Oak and Gorski
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Oak and Gorski

Los Angeles, California, United States | SELF

Los Angeles, California, United States | SELF
Band Pop Singer/Songwriter

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"Oak & Gorski’s upcoming album Love Destroyer"

After I tell you about Oak & Gorski, you’ll be wondering why you haven’t heard of them before. Oak & Gorski (formerly Ken Oak Band) is about to release their fourth studio album Love Destroyer, they raised $13,368 in 30 days on Kickstarter, they’ve toured the US ten times and are currently in Asia on their first overseas tour, and their music has been placed in the hit movie She’s The Man, Lifetime’s “A Nanny Secret,” and CSI:NY.

Now you’re wondering how you could have possibly missed them, right? This dynamic cello and acoustic guitar duo have created their unique genre of “cello rock.” Ed Gorski’s strong, soulful, and twangy vocal styling brings an americana vibe to the duo. Ken Oak’s cello-playing along with his soaring harmonies balances the music perfectly and makes it clear why the two have been performing together since 2005. Their influences range from Ryan Adams, to Depeche Mode, to the Indigo Girls and the diversity is incorporated into Love Destroyer simply and beautifully.

On the opening track of Love Destroyer, “If I Could Tell You,” Gorski’s vocals bring the record to a field of tall grass and the smell of home cooking. The track swings into harmonies for the chorus that bring together the sweet and sultry into a warm and soothing concoction. “Mountains,” the second song on the new record, is my favorite. It opens with finger-picking of an acoustic guitar and immediately breaks into the harmonies of Oak and Gorski. The solid Americana folk influence is the most present in this song. And with the song about the beautiful landscape of the blue sky and mountains, it’s easy to imagine that these guys migrated to Los Angeles from some beautiful places. “New York” sings a love song to the the majestic bustling of this crazy city. It paints a contrast to the previous track “Mountains” and illustrates the beauty they find in all landscapes. “New York” is followed by the title track of the album “Love Destroyer.” This song is the most “rock” you’ll find on the record with the intro of the staccato bass notes of the cello breaking into the minor key haunting of the acoustic guitar. Although the song sounds upbeat, the lyrics are tinged with regret, singing “I’m a love love love destroyer / There’s got to be someone better for ya.” The record closes with the lullaby of “Burn the Bridge.” Singing promises to a lover and reeling in the listener, this track is another showcase of vocals and acoustic guitar picking laid over the sweeping cello. This song is seemingly influenced by country pop songs like Brad Paisley and Allison Krauss’ “Whiskey Lullabye.”

Love Destroyer shows originality while showcasing the duo’s talent and promises that although the duo are already on their fouth album, Oak & Gorski are just getting started. While they consider themselves “cello rock,” you’ll love Oak & Gorski if you enjoy americana, folk, and country pop. They’ve already shared the stage with popular artists Sara Bareilles, Meiko, Gary Jules, Mumford & Sons, Greg Laswell, and Far East Movement and it clear that with the release of Love Destroyer, they’re not going anwhere.

You can pick up Good Advice, Bad Advice now or wait until December 14th for Love Destroyer. - Addicted to Shows


"CD Review: Oak and Gorski, "Good Advice, Bad Advice""

Take the rootsy instrumentation of Lowen & Navarro and blend it with the marshmallow-sweet vocal harmonies of the Guggenheim Grotto, and you’ve got yourself Oak and Gorski, the cello-rockin’ duo made up of former Ken Oak Band members Ed Gorski and (duh) Ken Oak. Good Advice, Bad Advice is the first album they’ve released since ditching the Ken Oak Band moniker, but the new stuff is still being compared to their previous albums — mostly unfavorably, from what I’ve been able to determine, primarily because these songs are more “pop” and less “cello-driven ambient folk” than the fans are used to. I’ve never listened to a note of their other songs, so I can’t compare, but I can tell you that Good Advice, Bad Advice is 11 songs’ worth of gently catchy, sneakily addictive acoustic-based pop/rock, bound together with steel strings and webs of ringing harmonies. It won’t win any points for originality, and it won’t change your life, but it will grow on you — I know, because I’ve been listening to it all day, and while I probably couldn’t hum a single song other than “Pretty Far Gone,” I’m not tired of the album yet, and that’s really saying something.
- popdose.com


"Oak and Gorski- "Good Advice, Bad Advice""

Blending together so many genres it seems like you're tucking into a musical smorgasbord.

