shows as an unsigned indie band for many years between 1998 and 2003 – mostly clubs in Texas.

Eisley’s first legitimate tour was support for Coldplay’s “Rush of Blood to the Head” tour in the US and at the V Festival in England. Over the years, Eisley has also toured with Brand New, Snow Patrol, New Found Glory, Hot Hot Heat, Switchfoot, Taking Back Sunday, The Fray, Bleach and Mute Math. The band has also toured several times as a headlining act. Their first headlining tour, “Winter West” was in early 2005 with The Elected and The Colour. This was followed by the “Summer Scenic” tour with Pilotdrift and Lovedrug in mid 2005. Their third major headlining tour, titled “Final Noise,” was opened by Simon Dawes and Brighten in Spring 2006. Eisley also performed on a special acoustic tour with Wesley Jensen during the Summer of 2007. They spent a couple months in late 2007 opening for the band Mute Math around the country and then in the spring and early summer of 2008 they headlined their own cross continent tour in support of their latest release, Combinations, with openers including The Envy Corps (who had to leave mid-tour due to a European tour), Vedera and The Myriad.

Eisley also played a number of individual shows. They played a handful of shows at the South by Southwest music festival in Austin, Texas in March 2007. In August 2007, they performed at the Carling Weekend Festival, held in Reading and Leeds, England. Most recently, they performed at Brewtones on December 15, 2007.

They made their national television debut on Late Night with Conan O’Brien August 30, 2007, performing “Invasion.”

The band is currently at home in Tyler, TX. They are tracking songs for LP 3, with no release date set, the band tentatively predicts there may be an album release in February 2010. They are releasing a tour EP featuring 3 songs from the new album and a cover of “Telescope Eyes” by Say Anything’s Max Bemis for their fall 2009 tour.

At their first show since the end of the Combinations Tour, at Baylor University in April, Eisley introduced two new songs that will be on their new record, the songs are ‘Be Kind’ and ‘Smarter’. The band has announced their signing to Sire Records.

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Edison Glass is an American indie rock band from Coram, Long Island, New York. The group consists of four members: Joshua Silverberg (singer/guitarist), Josh “Mountain” Morin (singer/bassist), Joe Morin (drummer), and James Usher (guitarist). They formed Mannafest in 1998, changing their name later to Edison in 2002, and then to Edison Glass in 2004, when record label Credential Recordings signed them. Their name is derived from two renowned people from the 20th century: Thomas Edison and Philip Glass.

Edison Glass has toured with Nightmare Of You, Paper Rival, The Spill Canvas, The Photo Atlas, The Forecast, Blackpool Lights, The Graduate, Last Tuesday, Roper, The Wedding, The OC Supertones, Cool Hand Luke, Mae, The Myriad, and Bradley Hathaway. Edison Glass has finished recording their second album titled Time is Fiction, which was released on February 5, 2008.

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The Violet Burning is an independent rock and roll band based in Nowhere, California, USA. The band was formed in 1990 in Orange County, California by Michael J. Pritzl.

Since their first release in 1990, The Violet Burning has been a staple of the underground independent rock and roll scene. The band is the project of singer/guitarist/songwriter Michael J. Pritzl. Though bucking the mainstream music industry and remaining fiercely independent throughout their career, they have a loyal following throughout North America and Europe. They have managed to sell over 100,000 discs due largely to their frequent touring. Fans affectionally call them “The Violets”.

Resembling The Cure or The Verve with a little more distortion – The Violet Burning plays a mix of passionate new wave, rock and roll and vibey space rock.

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We Shot the Moon, formerly known as The Honor Roll, is a band from San Diego, California featuring Jonathan Jones the singer of Waking Ashland, and originally, Dan Koch, and Joe Greenetz both from the band Sherwood.

The band formed as The Honor Roll when Jonathan Jones’ band, Waking Ashland, broke up. On July 21, 2007, the band put up 4 demos on their MySpace page. In August 2007 the group changed its name to We Shot the Moon.

