Hello. My name is John Riccio. I write the music I play, and play the instruments for the music I write. I believe that my music is the personification of things left unsaid.
I was born the youngest of four children and named after my multi-intrumentalist grandfather, John. An "afterthought child," I grew up in Fairfield, CT, a quaint New England town 45 miles northeast of New York City, which composer Leonard Bernstein, photographer David LaChapelle, and Wiffleball-creator David N. Mullany once called home.
My musical upbringing was oddly quiet. There wasn't a lot of music being played around my house, and the songs that I did hear, came as muffled masterpieces just beyond my siblings' locked bedroom doors. So, I made my own world and filled it up with sound.
I quickly became fascinated by the personal music of artists such as Nick Drake and Neil Young, while gravitating toward songs that had heady yet understated arrangements ( the Pop production of Quincy Jones comes to mind).
Trading in idyllic Fairfield for down-and-out New Orleans, I developed my own music, which I refer to as Lush Americana, equal parts Bruce Springsteen and the Flaming Lips.
These days I'm living in Los Angeles, CA, and letting people hear my take on confessional storytelling with an EP entitled, Tomorrow is What it Used to Be. The 6-song EP, which was self-performed-and-produced, features the co-production of Ethan Allan (Tricky, Luscious Jackson, Throwing Muses) on two tracks. Drummer Travis McNabb (Better than Ezra) also appears on the disc. In my spare time, I contribute music to other projects, including scores for the ESPN series, Guide House: Montauk.
John Riccio - Vocals, Guitar, Keys, Programming, Bass, Percussion
Tomorrow is What it Used to Be, EP
Indie-Music review by Jason Turner
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Los Angeles singer-songwriter John Riccio can brood as well as anyone. His recent EP, "Tomorrow Is W...Los Angeles singer-songwriter John Riccio can brood as well as anyone. His recent EP, "Tomorrow Is What It Used to Be" is delightfully despondent, deeply introspective and so cogent it makes me jealous of his relationship problems.
Like the diary of a teenage girl, Riccio's self-produced album is filled with confessions, admonitions and apologies - and it's every bit as compelling, too.
As a student of the singer-songwriter genre, Riccio seems to have graduated with honors, successfully emulating the gravely whisper technique popularized by Springsteen and borrowed by Pete Yorn, while channeling the famously melancholy moper Damien Rice.
Of the tracks I heard, none strayed far from the aforementioned singer-songwriter prototypes, but my favorite was "One or Two," which featured a strikingly simple piano part and a great chorus. All of them, however, are worth a listen, particularly if you just broke up - or are thinking about breaking up - with your significant other.
Looking over this review, it occurs to me that there are quite a few adjectives with negative connotations; despondent, melancholy, moper (conjugated from mope), but don't be misled - this is a good listen by a talented artist. Just be sure you're not doing anything afterward that requires you to be cheerful.
Typical live set offsets originals with covers. Covers include:
"Working Class Hero," by John Lennon, "Running up that Hill," by Kate Bush, and "Come on in my Kitchen," by Robert Johnson.