Count Fleet
Los Angeles, California, United States | INDIE
Music
Press
"Big-hearted folk music ... earnest and winsome, they feel like a hedge against high-tech city life, illusory social media friendships and button-pushing marketing campaigns." - Buzz Bands LA
Bouncy, 70s-style pop tunes that sound like ELO, Jon Brion, Living Sisters. The cheery, more upbeat songs are balanced nicely with wistful, spacious ballads that conjure the imagery of winter in Los Angeles. - We F*cking Love Music Blog
Wary hopefulness pervades this EP of ingratiating folk-pop. Glass is joined by bassist/vocalist Caitlin Dwyer, who warbles the whimsical confection “Aside #1.” Glass takes the lead on the remaining four tracks, with Dwyer’s airy soprano softening his rough vocal edges. - Pasadena Weekly
The bands' live show reveals a remarkable dynamic between the two; while Glass's delivery is energetic and direct, Dwyer's approach is more understated, but well crafted, and an irreplaceable balance to the duo. Even with both members taking center stage and utilizing distinctly different delivery styles, there is an overwhelming element of oneness. Another defining element of the band is Glass's songwriting. Glass's writing has modern relevance, but listening only to the groups recordings, I couldn't have guessed which era the band had come out of. I'm convinced if you love the songs now, you're going to love them for years to come. - Radio Free Silverlake
Elliot Glass might be best known as a video director for the indierati (his Rolodex includes Local Natives, Avi Buffalo, et al.), but he has teamed up with Caitlin Dwyer for a focused set of pop tunes that, dare we say it, manages to outdo his way buzzier clients. Yes, it's retro — the sound of the Count Fleet EP is very early-'70s (Glass and Dwyer lo-o-o-ve those solo Beatles chords). There's even a Mo Tucker–esque turn by Dwyer in "How It Ends" — but it's done well and a gorgeous Echo Park soundtrack. - LA Weekly
Discography
Stay Here 7" - Release Date: Aug 02, 2011
Count Fleet EP - Release Date: Feb 22, 2011
Photos
Bio
Los Angeles-based Count Fleet's jangling indie pop epitomizes the notion that the hills of Echo Park are fast becoming the latest refuge for "big-hearted folk music coming from the scene" (Buzzbands.LA). Following in the footsteps where LA bands like the Beachwood Sparks and Mazzy Star left off, Count Fleet's lush sound finds its middle ground somewhere between Laurel Canyon's psychedelic country legends The Byrds and the sunny West Coast harmonies of Brian Wilson, all the while maintaining a modern indie ethic. Formed around the songwriting of Elliot Glass, there's a timelessness to the music that's hard to classify, already drawing them comparisons ranging from Gram Parsons to The Velvet Underground, Wilco to Jon Brion, Camera Obscura to The Tallest Man On Earth. Although Count Fleet follows in the psychedelic folk tradition, they're careful not to diverge too far into the realm of psychedelia, rooting the songs with distinctly sincere lyricism and a concise pop treatment that makes a sound all their own.
Since releasing their debut demos as a self-titled EP in the beginning of 2011, the act has grown from a duo featuring Glass on vocals and guitar along with Caitlin Dwyer on bass (Letting Up Despite Great Faults) to a permanent five-piece band, including notable Los Angeles producer Raymond Richards (Local Natives, Broken West) on lead guitar, Jacob Summers on drums and Tom Sirikulbut on keys. On record the band has seen contributions from a number of esteemed friends and musicians from the LA scene including Mike Green (Belle Brigade), Jordan Hudock (Henry Clay People), Lucas Ventura (Races), Erin Way (Parson Red Heads) and Brian Whelan (Broken West). In August 2011, the band released a limited edition vinyl 7" single on local label Manzan Records and briefly toured the West Coast. Since returning to Los Angeles, they've completed work on their full-length debut, Strangers, produced by Richards.
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