World Blanket

Warm, violin-driven Americana with the odd trumpet, sax, cello and pitch pipe embellishment from this Philadelphia quartet. Guitarist/songwriter Michael Pomranz’ homey, folksy tunes...keep the listener consistently on their toes, never knowing what to expect next. - foxy digitalis

Warm, violin-driven Americana with the odd trumpet, sax, cello and pitch pipe embellishment from this Philadelphia quartet. Guitarist/songwriter Michael Pomranz’ homey, folksy tunes...keep the listener consistently on their toes, never knowing what to expect next. - foxy digitalis

Philly quartet World Blanket is a multi-faceted rock band. Not only does violin provide melodies on many, if not all, of the tracks on their debut album, but the band incorporates ingenious rhythms that get away from the typical rock and indie sound. With that said, the production of World Blanket’s 'aMaybe' lacks some depth, a minor detail that is somewhat made up for with frontman Mike’s edgy, and sometimes trying, vocals and the instrumental consistency throughout the album. - Plug In Music.com

Philly quartet World Blanket is a multi-faceted rock band. Not only does violin provide melodies on many, if not all, of the tracks on their debut album, but the band incorporates ingenious rhythms that get away from the typical rock and indie sound. With that said, the production of World Blanket’s 'aMaybe' lacks some depth, a minor detail that is somewhat made up for with frontman Mike’s edgy, and sometimes trying, vocals and the instrumental consistency throughout the album. - Plug In Music.com

Weirdly blending the tiptoed lilt of folk and the ragged whine of indie rock, Philly’s the World Blanket top off that iffy equation with a very prominent violin, making their 2006 album aMaybe a somewhat disorienting journey. Gaining steam with shorter songs in the beginning, things build to a memorable crescendo with the three-part heart-on-sleeve ‘Till We Die.’ Catch them and see how nicely frayed emotions can fit with flighty instrumentation. - Philadelphia Weekly

Weirdly blending the tiptoed lilt of folk and the ragged whine of indie rock, Philly’s the World Blanket top off that iffy equation with a very prominent violin, making their 2006 album aMaybe a somewhat disorienting journey. Gaining steam with shorter songs in the beginning, things build to a memorable crescendo with the three-part heart-on-sleeve ‘Till We Die.’ Catch them and see how nicely frayed emotions can fit with flighty instrumentation. - Philadelphia Weekly

How do you get drunk listening to hard acoustic music? Dig Syd Barrett-ish singer/guitarist Mike Pomranz and violinist Jon Dunn’s aggro-acoustic World Blanket. - Philadelphia City Paper

How do you get drunk listening to hard acoustic music? Dig Syd Barrett-ish singer/guitarist Mike Pomranz and violinist Jon Dunn’s aggro-acoustic World Blanket. - Philadelphia City Paper

The Pressing Issues EP is part Bob Dylan, part New York Trashy rock n roll sounds like a more modernized Rolling Stones. RATING: 4 ½ of 5 - Y-Rock on XPN

The Pressing Issues EP is part Bob Dylan, part New York Trashy rock n roll sounds like a more modernized Rolling Stones. RATING: 4 ½ of 5 - Y-Rock on XPN

‘This Old West’ caught my attention. While a Rolling Stones comparison is apparent, there’s that familiar kraut chug injected as well, and the above-average length of the track slips on by without notice amid the gripping instrumentals and snarling sentiment. Their second album, Elevator, is one I highly recommend grabbing! - A Future in Noise

‘This Old West’ caught my attention. While a Rolling Stones comparison is apparent, there’s that familiar kraut chug injected as well, and the above-average length of the track slips on by without notice amid the gripping instrumentals and snarling sentiment. Their second album, Elevator, is one I highly recommend grabbing! - A Future in Noise

"This Old West" is a vulgar, ass-kicking, horn-augmented slab of deep-fried alt.country. It’s the summer — what more could you ask for? - Critical Mass

"This Old West" is a vulgar, ass-kicking, horn-augmented slab of deep-fried alt.country. It’s the summer — what more could you ask for? - Critical Mass

2012 is the World Blanket’s hasty attempt at recording their third album before the world ends later this year in December. World Blanket is Mike Pomranz, lead vocalist and acoustic guitarist as well as co-producer and songwriter, violinist Katherine Fong, bassist Dean Moore, and percussionist Jonathan Flax. But don’t get wrapped up in the name of the band—their sound is anything but warm and cuddly.

