Brooke Trout
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Brooke Trout

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This band has not uploaded any videos



"Songsalive Bittersweet Review"

"Brooke's fresh-water originals are rooted in Ska & Riot Grrl punk. If Billie Joe Armstrong, David Byrne and Yngwie Malmsteen could be morphed into a guitar & voice, Brooke would be the unique combination of vocal squeals and phased driving rhythms. Her acrobatic vocals, crunchy and thick-toned Ska-influnced guitar makes for an appealing fish-skillet combo of the best Trout in town." -MM, -

"All Access Magazine Networth Review"

"Here she comes again, swimming into our speakers with a quirky perk that defies strict categorization, but does invite attention and thought. Not one to stick with just one school of thought, Brooke worked with two different bands on this disk: The Treble Hooks and The Anchor Men. Many have noted that Brooke has affection for a ska-ish tempo, and this affinity comes through right from the start in 'Compartmentalized Life,' which is accented by her trademark vocal antics, including squeaks, chirps and trills -- but pay her heed, and she will also give you smooth intonation, when she chooses. In the title track, Brooke channels a taste of Alanis Morissette with her biting lyrics, but the voice is all her own.You feel her gutsy fervor in 'Mine' and 'Groundhogs,' for instance – and you get some trippy avante-garde guitar overlays, cool. 'Get Lucky' busts out Dave Perea's harmonica for a vintage vibe, and 'Hide' has an intriguing synth-sounding rhythm. And as for her overall aquatic-themed approach – goodness-gracious, how many liquid metaphors and piscatorial puns can one woman haul on board? Brooke Trout will make you chuckle while you ponder and appreciate her wit and insight. And in the end, if a track like 'Get Lucky' is tongue-in-cheek fun, then the closing cut, 'Truly,' is a sweet love song from an inimitable singer-composer, brought forth from a sincere and happy heart. See her at:" -Sound Bytes Review by Rob Swick, All Access Magazine

- All Access Magazine

"Press Quotes"

“She appears to be a disturbingly smart biped, with expansive ideas, schooled in Carl Jung, and the extraordinary ability to see things for what they mean, and to treat symbols as tangible things. I knew at once that she was a subversive, despite her unassuming human form...If you want the plants to grow faster, play Mozart. Brooke sleeps with the fishes. She knows that the sleep of reason produces sea monsters. Sooner or later everything floats to the surface.”
–Billy Sheppard, Rogue Radio, Idaho.

“I am hooked on her music. It's always a pleasure to reel her in for another show – her beautiful art baits more listeners because its fins and scales above the rest! Brooke Trout is a whale of a talent!” – DJ Daniel of The Soupy Gato Show, Michigan.

“Not since Kim Salmon (ex Scientists) and the Surrealists have I been fishly freaked out by a band and that's a good thing. Keep up the fishy work!”
- DJ Galloway of Rocco’s Radio Pizzeria, Oregon.

“Original music doesn't get much more original than Brooke Trout. Plugged into her beat-box and slinging her electric guitar she takes us into her strange and wonderful world full of funny, punny, thought-provoking lyrics, driving fuzz-wah guitar, and disturbingly entertaining vocal acrobatics.” –Aaron Black, Los Angeles Chapter Host SongsAlive!

“Cover tunes can be original and fun! Brooke performed a folk blues version of Stevie Wonder’s ‘Livin for the City.’ The audience huffed and puffed and danced a jig.” –The Santa Maria Times

- Various

"Emergenza Battle of the Bands"

