blanketeer

Let's explore the reasons that Blanketeer's self-titled disc hasn't left my CD player in over a week: 1. Its highly infectious melodies as heard in the Beatles-esque (and my favorite track) "Who Wants You Then". 2. The piano's ability to ride the rhythm of each song, following each hook into the next, as in "Passing Cars". 3. The innocence inside the lyrics and the soft voice of vocalist Cooper, in "Hit From A Miss". Boston's Blanketeer has an extraordinary way of writing a song so that your senses are drawn to each note. Remember the name Blanketeer. - Independent's Only

As much as I love garage and punk rock, some times I hear so much of it that I really enjoy hearing some nice, clean pop music. And Blanketeer are just what the doctor ordered. Reminscent of mid-period Beatles or early XTC, the melodies on this 6 song ep are both goregous and catchy. And while the arrangements are varied and layered, they're not too much - they don't get in the way of the brilliant songs. Look for Blanketeer to make a real name for themselves in 2006.
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Brian Mosher has written reviews for The Noise of Boston, Askew Reviews, Razorcake Magazine, and the recently revived NowWave Magazine.
His reviews can be found at www.bmosworld.net - Brian Mosher

There are numerous moments on Boston-based Blanketeer's self-titled EP where the band's combination of rich textures and big hooks make them sound like they are bursting at the seams, and that's a good thing. The EP is the first thing that Blanketeer has released but the band sounds like the type of aged and matured band that could do well on the national scene.

With more heart then most pop/rock bands and better hooks and vocals than emo bands, Blanketeer has hit upon a striking, ear-grabbing sound. Layered with distorted guitar and piano and keyboards that add something to the sound - unlike some bands who use keys to create a thin fa?e of maturity - Blanketeer has a vaguely spacey feel that takes off when the group explodes into huge choruses, such as on "Passing Cars." The band maintains a similar big, sweeping sound throughout the whole EP - which only runs a tight 20 minutes with six tracks - while singer Adam Cooper's excellent falsetto and knack for writing melodies glide through.

Blanketeer has an addictive sound, the opening track "Excuses" is an immediate grabber and the EP barely lets go of the listener after that. The six tracks breeze by like a warm gust of wind and the band maintains a mood that is just as affable. The acoustic guitar strums of "Hit From a Miss" shimmer nicely above the heavily distorted electric and the rhythmic riff that kicks off and propels. "Who Wants You Then" also stands out.

Blanketeer could definitely make an impact based on this EP; they are a very talented band and they have hit upon a type of music that is effective and very likeable. With songs like the ones on this release the band has marked themselves as a local act with a lot of promise for the future.

By Tim McCall, Collegian staff
November 22, 2005

- Daily Collegian

The bare-midriff/fake ID crowd was lined up outside of the various other hotspots on Lansdowne Street, but the rock ’n’ roll flowed into Bill’s Bar like cheap beer. Dave Duncan of WFNX’s New England Product took the mic and introduced first band Blanketeer, a four-person group that was about to fully reimburse the crowd’s $5 investment with added interest.

Looking like a mix of excitement and nervousness, the four members of Blanketeer assumed their places and started with an eight-count. The nerves of this young band disappeared before the end of the first chord progression. Singer/guitarist Adam Cooper resembles fellow Lansdowne luminary Theo Epstein and has a very distinct stance on stage — he hunches his shoulders so far forward they almost meet in front of his outthrust chin, as he leans into the mic. His exceptional vocal range explores the room, testing — but never overstepping — the bounds of each song. Keyboardist Chris Bailly appeared to be a bit under the weather. Bathed in harsh yellow lighting, he dug into the soft keybed of his vintage instrument with vigor. Bailey’s performance rose above the day’s ills and the Dayquil. Bassist Amy DiSciullo plays with a slight smile, likely thanks to Jen Chouinard pounding the drums behind her. Once Chouinard wound up for her first head-bang, Blanketeer locked on course. Chouinard is an exceptionally strong rock drummer with a quiet nature betrayed by her incendiary playing. Switching to big cotton mallets for the final song, she acquired a halo of shredded cotton and stick-splinters that shone through the strong stage lights.