Bringing you their third album, this California based duo release an unconventional album full of awesome tracks accompanied by some sweetly played vocals. Here, they use the cello as support or main instrument in the vast majority of the eleven songs which sound as though George Gershwin himself had a hand in the production of this self-penned album.

An album which dips its toes into the pools of many musical styles, this latest offering from the American west coast pairing will surely please their current fans as well as help initiate the unknowing into following their career with exuberant efforts - Maverick Country Magazine (UK)


"Ken Oak Band"

The Ken Oak Band calls it's music "cello rock". With an acoustic setup based around a folk guitar, soulful cello work and calming lyrics, the band landed a spot on the March soundtrack to, "She's the Man". - Billboard Magazine


"Cello-rock duo Oak and Gorski combine symphonic, acoustic sounds for a signature brand in L.A."

The city of Santa Monica is many things to many people: To some, it is a playground for the super wealthy; Jack’s Mannequin deemed it home to a freak show. But cello rock duo Oak and Gorski could call the shopping center and tourist-magnet Third Street Promenade home, while many of its regulars could call its music the soundtrack to the city.

Tonight, cellist Ken Oak and guitarist Ed Gorski will play at Dakota Lounge in Santa Monica, showcasing the band’s rare blend of symphonic cello rock, acoustic guitar and self-reflective lyrics, a concoction that has become their signature style.
“Their instrumentation is very unusual, you don’t see a lot of cello-rock,” said Bryan Cook, who mixed the band’s most recent album, “Good Advice, Bad Advice.”

“And obviously, people like pure emotion. These guys are wearing their hearts on their sleeve.”
The band formed in 2004. Oak, who graduated from USC with a music degree, had been moving coast to coast and getting by as a solo artist playing acoustic guitar in the folk scene. Through a friend of a friend, Oak and Gorski met, jammed and eventually formed the Ken Oak Band with a third guitarist, Chris Ramos.
With three guitarists in the band, Oak switched to playing the cello, an instrument he hadn’t played since his youth.

“It was really (Gorski’s) suggestion early on,” Oak said. “He said, ‘Why don’t you pull the cello out and see how it works?’ I did, and it was difficult because I hadn’t played in so long. But I got used to it. I taught myself how to sing while playing, which is really difficult. But it was worth it. In the end it became our signature sound.”

Since releasing the first of three albums, “Symposium,” in 2005, the band has had what Oak called a “crash course” in being an indie band. After Ramos left after its first national tour, the band became Oak and Gorski and completed two more while traveling in an old van.

They’ve lived in parents’ homes and gotten used to record deals falling through. They have also sold over 25,000 records, played hundreds of shows at venues and colleges around the country, and had their song “Inda” featured in the 2006 DreamWorks film “She’s the Man.” Oak and Gorski even established their own record label, Cello Rock Records.

While both men are both singers and songwriters, Gorski wrote many of the songs on their newest album. Some were written about a particularly bitter breakup he was dealing with, while others touched on booze and a self-reflective state.
“Girls, cigarettes and booze are what I write about a lot,” Gorski said.

“Some of the songs on that record are about one girl I was dating for a while,” Gorski said. “We were equally crazy musicians and broke up badly. She was focused on her career. I was focused on my career. But there are other songs ... about getting old, or we were having a rough patch and just thought, ‘We can sing and make it through.’”

While the band hopes to find a bigger break, the members are in the process of recording a fourth album, one they said they believe will capture their most genuine essence after a trio of albums experimenting with live acoustic, semi-produced and completely pop/rock sounds.