“The Holiday Song (For No Holiday in Particular)” plucks its way into your ears with a raspy vocal introduction—part angst, part melodrama—then falls into a familiar melting pot of strings, drums, and chorus. Despite the less than cheery lyrics, the song is upbeat, though it needs a bit more cowbell.

And “here’s to boredom; here’s to jumping in the fire” of “The Greatest Trainwreck”—a song strongly driven by Fong’s dancing violin bow that holds the tune together. Pomranz has an eerie vocal quality that lies somewhere between a controlled emotional release and the raw sound of an untrained yet unfettered voice. In fact, the entire album has a very raw and unfinished feel—you get a transparent look at who they are at this moment. “And Here We Are (Again Maybe)” they say, lifting into a steady pop rhythm with subtle echoes of violin chords. If I had to pick, I’d say this song is the tightest.

“The Blues” displays a healthy and much needed dose of piano accompaniment by Michael Wall. This track is the first break from the pop and pep of the songs which precede it—a lingering let-down as a reminder that what lies behind the music is not all fun and games.

The final three songs, “Snooze Bar”, “Time Was”, and “2012 (Side B)”, all feature The Calder Quartet. “2012 (Side B)” feels like a 14-minute experience of wandering through a haunted cave. Amidst the twisted screams and grated sounds of the violins, you can hear Terence McKenna’s voice asking you to “Create your own roadshow.” This instrumental track provides a suitable sense of closure for what seems to be World Blanket’s journey to their center.

The album 2012 (No Applause Records) releases on Tuesday, April 3rd, 2012: the date of Mike Pomranz’s birthday as well as Terence McKenna’s death. If you’re in New York on the 3rd, you can buy tickets to the album release party at Mercury Lounge - Tri State Indie

2012 is the World Blanket’s hasty attempt at recording their third album before the world ends later this year in December. World Blanket is Mike Pomranz, lead vocalist and acoustic guitarist as well as co-producer and songwriter, violinist Katherine Fong, bassist Dean Moore, and percussionist Jonathan Flax. But don’t get wrapped up in the name of the band—their sound is anything but warm and cuddly.

“The Holiday Song (For No Holiday in Particular)” plucks its way into your ears with a raspy vocal introduction—part angst, part melodrama—then falls into a familiar melting pot of strings, drums, and chorus. Despite the less than cheery lyrics, the song is upbeat, though it needs a bit more cowbell.

And “here’s to boredom; here’s to jumping in the fire” of “The Greatest Trainwreck”—a song strongly driven by Fong’s dancing violin bow that holds the tune together. Pomranz has an eerie vocal quality that lies somewhere between a controlled emotional release and the raw sound of an untrained yet unfettered voice. In fact, the entire album has a very raw and unfinished feel—you get a transparent look at who they are at this moment. “And Here We Are (Again Maybe)” they say, lifting into a steady pop rhythm with subtle echoes of violin chords. If I had to pick, I’d say this song is the tightest.

“The Blues” displays a healthy and much needed dose of piano accompaniment by Michael Wall. This track is the first break from the pop and pep of the songs which precede it—a lingering let-down as a reminder that what lies behind the music is not all fun and games.

The final three songs, “Snooze Bar”, “Time Was”, and “2012 (Side B)”, all feature The Calder Quartet. “2012 (Side B)” feels like a 14-minute experience of wandering through a haunted cave. Amidst the twisted screams and grated sounds of the violins, you can hear Terence McKenna’s voice asking you to “Create your own roadshow.” This instrumental track provides a suitable sense of closure for what seems to be World Blanket’s journey to their center.