Their first ever show as a band was a benefit concert called Water For Choche, which helped bring water to people in Choche, Ethiopia. It was held on September 15, 2007 at Point Loma Nazerene University in southern California. Since then only two of the members have stayed constant: Trevor Faris (drums) and Jonathan Jones (lead vocals and piano.)

They entered the studio on August 22, 2007, to record a full-length album. The title of the LP is Fear And Love. We Shot the Moon embarked on its first U.S. Tour in September 2007 with an original lineup of Jonathan Jones, Trevor Faris, Paul Wheatley, Matthew J Doughty, and Nathan Scott. By late November, the band was back in Southern California, but it wasn’t long before the band toured Japan.

Jason De La Torre became an official guitarist in the band in July 2008.

In August 2008, it was announced that original lead guitarist Paul Wheatley had left the band for personal reasons. His role on the current tour will be temporarily filled by Nate Miller.

We Shot the Moon entered the studio again in January 2009 to begin work on their second LP. The album will be produced by Mike Green (Waking Ashland, The Matches, Paramore).

The band signed with Minneapolis, Minnesota based indie label Afternoon Records in June 2009 and are set to release their second full-length album, “A Silver Lining,” on October 13, 2009.

Current Members of We Shot the Moon:
Jonathan Jones – Vocals, Piano
Trevor Faris – Drums
Adam Lovell – Bass
Jason De La Torre – Guitar

Former Members of We Shot the Moon:
Vinnie Gravallese – Guitar
Paul Wheatley – Guitar, Backing Vocals
Matthew J Doughty – Bass
Nathan Scott
Nathan Miller – Guitar, Vocals

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With Popular Mechanics, the second full-length from Chico, CA-based rock outfit Surrogate, the band has successfully honed their subtle blend of indie pop songcraft and lyrical witticism down to a science (pun intended). In the two years since the release of their critically acclaimed 2007 debut, Love is For the Rich —which NPR described as “deliciously low-key” and which elsewhere garnered comparisons to everyone from The Shins and Death Cab to shoegaze icons Starflyer 59 and Pedro the Lion —the band has toured the country with labelmates Emery and Ruth, played shows from Fargo to Florida, and diligently labored on perfecting the 11 songs that would eventually comprise Popular Mechanics.

Though Popular Mechanics was once again recorded by Surrogate frontman and multi-instrumentalist Chris Keene himself, the process, and results of the recorded process were markedly different this time around. Whereas Love is For the Rich was recorded on an aging laptop in Keene’s bedroom, Popular Mechanics found Keene, now a producer and engineer by trade, tracking in his new digs in Chico’s Heirloom Studios. “First and foremost, with Popular Mechanics, the finished product is much more what we had in mind not just ‘whatever happens happens’” says Keene about the recording process on the new record. “Heirloom is a room that I had become intimately familiar with as far as the acoustics go, since I work there, and with the resources at my disposal this time around as far as mics and recording gear, it just lent itself to a better recording.” And Popular Mechanics bears out this notion of sonic fidelity. From the violins and syncopated drums of album opener “Surprise” to the sequenced beats and guitar-rock chorus of “Exercise Machines” to the elegant acoustic strains of album closer “The Devil Gets What He Wants (Sometimes)” Popular Mechanics, which was mixed by Keene as well, is a sonic masterpiece.

Popular Mechanics also serves to showcase the band’s newly refined song writing style, with Keene and drummer Jordan Mallory—joined by touring members Daniel Martin on keyboards and Daniel Taylor on bass—having had ample time to refine, rework and retool this batch of songs into a unified batch. ” The first record was something of a hodge podge of writing style and flavors,” says Keene. “For this record there’s still a lot of variety, but our objective was to write a more cohesive and flowing record, a little more streamlined with less tangents and bunny trails.” Lyrically and musically, Popular Mechanics plays out less like a collection of assembled songs and more like an album, with overarching themes forming a through-line from start to finish. One of the foremost of these themes, the idea of moderation, personally, politically and socially, appears multiple times on Popular Mechanics, most readily on the album’s title track. “Popular Mechanics is a song about politics, sort of a tongue-in-cheek reference to both sides of the aisle. Political extremism or far left far right, tends to strike me as kind of silly, so I was making an effort to try to make fun of it.” And with this kind of sardonic, somewhat darkly humorous take on a serious topic being the norm for Surrogate, “Popular Mechanics” stood out to Keene as being the prime candidate to represent the album as a whole. “Lyrically, ‘Popular Mechanics’ seemed like a good flagship song to represent the themes of the whole record, in that all the songs are very tongue-in-cheek and the record itself deals a lot with moderation.”

