American Roots UK

Right from first listen I was struck by the fact that this talented band is reminiscent of bands such as Uncle Tupelo and the Long Ryders, perhaps even Jason and the Scorchers! Not exactly bad bands to be compared to but if anything Farmington Hill have a slightly more dynamic and varied sound than the above and perhaps veer closer to rock than they do with a lovely natural edginess. On occasions I was even reminded of the Clash, maybe in respect of them having a strong punk edge but without actually being a punk band! If you want to slot them into a nice comfortable genre, forget it! There are so many influences and skills at play on this recording that includes alt country, rock and roll, cow punk, even a little heavy rock in its makeup, in some instances various generic strands being recognizable but most are blended into this rich all enveloping stew of powerful sounds. It would have been easy to categorize Farmington Hill as a 'guitars and drums' band but there is so much going on here with the powerful confident playing of all concerned on an album that includes  some tempo variations but also a recording on which the dynamic pace never lets up.

The songs are all written by the band, whose members are Paul 'Bubba' Iudice on acoustic guitar and vocals, Erik Nordstrom plays electric guitar and vocals, Kelly Rogers, lap steel and vocals, Mary Hess on bass and vocals with Logan Miller handling drums and percussion. They are based in Durango, Colorado and were put together by long time collaborators Paul Iudice and Erik Nordstrom. It is often the case that bass and percussion are looked upon merely as a foundation for the songs and other players to display their skills but listen to this recording and you will hear as powerful a bass and drum sound as can be found in roots music and one that not only lays incredibly solid foundations but adds to the fullness of sound. To that you have to add Paul Iudice's excellent vocals that are as able to display warmth as they are a fiery passion, whilst Erik Nordstrom's command of the Telecaster has to be heard to be believed and just when you think a little extra colour would spice things up, in comes the sparingly used steel guitar of Kelly Rogers lap steel.

The reason the band is so good and stands out from the pack is that there appears to be nothing contrived stylistically. The atmosphere they create is one of a band of friends who got together to play the music they love and they seem to work incredibly well together with the beautifully blended harmonies and plenty of attack and dynamism in the arrangements. The lead and harmony vocals are always excellent, the arrangements perfect for purpose and the playing full of fire and passion. And yet, even on the songs that rock powerfully there are some memorable melodies that stay with the listener long after the albums end. I've often criticized albums for having a too full, dense sound but on this recording a certain density is absolutely essential to enhance the power, something the band gets just right.

Things get underway with speedy fiery guitars on Things are gonna go my way, an excellent rocker that would probably fit best under the heading 'cow punk.' The lead vocal is strong, the harmonies excellent and the attack is full of drive and passion. Rats is performed at a slightly slower tempo but is just as dynamic as everything else on this tremendous album of powerful sounds with the fiery vocals and lead guitar sound alongside the  thudding percussion and driving bass giving them an incredibly full sound. That is followed by Crazy Mary a song that has a slashing, crashing guitar sound with the thudding bass and percussion driving excellent lead and harmony vocals at just below mid tempo. The full sound belies the fact that there are only five people in the band on this paean to Crazy Mary. Along with everything else what lifts them above their peers is the sheer dynamic attack on this and every other song on an album that is on almost constant play in my house! Break is a little slower than its predecessors with a much cleaner guitar sound, courtesy of the steel guitar, with another tremendous atmospheric lead vocal and harmonies with the ubiquitous dynamism of the bass and percussion underpinning everything. On first listen to She wears her makeup to bed I was reminded of the Clash's Should I stay or should I go but the differences outweigh the similarities, although that comparison still nags at me on yet another excellent song. Final mention goes to The finish line, with telecaster to the fore and a less full sound on another tremendous song that has a lovely chugging feel and a tremendous melody to set alongside the huge quality of the rest of the songs.

There may be many bands that play music in a similar vein to Farmington Hill but they are most certainly one of the best around, as evidenced by not only this tremendous recording but also by their debut 'Bridge to nowhere.' To balance the praise i'm trying to find a reason for them not to succeed. Don't hold your breath whilst you wait; I could be some time!