The album 2012 (No Applause Records) releases on Tuesday, April 3rd, 2012: the date of Mike Pomranz’s birthday as well as Terence McKenna’s death. If you’re in New York on the 3rd, you can buy tickets to the album release party at Mercury Lounge - Tri State Indie

New music from @worldblanket, Philly scene alums (now based in NY) with their strongest album so far. - XPN2 Local Radio Philadelphia

New music from @worldblanket, Philly scene alums (now based in NY) with their strongest album so far. - XPN2 Local Radio Philadelphia

The band is World Blanket, and although these are big city (Brooklyn, NYC) men, their music sounds like it may well have been wrought in more rural environs. Listen to, “And Here We Are (Again Maybe) and the Syd Barrett cover, “Let’s Split” and you can easily reconcile the fact that the bands geographic location is of little consequence at all. World Blanket’s latest LP album titled 2012 will drop everywhere worldwide on April 3rd. Totally good stuff. Like good sex, good liquor and good times. Peace. - Mitten Mouth Music

The band is World Blanket, and although these are big city (Brooklyn, NYC) men, their music sounds like it may well have been wrought in more rural environs. Listen to, “And Here We Are (Again Maybe) and the Syd Barrett cover, “Let’s Split” and you can easily reconcile the fact that the bands geographic location is of little consequence at all. World Blanket’s latest LP album titled 2012 will drop everywhere worldwide on April 3rd. Totally good stuff. Like good sex, good liquor and good times. Peace. - Mitten Mouth Music

The story of Thin Lizzy is one of achievement, despair and heartache. So much of their music influenced and impacted the musical world. Rarely do you ever come across such a masterfully done cover that ends up being more of a heartfelt ode than a recreation. Phil Lynott himself would have tears in his eyes hearing his words like this. This was just far too moving to not share.

Beautifully done, powerful, inspiring and sensationally moving, here is World Blanket’s version of “Got to Give it Up.” - Nanobot Rock Reviews

The story of Thin Lizzy is one of achievement, despair and heartache. So much of their music influenced and impacted the musical world. Rarely do you ever come across such a masterfully done cover that ends up being more of a heartfelt ode than a recreation. Phil Lynott himself would have tears in his eyes hearing his words like this. This was just far too moving to not share.

Beautifully done, powerful, inspiring and sensationally moving, here is World Blanket’s version of “Got to Give it Up.” - Nanobot Rock Reviews

Tracks I’ll put the spotlight on today include ones from Coast Jumper, Denison Witmer, The High Strung, Lucius, Tashaki Miyaki (covering Bob Dylan no less), The Unthanks (covering Robert Wyatt no less), and World Blanket. - Faronheit

Tracks I’ll put the spotlight on today include ones from Coast Jumper, Denison Witmer, The High Strung, Lucius, Tashaki Miyaki (covering Bob Dylan no less), The Unthanks (covering Robert Wyatt no less), and World Blanket. - Faronheit

Michael Pomranz, who records with a rotating cast as World Blanket, based his upcoming record 2012 on the writings of psychedelic drug guru Terence McKenna. It comes as no surprise, then, that the man is a Syd Barrett fan. (Fun fact: he’s also the Tosh.0 writer who first discovered Rebecca Black’s “Friday” – but try not to hold that against him).

Pomranz wrote a song years ago calls “Syd Barrett’s Soul” and now he pays more direct homage with a trippy cover of “Let’s Split.” Barrett himself never finished the song – the only recording has him stop in the middle, shuffle some papers, and then continue – so Pomranz took the template and fleshed it out with violin, acoustic strumming, and, just when you’re settling into a Burrito Brothers swoon, shrieking guitar.

Pomranz calls the song “one of the purest examples of capturing an artist’s decent into madness on tape” and notes that he’s not trying to “finish” anything, but rather collaborate with Syd’s ghost. In a lengthy introduction, he offers unusually rich insight into how the song came to him, so we’ve included the whole introduction below the stream. - Cover Me Songs

Michael Pomranz, who records with a rotating cast as World Blanket, based his upcoming record 2012 on the writings of psychedelic drug guru Terence McKenna. It comes as no surprise, then, that the man is a Syd Barrett fan. (Fun fact: he’s also the Tosh.0 writer who first discovered Rebecca Black’s “Friday” – but try not to hold that against him).