“We’ve gone from super stripped-down to a little bit built-up to full-on rock band,” Oak said. “We finally figured out we want to stick with what we’re good at, which is cello rock.”
As Oak and Gorski move forward, they intend to stick with the soul-searching, symphonic melodies that have made Promenade-dwellers, college students and fans across the United States fall in love with the cello rock aficionados of Los Angeles.

“I know my experience of joy just from writing songs, playing songs and seeing something come from nothing,” Gorski said. “Touring and getting to meet people and connect with people who really enjoy our music, there’s no better thing in my mind.” - UCLA Daily Bruin


"Strings Attached- Oak and Gorski"

In 2005, shortly after Hurricane Katrina devastated the north-central Gulf Coast, Ken Oak and Ed Gorski were driving through New Orleans in a Honda Element with a U-Haul attached behind it.

“Trees were blown over, there were all these cars abandoned on the side,” recalls Oak. “We ended up at this abandoned house at the end of a cul-de-sac and we could’ve sworn there were people in there. When we got back on the road, the sign for the freeway was upside-down and we were just screaming.”

It seems almost fitting that Oak, who formed the Ken Oak Band with Gorski in 2004, witnessed such havoc on his first self-booked national tour. Much of Oak’s earlier work was inspired by a place that had to function under chaos: the peculiar (though non-catastrophic) setting of Lewis Carroll’s Alice’s Adventures in Wonderland.

“My younger sister had the videotape, so I ended up watching it hundreds of times with her,” says Oak, 33. “My writing was influenced by that mad world, where things didn’t make sense.”

But Oak and Gorski, pegged as an acoustic cello rock act, aren’t necessarily promoting a life on acid. Nor do their songs evoke a sense of disorder. Hailed for distinctively fusing cello with folk and rock elements, the duo is known for lyrical songs laced with penetrating, melancholic chords and soulful vocals.

The term “cello rock” can still be misleading, says Gorski, 27. Unlike Apocalyptica, the Finnish metal band that plays Metallica covers on cellos (thereby reducing countless horsehair bows to shreds), the Ken Oak Band’s style of rock isn’t heavy or in-your-face.

Instead, think Jack Johnson meets Yo-Yo Ma – yet not necessarily sounding like either.

“We’re hard to describe,” says Oak. “But we kinda border on soft rock, even though I hate that term.”

On a recent Thursday in August, Oak and Gorski, who share an apartment in Los Angeles Koreatown, were preparing to perform at the Third Street Promenade in Santa Monica, Calif. To pay the bills, the band plays almost every evening at the outdoor pedestrian strip (often wearing suits and skinny ties à la Franz Ferdinand). Since 2005, they’ve been on five national tours and have sold nearly 25,000 albums independently.

More indie singers and songwriters in Los Angeles are captivating audiences, thanks to Hotel Cafe, a Hollywood venue that’s helped artists such as Priscilla Ahn and Meiko generate buzz. The Ken Oak Band, which just finished a month-long residency there, also had their song “Inda” featured in Andy Fickman’s 2006 film She’s the Man.

The band’s first two albums, Symposium (2005) and Vienna to Venice (2006), were released under their own label, Cello Rock Records, and they plan to release a third, tentatively titled Good Advice, Bad Advice, in December.

The songs haven’t been recorded, or even chosen. Yet the name is an accurate representation. “There’ll be songs that are positive and encouraging, and other songs about getting drunk and breaking things,” says Oak. “The cello, which I treat like a third voice, brings it all together.”

Oak, who became a cellist when he was 8, never expected to become a cello-playing singer. And not too many do. “When the cello was invented,” he says, “the guy wasn’t thinking that people were going to be singing while playing it.” Another surprising element: chicks dig the strings. “You wouldn’t expect it. Cello was not the instrument that got you laid in high-school.”

Learning to play was the result of a happy accident. While Oak was living in Houston as a child, his elementary school’s music teacher needed a cello player for the orchestra. Oak, who’d never played before, was chosen to fill that void. “It got me out of class and I was cool with that,” he says. “But I had to carry it half a mile to school and back everyday. It was a lot bigger than I was. It must’ve looked funny from the street … this huge cello with feet underneath.”

