PRESS
MUSIC
Christopher Peifer
Best of 2024 Singles - Robert Kreutzer, Garagerocktopia, KUCR (Riverside / San Bernardino, CA)
Top 100 Songs (international reporting): week of June 3, 2024 - Radio Indie Alliance
“Within his original output, Peifer aims to achieve an exquisite balance of timeless melodies and harmonies, combined with on-point cultural, political, and societal observations. He achieves this goal countless times throughout his recent powerpop trilogy, featuring 2020’s Suicide Mission, 2021’s The Social Distance, and 2022’s Sacred and Profane. Across these releases, Christopher stays true to his garage rock and roll aesthetic whilst also incorporating a brilliant underlying pop sensibility, bringing in a catchiness that often goes amiss throughout the alternative music paradigm. As this American tunesmith prepares for fresh output in 2024, he took some time out to once again chat with Aldora Britain Records about his musical journey to date … “
April 2024 Feature / Interview with Tom Hilton, Aldora Britain Magazine (UK)
Radio Indie Alliance Best of 2023!
“Christopher Peifer put his nose to the grindstone, writing, recording, and releasing three albums over the course of two years. Now, with plenty of material to play, he’s assembled a pretty lean and mean band and is ready to show people what he has in store for them. After hearing his music, I was more than thrilled to chat with him. What follows is our discussion…” - Lucas Garrett, Nippertown (Albany, NY)
Long-form interview on Dark Side of the Scene podcast
Apple Podcasts / Spotify /
January 2023 Cover Story / Feature / Interview with Tom Hilton, Aldora Britain Magazine (UK)
Christopher Peifer / Sacred & Profane (2022)
"I am particulary enthusiastic about his recent solo work ... Peifer makes quality powerpop sound almost effortless.
Top notch songwriting skills. 'Sacred & Profane' has a warm production, well developed songs and is full of hints of Westerberg, Costello, Lowe and Chilton. Like these artists, Peifer takes his songwriting seriously while maintaining an authentic sense of rock’n’roll. 'Sacred & Profane' is a subtle record full of concise power pop gems, with a new favorite popping up on each play." - Niek, Add to Wantlist (Netherlands)
“It was a little over two years ago when I first wrote about Christopher Peifer as a solo artist. His debut album Suicide Mission was an unexpected delight that left me publicly hoping for more. And as it turned out, I got what I wished for. Peifer's newest effort Sacred & Profane is his third album in as many years, and it brings into completion his remarkable COVID years trilogy. While still active in several bands (Joy Buzzer, Steve Shiffman & the Land of No, Todd Giudice's Pig Iron), he has established himself as one of the most dependable solo artists in today's power pop scene. He has quickly honed a signature sound built on tuneful melodies, sincere vocals, and relatable lyrics. The essential influences (Elvis Costello, The Replacements, Big Star, etc.) have remained constant, yet Peifer has achieved a wonderful progression across these three releases. In trying times, these albums have been like comfort food for the soul. They've traced our collective journey into the darkness and ultimately back into the light.
In Peifer's own words, Sacred & Profane explores themes of "love, loss, isolation, reconciliation, reunion, and forward motion." It was written in New York City, Indiana, and the Berkshire mountains of western Massachusetts and recorded in the Hudson Valley with Peifer's frequent collaborator Todd Giudice. Sticking to a winning formula, Peifer has again crafted a quintessential melodic guitar rock album. He's not trying to reinvent the wheel, but he's just so good at writing hooky rock songs that come from the heart. Like the previous two albums in this series, Sacred & Profane is full of autobiographical sketches and personal reflections. Song topics cover everything from unrequited love to the emotional ups and downs of living through unprecedented times to the yearning to return to a simpler life. I have to admit that I got a little choked-up listening to "Best Around," which is a sequel to Peifer's song "The Social Distance." In celebrating that experience of reuniting with loved ones, it reminds me of how far we've come in two years. Elsewhere, "Nowhere Fast" humorously details the frustrations of job hunting in a post-pandemic world. A couple of these tunes feature some of Peifer's finest lyrics to date: "The Long Goodbye" is an eloquent love letter to the city of New York, while "Ruthless Charm" finds its protagonist cleverly ruminating on an ages-ago crush from high school Spanish class. "Wide Receiver," which reflects on the joy of kicking back with an adult beverage and listening to records, makes me wish I did more of that sort of thing. It seems like I'm always listening to music while doing something else (driving, working, shaving, folding laundry, writing). Life is too short to not make time to just listen to music.
In a way, it seems like only yesterday that I first became aware of Chris Peifer's solo career. But in another way, it seems like a lifetime ago that Suicide Mission greeted my ears for the very first time. How has COVID come and (almost) gone in a flash yet managed to age us all ten years? Closing out with the lines "Dream of now and forever good," Sacred & Profane leaves us with the sense that we've finally turned a corner. Peifer has plans to finally tour in support of his three solo albums next year. He's also teasing some new singles due out in 2023. Sacred & Profane, like its two predecessors, is a reminder that even in an ever-changing world of music, well-crafted pop-rock will never go out of style. Now excuse me while I pour myself a tasty ale and savor these songs.” - Lord Rutledge, Faster and Louder
“Criminally underrated Christopher Peifer has a solid sound and tells musical tales akin to Paul Westerberg and Alex Chilton.” - Power Popaholic
"Especialmente para los amantes del Westerberg en solitario u última época Replacements es lo último de Peifer . Cantautor rock con corozancito powerpopero y aquí hay mucho de esa sangre corriendo por los surcos. Muy Muy Bueno."
"Especially for lovers of Westerberg solo or late-era Replacements is the latest from Peifer. Rock singer-songwriter with a power pop heart, and here there is a lot of that blood running through the grooves. Very very good." - Bernardo de Andres, Mi Tocadiscos Dual (Spain)
Best of 2022 - Robert Kruetzer, Garagerocktopia, KUCR
Best of 2022 - Power Popaholic
Best of 2022 - Power Pop Life (Spain)
Best of 2022 - Add to Wantlist (Netherlands)
Top Songs of 2022 - Local 518, WEXT
Best Powerpop Records of 2022 - Sweet Sweet Music Blog
Top 75 Songs (international reporting):
week of July 24, 2023 - Radio Indie Alliance
week of July 17, 2023 - Radio Indie Alliance
week of July 10, 2023 - Radio Indie Alliance
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"New & Now: 5 Things to Know in the New Year: This is the perfect time to press play on his most recent power-pop solo album." - Jeff Dingler, Capital Region Living Magazine
“New York powerpop maestro Christopher Peifer returns with his brand new single 'Nowhere Fast'. A relatable story for many, a tragicomic account of job hunting in post-pandemic times. It is a song of its time but with a classic sound. Driving, melodic and punchy. Peifer expertly brings together the worlds of punk, and vintage power pop. For fans of Nick Lowe, Elvis Costello, Big Star, Teenage Fanclub.” - Tom Hilton, Aldora Britain Records
“Sacred & Profane" is a rock record that delivers an engaging flow, memorable hooks, relatable lyrics and natural, warm production.” - Blair Ingenthron, Broadway World
Christopher Peifer / The Social Distance (2021)
“Best of 2021” playlists:
Wayne Lundqvist Ford's Ice Cream Man Power Pop and More (Sweden);
Dave O'Halloran's What Wave Dave, 94.9 CHRW Radio Western (London, ON);
Jim Prell's The Music Authority (Space Coast, FL);
Holger El Pres’ Cactus Rock Radio (Germany).
