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"West Coast Performer magazine, April 2006"

The rock quartet Griddle has an interesting mix of musical sounds in store for their listeners. So odd, but to fans of Griddle the combination is naturally so right. The band opens their sophomore release with an eerie solid note on "Boxcars" that you'd find in a science fiction thriller like The Langoliers. The eeriness fades to the back of the boards as a more light-hearted sound comes through the guitars, drums and vocals. As contradictory as the interests are in each of the personalities, the music itself has just as many contrasts. Hearing "Boxcars" is quite a different experience when you read the lyrics, and it is then that the cynicism becomes apparent. Downbeats on bass and more emphasized keyboards give the standout song "Ain't It Good to Be Alive?" a feel of funk, rhythm and blues and garage rock. Though the music has taken a turn, the cynicism still remains with verses like, "Ain't it good to be alive / If you spit on the meat / Then it gets in the gravy / So pass the peas / If you don't want none, baby." - Krystal Iaeger

"Beak named one of the Best Albums of 2005 (#36)"

If you want to believe that rock music can still be progressive in the true sense of that word then, let’s move on to this… Griddle manages to coalesce elements of melodic rock ‘n’ roll, garage punk and traditional prog into one giddy rush, evoking in turns the Ramones, the Flaming Lips, the Minutemen and yes, even Van Der Graff Generator. Listening to songs like “Metro to Norwood” with its prog riffs colliding with jazz guitar runs and Todd Rundgren balladry, one is convinced that there is more to Griddle than meets the eye. Sure, on rockers like “Give It Up” and “Like A Walk,” the sheer energy is palpably irresistible – the former edges dangerously close to power-pop territory with its hybrid of monster riff and gorgeous middle eight (fans of the Raspberries & Cheap Trick will be thrilled!) whilst the latter skirts and flirts with pop punk with its emphasis on pounding crunch and melodious naivety. And it gets even better as “A Movie About Me and You” chugs along with an edgy post-punk enthusiasm. A startling discovery, for sure, make sure you don’t pass up the opportunity to witness modern pop-rock evolution in action. A+
- - Kevin Mathews

", July 2006 (4 of 5 owls)"

This San Francisco quartet has incorporated darker sounding verses mixed with lighter, poppier choruses that give the songs a more dynamic feel than your average rock or pop song. It's almost like you're getting two songs in one. Also, the equipment and effects create a low-fi and raw sounding guitar distortion accompanied by sonic, alien keyboard effects. This use of effects positively adds to the overall feel of the recording and illustrates what direction the band is facing, away from conformity. You'll feel like 80s-style slam dancing, scratching your chin to obscure guitar jazz chords, and tapping your toe to a good old country two-note bass line accompanied by a snare drum that sounds like a steam train – all within this Griddle album. They have a raw, loose feel to their music although, if you really listen, the band is very tight. On Turning Violet, Griddle cooks up a sound that will tantalize your taste buds if you can handle a change from the norm. - Craig Van Dyke

"Skratch Magazine, November 2005"

Listening to Turning Violet brings to mind all the amazing bands that Dischord Records and Washington, D.C. have provided over the years. There's a similarity to the Dismemberment Plan, but Griddle is more radio-friendly than that. The vocals are superb, the songwriting is outstanding, and the musicianship follows suit. An undeniable pop element is at play, but the music transcends that of typical power-pop. Not to underestimate what the band's label is capable of delivering, but it's beyond me that this band isn't more well-known. Turning Violet pulls off being groovy, interesting, and memorable by changing it up in each song without losing any focus. In the end, Griddle proves to be trippy pop that isn't afraid to both experiment on some levels and turn entirely to cater to the average music fan.
- David Barker

", July 2006"

According to Oakland quartet Griddle, the title Klimty Favela is a reference to the idea that the world is "destined to become a surreal, lawless, and oddly Byzantine slum." If that apocalypse is to the soundtrack of Griddle's third effort, it can't come soon enough. The recording process behind Klimty Favela is quite unique. After recording what was originally rough improvisational sessions with only a single microphone "placed haphazardly" in the middle of the room, vocalist/keyboardist Kevin Seal essentially forged compositions by cutting and pasting together sections of those improvisations. He along with vocalist/guitarist Xifer Fortier then wrote lyrics to these compositions, creating a collection of astonishingly coherent songs.