January 24, 2008
Emergenza battle of bands lights up The Joint in Beverly Hills
Nine fledgling groups compete for spots on tour, with four emerging victorious
By Rob Swick
A little club called The Joint sits on Pico Boulevard in Beverly Hills, appearing unassuming and compact, but it turns out to be surprisingly spacious inside, as it had to be on Friday, Jan. 11th, when The Joint was host to the Los Angeles “Round One” installment of the Emergenza musical competition. That night, nine bands played and prayed for the privilege of moving up to the next level of participation. Originating in Europe about 15 years ago, Emergenza has become a worldwide way for new bands to gain exposure and experience, performing in shows that are actually “battle of bands” competitions. The L.A. event featured a rich spectrum of talent, from intriguing singer-songwriters BROOKE TROUT and Mike Burns to punk-rockers Fozzy’s Hero to horn-heavy Awesome Possum to upbeat rock-rapper Sacrifice. Also vying for victory were Fable, Thomas’ Apartment, Jeff Clayman Band, and Elisa Victoria.
At about 8 p.m., while fans and observers were only just beginning to fill the floor, spicy emcee Christine introduced Fable, a four-man outfit from Rancho Cucamonga, to begin the battle. Vocalist Marc, bassist Larry, drummer Drew, and lively guitarist Greg teamed ably on a brief but solid set of alt-rock compositions, with Marc’s singing reaching high and clear. The fellows in Fable weren’t necessarily long on “image,” but they were certainly well-grounded in sound. Following Fable’s set, Christine asked folks to raise their hands if they’d like to see the band remain on the Emergenza roster for the next rung of participation. Some supportive hands and voices were lifted for the ice-breaking opening band, but the writing was on the wall: this show was going to be a popularity contest, and whoever was able to bring the most bodies to the venue was destined to come out on top, which meant that Fable could be facing some serious competition, as patrons continued to mosey on into The Joint.
Awesome Possum took the stage next, a multi-ethnic six-piece band from South-Central L.A. that included two trumpets and a trombone (Brandon, Marcus and Alex), adding authenticity to a ska-infused sound that featured front-man Felipe singing in both English and Spanish. With Luis on bass, Jesús on guitar, and Miguel on drums, Awesome Possum laid down jazzy riffs and punchy choruses, delivering peppy pieces about life in the big city, including one that spoke of “my little punk rock girl” – definitely a hit with the folks on the floor.
Then came the intriguing creativity of BROOKE TROUT, who was sheathed in a silvery-blue gown that caused one observer to compare the playfully enigmatic artist to a mermaid. Supported by Alex on bass, Stu on drums, and Mike on guitar electric guitar, Brooke strummed her own acoustic axe while playing several selections from her outstanding 2006 release, “Bittersweet,” beginning by pouring out a “Suburban Cocktail” for the crowd. Regrettably, the sound system was performing with less than peak clarity on the vocal end, so listeners had to strain to catch all the nuances of Brooke’s inventive lyrics and novel choral stylings. Like new-wave pioneer Lene Lovich, Brooke can really scale the scales, and yet another Eighties-era heroine that comes to mind when listening to her vocal acrobatics is Dale Bozzio of Missing Persons, because like Dale, Brooke can be pleasantly tuneful, squeaky, and bold, all in the same song. Fans came alive as Brooke and her band progressed through “Presiding,” “Steel,” “Winter,” and her rueful paean to “Prince Harming.” A new song was then introduced, “Compartmentalized Life,” followed by the crowd-pleasing closer, “Roller Coaster Lover.” Throughout the set, Brooke and her boys gained favorable acclaim from the house, but in light of the fact that the floor still wasn’t full, one could see that Ms. Trout’s endeavor to the affair might prove to be a daunting upstream swim.
Next up was a clutch of So-Cal punk rockers who called themselves Fozzy’s Hero. Led by singer-guitarist Vince Hero, the band broke out with a riff-laden metallic intro that could have been an Iron Maiden tune, and then, with partners Andy A. on guitar, Isaac G. on bass, and “Doctor” Rudy M. on drums, Vince belted into “Two-Faced,” one of many pulse-pumping offerings on Fozzy’s Hero’s platterful of punk. Also included were the singalong “10-4” and an ode to inebriation, “The Drinking Song,” both of which received rousing responses from the numerous fans who had evidently come just to see these particular loud boys from the San Fernando Valley. Many hands were subsequently raised in support of Fozzy’s Hero.
Jeff Clayman followed Fozzy’s Hero, earnestly delivering solidly-crafted pop songs with jazzy accents. Music from Clayman and his band ranged from biting-edge rock to slow-ballad roll, closing with a ska-flavored piece to end what Jeff called an “epic 25-minute set.”
Thomas’ Apartment was next on the bill, an engaging quintet that tempered metallic energy with romantic sensitivity. In the band were Pete Nguyen and Billy Vu Lam on guitar (and Billy on additional keys, as needed), plus keyboardist Thomas Tran, bassist Nam Tran, and drummer Laine Baker; Pete and Thomas shared vocal duties. Effective efforts from the fivesome included “Separate Ways,” “Just for Tonight, and the smooth “Temperature,” the band’s first single and imminent video. The crowd was visibly impressed.
Mike Burns then emerged, an acoustic-guitar-playing singer with the kind of good looks and familiar, full-of-feeling kind of voice that might remind one of Rob Thomas, maybe, or Adam Exler of EverBlue, or Brad Arnold of 3 Three Doors Down. Mike called his backup band “The Cosmic Sound File,” which consisted of JP Hesser on guitar (and also a wonderful little instrument he said was a “nukelele), Matt Thrift on drums, and Jimbo Russell on bass, plus Joel Lamb on keys. Mike and company played several songs from his 2006 release, “Where the Heart Is,” earning much approval from the house.
Elisa Victoria came front-and-center next, wearing bright orange face-paint like a Carnival mask, reminding one of Ace Frehley, maybe, or Ziggy-era Bowie. Elisa writes her own songs, and her singing, playing, and dancing were sufficiently satisfying to make some people sorry the songstress was permitted time for only three tunes. During her last song, the West Hollywood performer executed a better snake-dance shimmy than Axl Rose, and applause ensued.
Last up was Sacrifice, a Southland rapper who brought a keyboard player, drummer, and guitarist with him to execute a set of songs that had heads nodding in approval at both the musical artistry of his band and the incisive positivity of his lyrics and demeanor.
And in the end came the tallies, to determine who would continue up the Emergenza trail to the subsequent level. Christine announced that the performers with the most votes were: Fozzy’s Hero, Thomas’ Apartment, Mike Burns, and Sacrifice – and to a large extent, these results could be chalked up not only to flat-out popularity, but also to moxie and hustle, to get people to come on out and raise their hands. Still, it could be said that really, everyone who got up on stage at The Joint in the first place was a winner in some way, and all who took part in the show exhibited potential for greater things to come. In any case, preliminary rumor (courtesy of Mike Burns) is that the next round of the Emergenza battle of bands is likely to take place again at The Joint, sometime around late February or early March. All Access Magazine will endeavor to keep you, the local (and not-so-local!) music fan, informed of developments as they occur. By providing an arena for local musicians all over, Emergenza helps to keep the creative fires burning, and that’s a welcome contribution to the scene.
Story by Rob Swick