"Don't call it a sequel, but Christopher Peifer has followed his excellent debut solo album Suicide Mission with a quite similar and equally strong effort titled The Social Distance. Peifer (The Kowalskis, SiR, Frances Farmer My Hero, Blockhouses, etc.) is quickly establishing himself as a solo artist of note after decades in the New York rock and roll scene. While Suicide Mission was described as "art and love in the time of Coronavirus", The Social Distance is Peifer's definitive "COVID record". It was written and recorded entirely during pandemic times and reflects what was going through his mind as he and the rest of the world battled through a year unlike any other in our lifetimes.Written in Fort Wayne, Indiana and recorded at Todd Giudice's Roots Cellar Studio in Cold Spring, New York, The Social Distance is an album that deals with loss, change, and upheaval on both a personal and political level. Yet it's also full of optimism, hope, and a highly contagious positive energy. Musically, Peifer continues to work in the medium of two-to-three minute pop-rock songs. Most of these ten tracks meet at the intersection of timeless power pop and 1980s indie rock. Peifer excels at writing songs with simple, appealing hooks. Yet beneath the surface, these songs are heartfelt, relatable, and quite profound. Here Peifer largely responds to the trials and tribulations of a pandemic year by looking forward to better times ahead. The title track is full of hope for reuniting with loved ones in person, while the Replacements inspired rocker "Meet Me At the Bar" is just as much about the bonds of friendship as it is about the joys of drinking. Spiritually inspired by Patti Smith's "People Have the Power" and Curtis Mayfield's "Power to the People", "Something To Believe In" is Peifer's humble stab at a rallying cry for positive change. "The Infernal Racket" is kind of like Peifer's own "Left of the Dial" -- a celebration of indie radio stations and the underground rock and roll bands they so steadfastly support. A Paul Westerberg influence looms large again on album closer "Can’t Dance At All" -- a song that encourages the pursuit of joy wherever one may find it. And of course this would not be a Chris Peifer album without a little bit of storytelling. A skilled chronicler of the rock and roll life, Peifer crafts real-life tales that are both heartbreaking ("The Ride") and highly amusing ("Let's Get the Band Back Together").
Like its predecessor, The Social Distance hooked me with well-crafted pop songs, but it has the staying power to keep me coming back for more. A good solo album should make you feel like you know the artist, and that is definitely the case with The Social Distance. On the excellent track "Midnight Radio", Peifer romanticizes long distance driving with music as a sole source of companionship. He has, no doubt, crafted an entire album that will enhance your enjoyment of any solitary pursuit. In a year full of excellent LPs, this is one of the very best." - Lord Rutledge, Faster and Louder
“Filled with highly melodic power-pop gems. Upbeat rockers. Catchy, celebratory.” - Kirsten Ferguson, Nippertown (Albany, NY)
“The Social Distance is 30 minutes of powerpop heaven. It’s how I imagine it would sound if Paul Westerberg and Nick Lowe started a band together. Peifer infuses his songs with just the right amount of punk and rock-‘n’-roll attitude, and his sandpaper voice has the perfect grit size. The Social Distance truly is an outstanding collection of songs with guaranteed lifetime replayability.” - Niek, Add to Wantlist (Netherlands)
”Fresh from releasing his brilliant Suicide Mission record, Christopher Peifer is back with new sun-soaked power pop for modern times. It has punk attitude but remains in melodic territories. For fans of Elvis Costello, Nick Lowe, Replacements, and Big Star.” - Tom Hilton, Aldora Britain Records (UK) / Aldora Britain Records ezine
”When I first heard the title for the new record, I made the bold claim that it was the best (and most apt!) title I’d heard for a record this year. I stand by that statement! THE SOCIAL DISTANCE is out NOW and has lived up to all expectations. A superb powerpop record from New York’s answer to Nick Lowe.” - Tom Hilton, Aldora Britain Records (UK)
”Christopher Peifer on ‘The Social Distance,’ his latest, surprisingly optimistic, record. Rousing, raucous, rallying.” - Indiana Nash, The Daily Gazette
“The Social Distance” - New Album a Saving Grace to a Year of Lockdown Pandemic” - Thomas Dimopoulos, Saratoga Today
”Christopher Peifer’s Sophomore Solo Album “The Social Distance” Captures the Loss and Recovery of the Last 15 Months” - Stephi Wild, Broadway World
“Album of the Week” - Wayne Lundqvist Ford, The Ice Cream Man (Sweden) Listen here and here
Christopher Peifer / Suicide Mission (2020)
"New York's Christopher Peifer has gained notoriety in rock 'n' roll circles with such outfits as the Kowalskis, Frances Farmer My Hero, and, currently, Blockhouses. Peifer (guitar, bass, lead vocals) makes his solo debut with able assistance from Cold Spring's Todd Giudice (drums, vocals), his collaborator in another band, Pig Iron. The 10 tracks here range from the crunching sun-blasted power pop of "Madrid" to the jangling lover's lament of "Poughkeepsie." The record has an intimate, bedroom song quality that was engineered and mixed at Giudice's Roots Cellar Studio. "This Broken Heart" boasts some fine, understated guitar work in the service of witty couplets recalling the jaundiced pop smarts of Elvis Costello." - Jeremy Schwartz, Chronogram
“Absolutely brilliant!” - Wayne Lundqvist Ford, The Ice Cream Man (Sweden)
Top 75 (international reporting) - Radio Indie Alliance
“Christopher Peifer, who you most likely know as a member of Blockhouses and The Kowalskis, is an underground rock and roll lifer. Over the past quarter century, he's also recorded and performed with Sir, Frances Farmer My Hero, Another Saturday Night, Heavy Creatures, Steve Shiffman & The Land of No, and Todd Giudice's Pig Iron. That's quite a resume! What Chris Peifer had not done until now was to make a record where he was the primary creative force. Suicide Mission is his first-ever solo album, which he recorded at Roots Cellar Studio in Cold Spring, New York with longtime collaborator Todd Giudice. He describes the album as "art and love in the time of Coronavirus". It's an impressive and long overdue solo debut - featuring ten well-crafted pop/rock songs emphasizing storytelling and personal reflections.