Rootstime (Belgium)

Actually, I can be very brief about the second of this quintet from Durango, Colorado: Three years ago I had in a very enthusiastic manner stabbing the praises of their debut, which I then had repeatedly about "fun". For the listener that record was a celebration and the creators must have been no less. With these findings in mind, I moved into this new CD loader and, barely three minutes away, I could hear it again sits mustache.

Even more than the debut, the emphasis this time on "rock": whether it comes out of the garage, from the punk out of the country or the roots ... on this record is already rock that stores the clock as it should the. The song themes remain the same: you work hard and on Saturday you drink hard. You are your stubborn self in your relationships, your work you the fuck up for a boss, but you deep inside you're convinced that this will not destroy you, and when it's all a bit unlucky, go some distance by car drive.

Some of the song titles speak for themselves: first opener "Things are Gonna Go My Way", but also "Thinkin 'Drinkin'," "Break" ... these are just a few examples, but they make it clear where the band Farmington Hill is taught: this is work people music. Melodies are indeed beautiful, but it's the way of singing and coloring of the songs, this record so irresistible maakt.Als Uncle Tupelo had survived, they had today probably sounded like Farmington Hill. The closest reference point, but I think at times Jason & The Scorers: same attitude, the same use of ripping fuzz guitars, the same themes in the songs. At times you will be overwhelmed with music boxes, is a good, straightforward rock album like this a real relief and yours is already hopelessly lost.

At the time of the recording of this album, the occupation was the same as in the first record, but recently seems to have replaced the rhythm section resigned. I hope that it has no adverse effect on the next album, because I feel sounds Farmington Hill on this delicious, uncomplicated CD as it should. This is the band that you want to see play on a Saturday night at your local pub, so you can get totally free along with them and then on Sundays, when the cat is a little hidden, at home you can set the CD, for napret .

DGO

Two songs into the latest record from Farmington Hill and you’ll catch onto a lyrical theme of defiance, stubbornness and acceptance of your own flaws with a reluctance to change. It’s the perfect attitude for the characters in the songs on this rock record, and the perfect attitude for songs from this band, a band that boldly boasts a punk-rock sneer and sound while exploring outlaw-country narratives. It’s a brash, catchy and aggressive record: slick yet raw, musically- and lyrically-intelligent as it bleeds the energy of punk along with the rowdiness of alternative country. Farmington Hill will celebrate the release of “More Rock than Eagle Block” on Saturday night with a performance at El Rancho.

The songs come from frontmen Paul Iudice and Erik Nordstrom, veterans of the Durango rock scene whose other and past bands have created classic hardcore punk, garage rock and country via an exploration of weird and wonderful, dark and depressing tales of life.

“I think there’s a lot of tongue and cheek with both our songs; we’re about the same age, we grew up with the ’80s punk scene, and have a lot of similar influences,” Nordstrom said. “I know I sometimes take a point of view that’s not necessarily my own, but we can maybe, on some level, relate to that defiant attitude that things are going to work out however they work out.” Nordstrom was quick to add in a dry, sarcastic manner that those themes could also be the result of being middle-aged in a rock band, with perhaps a personal air of slight anger at the world.

There have been a handful of changes to Farmington Hill since Nordstrom and Iudice first came together playing songs that didn’t fit into their other bands. A record was recorded and released, this record was recorded, and the original rhythm section left. Mary Hess joined on bass, Logan Miller took over on drums, local musician and producer Dan Szabo put the finishing touches on this project and Farmington Hill rocks on. It’s all a partnership and in-band relationship that lap-steel player Kelly Rogers proudly calls “extraordinary.” It shows when you’re watching the band; work went into this record, a lot of it. Yet the music, their brand of cow-punk and country rock (heavier on the rock), comes together naturally. It’s reflected in the audible and visual fun witnessed when listening to or watching the band.

“Bubba and I started this thing a long time ago not really wanting it to necessarily be a band. Then Kelly got involved; now we have a different rhythm section, and its been unique because we didn’t start off as part of anything,” Nordstrom said. “It’s been neat to see the camaraderie, the brotherhood, the sisterhood, and I do feel like it’s an evolving project, which is very inspiring to be part of. It’s been an organic process; for me it’s been great to be part of a project that has a natural energy.”