Pomranz wrote a song years ago calls “Syd Barrett’s Soul” and now he pays more direct homage with a trippy cover of “Let’s Split.” Barrett himself never finished the song – the only recording has him stop in the middle, shuffle some papers, and then continue – so Pomranz took the template and fleshed it out with violin, acoustic strumming, and, just when you’re settling into a Burrito Brothers swoon, shrieking guitar.

Pomranz calls the song “one of the purest examples of capturing an artist’s decent into madness on tape” and notes that he’s not trying to “finish” anything, but rather collaborate with Syd’s ghost. In a lengthy introduction, he offers unusually rich insight into how the song came to him, so we’ve included the whole introduction below the stream. - Cover Me Songs

Having once written a song called “Syd Barrett’s Soul,” Michael Pomranz seems like the perfect choice to complete a Syd Barrett demo, though he prefers to think of it as a collaboration with Barrett’s spirit. The original “Let’s Split” demo, which surfaced in 1988, almost 20 years after it was recorded, was a sliver of a song that seemed continually on the verge of evaporating into thin air. Here, Pomranz uses Barrett’s spoken-word bits at the beginning and end, but fleshes out the in-between with guitars, drums, strings and a soaring violin solo. What emerges is so convincing, you’ll hope Pomranz extends his collaboration to the numerous other song slivers that Barrett left behind. - The Toronto Star

Having once written a song called “Syd Barrett’s Soul,” Michael Pomranz seems like the perfect choice to complete a Syd Barrett demo, though he prefers to think of it as a collaboration with Barrett’s spirit. The original “Let’s Split” demo, which surfaced in 1988, almost 20 years after it was recorded, was a sliver of a song that seemed continually on the verge of evaporating into thin air. Here, Pomranz uses Barrett’s spoken-word bits at the beginning and end, but fleshes out the in-between with guitars, drums, strings and a soaring violin solo. What emerges is so convincing, you’ll hope Pomranz extends his collaboration to the numerous other song slivers that Barrett left behind. - The Toronto Star

Popular music (as opposed to classical music) has been around for eons. Well, in its modern incarnation since the 1950s in any case with the arrival of rock n’ roll. And I am pretty much satisfied with that concept. Sure, we can talk about some superficial difference between pop, rock, country, folk, soul and so on but what’s the point?

Seriously, all I am interested in is the music – in whatever form it may come in. I am more concerned with the mind, body, heart and soul that went into the creation of music than it’s the skin it happens to be wrapped in. It’s the same way I ‘judge’ people as well so why should something as important as music be treated any differently.

So why should the foregoing be relevant in a review of 2012, the third album of World Blanket? Sure I could have spent the last two paragraphs trying my level music journo best to define World Blanket’s music in terms of ‘genres’ but that really does not do justice to its (or any other artists’) creativity and ability, does it?

Sure, World Blanket is essential a ‘power trio’ in that it has a guitar, bass, drums aggregation (played by Mike Pomranz, Dean Moore and Jonathan Flax respectively). However, in addition, Katherine Fong also plays violins to provide a distinctive lush flavour to Pomranz’s pop tunes.

Clocking at over 43 minutes, 2012 is a rather long in duration for an album containing only 7 songs – with two tracks actually clocking in at 14 and 8 minutes accordingly without ever overstaying their welcomes. Channeling various aspects of influences that suggest the likes of The Beatles, The Velvet Underground, XTC, Edwyn Collins, Belle & Sebastian and many more.

Pomranz’s acoustic guitar meshes well with Fong’s violins and this combination provides much of the impetus for the songs’ distinctive sounds, in particular “The Greatest Trainwreck” and “And Here We Are (Again Maybe)” where the lush ambience counterpoints the driving percussive forces perfectly. Songs like “The Blues…” (which sounds exactly as you probably imagine it to be), the chamber pop referencing “… Snooze Bar” and the darkly quixotic “2012 (Side B)” offer a clear sight of World Blanket‘s lofty songwriting ambit. - Power of Pop

Popular music (as opposed to classical music) has been around for eons. Well, in its modern incarnation since the 1950s in any case with the arrival of rock n’ roll. And I am pretty much satisfied with that concept. Sure, we can talk about some superficial difference between pop, rock, country, folk, soul and so on but what’s the point?