With Popular Mechanics, Surrogate has not only avoided the dreaded sophomore curse, but has instead succeeded in once again fulfilling their personal credo: “Intelligent pop songs for people of moderate to great intelligence.”

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You have come to expect Starflyer 59 to be the most reliable, most dependable, yet most undeniably unpredictable messengers of album after album of quality independent rock tunes. Over ten albums deep, over fifteen years time, from the early guitar-heavy shoegazing era to the ethereal moodiness of The Fashion Focus years to the latest incarnations and recreations of themselves as keyboard-driven masters of chorus, this is and always will be a band who will deliver great songs with new sounds.

But who are you going to call when you need a deeply emotional, personal album confronting loss with faith and candor? Dial M for Martin…

Jason Martin, the band’s vocalist, producer, and songwriter explains, “I always wanted to do a record of solo tracks and call it ‘Dial M for Martin.” But because this is such a candid record for me I decided to lend that idea as the title for this. I dealt with some very difficult tests when I was working on this…the loss of someone very close to me. This record deals with that loss.”

Somber, yet reflective, mournful, yet hopeful, this is Martin at his sleeve-wearing finest. Feeling speaks first here above all else, but just don’t expect him to trade songwriting or sonic surprise for sentiment. And there is more than one dose of the unexpected here: instead of any sense of drive to the guitar sounds, SF59 goes the opposite direction, which proves to be a wondrous decision; Mr. M. and company rely heavily on assorted analog keys and synths, with a sprinkling of acoustic guitar. There are even tracks without any guitar at all. Consider, The sexy swing of track number three, “Concentrate.” With a beat that you cannot help but slowly sway to, and the swagger of Jason’s sultry vocal, the point is made without the need for a six-string.

Perhaps the most noticeable aural quality of this release is the to-the-point nature of Martin’s vocal, in both performance and presentation. While many would site his vocals as more subtle in approach on previous releases, this is Martin at his most confident and most clear. His choice of melody is pinpoint, as his voice carries the music, rather than the other way around.

Though Sf59 has always been a band that is about albums, not singles, approaching songwriting from a stregth-in-numbers standpoint, there are several standout tracks that deserve first attention. “The Brightest Of The Head” is a snowy hillside stroked and brushed with echoes. “Taxi” shows a hint of Smiths throwback (but just a hint), moving through with tastefully-placed strums over a beat that pushes you forward like a cab through the urban sprawl at 3 A.M. And complemented by background the sounds of birds throughout the entire song, the ballad-like swell of Mr. Martin could even move those with hearts made of stone.

When you add in the fact that Mr. M. has produced his last several albums, including this, his latest and greatest you begin to realize he may just be one of the most underrated men in independent music, and Starflyer one of the most underrated bands.

“I don’t really have a formula. I just write songs and try to make ‘em as good as I can. And I have gotten used to self-producing. The idea of booking out 12 days in the studio where you have to get things done for better or worse, then getting home with the songs and thinking about all the things you would like to change, but knowing you cant…that’s tough. I love the idea that if I don’t like something I can always go back in my place and do it until I think it is right. Everyone has limitations on what they can do, but if you find something you can do reasonably well stick with that…you gotta just do what you do, and this approach works best for me.”