The Durango Telegraph

If you’re a fan of their debut disc, 2012’s “Bridge to Nowhere,” then hold on tight for first listen. “Eagle Block” truly features more rock than its predecessor. The three-guitar assault from Erik Nordstrom (electric), Bubba Iudice (acoustic) and Kelly Rogers (lap steel) drives the quintet with as much force as a 426 Hemi powering a ’69 Charger up the band’s curvy, steep namesake.

The Alternate Root

Alt Country sings a sweet sound in Durango, Colorado in the music of Farmington Hill. Their recent release, More Rock than Eagle Block, opens its doors and floors the engine as Farmington Hill swear “Things Are Gonna Go My Way”. The album crowns “Miss America” with guitar crackle as “Thinkin’ Drinkin’” raises a glass for staying up all night, and an electric fuzz cape is laid on audio shoulders for “Ode to the King”. Farmington Hill pen the plights and the passions of the blue-collar workers of the world, forcing their way through the maze of life with power chords in “Rats”, looking for an exit from love with “Break”, marking time in a 24/7 beat for beauty in “She Wears Makeup to Bed”, and take a political aim with “I Egged the President”. 

Westword

Durango's self-proclaimed country-fried indie-rock act Farmington Hill sums up Road to Nowhere as "music suitable for both a raucous Saturday night and the accompanying Sunday hangover." Sure enough, some of the five-piece's twangy alt-country tunes — "Oh Yeah," "Pass Me the Bottle," "Pass Out" — could be the ideal soundtrack for throwing back some whiskey and raising hell, but the act also knows how to reel the energy in a bit and dig into more traditional country on tracks like "Levy," which might be a little easier on that hangover. "Daddy, You Don't Care Anymore" steers into Decoration Day-era Drive-By Truckers territory, while "Midnight Superstar" and "Lies to Change Your Mind" recall Uncle Tupelo.

Rootstime (Belgium)

Oops, now I have a serious problem: I would have to repeat myself because quite heelder and pieces from my review of the debut of "Waiting for Henry" literally take over. Or not do: the professionalism, you know ....

 Farmington Hill is a quintet from Durango, Colorado and they debut here with a fourteen-track rock album, which already quite some traces left behind by the undersigned. "Country-fried Indie Rock" is the description that the band meegeeft for the music they make and I must admit that I can not describe it better. The country feeling is there because of the lap steel of Kelly Rogers, rock and indie prove both the themes and the formation of the band are in the traditional way an acoustic lead guitar (Paul Iudice) and a lovely ripping Telecaster (of Erik Nordstrom), coupled with a sober but very solid rhythm section (Kati Iudice on bass and Mike Mantineo on drums).

This gives a very cozy, familiar rock sound, which you can grab from the treasury where both rock, country, blues and pop are stored and it is precisely this variety that makes this album so fascinating. To your heart You as a listener sometimes you want to play air guitar. Tend to go dancing and skipping to the next moment This phenomenon is called sometimes "fun", so I think and that is here in abundance.

You hear that the band had a lot of fun making the record and they succeed effortlessly to leave radiate. Enjoyment that the listener This is a very nice, uncomplicated plate, which the lady and gentlemen show what they love to hear themselves. Inevitably diving than the names as Jayhawks, Uncle Tupelo, Son Volt and let's be honest: you also are not all in the closet?

This is also a dangerous plate: if you put them in the car design, is your right foot as saying something firmer stand on the accelerator and some people do not laugh. But all joking aside, this is a really great album, which takes you back to the days when you were young and charge went to the music of The Kinks and The Pretty Things. For someone like me that is a very pleasant sensation and the act songs about drinking, driving, friends who deceased explicate, love and broken hearts not only increases the fun, but also makes the plate "real-life" and as we keep kind of.

The promo sheet describes it perfectly: this is music that you both wanted and Saturday night as the subsequent Sunday hangover can guide. Can you blame me that I find this extremely fine plate? I hope not and you do not have to believe me. In CDBaby you can go listening to or what I tell somewhat correct itself. I'm pretty comfortable in ....