Seriously, all I am interested in is the music – in whatever form it may come in. I am more concerned with the mind, body, heart and soul that went into the creation of music than it’s the skin it happens to be wrapped in. It’s the same way I ‘judge’ people as well so why should something as important as music be treated any differently.

So why should the foregoing be relevant in a review of 2012, the third album of World Blanket? Sure I could have spent the last two paragraphs trying my level music journo best to define World Blanket’s music in terms of ‘genres’ but that really does not do justice to its (or any other artists’) creativity and ability, does it?

Sure, World Blanket is essential a ‘power trio’ in that it has a guitar, bass, drums aggregation (played by Mike Pomranz, Dean Moore and Jonathan Flax respectively). However, in addition, Katherine Fong also plays violins to provide a distinctive lush flavour to Pomranz’s pop tunes.

Clocking at over 43 minutes, 2012 is a rather long in duration for an album containing only 7 songs – with two tracks actually clocking in at 14 and 8 minutes accordingly without ever overstaying their welcomes. Channeling various aspects of influences that suggest the likes of The Beatles, The Velvet Underground, XTC, Edwyn Collins, Belle & Sebastian and many more.

Pomranz’s acoustic guitar meshes well with Fong’s violins and this combination provides much of the impetus for the songs’ distinctive sounds, in particular “The Greatest Trainwreck” and “And Here We Are (Again Maybe)” where the lush ambience counterpoints the driving percussive forces perfectly. Songs like “The Blues…” (which sounds exactly as you probably imagine it to be), the chamber pop referencing “… Snooze Bar” and the darkly quixotic “2012 (Side B)” offer a clear sight of World Blanket‘s lofty songwriting ambit. - Power of Pop

If everything on 2012 were as ingratiating as “The Holiday Song (For No Holiday in Particular),” I’d be searching for a sign-up sheet for World Blanket Groupies, United. I tingle to the warm-honey sweetness of the violin that flies over a delicately plucked banjo, Mike Pomranz’s ingratiatingly scratchy vocals, and fat, rocking percussion. It’s good enough to soundtrack so many things: a TV show set in Portland, the happy interlude in a filmed loved story, my cat’s (the one pictured inside the digipak is of a Russian Blue that looks kinda like my sweetie, Gabby) life? As it happens, five of the other six tracks on World Blanket’s third album are relative degrees of ingratiating, too. If not as elating as the holiday song, they’re at least good enough for first-year film student documentaries. Kidding. For me, the Brooklyn, New York-based cooperative, which cloaks itself in good-humored secrecy, is a happy revelation. Good-humored secrecy? For one, an iconographic band image that was appropriated (in silkscreen style, a la Warhol) from a famous National Georgraphic picture of a beautiful Afghani. And a band logo that appropriates the Starbucks logo. These are just a few reasons why that’s amazing: (1) Like McDonalds, Starbucks has pretty much blanketed the world with its image and products, (2) It’s fun to rip off Starbucks, which has put many “mom and pop” coffeehouses and cafes out of business; stealing the livelihoods of many and deleting performance sites for musicians, etc., and (3) It says so much with so little. The only track I don’t embrace is the sixth, “Time Was,” which gets over-emphatic relative to its audio and emotive content. But do stick around for, or skip to, “2012 (Side B),” which outros the album with quietly stimulating atmospherics.This is true Indie Pop/Rock/Whatever/Alt. Folk. HIGHLY recommended. - Dagger Magazine