Peifer set out to create a debut album full of melodic pop songs in the range of two-to-three minutes. Well that's certainly something I can endorse! Suicide Mission was modeled to some degree after the Elvis Costello compilation album Taking Liberties. The influence of The Replacements, Paul Westerberg, Nick Lowe, Bob Mould, Big Star, and good buds The Figgs is also evident. I like that this is a power pop album at heart, yet it draws from numerous genres and eras of rock and pop music. The longtime sideman Peifer proves to be an appealing singer and exceptional songwriter. Of course he excels at writing catchy pop tunes with hooks. Just as importantly, he has put a great deal of himself into these songs. After listening to Suicide Mission several times, I feel like I have a good sense of who Chris Peifer is. Lyrically, he offers up a nice mix of heartfelt love songs, topical numbers, and autobiographical sketches. The title track likens a life in rock and roll to a suicide mission. This tale of one touring band's misadventures is so wild and bizarre that you know it has to be true! The anthemic "Stanton Drive" finds Peifer deeply nostalgic for his Midwestern childhood. As a fellow '70s kid, I'm really feeling what he's putting out there. "Poughkeepsie" is full of longing for a lost love, and it's executed with a beautiful simplicity. By contrast, "Throw You A Line" is a high-energy rocker that pays tribute to Greta Thunberg and a whole generation of young people who are stepping up to make the world a better place.
It goes without saying that fans of Blockhouses should be very interested in Chris Peifer's solo debut. Suicide Mission is a terrific indie rock/power pop album. It has all the attributes of a mature "singer/songwriter record", but it satisfies on a pure pop level as well. It feels weird to say this about a guy who's been in the rock and roll game for over 25 years, but I feel like we've been introduced to a bright new talent. I'm sure Peifer will continue to play in numerous bands, because that's what he does. But going forward, I look forward to much more from him as a solo artist and/or band leader.” - Lord Rutledge, Faster and Louder
“This spring, Christopher Peifer drove from his hometown of Fort Wayne back to the East Coast where he has lived for years.
Peifer's longtime friend and collaborator, Todd Giudice, owns a boutique recording studio he built within a converted barn in Cold Spring, New York. They were meeting to record Peifer's first solo album, “Suicide Mission.”
On the road trip, Peifer scribbled on a notepad in his passenger seat. The lyrics were longing – snapshots of Midwestern summers and childhood. “Summers spent on Stanton Drive; I wish they could never end; How could 1979 seem right around the bend.”
Stanton Drive is the street Peifer grew up on, in northeast Fort Wayne, and it's the title of the final song on his 10-track album – which, in its entirety, speaks to his life of rock 'n' roll.
Each song, in its own way, meanders lyrically over nostalgic vignettes coupled with strong hooks and catchy melodies – the kind that listeners will play on repeat.
Peifer has always been fascinated by the analog processes and techniques of music production. While he's no stranger to modern, digital methods, he still reminisces about the early days.
He recalls recording with Chuck Surack in the late 1980s, before the Sweetwater owner became a music mogul and household name around Fort Wayne. Those were the years that Peifer, from as young as 14, was playing local shows with neighborhood friends, his brother Matt and the group Tempest, which toured the region. Venue managers were quick to note that the teenage Peifer wasn't allowed near the bars – which was fine by him. He just wanted to play.
He spent much of those years gaining influence from late-'70s punk and '80s bands like Hüsker Dü, the Replacements and the Smithereens. He played in garage bands, networked with other local musicians and read up on the industry. He found himself drawn to the Village Voice, a publication based in New York City. He would pick up copies from Glenbrook Square and read about up-and-coming artists, such as Frances Farmer My Hero.
Shortly after moving to Manhattan, Peifer joined Frances Farmer My Hero as bass player; he found his first East Coast stage at CBGB – the legendary and now-closed East Village music club – while opening for Soundgarden.
These experiences were overwhelming, but more importantly, Peifer was adopting new sensibilities. This community he was intermingling with didn't seem to be concerned with imitating the greats – instead, it was unrelentingly curious and freewheeling.
Peifer has never been especially restrained when it comes to exploring new sounds and spilling out undiluted, authentic vocals.
Talking about his latest recording session, Peifer says, “There's something about being in a room with another person, or people, making music, creating and bouncing ideas, and it's just preferable to me – there are bands like Wilco, for example. I love the way their stuff sounds and I love their approach and it's just, to me, so organic and cool and has a vibe to it, that you just can't manufacture another way.”
Though he still resides in Upper Manhattan, Peifer is back in Fort Wayne, where he has been spending time during the pandemic. But his career has taken him all over. He has collaborated with numerous bands and toured throughout the U.S. and most of western Europe – more than a dozen countries in all.
Peifer says that along his journey, he has gained a deep appreciation for the authentic moments found in smaller venues.
In a larger venue such as the Metropolitan Opera House at Lincoln Center in New York, you're either viewing from a balcony, “with a comfortable padded ledge; ... you're way up there, and the acoustics are great, ... but you just feel like it's such an alienating experience.” Or, conversely, on the occasion that Peifer gets seats up front, “We'll be in the fifth row – you see the orchestra, you know, their bows are almost poking you in the eye and the opera singers are spitting on you,” he says. “And to me – this is like rock 'n' roll; ... there's sweat and there's danger involved to some extent, and they're right there. You're making eye contact with them. “To me, that's what I love about playing music – it's connecting with an audience.” Peifer says that as a kid growing up in Indiana, he imagined one day playing Madison Square Garden. But now, he says, “I'd think that there would be nothing worse.”
Whether he's touring through New York, Madrid or the Midwest, he prefers the gritty, up-close, intimate venues – such as, perhaps, the dive bar in Manhattan where he met his wife, Rachel.
As the industry continues to evolve past the analog days, musicians like Peifer sustain the essence of live music – whether he's playing for an audience or capturing his hardly rehearsed tracks with modern equipment.
New York and Indiana both can expect to hear more from Peifer, especially his solo work.