- All Access Magazine

"All Access Magazine Bittersweet Review"

Sound Bites - little nibbles of recent releases
CD Reviews
By Rob Swick
Bittersweet by Brooke Trout
A solid effort from a tasty female singer-songwriter, who compiled the entire ten-song disk with only one other musician, the versatile Timon Marmex. Brooke handles guitars, while Timon takes care of keyboards, bass, and drums, and additional guitars as needed.
The opening track, “Roller Coaster Lover,” opens with a loony organ loop like a circus melodeon, giving the listener a hint of the wild ride that Brooke is about to embark upon, both in the dramatic song itself, and throughout the disk. Hitting all kinds of highs and lows in both her lyrics and her vocals, Brooke squeaks, squeals, and chirps like a quirky new-wave heroine of many years ago, Lene Lovich. Remember “New Toy” or “Lucky Number” from the Eighties? Well, Brooke fills this bill for a new generation, punctuating her lyrics with peppy interjections, as the spirit strikes her.
Brooke takes a left-turn away from Alanis Morisette and Led Zeppelin in her song “Thanks,” this time expressing gratitude for a lover who’s getting going, good and gone.
A couple of the songs have a punky punch to them, such as “Suburban Cocktail,” highlighting how expert Brooke is at making various two- and three-chord progressions interesting and fresh, while at other times a more melodic mood moves her, until finally, as she sings in the wryly-named “Prince Harming,” “The fairy tale is through”
The net result on Bittersweet is a good catch of titillating tuneage. As an accomplished chanteuse who can write and play as well as sing, Brooke Trout is the real deal – well worth reeling in.

- All Access Magazine

"Songsalive Interview with Brooke Trout"

1. Where are you from, originally and what brought you to California?
I am originally from Montana, from a town that isn’t found on most maps – in the middle of the Mission Mountain Wilderness. I always hated the isolation and never felt like I really belonged. I always dreamed of moving to the city so I moved to California in 96. Writing is my passion and I got my first gig for The Santa Maria Times as an entertainment editor and staff writer which included my weekly column “Musical Squares” that featured concert and album reviews. Following that I majored in screenwriting at Cal State Northridge. Ever since I’ve been keeping myself busy writing for music websites like and Bitchin and recently had the wonderful opportunity to work for Martin Literary Management. I’ve definitely learned a lot during this time about marketing in the entertainment industries. In film, publishing and music the trends are all very similar.