The peak of Oak’s classical cello-playing career was during his senior year in high school. “Cello was an escape,” he says. “I just loved the way it sounded: sad and melancholy. It evokes a certain kind of emotion that is just very natural for me.” He even considered becoming a professional classical cellist. But when his teacher told him that his hands were too small to be a soloist, he switched to playing bass, then guitar.

Oak, who was born in San Mateo, Calif., spent most of his life moving around. He’d lived in Arizona, Colorado, Illinois, Maryland, Michigan and Texas before settling in Los Angeles to pursue a music industry degree from USC. He met Gorski in 2004.

Gorski was into Pennywise, and grew up listening to punk. Oak, who preferred the Indigo Girls, was influenced by vocal harmonies and new wave. Still, their differing tastes didn’t stop them from forming a band. Though they initially both played guitar (the cello was brought in later, as the suggestion of Gorski), Oak now plays cello and sings lead and Gorski plays guitar and sings harmonies. Both write the songs and are equal contributors.

Then why are they called the Ken Oak Band?

“I was a solo artist for a long time,” says Oak. “So much was invested in [my] name that to start over felt impractical. So we just stuck with it. It’s kinda been a long-running discussion. I know Ed has issues with [the name], and I would too.”

As for Good Advice, Bad Advice, expect the same emphasis on acoustic cello and guitar, but a style that is “more country-ish somehow,” describes Gorski. “Alt-country like Ryan Adams. But a darker version with some pop thrown in there to kick you in the face.” The new album may also incorporate drums and other instruments. But that won’t include the electric cello.

“I used to have one of those,” says Oak. “But a friend of mine borrowed it one time and he was sort of a crackhead. So he pawned it. It’s still in the pawn shop right now.” - Koream Magazine


"Fresh Music- Oak and Gorski"

Oak and Gorski, comprised of Ken Oak(cello) and Ed Gorski (guitar), provides a fresh new "cello rock" act that you've been trying to hear...but couldnt find it. The duo's latest album titled Good Advice, Bad Advice dishes the listener with some good soulful acoustic flavor. The album has a few catchy melodic tracks such as Pretty Far Gone and they teamed up with production duo Will Golden and Al Sgro (Meiko, Eric Hutchinson, Gary Jules) to provide a great rhythm section throughout.

- Frozen Aisle


"The World can be saved by music"


I love this album cover. It's the latest album, Good Advice, Bad Advice from cello and acoustic guitar duo Ed Gorski and Ken Oak also known as Oak & Gorski. It's got an organic string sound, but just the right amount of contemporary pop to make it accessible to the mainstream.

- Hypemachine- The Impressionable Youth


"Local Indie Duo Branches Out with Latest Album"

Ken Oak, in a white long-sleeve shirt, jeans, and slightly messy hair that covers his face a bit, sits in a dimly lit, small, cozy Los Angeles cafe near Koreatown, nervously fidgeting just a bit. Ed Gorski, his bandmate, dressed in a moderately wrinkled grey button-down, cargo shorts, and a scruffy beard, leans back casually in his seat, one arm hanging loosely behind his chair. Both have faint but noticeable bags under their eyes — effects of the successful release of their new album at the Hotel Cafe in downtown Los Angeles earlier this month.

They are waiting for this interview, and this article, to get started as the cafe barista very slowly prepares the three mochas. The drinks arrive, Oak sits up, Gorski remains in his casual pose, and the interview gets underway.

Being in front of them, up close, forces one to really stand back and take in the juxtaposition of utter stereotypes that this duo comprises. In many ways, the two of them are a couple of personified stereotypes: Oak the soft-spoken, reserved, Asian who plays the classical, orchestral instrument and comes from a strict, demanding family, and Gorski, the outgoing, beard-sporting white guy and self-proclaimed “free spirit,” who plays the rock guitar. And both of their origins in music are not any less different.

Oak, 33, got started on the cello, and music, when a third grade music teacher hand-picked him for the instrument. Oak is quick to clarify the term “hand-picked.”