When you understand the subject matter behind the lyrics to Dial M, whether you are a lifetime Starflyer fan or a newcomer, you will realize the depth of faith this record possesses. And even if you were just a moderate listener before, you may just find this becoming the soundtrack to your next trial, thanks to Mr. M. On the opening track he provides provides a shrewd insight with a double meaning: For once, or maybe twice, i was in my prime…the best are made from these. That’s what I say to put my mind at ease. The saddest songs are wrote in minor keys. Like Johnny Marr I want my please please please. The brutal honesty in the album’s closer regarding the trials of the music industry should be mandatory reading for any new band: No need to remind that scans are unkind a lot of times. But i’ve tried, i’ve tried to write, what was in my head, what was in my head. Sometimes I feel, i feel so obsolete, because the kids want a faster beat. And if I was free, free to leave, but it’s my kids, they need to eat. And if there was any doubt as the where Martin’s priorities lie, you can find them on “M23”: Hey man you tired? ya that’s me. You look worried, well ya that’s me. Is it over? Well, we’ll see…
My memorial. Can I rely, can I? in the twinkling of an eye..of an eye, we’ll rise. So I’ll rely on Christ. in the twinkling of an eye we’ll rise.

“My dad passed away last year, so this record for me is a bit more personal than my records usually are….Not that I have so much to say, but I really wanted to write some songs that had some meaning to me, and in a small way to honor my old man, who I really miss.”

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When Jonezetta officially landed on the alternative rock radar with 2006’s Tooth & Nail debut Popularity, it was impossible to ignore its neo-new wave grooves and overall infectiousness. Fast forward to 2008’s Cruel To Be Young on the same label and the Mississippi-bred fivesome elevates its creative palate to even more astute degrees, refined by endless hours on the road alongside the likes of Anberlin, Bayside, Mute Math, Shiny Toy Guns, Meg & Dia and The Whigs (to name a few).

“Our last show in support of the debut disc was in New Zealand at a festival and it was a great highlight to wrap up that album’s cycle,” muses front man Robert Chisolm. “Being in front of so many people seemed to come full circle for us after really building up our touring experience. We supported that project on the road for two years and literally went from playing small hometown shows to at least 2,000 people on the Tooth & Nail tour. Now we’ve gone all around the world and it’s really sharpened our focus as players and songwriters.

Within a single second of pressing “play” on Cruel To Be Young, it’s apparent the performers are pulling together with incredibly tight chemistry and additionally ambitious intentions than the highly relatable first round. In fact, the guys cite a slew of modern era alternative classics as its influences (Weezer’s Pinkerton, Radiohead’s The Bends, Wilco’s Summerteeth and tons of Tom Petty & the Heartbreakers), coupled with a fresh coat of paint on its previous formula of connectivity.

“The last record was all about the hook and wanting people to dig a song within 30 seconds of hearing it,” recalls Chisolm. “For the new album, we recorded in Seattle at Compound Studios and we pretended it was 1997 all over again in terms of technology, which means no samples. It was a whole new approach with this record because the songs are shaped more so you have to hear the entire album to decide anything. I think America has such bad ADD these days when it comes to art and entertainment and attention spans have gone down to zero. But this disc is drawn out and meant to be put on when you’re hanging out with your friends and sitting around in hopes of really getting into the tunes rather than just listening for a few seconds and moving on.”

Such a thought provoking sonic landscape is backed by an equally intriguing topical umbrella, wrapped around similar themes of immediate gratification versus patience in the spirit of genuine artistic engagement. The musical and lyrical planes also hearken back to an era in the not too distant past when a true value was put on full albums and anticipation mounted around a street date, as opposed to being a brief blip on the radar.

“The title Cruel To Be Young can be taken a couple of ways,” suggests Chisolm. “I remember a quote from ‘It’s a Wonderful Life’ that says ‘youth is wasted on the young,’ and now that we’re in our twenties, we can look back on our teens and wonder what it would’ve been like if we knew what we know now. But I also feel like this a totally different time when gas prices are really high and kids come to shows texting their friends during every free second or they take pictures to put up on a social networking sight just to say there were there. I’m not saying all those things aren’t fun, but we want to bring people back to the days when you could put on a CD or go see a show and forgot everything that’s going on in the world around you and be totally swept away by the music.”