2. What style of music would you say you do?
Basically, if it has a chunky sound to it, I love it and will play it. My sound is a delicious ska, blues, new wave, punk casserole, topped with Cheez-It Baked Snack Crackers for that hint of kitsch.

3. What do you enjoy best - songwriting or performing and why?
I think the two are very different. Performing is a catharsis for me. I feel like I let my pain out during my shows. It is not about entertaining for me, and it is not about perfection either. Songwriting is also an outlet for pain but it is more of a challenge – finding the right libretto to match that hook. I won’t let myself settle for the first thing that comes out of my guitar even if it does sound radio friendly. I want to play something that will keep my interest; I would enjoy listening to if I’m going to have to memorize it to be played at a show over and over again.

4. Who are your musicial influences?
Nirvana and Green Day got me motivated to play those earliest of barre chords when I was 14. Later Stephen King, PJ Harvey and Jim Morrison gave me the courage to sing and write about things that I didn’t realize I could before. Danny Elfman, Prince and Elvis Costello I admire because they aren’t afraid to play with genre and vocal stylings. I always try to push myself to do something new and these particular musicians remind me music will always be with me no matter what my age.

5. Describe your favorite song you have written and why is it so special to you?
One of my favorite songs that I have written is Roller Coaster Lover. I originally wrote this as a send up to The Beatles, in tribute to my absolutely favorite Beatles song, “Being For The Benefit Of Mr. Kite,” off the Sergeant Pepper’s Lonely Hearts Club Band album. I started out with the riff, knowing I wanted it to be a sultry and seductive blues song, then added the lyrics to play with the metaphor of roller coaster for a manipulative relationship. When I recorded this in the studio I went in knowing I wanted it to sound like this Beatles song so Timon (Marmex) played an intro that combines calliope and chime sounds, and we also used a sound loop of a roller coaster on a track for the percussion element as well as a big booming bass drum and cymbal crash because I wanted that feel of being in a carnival and you’re just expecting the ringleader to come out and announce the next act. Playing it live with my band however the song comes off sounding like something you would hear in a swanky ghost town bar in a David Lynch movie which I love! It makes me smile a mile wide hearing Mike play these dissonant Nick Cave-style solos on his slide. We try to integrate that sound and feel into much of our act.

6. What are your goals for the next 5 years musically speaking?
I already have enough songs ready for three albums and am anxious to gather resources to get them recorded and distributed. I just got a four piece band put together in March of 2007 including Alex Schmauss on bass, Mike Dill on lead guitar and Stuart Dill on drums. We had an immediate synthesis of sounds from our mutual musical backgrounds. What resulted is what people are calling “spooky surfer music,” and we are being compared frequently to the B-52s, only a much darker version. Alex released his album Broken in 2007 which has a dark Talking Heads meets The Pixies feel to it. And Mike Dill has an extensive background in jazz and blues, teaching as well as running a few open mics throughout SoCal including Primo’s Pizza in Santa Clarita. We’ve played some larger LA venues including Safari Sam’s and The Gig and in Spring of 2008 we’ll be participating in the Emergenza Festival which is an international battle of the bands.

7. Tell us about your recordings and what's in store next.
What’s next? I’m not currently signed so I am just working on promoting this album the best I can with the resources I have. I got a great review in All Access Magazine and was nominated for best female guitarist for their All Access Awards Show this year. I focused the most on getting radio play across the country, and this upcoming year I am going to concentrate more locally on the club circuit and press now that I have a great band to play with.

8. Where can we buy your music?
Online Digital Vendor List: Apple iTunes, AudioLunchbox, Rhapsody, Interia, Verizon Wireless, Sony Connect, MusicNet, BuyMusic, GroupieTunes, MusicIsHere, Muze, GreatIndieMusic, Ruckus, Puretracks, MP3-Extension, Napster, RuleRadio, PayPlay, PassAlong, Sonific, Daiki, USEN, Bitmunk, Nexhit, Inprodicon, Destra, PlayIndies, Tradebit, Intent Media Works, Zune, MP3tunes, MusicNow

9. What are your views about where the music industry is heading in your community, or on a global level?
I recently interviewed David Knight, founder of Music Talks Sessions for Bitchin Entertainment about the current state of the music industry, ten years after the digital revolution. I concluded in the article that we have really seen a flat line in creativity and production standards with cookie cutter bands and retro sounds that are being rehashed as something new when in fact it is just more of the same. I think musical revolution will only happen when the market sees the financial potential in backing artists that dare to be more inventive. Unfortunately the market is so saturated now because of reality programming, black market downloading and burning – it’s a problem that won’t go away and we’re seeing its effects across the board, right now in the screenwriter’s strike. Article link.