De krenten uit de pop (Netherlands)

Sometimes I need to look very good, but sometimes they just dive in my mailbox: roots plates me directly conquered and which I already knew that I had them in a year still listen. It happened to me last week with the debut of splendor Waiting For Henry and it happens to me this week with the equally beautiful debut from Durango, Colorado, coming Farmington Hill.Farmington Hill makes in his own words "country-fried indie rock" and moves this to a large extent on the same grounds as Waiting For Henry. Even when listening to the debut of Farmington Hill I had with some regularity reminiscent of the music of alt-country pioneers like Uncle Tupelo and The Jayhawks, but Farmington Hill is certainly not averse to a bit more traditional sounding country rock. It is music which may rupture nice guitars and vocals preferably in beautiful harmonies are cast. Especially in the traditional-style songs are the promised influences from the indie-rock difficult to discover, but in some songs they play a prominent role. It is the blend of traditional and modern country rock alt-country or indie-rock the music of Farmington Hill adds value. The high level of the songs and the truly great performance of these songs on Bridge To Nowhere do the rest. When listening to Bridge To Nowhere I have no time for the idea that I am listening to a debut. All songs are equally mature and thoughtful and all songs are characterized by the excellent vocals and quality guitar work wonderfully may splash. On the one hand, it is not new what Farmington Hill does, but on the other hand, it sounds again so different from the country rock or alt-country classics that I have in my stand that Farmington Hill in the future is a welcome guest in my CD player will be. The album title also refers to a bridge in Colorado that already times in the end nothing (you can find on the Internet about this bridge over the plate). The debut of Farmington Hill is definitely somewhere. In the pantheon of the better bands in the genre as a bit bothering. Go at least listen to this very pleasant and glowing plate. The rest comes naturally.

Radio 1190

Farmington Hill – “Bridge to Nowhere” People love Americana right now. Most of the bands putting out various strains of Americana throw back to some past era, barely changing the sounds that inspired them, updated only with higher production quality. Many now wear black suspenders. Many wear bowler hats. And really, most of it is starting to sound the same. It’s not offensively bad, but it’s just not that good. Farmington Hill is a country rock band from Durango, Colorado, and their debut LP, Bridge to Nowhere is actually good. Comprised of members of two other Durango bands (Lawn Chair Kings [country/rock] and The Freeman Social [rock/punk]), Farmington Hill plays country rock–kick ass country rock. They don’t wear suspenders or bowler hats, and they don’t sound just like their influences. Instead, they combine a various aspects of lots of different kinds of music: country, punk, and 80’s and 90’s college radio. If you like bands like the Sadies and Social Distortion, you’ll probably like Farmington Hill, but that doesn’t mean they sound like those bands. Elements from both are combined with elements of other things, to form a unique and cohesive something else. Although influences from multiple genres can be found all over this album, in the end they don’t sound like any of them–they just sound like Farmington Hill. Some of the tracks (see “10 Miles”, “Pass Me the Bottle”, & “Pass Out”) are straightforward beer drinking (breath stinking) country rock jams, as suitable for a road trip from somewhere in the mountains to somewhere else in the mountains as they are for a drinking and smoking in other contexts. “Hit My Head” is more punk than many of the other tracks, whereas “Midnight Superstar” relies more on various elements of 90’s “alternative”. More of that sound is clear when the subject matter gets less cheery on tracks like, “Daddy, You Don’t Care Anymore” and “Lies to Change Your Mind”, but when things get heavy, they don’t get cheesy or tedious–these tracks are just as good for repeated listenings as the others. The great sound of the album is made all the more impressive by the studio it was recorded in, above a garage. No song on this album is a throw away. Every track is strong. At times, Kelly Rogers’ steel guitar becomes the most prominent element, at other times Mike Mantineo’s drums. In general though, this band’s long history of playing together is clear. Regardless of who is singing or leading on any given track, Farmington Hill is a tight, kick ass country rock band. If you like that sort of thing, check out this album.

Twisted Roots Radio Show

"This is a KILLER CD!  - a great mix of rock, barroom swagger and just the right amount of twang... mixes old-school alt-country (whatever that is!), traditional roots and just a hint of modern indie-rock.  I really like the overall mix of the electric, acoustic and pedal-steel sounds."