There are several examples of such inventive ecstasy on the current collection, including the initial concert anthems “Wide Awake,” “Sick In the Teeth” and “Busy Body,” along with an unpredictable title cut that starts at 150 beats per minute and slows itself down to 90 come the complex bridge. The piano-tipped “Everything Is” marks Jonezetta’s most organic and ethereal reflection to date, while “Holding On To You” offers yet another unexpected switch up between an emotive opening, jarring chorus and stream of aggressive soloing over sky high harmonies.

“The songs don’t have any type of agenda to the point where we hope anyone can listen without expectations,” Chisolm affirms. “Some people listen to music and they try to guess the next part that’s coming up or plan in their minds how they think a song should sound, though we went for the completely opposite approach. There’s even a lot of contradicting within the lyrics- the fact that some things are gonna change and others never will- and there’s a wide spectrum of going from disappointment to hope. Between what we’re playing and what we’re saying, it’s going to leave you wondering what will happen next, and then once you find out, we keep the surprises coming.”

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American pop standard “You Are My Sunshine” is synonymous with idyllic memories of youth and other feelings of merriment. But Copeland, the Lakeland, Fla.-based, indie alternative trio who’ve already brought soul-searching tracks like “Control Freak” and “Pin Your Wings,” spin their own metaphorical thesis on the classic tune for their fourth studio effort, the aptly-titled You Are My Sunshine.

“Initially, that song is very lovely and when you think of it, it immediately conjures up fine memories of your childhood, but actually it’s super creepy in the latter verses of the song. It gets quite dark,” says frontman Aaron Marsh. “But that’s probably my favorite thing in art and music — that line between lovely and creepy. A photo of a dandelion in a field would be a lovely image, but a shadow of a person you couldn’t see would make it a bit creepier. And with that, all of our records have been very lovely on the whole. When people think of us, they think ‘very pretty soft rock,’ but we’ve been slowly growing up and wanting to not just be pretty music. There’s another layer there, and for me that’s the most interesting line ever.”

You Are My Sunshine — the band’s follow up to their Columbia debut, 2006’s Eat, Sleep, Repeat and their first for the Seattle-based label Tooth & Nail — finds Marsh (vocals/guitar/piano), Bryan Laurenson (guitar), and Jon Bucklew (drums) perfecting their well-crafted pop with a cultured edge. With Aaron Sprinkle (Eisley, Anberlin, Pedro the Lion) and Marsh sharing production duties, and mixing legend Michael Brauer (Coldplay, Grandaddy, My Morning Jacket) at the helm of these 11 songs, Copeland’s emotional candor shifts into a fresh, textured-driven focus for their most confident material to date. Copeland credits both Sprinkle’s keen manipulation of sound and Brauer’s quick approach for giving You Are My Sunshine that polished, but organic sheen they were looking for.

“Sprinkle has this real concise thing when making records that sound very polished and in a way, inhuman,” explains Marsh. “Past Copeland albums have been the opposite of that. But what he did was capture the juxtaposition of we were going for — the blending of human and in human sounds, unnatural and ethereal sounds.”

Laurenson adds, “Brauer fit us into his schedule because we really wanted to work with him and we ended up mixing the entire LP in five days. Because it got mixed so quickly, there’s this reckless charm about it.”

With earnest songs like the jagged guitar layers of “What Do I Know” and the atmospheric splendor “Good Morning Fire Eater,” You Are My Sunshine bursts with that bright hook Copeland has been longing for since they set out to make music eight years ago. The gossamer epic beauty of “Not So Tough Found Out,” one of the many standouts featuring the dramatic vocal delivery of Wisconsin-bred songstress Rae Cassidy Klagstad, nicely culminates Copeland’s desire in keep the message of the album an individual matter.

“As I’ve gotten older, my lyrics have definitely become more poignant, but I also think they’re more enigmatic,” says Marsh. “My goal is to be more emotive than obvious. If what I am trying to say becomes cloudy, I don’t try to hone it in as much as I used to. I feel like I’ve gotten to a place where my lyrics are expressive enough to convey an emotion, but universal enough for people to find their own meaning in the words. Really, I feel like it’s really the grayest line you can possibly walk between making people feel something, and also disguising the feeling.”