If everything on 2012 were as ingratiating as “The Holiday Song (For No Holiday in Particular),” I’d be searching for a sign-up sheet for World Blanket Groupies, United. I tingle to the warm-honey sweetness of the violin that flies over a delicately plucked banjo, Mike Pomranz’s ingratiatingly scratchy vocals, and fat, rocking percussion. It’s good enough to soundtrack so many things: a TV show set in Portland, the happy interlude in a filmed loved story, my cat’s (the one pictured inside the digipak is of a Russian Blue that looks kinda like my sweetie, Gabby) life? As it happens, five of the other six tracks on World Blanket’s third album are relative degrees of ingratiating, too. If not as elating as the holiday song, they’re at least good enough for first-year film student documentaries. Kidding. For me, the Brooklyn, New York-based cooperative, which cloaks itself in good-humored secrecy, is a happy revelation. Good-humored secrecy? For one, an iconographic band image that was appropriated (in silkscreen style, a la Warhol) from a famous National Georgraphic picture of a beautiful Afghani. And a band logo that appropriates the Starbucks logo. These are just a few reasons why that’s amazing: (1) Like McDonalds, Starbucks has pretty much blanketed the world with its image and products, (2) It’s fun to rip off Starbucks, which has put many “mom and pop” coffeehouses and cafes out of business; stealing the livelihoods of many and deleting performance sites for musicians, etc., and (3) It says so much with so little. The only track I don’t embrace is the sixth, “Time Was,” which gets over-emphatic relative to its audio and emotive content. But do stick around for, or skip to, “2012 (Side B),” which outros the album with quietly stimulating atmospherics.This is true Indie Pop/Rock/Whatever/Alt. Folk. HIGHLY recommended. - Dagger Magazine

Let me be blunt. I (absolutely) love 70’s Irish rockers Thin Lizzy. ... So imagine my shock and dismay to wake this morning and find that a modern band had braved one of Phil Lynott’s most personal songs, the chillingly prescient Got To Give It Up.

Blaspehmy.

Except a funny thing happened on my way to damning Brooklyn-based Mike Pomranz and his ill-conceived idea to hell. His cover works. Brilliantly. Where Thin Lizzy’s reading of the tune was as a swaggering rocker, World Blanket gives the song the Tonight’s The Night treatment, emphasizing the protagonist’s weakness in the face of crippling addiction. Both are harrowing, but for different reasons, and I guess I can love both versions. - My Old Kentucky Blog

Let me be blunt. I (absolutely) love 70’s Irish rockers Thin Lizzy. ... So imagine my shock and dismay to wake this morning and find that a modern band had braved one of Phil Lynott’s most personal songs, the chillingly prescient Got To Give It Up.

Blaspehmy.

Except a funny thing happened on my way to damning Brooklyn-based Mike Pomranz and his ill-conceived idea to hell. His cover works. Brilliantly. Where Thin Lizzy’s reading of the tune was as a swaggering rocker, World Blanket gives the song the Tonight’s The Night treatment, emphasizing the protagonist’s weakness in the face of crippling addiction. Both are harrowing, but for different reasons, and I guess I can love both versions. - My Old Kentucky Blog

[World Blanket] are a well-crafted pop band that bring to mind the delights of Elvis Costello and World Party…. There’s a lot of emotion packed in each of the 7 songs here, and this will be welcome to those who love singer/songwriter stuff without the fluff. As time goes on, music fans will be returning to this album to question the downfall of everything else, while music like that on 2012 will continue to hold up for generations to come. - This Is Book's Music

[World Blanket] are a well-crafted pop band that bring to mind the delights of Elvis Costello and World Party…. There’s a lot of emotion packed in each of the 7 songs here, and this will be welcome to those who love singer/songwriter stuff without the fluff. As time goes on, music fans will be returning to this album to question the downfall of everything else, while music like that on 2012 will continue to hold up for generations to come. - This Is Book's Music

Far more rollicking than you might expect for an album centered around violins and acoustic guitars, the Michael Pomranz fronted World Blanket have crafted a winner in the seven-track '2012.' It’s an infectious platter that showcases Pomranz’s first-rate musicianship and songwriting abilities. 'The Holiday Song (For No Holiday in Particular)' is the best of a very good bunch, though World Blanket also envelope listeners in 'The Greatest Trainwreck,' 'And Here We Are (Again Maybe),' 'Snooze Bar' and 14-minute closer '2012 (Side B).' Highly recommended. [4 stars out of 5] - Pittsburgh Daily News