10. Anything pertinent you'd like to say about Songsalive!
I just joined up thanks to a friend out here in L.A., Aaron Black (who totally rocks it out!) I haven’t had a chance yet to check out all the resources but that’s definitely one of my New Year’s Resolutions!


"Rogue Radio Bittersweet Review"



"Without the bitterness that counterbalances my timid optimism, there's no way that I would have ever found myself in the bittersweet state of mind." (From "My Own Rocky Road" recipe for Rocky Road Bars)

"What is generally termed reality is, to be precise, a frothy nothing." (Hugo Ball)

"To live into the future means to leap into the unknown, and this requires a degree of courage for which there is no immediate precedent and which few people realise." (Rollo May)

"Music is a healing force. That's what good art is. That's what art is. I shouldn't say 'good' because that's an entirely personal call. It's magic, ... What is music? Where does it come from? We have the ability to take these instruments and voices and make these notes with them and do these things with them. What the heck is that? It's magic. It does what nothing else can do." (Shawn Colvin)

We are all being asked constantly to believe what we know is a lie. My toothpaste makes me sexy. We are spreading democracy in the region. M&Ms melt in your mouth, not in your hand. It's all fishy. We may as well accept that we are all fish. Brooke Trout is well ahead of the curve on this score. Others may refuse to accept their scales, preferring to bend their fins painfully into the signature trait of humankind: the opposable thumb. Acceptance is the key.

In order to be marketed to a culture built on lies, Brooke has transformed her creative self into a bar of chocolate. Expecting a traditional information disc from the artist, I opened an envelope to find a square object wrapped in tin foil, labeled Hershey style with Brooke's image in base relief and the words "BITTERSWEET" marked across the image. I removed the tin foil, to find a jewel box CD case and a traditional compact disc. Nevertheless, the spell has been cast! It is a chocolate bar from a fish.

I have met this artist in human form. Across a table at Denny's. She appeared to be a disturbingly smart biped, with expansive ideas, schooled in Carl Jung, and the extraordinary ability to see things for what they mean, and to treat symbols as tangible things. I knew at once that she was a subversive, despite her unassuming human form.

At first listen to what looks to be music CD, she appears in the form of Souxsie of the Banshees, with some sort of electronic shimmer bubbling like an echo through the waves of consciousness or a bioluminescence well out of my depth. The music seems to swim. But after I became acclimated to Brooke's deep waters, I found myself feeling at home again. A kind of déja vu. We all, they say, came from the sea. I had the feeling that my life was beginning to make sense in this new element. Life on my TV had turned into a disturbing pack of lies. Imagine that. I am eating the Bittersweet, and I'm beginning to see things that I had forgotten to notice. I live in Brooke's pond now.

ROLLER COASTER LOVER begins with a calliope introduction accentuated with the sound of a dime store xylophone. The fuzz tone guitar and drum kit pound and cymbal ride begins. "Roller coaster lover, we got off track, baby. You swung me up and down and round and round and never thought I'd hear the sounds you make…" This music is a fun house ride, through the dark, in a mountain with flashing lights. Space Mountain through a seascape of sensual images. "I like 'em long and strong with a ride that goes all night and leaves you screaming to get off!" We have cut in line for this ride. But once it begins, it isn't safe to leave the vehicle. Terrifying and satisfying.

RAINDROPS is a refreshing lighter sprinkle of a thing, with Whoo Whoo! coming from the wings. "What you did made me ashamed. You said you loved me with those raindrops in your eyes." The raindrops seem to drop like Pachinko balls bouncing in an echoplex. "I must believe that there are things that you can't hide, and I will storm on through inside." Brooke's human heart speaks through the mixture of distance and hurt. "I will cruise on through in time. I will cruise on through. And I will cruise on through in time. In time." This is an extraordinary underwater soundscape through the eternity of deception and loss, but time is still moving, still unmoved. I would applaud this observation, if my fins were long enough. But it will help me one day to swim away.