Copeland is at their finest yet with You Are My Sunshine, and it marks a rejuvenated move forward to the next phase of the band. Laurenson says, “It’s the most prepared we’ve ever been. I think in the past we‘d go into the studio and part of songs fell into place with a lot of studio magic. This time, songs dictated themselves and the record turned out exactly how we envisioned it.”

The songbook stunner that is You Are My Sunshine arrives at the most appropriate time for Copeland. They’ve succinctly blurred the boundaries between song and craft, and only that can come with experience, while also remaining bright-eyed about life’s passions. You Are My Sunshine beams with such vigor. The album drops October 14th.

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The sound of Sleep for Sleepers is best described as a hybrid of the grace and poise of Copeland with the energy and charisma of Number One Gun. This three piece from Wittier, CA is a refreshing new face in the industry, and with their debut release, “The Clearing” Sleep For Sleepers is poised to make a big impression in 2009. They have shared the stage with bands such as Quietdrive, The White Tie Affair, Last Tuesday, Future of Forestry, The Fold, We Shot the Moon, and The Summer Set. The band has been described as “poetic and challenging” a fitting description of their ability to both grab listeners and keep them listening. Sleep For Sleepers is building a strong foundation of ever growing fans all across the country with “The Clearing” backed by an expanding tour history and highly engaging live show. SInger Jamie Price delivers live vocals as seamless as the recording, and with all the momentum Sleep For Sleepers has gained they are ready and willing to take advantage of their success in the coming year.

“The Clearing” is out now from the Facedown imprint, Dreamt Music.

Check out Sleep for Sleepers on MySpace:
http://www.myspace.com/sleepforsleepers

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Remedy Drive is a Christian rock band from Lincoln, Nebraska. The band is composed of four brothers: David, Paul, Philip, and Daniel Zach. They have recorded a total of five independent studio albums, one independent live album, and released their first Word Records studio album, Daylight Is Coming, on August 26, 2008.

Remedy Drive was originally under the name The Aslan Band when they first formed in 1998. They released their first album, Remedy, in 1998 as The Aslan Band. After changing their band name to Remedy, they released four more independent albums: Remedy (The Blue One) (1999), Remedy (The Red One) (2001), Remedy: A Live Album (2003), and Magnify (2004), before again changing their name, this time lengthened to Remedy Drive. Their last independent album, Rip Open the Skies, was released on April 25, 2006 and has sold over 20,000 copies to date.

Before being signed to Word Records, the band was playing over 200 concerts a year in the Midwest and West Coast of the United States.

The band signed on with Word Records in early 2008 after being an independent band for nearly ten years. Their first non-independent studio album, Daylight Is Coming, was released on August 26, 2008 on Word Records. The album was produced by Ian Eskelin. Remedy Drive’s first official single “Daylight” was released to Christian CHR radios on May 23, 2008. Lead singer David Zach said about the song: “In Lord of the Rings, Gandalf said, ‘At dawn, look to the East’, and that’s the message we’re offering here: even in the most desperate times, each new day provides a glimmer of hope.”

In 2005, Remedy Drive played alongside fellow Lincoln, Nebraska band VOTA (then known as Casting Pearls) at the Rococo Theatre in Lincoln. The Casting Pearls performance from that night appeared on their CD/DVD release, Casting Pearls.

On June 14, 2008, Remedy Drive performed at the Crossover Christian Music Festival in Camdenton, Missouri along with other Christian artists such as Building 429, BarlowGirl and Skillet. Crossover has been considered to be “one of mid-America’s largest Christian music events”.

Remedy Drive Band Members:
David Zach – lead vocals, keyboard, rhythm guitar
Paul Zach – lead guitar, backing vocals
Philip Zach – bass, backing vocals
Daniel Zach – drums

Visit Remedy Drive’s official MySpace page for more info:
http://www.myspace.com/remedydrive

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