Chris Brecht & dead flowers

Chris Brecht & dead flowers


Alternative Country on a fast train.


Chris Brecht and The Dead Flowers

When Chris Brecht moved to Austin in 2006 from northern Colorado, he never expected fate to be so kind. After a series of misfortunes, including break-up with a longtime girlfriend, Brecht quickly found himself with nowhere to live. In the middle of the night, he moved his belongings into a room he rented a room at the St. Elmo Motel, a cheap 26 dollar a night complex on the south side of Austin that was notorious for drug-addicts, vagrants, and drunks. It was the dead of winter and the following night the pipes burst and flooded the room. He stayed regardless and experiences still have a way of weaving into lyrics of songs for his Alternative Country git-up The Dead Flowers. The St. Elmo Motel has since been torn town and Brecht has moved way from that time in his life. For someone who writes incessantly about 10 songs a month, Chris Brecht is now poised to release his 2nd record since those days at the St. Elmo, and everything has changed.
The current project he aptly calls, Dead Flower Motel, is a follow up to his 2008 debut, the Great Ride. The poet-troubadour and his edgy new alt-country get-up, the Dead Flowers are making music that is a complete divergence from the folk Americana that Brecht has created in the past as well as any of the traditional country music coming out of Austin today. The songs are cross country and soulful like music right off the sunset strip in the 1970s, with a fearless mix of Brooklyn-esque raunchy bright guitar tones, swooping organ, jagged electric leads and a perfect landscape for Brecht’s lyrics. With his traditional folk roots far off in the distance, the new material possesses an air of sweetheart L.A. country. No love here. The songs are electrified with new influences shining through and a sound that will re-define the boundaries of alt-country genre. Updates, blogs, poetry, half finished tracks and reflections are posted at (the website developed specifically for the album project).


A few months after his stint at the St. Elmo Motel, Chris Brecht met guitarist/producer Brad Rice (Ryan Adams, Son Volt, Keith Urban) at a local coffee shop in Austin. The two went back to Rice’s place and Brecht played some of his songs in the garage. Brad Rice, who was looking to become more involved in production, took a liking to “Night Highway 99” and everything progressed from there. July 2007 they assembled a band, and laid down cuts “Night Highway 99” and an early version of “I Played Cards With the Devil.” The results were so grand that the tracks became the foundation Chris Brecht’s (2008) debut album The Great Ride, also produced by Brad Rice.
The Great Ride is a collection of ten folk country songs filled with gritty guitar, sweeping steel, beat-poet lyricism, and Brecht’s off-pitch Dylan-esque drawl. The reviews were great. Chris Brecht earned comparison to Dylan, Willie Nelson, and Ryan Adams. Seattle Weekly: “In a lazy drawl that sounds like a hybrid cross between Ryan Adam’s soulful North Carolina slur and Bob Dylan’s off-pitch nasal mutterings, Austin songwriter Chris Brecht croons about trains, lost love and the nomadic life with the same passion and timeless appeal of greats from Woody Guthrie to Willie Nelson…” says the Seattle Weekly.
“My last record was really inspired by my admiration for Dylan. I won't deny that…,” admits Brecht. “The words he wrote really lived with me for a long time. They traveled with me to this town. I didn't think much about writing my first record for any one. I wrote it because I was the kinda lifestyle where you leave behind one life for a new one.”
Laurie Gallardo KUT 90.5 FM wrote: "Chris Brecht isn’t exactly sure why he moved from Boulder, CO to Austin about two years ago, but it proved to be a fruitful decision.
There’s nothing really restricting a songwriter like Brecht to the “alt.-country” label. He digs more deeply, inspired by influences like Dylan but not imitating them. He’s even gone a step further by casting aside digital recording in favor of capturing his sound on a 2-inch reel-to-reel. That’s how he recorded his 2008 release, The Great Ride.”
The Great Ride is anything but contrived. From the subject matter to production, the album reeks of authenticity. The record was cut “Basement Tapes” style in three days. With everyone in one room, the band recorded the entire album in the studio live on 2” tape-the way records used to be made. According to Brecht, analog tape “...adds a warmth and beauty that digital recording has a hard time capturing. The whole process is different. ” He even goes a step further and writes all of his song by hand or on his typewriter. Sitting on the floor of his apartment thumping away into the dead of the night, Brecht stays up until 2,3,4 o’clock in the morning piecing his songs together. “When the world gets silent, I can hear, ” Brecht explains. In an age where everything is run by computers,


The Night Highway 99 Sessions (2007)
The Great Ride (2008)

Set List

songs from Dead Flower Motel, The Great Ride and others