“A voice that could do anything,” declares Americana UK.
Hayley Thompson-King has been recognized internationally for her songwriting, stage performance, and “explosive display of vocal prowess” (PopMatters) since she emerged onto the rock scene fronting Banditas in 2012. Her debut solo album, Psychotic Melancholia, was praised by Paste Magazine as “a positively jaw-dropping exposition that celebrates the entire canon of rock ‘n’ roll’s energy, and should be considered an upping of the ante on the gritty sonic real estate of garage, punk, country, and Americana, into some amalgam altogether more apt of Thompson-King’s wondrous artistic aptitudes.”
In its review of her latest album, Sororicide, Newsweek observes, “in the vein of alt-classical song cycles and rock concept albums, her new work layers wide-reaching sonics with palpable psychodrama. At its core is the battle between an artist and the voice inside her head.” Produced by 90’s rock architect, Sean Slade (Radiohead, Hole, Lou Reed), Sororicide takes the listener on “a wild stylistic ride,” according to Billboard, as Thompson-King “accommodates country, rock and opera.”
Her diverse sonic influences ranging from garage rock to Americana to art music have earned Thompson-King radio play on Sirius XM’s Outlaw Country and Underground Garage stations, as well as opportunities to tour internationally appearing at Stockholm Americana Festival in Stockholm, Sweden, NPR’s Modern Love Live, The Museum of Fine Arts in Boston, MA, Americana Fest in Nashville, TN, SXSW, and Frank Turner’s Lost Evenings Fest at The House of Blues Boston.
“An in-demand bassist for artists like Booker T., Kris Delmhorst and Jeffrey Foucault, Jeremy Moses Curtis shifts from sideman to spotlight to proffer songwriting so strong, you’ll wonder why he hasn’t stood center stage all along.”
“So worn out, so beautiful, like something between ‘Nashville Skyline’ and ‘Blood on the Tracks,’ an old Wilco ballad and Jason Isbell on NyQuil Extra Strength,” writes Jed Gottlieb of the Boston Herald.
