Music
Press
With the debut of their first single and music video “Isabel” kicking off the set, it was apparent before “The Pretty Dittys” took the stage, the kind of aesthetic that these five West Chester boys (and girl) were going for. The band seemed a bit out of place and to hail from the wrong era, as they were more reminiscent of a traveling band of Eastern European gypsies than a local folk group. In that sense, a dilapidated barn was an appropriate setting for their music video.
With their affinity for exotic sounds and a slightly more eclectic variety of instruments, “The Pretty Dittys” gave the audience a taste of their own version of freaky folk.
The music video downplayed just how manic and at times chaotic this group could be. At times it seemed that the audience was unsure of how to react; perhaps they expected something a bit tamer, but what they got was something that seemed to always be on the brink of destruction. In particular, the manic nature of lead singer/guitarist A.J Thomas propelled the music to chaotic heights. His shifts from calmer singing to aggressive strumming and wild physical movements, gave him the impression of a madman. Yet through all the madness, there was not a botched ending nor a moment where it was evident that the band had lost their place. Perhaps the secure two- step rhythmic backdrop of bassist Alexander Pedrick and drummer Steve Harman allowed the other members the space to paint their occasionally jagged contours. The added trumpet, vocals, and animal-like screeching of Melanie Peterson were never without purpose, even if at times they seemed a bit frightening. One of the most pivotal and yet low-key members of the group, was violinist Matthew Willoughby, whose emotive and screeching melodies gave both structure to the songs, as it brought them towards a controlled mayhem.
One of the most compelling numbers by the group was their interpretation of the famous Lead Belly song “Where Did You Sleep Last Night”. Matthew Willoughby supplied the haunting opening melody that gave the band an air of great sadness. Even so, this number followed an aggressive and startling original composition by the band, and the whole time one could feel as if the all of the members would just shatter their instruments at any moment without warning. If there is a real girl she certainly should not say where she was sleeping last night, but she should come to one of their shows for a raucous time. - the flinging times
With the debut of their first single and music video “Isabel” kicking off the set, it was apparent before “The Pretty Dittys” took the stage, the kind of aesthetic that these five West Chester boys (and girl) were going for. The band seemed a bit out of place and to hail from the wrong era, as they were more reminiscent of a traveling band of Eastern European gypsies than a local folk group. In that sense, a dilapidated barn was an appropriate setting for their music video.
With their affinity for exotic sounds and a slightly more eclectic variety of instruments, “The Pretty Dittys” gave the audience a taste of their own version of freaky folk.
The music video downplayed just how manic and at times chaotic this group could be. At times it seemed that the audience was unsure of how to react; perhaps they expected something a bit tamer, but what they got was something that seemed to always be on the brink of destruction. In particular, the manic nature of lead singer/guitarist A.J Thomas propelled the music to chaotic heights. His shifts from calmer singing to aggressive strumming and wild physical movements, gave him the impression of a madman. Yet through all the madness, there was not a botched ending nor a moment where it was evident that the band had lost their place. Perhaps the secure two- step rhythmic backdrop of bassist Alexander Pedrick and drummer Steve Harman allowed the other members the space to paint their occasionally jagged contours. The added trumpet, vocals, and animal-like screeching of Melanie Peterson were never without purpose, even if at times they seemed a bit frightening. One of the most pivotal and yet low-key members of the group, was violinist Matthew Willoughby, whose emotive and screeching melodies gave both structure to the songs, as it brought them towards a controlled mayhem.
One of the most compelling numbers by the group was their interpretation of the famous Lead Belly song “Where Did You Sleep Last Night”. Matthew Willoughby supplied the haunting opening melody that gave the band an air of great sadness. Even so, this number followed an aggressive and startling original composition by the band, and the whole time one could feel as if the all of the members would just shatter their instruments at any moment without warning. If there is a real girl she certainly should not say where she was sleeping last night, but she should come to one of their shows for a raucous time. - the flinging times
Discography
Still working on that hot first release.
Photos
Bio
The Pretty Dittys produce an array of attractive yet simple songs by means of intricate workmanship and dedication. Their art is influenced by genres such as American Folk, Eastern European Folk, and Folk Jazz. Established in the year of 2012, The Pretty Dittys hail from the great town of West Chester, PA. This musical act was originally conceived in the mind of AJ Thomas and gestated upon the first gathering of what was to become The Pretty Dittys. Through stylings of AJ Thomas in coordination with Steve Harman, Alexander Pedric, Melanie Peterson, and Matthew Willoughby, The Pretty Dittys were brought into this world with a driving sense of composure, fueled by each other’s’ wholeheartedness
towards the music they have procreated.
In Mid-July The Pretty Dittys are taking their first breath of air with the single release of “Used to Be Lover.” Come early fall, The Pretty Dittys will be marking their first knotch on the height wall of The Pretty Dittys kitchen; by touring The East Coast and celebrating their forthcoming EP Release “Divine Invention.”
AJ Thomas brings to life a distinct and cohesive style which grew its roots in traditional eastern european, american, and jazz genres of folk. AJ manipulates the character and sound of a classical folk guitar, which has been passed on to him from a gospel singing preacher woman. He masters an eclectic approach to his vocals, which is geared to fulfill and sustain his vision of folk. Henry Ventura, a multi-instrumentalist is the grandson of the late
bee-bop jazz era band leader Charlie Ventura. Henry chose to use his skills on the bass guitar to accompany and accent to the rhythms and melodies of The Pretty Dittys. Melanie Peterson and Matthew Willoughby bring together the trumpet and violin. These two create magic by complimenting each other musically through a force of consensual epiphanies. Melanie’s trumpet defines choruses and belts out inspirational phrases over simple guitar breakdowns. With his violin, Matthew often elaborates on vocal melodies and takes a lead role with the uses of both rhythmic bowing and definitive musical hooks. Finally, the back bone upon which all of The Pretty Dittys rely is Stephen Harman. Stephen’s contributions to the group go far beyond his tremendously impressive percussion talents. Band Leader AJ Thomas once said “outside of the music Stephen brings to the band what I believe Ray Manzerick brought to the doors. Stephen is a common ground for all of us, providing an amazing grace to our practices, band meetings, and live performences.” The Pretty Dittys want to turn you on,
so dive in!
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