THANKS "for telling me that I'm not the one to bear this weight." In sea world, things come and go. "I want to thank you. I never thought you would fly. I never thought you would say goodbye." My life on land has been full of mysterious disappearances. The fluid nature of relationships, I suppose. "Don't want to let go, but I know, it's the only way. Don't want to say goodbye to you. It means so much to finally know it's true." This may be an answer to the soul song "Never can say goodbye." There is something more at stake from the beginning. A dirge of a tempo, with a chorus of Brookes. "Don't want to let go, but I know, it's the only way." Roethke said it first, "What falls away is always, and is near." This is dreamlike separation anxiety.
STEEL takes an electronic up-tempo tone. Fast words with a sound like bowed metal. "You pray that one day they would know your shame." Something darker this way comes. "Looking for guilt that you will forget. How can we live without regret? And how could the hurt an innocent child? And how could know that now she can smile, yes, into my arms." The song takes an inarticulate turn, with a banshee yodel of faux ecstatic utterances, salted with "I'm so sick" and maybe something about being "in the water," but my subconscious refuses to translate. Something lost, and "you've always refrained from screaming." How could they hurt an innocent child. From something must have happened back at the hatchery.

WINTER takes a turn for the keyboard brass faded to green by the algae. A dance number, I think, before the sea took it's toll. There is a swimmy feel about this song, with deliberate slide whistle sort of tromboning of the recording tape. "You saw her with a drive by… knew she would die. Feel free to drive on in your car. Soul cowards." The feeling of nausea permeates this encounter. "No one could ever wake her up!" These things must happen where even the bathosphere dare not go. "You won't hear the sound, when she hits the ground. " This song is adrift in the brutality of the sea.

MANNA brings in a tempo dropped in a haphazard manner from the skies. "You might have broken in, but you haven't broken me! And you don't get to steal every damn thing you see. Cause I'm watching out, and I'm watching you, and I'm going to be one to break this phone!" Breaker breaker, this is "Every night I pray for all of this pain and hate to go away. Cause I can't be afraid to love again. Cause I don't want to be the one who just goes through the motions, baby." A thief in the house of love. "I'm tired of being brave, and I'm tired of being shamed, but we're all just slaves to love." Love on the rocks. It's broken love washed up in the break water. "It's time to say we're through!" Break the phone… Hello, this is AT&T, Verizon, PacBell, Sprint, Nokia calling. Please kill the messenger machine! Bad love.
PRESIDING punk ballad fuzz bass frolic. "Watching, waiting, she wilts just like a flower. Frying, hating, she builds the power note beside her." An unprecedented emotion. "No time, oh yeah, it's nonsense, but you got the airwaves." The sleep of reason has produced a sea monster. The laughter at the end of this rant may not be as warm as a sidelong pickerel smile. "The way she feels she is not real.… We're all just liars liars liars liars!" Row, row, row your boat, life is but a dream.
PRINCE HARMING "My Prince Harming has been lying in my arms everyday. Yes, my champion, my man stallion runs around in every way!" Well, it's a another breakup song. "Lying must continue. The fairytale is through and I don't really care, cause I'd rather be free than trapped up in your lair." A series of mind games worthy of Diane Wakowski's poetic two step "Dancing on the Grave of a Son of a Bitch." This level of music pain, in varying tempi, is a serrated cut of raw Souixshe, left in the sun near the mayonnaise for too damn long. This catharsis may require some syrup of epicac. Danger Will Robinson! Danger Jacques Couteau! Deliberate nausea to break a poison induced numbness.

SURBURBAN COCKTAIL skewers the raw banshee fish cabob to a social distortion. Garage band outtakes overcome the "Wear your best clothes, that's the way! Get your check and you get paid because you LOOK good." Yes, but is that enough? Isn't there more to life? Something spiritual please. "Go to church every Sunday, wear your cross and you get saved because you LOOK good. You're so good, yes, you do." It's the suburban cocktail, suburbane, subhuman? Naw! Look closer. "You LOOK good." And one might think that would not be enough. Prey! Prey! Prey find some peace! Gulp.

ROTTEN EGG is the show ender. "Why do you make it so much harder?" The organs are swollen from the poison, and excreting a bilious fluid distortion. A bad egg? We are informed it is "infertile." One can only hope. Else what rude beast should hatch, and drag itself on its brutalized fins toward Bethlehem to be born? "I consented! I ask you again if you want to live this way? Too bad!" "A womb gone sour, oh the power… I consented!" Punk is the abortion, grunge may be the after birth. "The jokes on me!" This one won't settle your nerves. "You are the coward!"