“It really wasn’t a very good school so it was easy to stand out. I was just doing good in spelling and math,” he says in a typical self-deprecating way.

Although he got hooked on music at an early age, perhaps reflective of the strict, ambitious Korean-American heritage that he comes from, his plan was never to become a full-time musician.

“That was never an option. My parents never said, “Hey, you can be a musician.” No one says that. I grew up thinking I was going to be a lawyer. That’s what my dad was, that’s what my sister was.”

So he set his eyes on law school — while keeping his love for music close by. He even convinced his father to allow him to study music at the University of Southern California, under the condition that he promise to apply to law school upon graduation. During his time at USC, he was actively involved in the music department for local church programs, where he cultivated and explored his love for music even more. By the time he heard back from schools like Michigan and New York University, offering acceptance into their law programs, he found music had formed too strong a hold on him.

“I remember a point where I felt I had to make a choice,” Oak relays while staring down into the coffee table. “I had to decide that I’m going to do music and not consider other options. It sounded really stupid to a lot of people but I think that’s what really got me going.”

That was Oak. Then you have Gorski, 27, who got his start in music in a more straight-forward, smooth fashion. When asked to recall what got him onto music, he immediately breaks out with a huge smile.

“I started playing guitar at 13 or 14. I was in a band in high school. We played crappy Nirvana and Metallica covers and whatnot. You know, the usual,” he relates in a tone that’s both non-chalant and humorous.

After college, he moved out to Los Angeles and delivered groceries, eventually miraculously getting a job at an independent record label. He and Oak met through mutual friends as Oak was looking into potential labels to sign with. Their meeting didn’t lead to a big record deal but it did lead to, according to Gorski, “quitting all jobs and then just driving around and playing music.”

Unlike Oak, Gorski’s family did not push him to become a lawyer.

“When I told them, ‘You know, I’m gonna start working as an artist,’ they said, ‘Okay, cool! Hope it goes well!’” And that was that.

But as stereotypical as they may be individually, the two of them working together as a duo make their act unique and they are somehow able to mesh with each other.

Fast-forwarding to the present, that chemistry has them preparing to go on tour to promote their latest release, Good Advice, Bad Advice, which is a record that significantly departs from the bare, stripped-down acoustic sound they’ve been playing for years.

“I guess we feel like we had explored the acoustic thing enough because if you listen to our three records you’ll see a progression,” Oak explains while taking the first sip of his coffee.

The pop-rock sound of the new record is still recognizable and is very much within their established identity; the duo is simply looking to branch out a bit more. But don’t get them wrong, both acknowledge and still embrace the relevance of their earlier work.

“It was cool,” Oak continues. “I think those albums were true to how we sounded but I feel that with this one, we wanted to go more commercial, more radio-friendly, more pop.”

Ed quickly adds, “While, of course, keeping the same string-based sound.”

But neither of them will ever hide the fact that they had doubts and some hesitancy when Will Golden and Al Sagro, who served as both producers and musicians on their latest album, approached them with the suggestion of adding more instruments and a bigger sound to their music.

“We were kind of still humming and hawing about it and weren’t really sure if we wanted to take that step,” Gorski says in between sips. “And we were just like ‘Yeah sure, we’ll see how it works, we’ll try it.’”

Both pause and glance at each other, both seeming like they each want to rush to the next point in the conversation.

“And then we did like three songs…and we were like ‘Whoa…okay, let’s do this!’” Gorski says with a chuckle.

In a previous conversation from a year ago, before their current album was even on the radar, both artists were asked, as they were loading equipment into their mini-van after a show, what their motivation for making music was.

At the time, their reply was something along the lines of: “We just want to make music for as long as we can.”

This question seems relevant enough to be asked again but Gorski sees it coming before it even has a chance to fully form.

He puts his cup down mid-sip to blurt out, with an utterly dead-pan expression and tone, “No it’s totally different. We just want to make money now. Screw music.”

Both let out a loud, extended laugh before Oak continues.