“Suicide Mission” is available to buy as a download or CD from chrispei.bandcamp.com. Beginning Saturday, it will be available on streaming platforms including Amazon, Apple Music, Spotify and iTunes. Peifer plans a vinyl release when live shows pick up.” - Feature by John McKinney, The Journal Gazette (Fort Wayne, IN)
“Chris Peifer has played with and for a blizzard of bands during his 30-year career as a bass guitarist (“groovy metal, punk, art-rock, folk-rock, singer-songwriter stuff”), but it is only now that he has recorded his first solo album, Suicide Mission — and he did it at Philipstown’s Roots Cellar Studio … “ - Feature by Alison Rooney, Highlands Current (Hudson Valley)
“Capital Region Music Veteran Releases First Solo LP: After 30 years in the music business — writing, recording, touring, and performing as a collaborator, bandmate, and sometimes sideman — Christopher Peifer has released his first full-length solo record. Peifer spent his formative years in the Capital Region in the 1990s playing with local artists like Sandy McKnight, Stephen Clair, John Powhida, the Staziaks, and Nick Bisanz. “One of my favorite bands, The Figgs, from Saratoga, have kept it going for 30 years, whereas in 30 years I’ve played in 30 bands,” he says. Recorded over the past year and musically inspired by everyone from Elvis Costello to The Replacements, The Figgs to Roy Orbison and Hüsker Dü, the album “Suicide Mission" is “art and love in the time of coronavirus,” Peifer says. The title symbolizes the pursuit of a life in rock n roll, especially at a certain age, and likens it to a kind of suicide mission, or a kamikaze flight. For more information about the album and downloads, go to: chrispei.bandcamp.com.” - Thomas Dimopoulos, Saratoga Today
“Christopher Peifer Releases New Album 'Suicide Mission': The record is straight-forward: guitar, bass, and drums; somewhere between bare knuckle, and unpretentious-to-brutal honesty. Peifer digs into the essence, and plays for the song. Still, there are some sonic treats to enjoy, and some satisfying musical twists, and clever lyrical turns to discover.” - Chloe Rabinowitz, Broadway World (NYC)
“Music in the Time of Coronavirus: Christopher Peifer blasts out of lockdown with a bare-knuckle new album …” - Kirsten Ferguson, 518 Profiles Magazine (Albany, NY)
”Rewind to the golden era of songwriting and place CHRISTOPHER PEIFER there. On ‘Puss N Boots’, this New York City singer/songwriter reaches that level. The golden era of pop. Bringing in that rock and roll attitude that equates to a simply beautiful slice of powerpop perfection. Taken from his flawless Suicide Mission record, this particular track genuinely encapsulates what Peifer is all about. A purely irresistible listen for fans of harmony-driven and melodic music. Welcome to Garageland.” - Tom Hilton, Aldora Britain Magazine (UK)
”Fantastic Finds From The Digital Mailbox: Christopher Peifer’s scrappy indie-rock could easily be your new favourite.” - Darryl Sterdan, The Tinnitist
¿Destino? First radio play for "Suicide Mission" was in Madrid (the title of the lead-off track, and Chris’ favorite city). ¡Muchas Gracias, Plástico Elástico! (Spain)
"Timing is everything, come dicono quelli che la sanno lunga". Turnista, musicista, songwriter "gregario" in giro per il mondo a praticare il mestiere da più di venticinque anni, Christopher Peifer ha pubblicato il suo primissimo disco da solista proprio nel bel mezzo della pandemia, ma non si è scoraggiato. Influenzato dai capolavori "che hanno superato con margine il test del tempo come "Taking Liberties" di Elvis Costello", il signor Peifer da New York ha messo insieme una gradevole raccolta di canzoni da due minuti e mezzo di media, da cui grondano influenze perlopiù confesse: parliamo di Bash & Pop, Bob Mould, Nick Lowe, Big Star, Sloan... e forse di un goccetto di tequila. Il superalcolico ne ha sottese alcune, esibite altre, ma insomma dovrebbe essere tutto chiaro. L'album si chiama "Suicide Mission", titolo un pizzico cupo e non necessariamente rivelatore. Ma due ascolti li merita senza dubbi.” - Emmanuel Nolo Marian, Under the Tangerine Tree (Italy)
Blockhouses
Blockhouses GREATEST HIT SONGS OF ALL TIME reviewed!
"Essential album alert! With three singles in the books, the band returned from a hiatus this year to complete its first full-length album. And so here it is, aptly titled "Greatest Hit Songs of All Time." This album is a power pop enthusiast's dream - full of catchy, high energy tunes that just plain rock ... Christopher Peifer and Jim Balga make up the formidable rhythm section that really drives these songs. Sometimes "power trio" is just a euphemism, but I can't think of a more fitting way to describe Blockhouses. It's clear that these songs were written not just to sound good on record, but also to be fully rocked out on stage. And while the album title is obviously tongue-in-cheek, there's some real truth to it. This thing is packed with tracks that could have been A-sides to singles ... If you wanted a textbook demonstration of how to put the power in the pop, this is it. Punchy guitars? Check. Driving energy? Check. A chorus that will be stuck in your head from the first time you hear it? Check! ... Greatest Hit Songs Of All-Time is every bit the knockout debut album I expected from Blockhouses. The songs from the singles sound better than ever, and the new material is every bit as strong. To me, the best power pop is the kind that sticks closest to the blueprint of good old rock n' roll. Blockhouses are the perfect case in point. They know it isn't necessary to reinvent the wheel. They're all about writing great tunes with memorable hooks and rocking the heck out of them ... " - Lord Rutledge, Faster and Louder
#Blockhouses "Greatest Hit Songs Of All Time" (2018) - Title might match "Jesus of Cool" for overstatement, but might also match it for melody. I'll let others argue over whether it's power pop or garage rock or punk (mainly because it's all of that) (and all that). - Roy Pearl, Un-Herd Music
Best 20 Albums of 2018: Blockhouses "Greatest Hit Songs of All Time" - Lord Rutledge, Faster and Louder
Blockhouses “Greatest Hit Songs of All Time” Best of 2018! - Un-Herd Music
"Fronted by swatches of catchy, smooth, distort-o-chords with a snappy rhythm section and tuneful vocals to boot, Blockhouses are making their way through the northeast to stage a show in Saratoga Springs on Monday … The band - Guy Lyons with guitar and vocals, Christopher Peifer with bass, keyboards and vocals, and Jim Balga on drums – is touring in support of their debut album, "Greatest Hit Songs of All Time." - Thomas Dimopoulos, Saratoga Today
"Attention fans of blistering NYC rock and roll: Blockhouses has some really exciting news to share with all of you. The band will be setting up camp at Kawari Sound in Philly in early February to record a brand new album. Pete Donnelly of The Figgs (NRBQ, Shelby Lynne, Soul Asylum) will be pushing knobs and buttons as producer." - Jetpack
“Blockhouses just released a new single, "One More Time To Get Home" b/w "Little Sweetie". It's actually the New York City trio's third single this year, and of course it's totally killer! A band named after a fort should be rock solid, and that's clearly the point. This single delivers that perfect blend of muscular guitars and catchy melodies on a pair of high quality tracks ... an absolutely dynamite band. Check out all of Blockhouses' singles over at their Bandcamp - and let's hope for more from this band in 2015!” - Lord Rutledge, Faster and Louder