Well, alrighty then. This tour of the deep is brought to you by the loss that keeps on giving. But if you didn't have the courage, you wouldn't have spent your E ticket on this ride, now would you? There will be free chocolates for the surviving children. The Neptune Society can arrange to dispose of those of you who choose to live out your powdered lives in Davy Jones Locker! Ha Ha!

What is an appropriate response to pain? Is it punk? Is it grunge? Is it poison?

Tristan Tzara was a fish from the same stream as Brooke Trout. A dancing pickle of a man. He knew nothing but he knew this: "Freedom: Dada, Dada, Dada, crying open the constricted pains, swallowing the contrasts and all the contradictions, the grotesqueries and the illogicalities of life."

If you want the plants to grow faster, play Mozart. Brooke sleeps with the fishes. She knows that the sleep of reason produces sea monsters. Sooner or later everything floats to the surface. Make room for Dada!

Brooke Trout's natural habitat:
- Billy Sheppard


Networth (2009) Independent Release, Empire Recording Studio
Bittersweet (2007) Independent Release, SoftEgg Studios

Live Concerts & Radio Appearances
Sept. 27, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
Sept. 20, 09 - Brooke Trout Live @ Friends of Taxco Benefit Concert, Canoga Park, CA
Sept. 16, 09 - “Roller Coaster Lover” on Nette Radio, Los Angeles, CA
Sept. 10, 09 Brooke Trout station ID on WomensRadio Independent Channel on Live365 - Carson City, NV
Sept. 9, 09 - "Postwar Child" on WomensRadio Independent Channel on Live365 - Carson City, NV
Sept. 1, 09 - "Get Lucky" on WomensRadio Review Podcast, 13th Episode - Carson City, NV
Aug. 22, 09- Indiegrrl Women in the Arts Conference - NetteRadio/Rockin Moms Stage -Nashville, TN
Aug. 22, 09- Indiegrrl Women in the Arts Conference - Tryxo Entertainment Presents -Nashville, TN
Aug. 21, 09- Indiegrrl Women in the Arts Conference - Texas Room Guerilla Showcase -Nashville, TN
Aug. 21, 09- Indiegrrl Women in the Arts Conference - WomensRadio Guerrilla Showcase & Live Broadcast -Nashville, TN
Aug. 19, 09 - “Suburban Cocktail” on Nette Radio, Los Angeles, CA
Aug. 16, 09- Brooke Trout on Flat Cat Radio, Monrovia, CA
Aug. 14, 09 - Brooke Trout Live @ The Talking Stick, Venice, CA
Aug. 2, 09- Brooke Trout Live @ The Good Hurt, Santa Monica, CA
July 19, 09- Brooke Trout on Flat Cat Radio, Monrovia, CA
July 5, 09- Brooke Trout Live @ The Good Hurt, Santa Monica, CA
June 27, 09 - Networth CD Release Party @ Guitar Merchant, Canoga Park, CA
June 21, 09- Networth CD Release Party Preview on Flat Cat Radio, Monrovia, CA
June 16, 09 - Brooke Trout Live @ The Talking Stick, Venice, CA
June 12, 09 - Brooke Trout Live @ The Talking Stick, Venice, CA – Presented by Nette Radio
June 10, 09 - “Truly” on Nette Radio, Los Angeles, CA
May 24, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
May 10, 09 - Brooke Trout Live @ The Good Hurt, Santa Monica, CA
Apr. 12, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
Mar. 29, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
Mar. 28, 09 -Brooke Trout Live @ House of Brews, San Fernando, CA
Feb. 25, 09 - Special Networth CD Review Show on Nette Radio, Los Angeles, CA
Feb. 20, 09- Brooke Trout Live @ The Town Grind, Santa Clarita, CA
Feb. 15, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
Jan. 25, 09 - Brooke Trout Live @ The Airliner, Los Angeles, CA – Presented by Gorilla Music Productions
Jan. 18, 09 - Brooke Trout on Flat Cat Radio, Monrovia, CA
Jan. 14, 09 - “Roller Coaster Lover” on Nette Radio, Los Angeles, CA
Jan. 07, 09 - Brooke Trout Live @ The Derby, Los Angeles, CA – Presented by Can of Jam Productions
Dec. 28, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Dec. 22., 08 Brooke Trout Live @ The Good Hurt, Santa Monica, CA
Dec. 21, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Dec. 20, 08 Brooke Trout Live @ Canter's Kibitz Room, Los Angeles, CA
Dec. 17., 08 Brooke Trout Live @ Santa Monica Bar & Grille, Santa Monica, CA
Dec. 5., 08 Brooke Trout Live @ The Derby, Los Angeles, CA – Presented by Can of Jam Productions
Nov. 30, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Nov. 24., 08 Brooke Trout Live @ The Good Hurt, Santa Monica, CA
Nov. 20, 08 “Roller Coaster Lover” on Altered States Paranormal Radio, CA
Nov. 9, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Oct 26., 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Oct 20., 08 Brooke Trout Live @ The Good Hurt, Santa Monica, CA
Sept. 28, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Aug. 31, 08 Brooke Trout on Flat Cat Radio, Monrovia, CA
Aug. 30, 08 Brooke Trout Live @ Fitzgerald’s, Hermosa Beach, CA
Aug. 13, 08 Brooke Trout Live @ The Office, Santa Monica, CA
July 31, 08 Brooke Trout Live @ Universal Bar & Grill, Studio City, CA– Presented by Sheena Metal Productions
July 28, 08 Brooke Trout Live @ The Good Hurt, Santa Monica, CA
July 16, 08 Brooke Trout Live @ The Office, Los Angeles, CA
June 23, 08 Brooke Trout Live @ The Good Hurt, Santa Monica, CA
June 13, 08 Brooke Trout Live @The Stardust, Downey, CA
June 9, 08 Brooke Trout on KCAA Radio, San Bernardino, CA
May 17, 08 Brooke Trout Live @Sepulveda Garden Fair, Encino, CA
May 14, 08 Brooke Trout Live @The Office, Los Angeles, CA
May 7, 2008 “Suburban Cocktail” on Nette Radio, Los Angeles, CA
May 2, 08 Brooke Trout Live@Songsalive! Showcase, Hallenbecks, Los Angeles, CA
May 1, 08 Brooke Trout Songsalive Member of the Month
Apr. 26, 08 Brooke Trout Live @ The Verity Room, Canoga Park, CA
Apr. 2, 08 Brooke Trout Live @The Office, Los Angeles, CA
Mar. 15, 07 Brooke Trout Live @ Songsalive! Showcase, Hollywood, CA
Mar. 5, 08 “Winter” on Nette Radio, Los Angeles, CA
Feb. 20, 08 Brooke Trout Live @The Office, Los Angeles, CA
Feb. 3, 08 Brooke Trout Live @ Mr. T’s Bowl, Los Angeles, CA
Jan. 16, 08 “Winter” on Nette Radio, Los Angeles, CA
Jan. 11, 08 Brooke Trout Live @ The Joint, Beverly Hills, CA – Presented by Emergenza Festi