“Well at that time, we probably said something more like ‘We would like to make a living making music.’” He pauses to straighten up in his seat. “And at this point, I think we’ve realized that in order to make a living making music, we’ve got to change the sound like we have with this album.”

Ed puts both feet on the ground and moves up closer to the table to elaborate.

“It’s trying to keep the old with this new thing that’s going to help us move in different directions and maybe get into more film and TV placements.”

He sits up even closer as he explains, “Okay so there are certain groups of people who like a lot of just the acoustic sounds — like the guitar and that ‘singer-songwriter’ type of stuff. And that’s a small set of people. Most people would be like ‘Oh that’s a little boring, I can’t really listen to a full record of this.’

Gorski picks up his speech even more, with Oak sitting back and nodding in agreement. “And at the same time, there’s this whole group of people who simply like music that’s good to listen to and that’s what I think we were already doing,” Gorski continues.

“But I think what we’re trying to do now is make music that’s –” He pauses to take a breath before going on. “Music that’s — more people.”

With a final nod, Oak consents to the assessment. Both of them put their cups down and sit back in their chairs during a short break in the conversation.

Amidst all this talk of “progressing” in sound and opening up to “wider audiences” there has always been one dominating constant in their music that neither of them has addressed yet — and that’s the cello.

The band’s first album, Symposium, was a very somber, moody, and relatively dark album that had a sort of brooding tone to it, which the cello seems suited for and did indeed match well with. But as they shifted in sound with brighter elements on their second album, Vienna to Venice, and with the more or less straightforward pop-rock on Good Advice, Bad Advice, the cello has surprisingly maintained its spot at front and center, never at once feeling out of place or forced.

The versatility of the cello is something that neither of the musicians ever expected. In fact, they were just as surprised as anyone else at how well the instrument has gelled with everything they’ve thrown at it.

Oak pauses to think for a moment before recounting, “When I first got plugged into the singer-songwriter/acoustic scene after college, that’s when I first broke out the cello — when I was backing up people — and I realized that it worked well in that folk kind of scene. But I didn’t realize it would have so many different applications, like in this rock setting for example.”

There is one more thing besides the cello that has remained a constant in their songs. It’s the lyrical themes and inspirations.

“The songs are about drinking and crazy girls,” both say, almost in unison. They go on to claim that this long-running theme of theirs actually helps them in their goal of appealing to more people. Oak adds while in the middle of muffled laughter, “You either deal with them or you are one.”

Orski then takes the lead. “Well, they kind of go hand in hand,” he quips. “Because crazy girls like to drink and if you have a crazy girlfriend you drink–


“To deal with that,” Oak finishes, signaling another explosion of laughter.
While on the topic of long-standing aspects of their music in conjunction with newer goals, the conversation turns to yet another staple of their careers that has been around almost as long as they have: the support of the USC Trojan family.

“I think it’s really cool that you automatically get that support from your alma mater,” Ken says solemnly with no trace of the laughter that occurred just a few seconds before. “I think it’s awesome that we always have support there with whatever new stuff we’re doing.”

“And every time we play on campus,” Gorski adds. “Which unfortunately didn’t happen this year, the turnout is great and we’re always thankful for the welcome we receive there.” (They could not get a Tommy Trojan date this year because we were all booked very early.)

With that, the coffee cups are sipped from one last time, hands are shaken, thanks are exchanged, and the interview winds to a close.

The two of them walk out the back door and up the short alley back to Oak’s house, which is the band’s main hangout. The duo heads inside to get some last minute preparations done before they hit the road, once again, in their mini-van — hopefully finding that wider audience they now seek. - UCS Daily Trojan


"Review: "Good Advice, Bad Advice""