“Blockhouses is a trio from New York City with bare-bones, lo-fi blistering pop-punk. There won't be a more rock 'n' roll party.” - David Malachowski, Albany Times Union
“There’s a shortage of no-frills rock & roll these days, but Blockhouses are keeping the flame alive. The New York City trio recreate the time-honored tradition of classic rock & roll — following the thread that connects the early rock & roll of Buddy Holly and Chuck Berry to the seminal ‘70s punk of the Ramones to the garage-pop renaissance of today. It’s all about great songs with catchy choruses, lyrics that people relate to, and live punk-rock energy. The band came together in 2013 after singer-guitarist Guy Lyons — a pivotal member of the Figgs back when the hooky, brash power-pop band was on Capitol Records — pledged a return to rock & roll. Looking to carry the torch for bare-knuckle, sing-along rock, he joined forces with bassist Christopher Peifer (The Kowalskis) and drummer Jim Balga, and Blockhouses were born.” - Jetpack
“Former Figgs guitarist Guy Lyons didn’t stop writing music. During the past year or so, he’s been recording some rockin’ good demos. Bassist Christopher Peifer (The Kowalskis, Heavy Creatures, Another Saturday Night) and drummer Bill Wolf fit the bill perfectly. The name of Lyons’ new rockin’ power-pop trio is Blockhouses, so keep your eyes and ears open for ‘em… Capital Region folk might also know Chris Peifer, a SUNY Albany grad, as a former member of the Staziaks. The recording of a new release is underway – sounds killer. Stay tuned for an Albany show in early 2014.” - Nippertown
Christopher Peifer Q&A with Nippertown
“A bit of fantastic ass-kicking rock and roll from Blockhouses!” - Wayne Lundqvist Ford, The Ice Cream Man Power Pop and More (Sweden)
Best of 2015: Kirsten Ferguson’s Top 10 shows, Nippertown (Albany)
5/5 Stars, “Blockhouses” LP - 1001 Records
Miscellaneous
“In the early 90’s, when the trio 500 Hats played live, it wasn’t unusual to see bassist Chris Peifer and guitarist Matt Williams switch instruments as drummer Phil Lanz kept the beat. It would have been pretty awesome if they had made a flying switch mid-song across a stage. But given the size of some of the places they played, a miscalculation would have had serious consequences – and broke the momentum of any number of their songs, an eclectic and diverse catalog offering views of the world, grounded with unique off-kilter grooves.” - Andy Gregory, Local 518, WEXT Radio / Nippertown
“Joy Buzzer Signs with Wicked Cool Records
Rocketing out of New York City on a combination of catchy hooks and jet fuel, Joy Buzzer is one of the premier power pop acts in the city today. Inspired by bands such as Fountains of Wayne, XTC, Squeeze, Todd Rundgren and Badfinger, Joy Buzzer delivers big-time melodies and choruses.
Formed in 2021 the band is led by songwriter/guitarist Jed Becker with Kevin Lydon on lead vocals, Christopher Peifer on bass and Mark Brotter on drums.” - Earshot
Joy Buzzer Signs With Wicked Cool Records; Releases Debut Single
“Peifer’s bass line forms the song’s foundation, cutting through clearly from the song’s opening bars to its end.” - Phil’s Picks
“The Poportunists send out love and good vibes with this classic song by the Kinks, featuring the hopeful opening lyric “Here’s wishing you the bluest sky/And hoping something better comes tomorrow.”
A New York City band comprised of members of modern garage rock kings Lord Calverts, The Alan Merrill Band (“I Love Rock ‘N Roll” co-writer who recently passed from Covid-19) and Blockhouses, the Poportunists needed an outlet to express their love for classic power pop tunes. Guitarist/keyboardist Jed Becker says: “After a few weeks in quarantine, we wanted to share a song that would help lift everyone’s spirits. This classic Kinks song was a natural choice with its joyous, optimistic sentiment.”
The band’s top-level musicianship is on full display in this lovingly crafted interpretation, featuring slick bends on the main guitar riff, gravelly lead vocals supported with sweet harmonies and a rock-solid rhythm section.
Everyone contributed their parts from their homes—Becker laid down the piano and backing vocals, Christopher Peifer played bass and sang, Mark Brotter played drums, and Kevin Lydon sang lead vocals. Finally, Askold Buk recorded his guitars and mixed the track, as well as adding some final production.” - Robert Dye, American Songwriter
Chris’ Bike MS fundraising bike team and band featured in Saratoga Living.
Blood & Stomach Pills, "What Rough Beast", engineered and mixed by CP at Garageland:
"Encompassing a broad geography of American music … a palette of gnashing guitars and gospel, punk, and country vocals, underpinned by a bedrock of undertaker organ. Fans of gritty countrified garage punk a la North Carolina's Flat Duo Jets will surely dig." - Jeremy Schwartz, Chronogram
“Colorform is a six member squadron of talent, getting their name from the improvisational art they create during the set. How it works, is Sarah (the artist), lays down a white blank canvass before Colorform cracks open that first note and as the music starts to play, Sara goes with the vibe — creating a free-flowing, soul-freeing, organized chaos piece of art that she finishes by the time the party is over. It’s Sarah vs. the rest of the band in the best way possible. Now for the music. It’s folky, it’s punk, it’s indie garage meets the right now. Kate’s swagger contagious, she influences the rest of the band, freeing them to let go, as they take raw bass lines mixed with funky cello play (played by Black’s husband Matt), all the while building out a hardcore display of industrious sound emotion. An emotion that bleeds out of Black’s artistic being, producing attention grabbing vocal shrills.” - The Soul Dynamic
“With a new album and a new band, Stephen Clair & The Millionaires served up pointed, personal, powerful tunes ... while bassist Christopher Peifer (who you may also know as the bass man with Blockhouses) was thrumming up a storm.” - Greg Haymes, Nippertown
“These guys (Stephen Clair & The Millionaires) boast national-caliber talent.” - Michael Hochanadel, The Daily Gazette
“Gorgeous Machines is a band that are ahead of the wannabe Californian desert rock posers, as instead of sharing the fuzz of Kyuss, they share the warm, relaxing tones of Yawning Man. The Brooklyn band’s debut is likely to be filed alongside the tags of ‘cinematic desert grooves’, as each track is dunked in reverb and delay, while each riff is carefully crafted – cyclical and massaged. ‘Holler in the Night’ breaks the listener in gently, as its delicate instrumental loops keeps things light and airy, while ‘Harmattan’ braids together strands of trebly surf-rock over waltz-like beats.” - Chybucca Sounds
"The Luxurious Faux Furs ply a hazy delta / sexy blues vibe that doesn't really sound like much else. The trebly attack of the vocals on this disc is really fucking great. Honestly I wish the sound at their gigs would sound as good as this record. I want more." - Shimmy, Bananas Magazine (review of Garageland produced 7" vinyl)