Brooke Trout's signature polyphonic mix of punk, blues and ska returns with her 2009 release Networth (Empire Recording Studio) featuring mixing engineer Chuck Wilson (Andre 3000, Dr. Dre, Rihanna) and mastering by Grammy Award winner Nancy Matter (The Who, Ray Charles). The album was recorded live between two bands, The Treble Hooks & The Anchor Men, capturing a sound that has been compared to X-Ray Spex, Dead Kennedys, Siouxsie and The Banshees, Mr. Bungle and X.

Networth is the follow up to Brooke Trout’s debut alternative new wave album Bittersweet (SoftEgg Studios, 2007). The album achieved airplay on several radio stations and podcasts, as well as positive reviews in the press where Trout was compared to alternative artists like Souixsie Souix, Exene Cervenka and Sinéad O'Connor. Brooke Trout was nominated for All Access Magazine’s 2007 Music Award Show for best female guitarist in a rock, melodic blues category, best female guitarist in a pop, alternative category and best songwriter. In 2008 Brooke Trout was made a Member of the Month for singer/songwriter organization Songsalive!.

Brooke Trout is the stage name of Brooke Mason, an experienced journalist. Formerly a writer for the arts section of the Santa Maria Times city newspaper doing a weekly album review column, entertainment listings and various feature articles. Following this Brooke was the What's Hot editor for and an acquisitions editor for Martin Literary Management. She has also done freelance writing for All Access Magazine. Currently Brooke writes combined album/concert reviews, feature articles and interviews for Bitchin, a music industry oriented web site.

Brooke is also a monthly guest cohost on live internet broadcast Flat Cat Radio featuring interviews, music and live performances from Los Angeles based singer/songwriters. The weekly show goes live Sunday nights at 7 p.m. PST. For more information go to