To me a cello is usually only useful for string quartets or to herald the sinking of the Titanic. Until I listened to Oak and Gorski. From light sweeps over the strings to heavier strokes of the bow, the cello provides a unique sound that ties Oak and Gorski’s blend of classical, country, rock and indie together so well.
With Ken Oak on vocals and cello and Ed Gorski on vocals and guitar, the Californian duo sing emotionally-driven songs that talk about heartbreak, relationships, cigarettes and booze. And they do it very well. Their lyrics are simple, yet meaningful and full of emotion, sung in the mournful, slightly country twang Ken Oak does so well. But it’s when Oak and Gorski hit those melodic harmonies together during the choruses where the music comes together perfectly, much like how their Gorski’s guitar and Oak’s cello blend together perfectly in each and every song.
Their latest album, Good Advice, Bad Advice provides a good mix of songs, ranging from the melancholic “When The Evening Comes” to the upbeat “Pretty Far Gone” and “Suffocate Me.” I have to say at this point that Oak and Gorski are even better live than on their CD. Perhaps it’s just the perfect simplicity of just a guitar and cello on the Third Street Promenade in Santa Monica. Or maybe it’s the slower tempos and personal touch of their live performances.
They do prove versatile with their songwriting and instruments, switching up from soft, simple melodies on “Little Miss Blue” to a more urgent, edgier sound on “Steady Heart.” I sure haven’t heard a cello being used in that way. A bulk of their songs make me think of a log cabin, a fireplace and some hot chocolate, but perhaps that’s just me. The emotional, personal lyrics make the listener feel comfortable and familiar, like two friends sharing stories of loves lost and won.
One problem I had with Good Advice, Bad Advice is that it was hard to listen to it in one long sitting. Regardless of whether the song was a faster or slower one, the heartbreaking lyrics that speak of pain and loss are heavy to handle all at once. So I took it in bits and pieces. Yet, I still walked away humming the chorus to “Little Miss Blue” on my way to go get some hot chocolate.
Two of the must-listen songs of the album – Little Miss Blue and Steady Heart. - Cal. State Fullerton- Daily Titan


"Hand Crafted Oak"

A duo billed as 'cello-rock', a tag that may not generally juxtapose well but doesn't really mislead in this instance, their song Pretty Far Gone chronicles the highs and lows of 'school nights' I'm sure many of us have experienced. With a gentle approach - the instrumentation is rich and the vocal low-key - to rough subject matter, the tune initially relaxes but eventually convinces and unsettles in a manner not dissimilar to drinking away responsibility that will potentially return to haunt one the next day.

Or, simply stepping back from any meticulous deconstruction, it's a pretty fine drinking tune.

So imbide plenty during this season of excess, because the responsibilities return in a couple of weeks and I'm sure you've earned a glass (or six) of your favourite tipple.



"I walked down the street to the next place
Pulled up a seat and slapped my money down
Stumbled down the street to the next place
You should have seen me
In all my glory"

"Pretty Far Gone"- From Good Advice, Bad Advice - Heavier-than-air


Discography

Oak and Gorski- "Love Destroyer"- Dec 14, 2010

Oak and Gorski- "Good Advice, Bad Advice"- 2009

Ken Oak Band- "Vienna to Venice"- 2006

Ken Oak Band- "Symposium"- 2005

Photos

Bio

Described by Billboard Magazine as "soulful" and "calming", Oak and Gorski are an LA based acoustic duo composed of Ed Gorski and Ken Oak (formerly the Ken Oak Band). Commonly billed as a 'cello rock' act, they consistently captivate audiences with their unique combination of cello and acoustic guitar providing a minimalist backdrop for deceptively sincere songwriting. Oak and Gorski have been making music together since the fall of 2004. They have been included on the soundtrack to major motion picture "She's The Man" and placed numerous songs in television shows. Having completed ten national tours and producing three albums under their own label, Cello Rock Records, Oak and Gorski are no strangers to success. With Ed's luscious strumming on rhythm guitar working in harmony with the deep, stirring chords Ken pulls from the cello, their sound communicates directly to the heart of the audience.
Oak and Gorski have sold over 30,000 albums independently. They have recently completed a month long residency at Hotel Café, Los Angeles, and play there often when they are home.
Oak and Gorski are releasing a new EP entitled "Love Destroyer" in Decemeber 2010. They recently completed a successful fundraising campaign on Kickstarter.com. In 30 days the duo raised over $13,000 to fund promotion of the new EP.