“Check out GRANDE – Seductive hits and powerful licks, rock-n-roar with just enough metal to keep the devil happy ... these boys know how to satisfy ... get an earful, the future is knocking at the door.” - Starr Tucker, New York Waste
Heavy Creatures
"Through frequent tempo changes, they challenge their audience while insistently commanding their attention at the same time. Fans can look forward to seeing them as more of a presence on the music scene this year." - KEXP 90.3 (Seattle)
"These guys had my head bobbin' and toe tappin' as they tore through an assemblage of nifty little riffs, plus their bassist (Christopher Peifer) was popping off some supercool John Paul Jones-esque melodies pretty much the whole way through. I especially enjoyed how many of their tunes crammed seemingly unrelated riffs right up against each other back-to-back, making the longer songs less gassy. Fun band." - Tudd’s Mudd
"I've been really digging this band Heavy Creatures lately. I somehow stumbled on their myspace page, which is doubly strange/lucky for me because I don't spend that much time on myspace, but I was drawn to their name. Anyway, I love their artwork, I love their taste in guitars, I love the sound of their records, but most of all, I LOVE their songs. They're classic rock influenced, which in a lot of cases just means tired sounding and unoriginal, but not here, because the songs are just so good. I can't stop playing the riff to "Family Tree" in practice. So it's really crazy to me that they aren't really playing that many shows around town (NYC). They should be all over the place." - Rock Insider (LA)
"Band names are important. If you're named the Fluffy Princesses and sound like Brutal Knights there is certain to be a tragic disconnect. Then there is Heavy Creatures. They could be Dirty Animals or Sexy Beasts - essentially you'd just need an adjective to convey purringly thick swagger and a noun that remained as primitive as possible and you would get the idea. Heavy Creatures is fronted by two women who use classic 60s female harmonies in "Family Tree" as effectively as they combine their vocal power to create a primal drum circle feel in "Love Come Down." And the music - well, shit is heavy. It chuggs along beneath grandly gesturing keyboard and guitar lines while toying with the blues and psychedelic music so cleverly you're hard pressed to assign them a genre. These creatures understand the meaning of "momentum" and "build" and "crescendo" so well, you'd swear they were mounting a charge on all the mediocre bands in NYC. Heavy Creatures is the closest thing to Jefferson Airplane when they were interesting, sexy and just a bit creepy we've seen, so put on something beaded and dig." - RCRD LBL
"NYC's Heavy Creatures have developed their own special blend of organic rock reliant on viscous grooves and a sweeping ethereal spirit showcased on the quartet's latest eight-track excursion, The Cymbal and the Skull. There's an underlying darkness swirling through the Moog keyboards and Neil Young-esque fretwork that emits a kind of barren Midwestern farm night scene on cuts like "Crimson Canyon," while the hypnotic shuffle of "Landing of the Fall" harkens back to the days of surf rock psychedelics as interpreted through the walls of a dank metropolitan rehearsal space. Meshing entrancing drone rock with a free love, make peace not war sensibility, the smoky vibes emanated by Heavy Creatures teeter on the brink of rock 'n' roll danger with a tribal swagger with an underscored riot grrrl grit leading the charge." - Perpetual Toxins
“Curiously potent” - TimeOut NY
"Bringing on the REAL deal - Rockin' like the magical 60's TODAY:
Every now and again, on a blue moon, something magical and fantastic CAN happen. In the case of HEAVY CREATURES release just such an alignment of the stars has occurred. An absolute MUST have for any collector of neo-60's pure rock and roll. That is to say that if you find yourself stuck in love with the type of sound the wonderful late 1960's was so prolific in producing then you are sure to appreciate this work of art. HEAVY CREATURES would have fit right in on tour with Jimi Hendrix, Jannis Jopplin, Black Sabbath, etc., if there wasn't the issue of a 35 year time gap." - Cat Blair, Talent Scout Weedshare.com, ICP Chemistry Set Records, CSR Radio (SHOUTcast.com and live365.com)
Another Saturday Night
"Damn, this shit is tight as a vintage Robert Mitchum noir thriller. Same sorta swagger and cocksure deliverance. Timeless stuff. New York heroes like Johnny Thunders and Velvet Underground come to mind as well as some of the more rowdy late-60s Stones albums. Classic rock and proto-punk engages beautifully in a soulful street party with bruised dames and cheap liquor. I really dig the stripped down production that aids the 11 songs. Raw, devil-may-care and ballsy – I bet they slay on a stage. “Secrets And Whispers” even recalls The Humpers (remember them?). Don’t waste your money on the latest limp offerings from the ashes of The New York Dolls or Stones, Another Saturday Night’s debut album is your ticket to gut level decadent rock’n’roll that actually oozes with cojones and heart. The band hails from - of course - the Big Apple." -- LowCut (Denmark)
"These songs are sassy, full of bare knuckle truth and put together very well, a great introduction to this band. It’s got me wanting to hear more. I’m surprised and regretful at the same time, because I missed them the last time they rolled through Cincinnati. I’m also a bit surprised that this band isn't a huge success already and really, I realize from the perches of my self-imposed exile, that they really might be. Or rather, they should be playing packed holes in the wall anywhere they go. Like a locked groove record, rock and/or roll will never stop... The beast is too unruly now, it can only be shuffled around and kept at bay, but with a band like Another Saturday Night you can hear an example of how the battle still rages." - Neus Subjex (Cincinnati)
"Another Saturday Night (Slow Gold Zebra): I noticed tons of Rolling Stones posters wheat-pasted to construction sites and abandoned buildings and had some sarcastic inner-thoughts about Mick and the boys creak out a new inevitably unmemorable album. But when I realized the posters were for an "Exile on Main Street" reissue I was surprised to feel a little disappointed that no new Stones was forthcoming. Then I went home, but this LP on the Victrola, and was in rock 'n' roll ecstasy enjoying the best new Stones album the Stones never made. Jaggerian jaggings with L.E.S. track marks murking up the madness makes for some serious hot, cool shit." - Roctober Magazine
"Kongress's vivacious bellow fills you with adrenalin ... he sounds like he's gargled with kerosene! His bandmates back him with spirited, persuasive playing, especially on the horn-filled "Night Flies", the piano-driven killer "Secrets and Whispers" ... this debut is high-energy, soul-infected music you can go wild to.” - The Big Takeover (no. 66)
“Whiskey scented riffs, as if from the breath of Keith Richards … a more than recommendable record for Saturday nights.” – Kick Out the Jams (Spain)
“Best of 2008” / “Best of 2010” - Gorilla Got Me Radio, WMBR (Boston)
"Seven inches of vinyl ... Another Saturday Night's latest bar room rocker ... Howlin' guitars and steady rollin' tunes. Grab a PBR and bring on the night."