Far more rollicking than you might expect for an album centered around violins and acoustic guitars, the Michael Pomranz fronted World Blanket have crafted a winner in the seven-track '2012.' It’s an infectious platter that showcases Pomranz’s first-rate musicianship and songwriting abilities. 'The Holiday Song (For No Holiday in Particular)' is the best of a very good bunch, though World Blanket also envelope listeners in 'The Greatest Trainwreck,' 'And Here We Are (Again Maybe),' 'Snooze Bar' and 14-minute closer '2012 (Side B).' Highly recommended. [4 stars out of 5] - Pittsburgh Daily News

World Blanket does Thin Lizzy proud on this cover of “Got To Give It Up.” The instrumentation feels sparse on this reworking, giving it a particularly poignant tone. World Blanket’s 2012 is out now via No Applause. - MAGNET Magazine

World Blanket does Thin Lizzy proud on this cover of “Got To Give It Up.” The instrumentation feels sparse on this reworking, giving it a particularly poignant tone. World Blanket’s 2012 is out now via No Applause. - MAGNET Magazine

World Blanket boomed like a big-riff rock beast, despite acoustic guitar and violin dressing. - SPIN

World Blanket boomed like a big-riff rock beast, despite acoustic guitar and violin dressing. - SPIN

Instead of coming across like another generic twenty-first century pop artist, [World Blanket's] songs are decidedly different…. We really dig Michael’s cool reserved vocal style…and we’re also wild about the strange lengthy experimental track that closes the album (’2012 (Side B)’). Inventive stuff with a warm underlying coolness… TOP PICK. - babysue

Instead of coming across like another generic twenty-first century pop artist, [World Blanket's] songs are decidedly different…. We really dig Michael’s cool reserved vocal style…and we’re also wild about the strange lengthy experimental track that closes the album (’2012 (Side B)’). Inventive stuff with a warm underlying coolness… TOP PICK. - babysue

“aMaybe,” the title track off of World Blanket’s debut LP (also available on their MySpace page) says it all. It begins life as an unassuming acoustic pop number, then builds into a finely orchestrated wall of sound with violinist John offering up a fine rendition of “Pachelbel’s Canon.” Then it gets downright weird. The high-pitched vocals of lead singer Mike suddenly erupt into an all-out scream. And then another scream. And then several more. But the primary instrumentation is still handled by violin, acoustic guitar and a standard rhythm section.

Make no mistake, this is a band that loves to break convention even if they also love abiding by it (at least for a short time). One review described them as “big riff rock.” Another called them “warm Americana.” It may take a little while to fully process World Blanket. It’ll be worth it.

“We want to prove that a mostly acoustic band can still rock out,” says Mike. “I think that it’s not about the instrument; it’s the songs and the feelings that rock…That’s why one metal band is better than another band. Both might be so loud you’ll be deaf for the next month, but…the songs are what mean the most.

“It’s been real fun watching the reviews come in,” says Mike, “[there have been] a lot of potshots at my vocals. One guy called them ‘girlfriendless.’ That’s not even a word.”

“A lot of my favorite vocalists are definitely not good traditional vocalists. People like Stephen Malkmus of Pavement; one of the best vocalists that I’ve ever heard as far as getting words and emotions across and just holding his own with what he has. The same thing with Modest Mouse. [W]hen you have a unique style it might take a bit longer to catch on. Not just with vocals, but with the entire band. I’d rather have something that’s unique and people will catch on than be regular stuff that people can’t grab a hold of.”

The same attitude applies to the rest of their sound.

“A lot of what we do is heavily based in pop structure,” says Grant. “We use elements of pop to help make our sound, but it’s not. A lot of what we do may not be totally accessible. Some of it’s relentless. It’s not cut to any mold on the surface, but once you can rip a lot of the songs apart you can see there are a lot of very standard things that are happening.”