The initial reason for why Klimty Favela's experiment works so well is the seamless addition of the percussive work of Chris McGrew and the bass lines of Kimo Ball. At times, the improvisational demo can be heard unaccompanied - and it does sound quite rough. Yet as a full band, the listener is never let in on the secret that the skeletons of these tracks were, to an extent, created randomly. Regardless of how tight this album is musically, as soon as Fortier roars out the hook to "City Made of Teeth," it becomes obvious that the vocals are the lasting reason of why this album never allows the listener to become bored. Sharing lead vocal duties, Seal and Fortier do their best to sound different on nearly every track. From the falsetto-infused voice of "Picket Fence Grill," to the hilarious optimism found in "Theme from the 1984 Olympic Games," to the deep growls of "Mrs. Jones's Molars," Seal remains incredibly fresh in every offering. While mostly subdued, Fortier similarly stretches his voice and offers several hilarious one-liners, such as "Prison was a gateway drug to Jesus." Their cover of the Monkee's "Porpoise Song" also fits surprisingly well as a closer, leaving the listener with a very recognizable melody to further remove any notion that the album contained improvisational compositions.

In addition to covering their own instruments, all four members of Griddle contribute to the album by playing several other instruments, including mellotron, horns, and accordion. The talent of this band alone makes this album a must-listen - and when combined with their ambition and imagination, Klimty Favela becomes an album that must be listened to many, many, many times.
- David Barnes

", November 2006"

Colorful, sprawling, and adventurous... clever songs, interesting arrangements and genuine humor.

Link to review: - Neal Hayes

" (Italy), February 2007"

Dovreste proprio sentirli, i Griddle. Perché di band come loro ce ne sono sempre meno.

Link to review: - Howty

"LunaKafe, September 2006"

From one listen to the next there will be another song that will set up residence in your head, spinning cartwheels and letting off fireworks.

Link to review: - Tim Clarke

"Baby, You Got A Stew Goin'!, Oct. 2006"

I wish more bands would take these types of chances.

Link to review: - Steve Rogovin

"Low Cut Magazine, September 2006"

Develops in a cool psychedelic way into a real mind journey.

Link to review: - Scott Martin


Three full-length CDs:
Beak (2002)
Turning Violet (2004)
Klimty Favela (2006)



Musical migrants from the East, Midwest, and Hawaii now based in Northern California, the members of Griddle bring with them a wide array of influences (70's rock, Jazz, Punk, Pop), and a willingness to blend them. A truly seasoned bunch, the boys have
toured worldwide over the years in many bands, playing in Japan, China, France, and of course throughout the States. Griddle played a two-week run in Paris in 2001, and has toured regionally numerous times.

The band has produced all three releases, experimenting with new recording strategies and exploring new ways of writing songs. The result is a sound that nobody could have contrived, and which nobody can predict. The music feels like laughter from a joke among old friends, and you've just been let in on the punch line. The infectious good time enters the ear and worms its way to your limbic system with a secret blend of humor and suspense on a bed of twisting melodies. Watch for the big yellow van as we laugh our way there.

Bands who have shared the stage with Griddle recently: Two Gallants, McLusky, the Tubes, Minipop, 20 Minute Loop, Loop!Station, Hairy Apes BMX, Eric McFadden, Deadweight, the Freak Accident, Kehoe Nation, Elephone, Persephone's Bees.

The San Francisco venues at which Griddle performs most frequently are Bottom of the Hill, the Red Devil Lounge, and the Independent.