-Review by C.D. Di Guardia
- Northeast Performer

They walk among us. They look just like us. But these four are exceptional artists, and they call themselves Blanketeer.

Blanketeer is a respectable, even smart looking group. They have no excessive body modifications, no ripped thrift-store threads, and no smarmy attitudes. In short, they are average people. Frontman Adam Cooper could be the guy who stood beside you on the Green Line this morning. It is only after they choose to reveal themselves that you realize something special is about to happen.

Amy DiSciullo may walk all over Somerville undetected, but when she gets onstage, she rolls up her sleeves and picks up her high-priced Pedulla bass, baring both an impressive inner forearm tattoo as well as some prodigious four-stringed strength. This is Blanketeer. They roll up their sleeves, bare excessive amounts of artistry, then zip things back up to become approachable and friendly EveryPersons. This is exceptionally cool.

If you have been going to big rock shows recently, in this the year 2006, there is a good chance that you in fact have seen Blanketeer. In their oh-so-short tenure, the group has attained quite a buzz, playing show after show with local powerhouse all-star bands such as the Rudds and the Campaign for Real-Time.

Blanketeer is not a Tuesday night at the local dive — they are a Saturday-night, premium sound-system, as-heard-on-WFNX band that came from relative nowhere to make an indelible mark on the local rock scene. Cooper is from Colorado. Keyboardist and co-founder Chris Bailly is from Oregon. How did a songwriter from Colorado meet up with top-shelf musicians from Oregon and Somerville? How did they wrangle their engineer/producer into making the move from behind the mixing board to behind the drum kit? He’s not really sure. Drummer/producer Darron Burke looks to the heavens then puts his head into his hands in mock-distress, exclaiming, “Oh god, I’m in the band. What the fuck?”

The story of Blanketeer is not some serendipitous fairytale; no one fell into anyone else’s lap to make this project, and the music itself, currently available only in the form of a five-song EP, also took lots of hard work. “Can I tell ‘the vocal story?’” asks Burke. Cooper gazes down at the bottom of his soon-to-be-empty beverage, mock pondering if he wants to share this particular anecdote, then gives his blessing. Burke, who was probably going to tell the story anyway, proceeds. Cooper and Bailly went into the studio with stand-in performers on bass and drums. Having created magnificent sounding instrumental tracks, it was time to sing. Cooper, who had never sung lead for a band before admits it: “I was nervous.” The entire company, including Burke, at this point only recording with the band and not a full-fledged member of it yet, was emotionally invested in the Blanketeer project, and somewhat anxious to hear how the vocals were going to affect the tracks. Like everything else, this took work. “We were not ready yet; something was not working,” surmises Burke about the first-run of Blanketeer vocal tracks. This developmental speed bump might derail some trains, and probably has in the past. After a pregnant pause, Burke continues the story. “So, Cooper disappeared for three full months.” Rightfully so, Burke wondered if this was the last he was going to see of Adam Cooper and Blanketeer. It was not. Three months later, “He came and sang, and it was excellent.”

Where did Adam Cooper go, and who was the all-knowing singing sensei who brought him to where he is now? Burke was incredulous and asked him these very questions. Cooper returns his answer: “For the whole three months, I practiced [singing] one hour a day, every day.” Instead of climbing mountains or traversing deserts, Cooper took Blanketeer’s tracks home and sang along with them, working out just what he was going to do with his vocal track. Upon finding his voice, he stepped back into the vocal booth, wowing bandmates and producer alike. “I was still kind of nervous, and to then have everyone in the band look over and sort of nod their head, that was it for me.” The idea of spending long amounts of time to find the perfect sound had been established in the studio long before Cooper’s three-month woodshed session.

Each song is carefully produced, yet not overproduced. Blanketeer know how to use the tools of the studio tastefully and effectively. This can sometimes include playing three to four different guitars at different points within one guitar track. “Some parts just call for some sounds,” explains Cooper. “Like we’d think the chorus needs a Stratocaster with the neck pickup, but then the verse needs the bridge pickup. Then we’d throw a Les Paul in the chorus, because it sounded good — I could talk guitars all day,” he exclaims with a wild look in his eye, and you get the impression that he could. Throughout their short history, Blanketeer has repeatedly displayed true grit in situations that would have other ban - Northeast Performer