-- Starr Tucker, NY Waste, Fall '08
"Another Saturday Night is pure American rock n roll, maybe even typically New York if you're listening to some of the vocal parts that are reminiscent of the Dolls or the Fleshtones. The songwriting, rooted in all the epochs of rock and roll, is also timeless, simple, raw and energetic Garage Rock with background vocals, just like you want it. With this one we should keep our eyes open for a LP because these songs whet your appetite for more." - Flying Revolver (Germany)
"Rolling Stones jangle and swagger. Think "Brown Sugar." - Kristen K., Razorcake
"Yep, it's another Saturday night in NYC, and you're heading out to your favourite local bar, having finally managed to scrub the dirt out from beneath your fingernails. You shoot the shit with the bartender, Dale, who knows your preferred brand of beer without you having to tell him. You say hey to some friends playing pool in the corner, adjust your balls, take a long pull from the cold bottle, head over to the stage and nod your head in time to the Stones-by-way-of-Dolls garage rock the band is playing. It's Another Saturday Night, man, and the world is A-okay." - Sleazegrinder (Boston)
" ... The whole thing is retro as fuck , but all around so well done and also still played quite crisp. A very classic , catchy sound a whole lot cooler than what else is offered from this direction." - OX Fanzine (Germany)
"New York’s Slow Gold Zebra label sent us a whole bundle of vinyl joy this issue. Their package didn’t just serve to reassure that someone else still appreciates the beauty of shiny 7 inchers in grainily photocopied sleeves, but offered a comforting indication that there’s still some sleaze strung out on the streets of the cleaned up Big Apple. Whether or not you can offer a “yes” when the leading ladyboy with Another Saturday Night inquires, “do you remember the Giants of Love?” in a hearty Johansen baritone on the A-side to their single, it’s certain these Doll-y boys will bring back memories of the City’s golden era, with a twist of The Stones gritty Brit groove for good measure comes B-side “Sidewalkin’”. - Bubblegum Slut 7" Roundup (UK)
sir
"The best gig I ever did in my life was in the summer of 2000 in a pub in Brighton, England. Yes, I was already wearing leather with the VP, BUT I was also the guitarist for one of the best power/pop-punk bands to come out of NYC. I truly miss writing and performing with these guys…Christopher Peifer, you wrote the most badass bass line ever on this tune…to this day, one of the best songs I’ve ever been a part of writing and performing. “Prayer”: Vocals- Jesse Wayland Adams II, Bass- Christopher Peifer, Guitars- JE Anzalone, Drums- Ozzie Martinez. From our one and only CD … damn, I miss this." - Eric Anzalone, The Village People
SIR – “Rock On! Love, Agnes” (Motif Records)
"NYC's SIR take the power of punk and the glitz of Queen (the even cover “Sheer Heart Attack”) and come up with a potpourri of rock music chock full o' sass and attitude. This 12 track CD includes some kick ass originals (“Prayer”, “Postal”) with some off beat covers (The Eurythmics “Who’s That Girl”!) to create a really solid offering." - Mike SOS, Ear Candy
“sir’s original numbers are infectious.” - Ernie Glam, New York Blade
“sir demands attention.” - David Budge - Columbia Records, former Director of West Coast Publicity
" ... consegue dar um toque bem sexy às interpretações de, por exemplo, Prayer ("Crente"), que aliás tem um baixo delicioso nas mãos de Chris Peifer ... sexy interpretations, for example, Prayer, with a delicious bass in the hands of Christopher Peifer.” - Brazilian Record Review
Frances Farmer My Hero
“Great songs; harsh, witty lyrics. Good production and package. Unique and highly recommended.” - Indie Output
“Now this is original stuff. Lorijean Kreussling sings with an eerie Sinead O’Connor-like vengeance, and mood-swing grooves are nailed down by drummer Jamie Barbarotta and bassman Christopher Peifer.” - The New Times (Indianapolis)
“A dreamy blend of poetry and art-pop composed by George Snow, this “concept” follow-up to the 1988 debut retains the unique skew which made the first record both charming and disturbing. Smart, cynical lyrics, theatrical arrangements and show-stopping vox make for a hugely entertaining and intellectually exciting album. Bravo!” - The Musicians’ Exchange
“Frances Farmer My Hero: a band that breaks out of the mold of the many categories of today’s music. Conventionally deviant thinkers, non-conformists and anyone else who is bored with “the usual” will be entertained.” - Adam Barbasso, Good Times (LI, NY)
“It’s almost impossible to confine the music of FFMH to any one stylistic category. One thing all these tracks do have in common is a great sense of movement, whether it’s an ambient wash, a funky rap or a techno rave. Another thing they all have in common is a great sense of originality. There is a freshness to all this material no matter what genre it’s aimed at. You may not like every track, but you’re almost guaranteed to love some.” - JS, The Musicians’ Exchange
THEATRE
The Immigrant (George Street Playhouse, New Brunswick, NJ) Sound Design
George Street Playhouse's "The Immigrant" was named #2 on NJ Arts' Best 12 Theatre Productions of 2019!
Chris is proud to have sound designed with such a brilliant team on this beautiful and memorable production.
Lost Lake (Berkshire Theatre Group, Stockbridge, MA) Sound Design
"A production that is as graceful and honest as you are likely to see — ever." - Jeffrey Borak, The Berkshire Eagle
"Lost Lake is a sweet conclusion to BTG’s summer season." - Steve Vineberg, Critics at Large
"One of the finest theatrical experiences of the year." - J. Peter Bergman, Berkshire Bright Focus
"This play will touch your heart. It is a gem." - Macey Levin, Berkshire On Stage
"It’s been a stellar season...Berkshire Theatre Group is a family of artists and craftspeople" - Mark Auerbach, The Westfield News
"Finely observed, carefully wrought...deep and satisfying" -- Steve Barnes, Albany Times Union
Intimate Apparel (Shakespeare & Company, Lenox, MA) Sound Design
"Christopher Peifer’s sound design ... enhanced the play seamlessly." - Roseann Cane, Berkshire On Stage
"Christopher Peifer's sound design enhances the dramatic elements of the play." - Macey Levin, Curtain Up
"Intimate Apparel is theater at its most powerful." - Amy Durant, The Alt
“Pierces the heart” - Terry Teachout, The Wall Street Journal
“Searching, sensitive production...compelling performances” - Chris Rohmann, The Valley Advocate
Dark Hollow (16th Int’l NY Fringe Fest, Theatre 80) Sound Design, Composer, Music Director, Musician
“On the dimly lit stage of Theatre 80, a band of folk musicians dives into traditional gospel song “John the Revelator” while a hellfire-and-brimstone baptism takes place. This is just one of several memorable scenes in Elizabeth Chaney's powerful, haunting adaptation of Georg Büchner's 19th-century expressionist drama Woyzeck. Eternal salvation, economic exploitation and social disadvantage are still the main themes in Chaney's version, which is set in an impoverished mountain community during the Great Depression. Woyzeck (Kevin Kash) is a well-meaning but deeply tormented soldier plagued by apocalyptic visions; verbally abused by his superiors (a sergeant and the army doctor), he breaks under the strain and brutally murders his unfaithful girlfriend, Mary (Danyel Fulton). The Appalachian twist on this dark social commentary is best expressed through the use of American roots music scattered throughout the drama, including spiritual-style songs and traditional folk ditties like “Rye Whiskey” (performed by the cast with a delightful lack of polish). Rowdy soldiers, ragamuffin townswomen and plenty of onstage boozing provide comedy that balances the harrowing weight of the story.” - Sarah Hucal, TimeOut NY
