“ the sort of music Panda Bear might make if he had a sense of humour.  And one of the best voices around in 2010” -  NME

“somewhere between Jens Lekman’s thoughtful crooning and the classic auteur-pop of Brian Wilson or even Another Green World’s Brian Eno." - VICE

“Spookily resonant piano-pop-wave.” – THE GUARDIAN

 

After the idyllic charm of last year’s debut single “All Packed Up / Don’t Drink The Water” Idiot Glee returns with his first album Paddywhack released on May 16th on Moshi Moshi.

 

22-year-old James Friley trades in spectral transmissions: multi-layered vocal concoctions that sound like they are emitted from a radio in the past, or coming over an unknown satellite frequency from the future, telling stories about a more idyllic time.

 

Mining an emotional territory between nostalgia and powerful sense of childlike wonder, his rustic arrangements belie a sophisticated sense of melody surrounded by palpable magic and mystery. Hypnotic looped vocal samples come into full bloom around beautifully cathartic, slow-burning choral interpretations, all the while retaining a graceful fragility.

 

Having trained as a classical pianist from age 7, a teenage Friley found the designated hours of practice quickly gave way to writing and improvising his own solo piano compositions. Having more of a pop sensibility the songs didn’t fit the repertoire of budding rock band ‘Bedtime’ and hence Idiot Glee began to take shape.   

 

The discovery on cassette of Pet Sounds in a flea market in 2008 proved a pivotal point.  “I listened to it probably 100 times over the span of a year” he says and it became the catalyst in making Idiot Glee a full time hobby

 

Idiot Glee wrapped up 2010, clad in a battery operated Santa Hat, supporting Summer Camp at The Drop,  He’ll be back for shows in May in support of his debut, to be announced soon. 

 

 

 

PADDYWHACK - Track By Track by Idiot Glee:

It - One of the earliest Idiot Glee track.  "It" is different for everyone...we all have an It.

 

Let's Get Down Together - The overall message of this song is "Hey, I like Lexington!  So, I'm gonna stay here."  For now, anyways.  A lot of people spend so much time trying to get out of some place for no good reason...    There's some specific people involved, but that's about it.  The song wouldn't have been written if it wasn't for my friend Jamie...he was there when Idiot Glee was forming, and heard me playing it one day.  Right when I was about to drop this one because I couldn't come up with a vocal line he said "hey, play that again, that's awesome"...and it came together immediately.  Sometimes you just need the extra boost, a little confidence.

 

Don't Go Out Tonight - This track is my personal favorite on the album.  I'm just trying to write good pop songs most of the time.  I think this is a good pop song.  And it's a constant reminder to myself.  Really, this song is just a sticky note on my wall.

 

All Packed Up - Sort of an accident and recorded at 4 a.m. like most of them...actually, I don't think a single song on this album wasn't recorded between the hours of 12 a.m. and 8 a.m. Love playing with harmonies, and in the beginning, that was what it was all about.

 

Trouble at the Dancehall - I haven't dabbled with minor keys too much with Idiot Glee.  Which is totally the opposite of my old band, bedtime.  I used to believe I hated major chords.  As a classical pianist, I've always chosen the dreary Rachmaninoff and Beethoven over the cheesy Mozart.  But, as I get older I start to LOVE Bach and Mozart and such.

 

Deep Descent - I originally thought I wanted to record an instrumental piece for the album, something that moves slowly between pieces, gently.  But, it didn't happen.  Deep Descent happened.  This is Idiot Glee rock and roll.  Kind of...definitely influenced by Roxy Music.

 

I Want The Night To Stay - While I'm always writing pop songs, I'm also always experimenting...most tracks started as some sort of an experiment.  I literally sat down one night and decided I wanted to do something a'capella, something doo wop, something that was completely filled with harmonies.  I wasn't even taking it seriously until halfway through recording I thought it was really pretty, maybe even something I could keep doing...you see, in the past, I was completely held back from doing harmonies in bedtime.  We had a rule - if it can't be performed live, don't record it.  This is me saying screw that and just letting loose...lyrically, I was stuck in a moment, stuck between two things that I love.

 

F O E - I really want to get in shape.  I need to step it up...what if someone was picking on my girl?

 

Don't Drink The Water – I sometimes realize that most of the tracks I've recorded so far are soo...slooow.  Like this one.  But, I love the way it chugs along.  Someone said it sounded like the lion king...which is fine by me.  Another explosion of harmonies, I just couldn't hold it in any longer.  Sometimes you just shouldn't drink the water...when it's salty.

 

Happy Day - Actually, this is the oldest song to make it on the album.  I wrote it in the spring of 2009 along with a few other, similar songs.  They came in a group, all utilizing the casio beat and organ. I'm a pretty anxious guy, constantly wondering about myself...am I "ok"?  I think I'm ok.

 

Welcome Back - I love simplicity...

 

In The Sadist's Garden - I wrote and recorded it as the sun came up one morning, having been up all night experimenting with my bass guitar that only has 3 strings on it. I had such a good feeling going through my whole body when I recorded this...the beauty contradicts everything.  I didn't even write this song...it just happened.