We caught up with Man / Miracle after their Sound Situations taping at Marsh Woodwinds in Raleigh, NC during Hopscotch Music Festival. The band is known for their high energy live shows. Go download their song “Low Hanging Fruit” from RCRDLBL and look for their new EP Valleys September 26 on digital or cassette.
Throwing in several off the wall questions, we got to hear their opinions on great Q’s from Jamie Randolph and the Darkhorse, Poison Control Center, and Colour Revolt.
We enjoyed our interview with these guys. Off camera we talked about their love for garage rock, like Guitar Wolf and Jay Reatard and the similarities of Oakland’s and Memphis’ music scenes. If you are in New York, you can see them play tonight with Brooklyn’s own Dinosaur Feathers at Piano’s.
Man/Miracle is: Tyler Corelitz (Drums), Ian Benedetti (Guitars and vocals), Brian Kennedy (Bass), and Dylan Travis (Vocals and guitars), joined occasionally by Margot Geever and Christian Zamora as multi-instrumentalists.
Man/Miracle formed in the summer of 2006 in Santa Cruz, California, and had recorded their critically acclaimed EP by the end of the year. Originally known as “Bear on Bear,” the group decided somewhere along the line that the name no longer fit their sound, and promptly changed it.
The group has been playing progressively bigger shows since their live debut in Santa Cruz. Part of a vibrant west-coast music scene, they have played with up and comers like the Shaky Hands, Port O’Brien, Scissors for Lefty, and the Trainwreck Riders. Voted the Deli SF’s “San Francisco Band of the Month” for April of 2007, Man/Miracle have come to feel just as comfortable playing in packed nightclubs as they are on the mainstage of Petaluma’s Phoenix Theatre. They have recently been selected to play at the Noise Pop 2008 Festival in San Francisco.
On their forthcoming, as-yet-untitled full length, Man/Miracle delivers on the promises of their first EP, creating a sound that shifts from the raw power of songs like “The Gift” or “Effort” to the poignant, country-tinged harmonies of “Vegas, ” to the post-rock experimentation of “Golden Telephones. ” Truly, an album that DEMANDS RESPECT.
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