“Even the most abstract of abstract artists perfect the basic skills of painting before they make it to the next level and experiment,” begins Mike. “Jackson Pollack painted fi elds and barns and portraits before he started throwing paint all over the canvas.”

As one might expect, there are various influences at work.

Classic rock seems to be a common favorite among World Blanket members. Led Zeppelin, The Doors, Pink Floyd and David Bowie are mentioned, but it certainly doesn’t end there.

“I just like very weird, crazy shit,” says Mike. “It expands what is defined as music; what’s even defined as art. That’s a major influence. It doesn’t come out as a whole on the record, but it comes out in fits and spurts. I like there to be distinct, weird elements throughout.

“If we didn’t have aspirations to have the band grow and become popular, I would love to do stuff that no one would ever listen to. It would probably just be totally crazy, strange shit. I’d say my last major influence for this record was listening to Kid A by Radiohead. It took great music that is so relative and relatable, but at times it’s just so fucked up and strange you wonder how it could debut as a number one record in America. I think it really defines what music should be for a long time to come.” Mike also cites the influence of avant-garde electronic acts like Panasonica and Merzbow.

“As a drummer, I wanted to master all the stuff from the best drummers. There has been a shift; from listening to stuff as a kid and wanting to play for merely technical reasons to listening to more think space and songwriting. There were so many bands I was getting into that didn’t have great drummers, per se. Even now I kind of understand it, but it makes it so much better when you have a great drummer,”says Grant.

“The best bands were where the members specialized their roles. They understood what it meant to be the best at what you do. Sometimes in bands everybody’s trying to do too much. The drummer’s doing a fill every other measure [while] the guitarist [is doing] a constant guitar solo. [I like] to step away and let things go and understand them more.” He also mentions the inspiration he received from British pop acts like Blur, The Verve and Spiritualized.

“In my playing,” says John, “I think more to the guitarists that I idolized as a teenager and try to emulate some of them: Kirk Hammet, Joe Satriani, Eddie Van Halen, [and] Marty Friedman. Metal is definitely part of [my background] but there’s also classical. Both my parents play in the Portland Opera. I had all that growing up; it was a real mix. I’ve also got Irish music as a big part of my background. It c - The Compendium

"Violins are cool. There’s nothing better than listening to their glorious wails blend seamlessly with poppy guitars. This is the specialty of The World Blanket; a rock/pop band along the lines of The Shins and The New Pornographers. The World Blanket really shines on the title track, when the vocalist (billed only as Mike) assures us, 'The world’s on your side and you can be fine again' over a roaring trumpet and saxophone duet. Another highlight is the epic ten minute closer, 'Till We Die (part 3).' This is one solid album." - The Compendium

"[The] World Blanket boomed like a big-riff rock beast, despite acoustic guitar and violin dressing." - SPIN.com

"Violins are cool. There’s nothing better than listening to their glorious wails blend seamlessly with poppy guitars. This is the specialty of The World Blanket; a rock/pop band along the lines of The Shins and The New Pornographers. The World Blanket really shines on the title track, when the vocalist (billed only as Mike) assures us, 'The world’s on your side and you can be fine again' over a roaring trumpet and saxophone duet. Another highlight is the epic ten minute closer, 'Till We Die (part 3).' This is one solid album." - The Compendium

"On aMaybe The World Blanket plays a unique sounding brand of indie rock. The band includes smatterings of trumpet, saxophone and keyboard, alongside more typical instruments like bass, drums, and guitar; what makes their sound more unique though is the inclusion of violin, for an overall sound that might be easiest compared to Dave Matthews Band minus pop plus indie. The band’s songs are well-played and original." - pucknation dot com

"On aMaybe The World Blanket plays a unique sounding brand of indie rock. The band includes smatterings of trumpet, saxophone and keyboard, alongside more typical instruments like bass, drums, and guitar; what makes their sound more unique though is the inclusion of violin, for an overall sound that might be easiest compared to Dave Matthews Band minus pop plus indie. The band’s songs are well-played and original." - pucknation dot com