"Soldier Woyzeck, a coil ready to spring, suffers apocalyptic hallucinations, abuse by his doctor and his army superior, and infidelity by the mother of his child. The play's adaptor (also producer, scenic/lighting designer and sometimes librettist) Elizabeth Chaney, hews tight to Büchner's original plotline, but moves the story from a German town in the 1800s to the Appalachian mountains during the Depression. Weighed down in tatters and poverty, provincial religion, and military irrational authority, Dark Hollow adds a Southern Appalachian twang and an infusion of traditional mountain music performed by supremely skilled musicians. Unlike a traditional Broadway musical, the many songs aren't belted out, but sung simply and well, as befits a rural story. Directed by Alkis Papoutsis with music direction by Christopher Peifer and performed by a disciplined and talented cast, the sure, deliberate pace accretes the palpable inevitability of a classic tragedy of grave consequence. It's a stunning and serious pleasure." - Osenlund, Curtain Up
“You only had to walk back into Theatre 80 for another mountainous musical, the atmospheric Dark Hollow, which sets Gëorg Büchner’s Woyzeck amid the Appalachian hills … this production does claim a stirring bluegrass band and a song list drawing on terrific traditional ballads. The original ones, by Elizabeth Chaney and Christopher Peifer, aren’t too shabby, either.” - Alexis Soloski, Village Voice
“The challenge Buchner presents -- and Chaney has taken up -- is to maintain interest in the hapless protagonist when he richochets through life as an army barber and as the spouse of a loving woman who eventually strays with another enlistee. Alternately docile and irrationally outraged and in time homicidal, this Woyzeck (Kevin Kash) sometimes barrels, sometimes shuffles through his scenes with stooped shoulders. Indeed, the bent-over, defeated posture seems to be the one concession to characterization that Kash -- as directed by Alkis Papoutsis -- allows. Chaney does add something to Buchner's 1836 work, which is based on a story taken from the 1821 headlines. By opening her version with Woyzeck sitting center stage while behind him a preacher rants and a choir member raves, she implies some of that old-time religion triggered his initial disorientation. She enforces that view by making Dark Hollow a play with music, much of it carrying religious overtones. The most pertinent inclusion -- all are played by a gritty quintet at stage right -- is the traditional "Man's Life's a Vapor," which repeats the lyric, "Man's life's a vapor, full of woes -- he cuts a caper, down he goes." And just as the refrain repeats the "down he goes" part, the production keeps up the unrelenting going-down action.” - David Finkle, Theatre Mania
"What a crazy powerhouse of a play Georg Büchner's Woyzeck is. Its reputation often seems to rest on its formalistic innovation, its ahead-of-its-time expressionistic shape of thematically related scenes that deliver atmosphere over strict narrative. But what makes Woyzeck so resonant is in fact its story, which hits deep archetypal wellsprings of the human potential for cruelty through a tale of a beleaguered young solider Woyzeck, who murders his common-law wife after the world's humiliations grow too fierce for him to handle. Dark Hollow: An Appalachian Woyzeck, currently being performed in FringeNYC, makes the choice to transplant Büchner's story into Depression-Era Appalachia, which seems high-concept but ultimately translates the play's cynicism in remarkable ways. It maintains Büchner's scene structure and characters but frames them around a live band and a plethora of haunting songs (most traditional) that are steeped in a willful acceptance of death and futility.
Some of the songs - like "Pretty Polly" or "Shady Grove" - carry deep wellsprings of strength and darkness that the play discovers through a well-controlled atmospheric staging. There are funny moments but they come out of the dankness rather than overshadowing it, and even the excitable crowd scenes maintain the air of a Christ-haunted society unable to manage its original sin. As Woyzeck, Kevin Kash brings a severe intensity that is constantly deepened as he is consistently battered by his doctor, drill sergeant, and even the mother of his child. And the adaptation finds a similar complication to that of the original play through its setting: while much of Woyzeck's ultimate crime can be explained in terms of poverty, small-mindedness, and social cruelty, his visions come from somewhere much deeper than simple conditioning. There's a nearly religious conviction to his mania (even if we do explain it in terms of the experiments he agrees to suffer for money) that finds an effective equivalent in rural Christianity. Considering it's a FringeNYC show, the well-oiled production, which manages to deliver this atmosphere with seeming ease despite a large cast, live music, and complicated transitions, is particularly noteworthy. What this team (adaptor Elizabeth Chaney and director Alkis Papoutis) has done is stay true to a legend while not letting themselves be hampered by it. For both the overly-familiar and the neophyte, it's a great production that can make you forget why the play is so great so that you can remember why it's so damn scary." - Stephen Cedars, NYTheatre.com
Christopher Peifer Q&A with NYTheatre.com
"A five-piece ensemble sits prominently onstage for Alkis Papoutsis’ staging of Elizabeth Chaney’s “Dark Hollow: An Appalachian Woyzeck,” her adaptation of Georg Büchner’s classic play. Chaney resets the tragedy—about a soldier who murders his girlfriend because of mental instability or societal pressures (or both)—in theAppalachian Mountains. The group offers up a host of traditional and original folksongs, and its presence is both welcome and warranted, as the music adds gorgeous texture to this solid version of this sad, familiar work." - Andy Propst, Backstage
"In DARK HOLLOW; AN APPALACHIAN WOYZECK, Elizabeth Chaney gives Georg Buchner's 19th century German tale of exploitation, adultery, and murder a 20th century American context.The mountain folks's revivalist religion, hard drinking, and death obsessed folksongs provide new grounding for this haunting story. This big production with 17 actor/singers and 5 musicians achieve a remarkable cohesion. Kevin Kash is appropriately scary as the paranoid soldier. Danyel Fulton is sensuous yet vulnerable as his girl and Nick Mason is especially good as his bewildered friend. While Buchner's text is endlessly fascinating and rich, not every production gets as much from it as this fine work. Happy Face 5stars" - Hi!Drama
Edward the Second (Red Bull Theatre at Primary Stages, NY) Sound Design
"Sleek… erotic… fearless… supremely modern. A 400-year-old play fired with the excitement of today." – Jason Zinoman, New York Times
"A splendid new revival. Lurid and literate. The ratio of classy to trashy is perfect.” - Time Out New York
“Violence, sex and power are vividly evoked… Terrifying!” —Variety
"Marvelously evocative. Visually sumptuous." - Theatermania.com
"A spirited and intensely dramatic world premiere, filled with breath-catching violence, Red Bull Theater’s production of Edward the Second is as juicy as any you're likely to see or have seen." – Elyse Sommer, Curtain Up