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Origins are murky at best for stereojunk. Most bands decide to play within a genre, styling music to suit their interests and reflect their influences; stereojunk is a little harder to pin down. Rooted in the graveyards of the suburbs, the confines of normalcy propelled the two musicians into a soul-searching journey towards the new sound. The music is a blend of psychedelic soul, freak folk, and garage pop; harmonically innovative music with witty lyricism that is subtle but powerful. Their live show combines a funkadelic flare with Motown professionalism – freaky pop music for the masses! Have you heard their ribald symphony?
Anchoring the foundation of stereojunk’s ethereal harmonies is 22 year old Percussionist/Artist Taylor “Bittertooth” Spillmann. First exposed to music by learning to play Tablas in the Indian classical style, and then inducted by his brother into a tradition of jazz drumming – Taylor began experimenting with any amalgam of skin, wood, and metal. As a youth in the railroad town of Greensboro North Carolina, a strange fascination to travel and learn foreign arts took hold in his mind. His world-spanning journey took him to Japan, where he painted and drew inspiration from the thunderous tradition of the O-Daiko (Big Drum). Returning to America, Taylor moved to the land of his Cherokee forebears in the mountains, to make his way as a modern bohemian artist. Now, as the head percussionist in stereojunk, Taylor demonstrates flexibility by ricocheting between an understated drum set, and adding layers of West African, Latin, Indian, and Southeast Asian percussions. Funky poly-rhythms and tasteful jazz drumming intertwine to build a clockwork machine. Sitting on his throne, Taylor rules over the band with a steady creative influence that is more emotive than the standard wham-bam, thank-you-mam style most drummers employ.
Self-taught singer/songwriter Marshall “Coyotiloke” Duncan, first became entranced when listening to the dissonant harmonies and angular melodies of Thelonious Monk. Disgust with compressed & inorganic music led Duncan to the music of the early 20th century, at odds with the bland and uncreative popular music on the radio. This epiphany sent Duncan into seclusion for most of his youth, living an ascetic lifestyle of fasting, dreaming, and dancing. At age 13 he began studying folk music by playing bouzouki and resophonic guitar. Transforming the eclectic musical influences into a live form took Duncan on a journey through a slew of different styles: blues, surf-punk, bluegrass, alt-country, traditional Irish, funk, and hip-hop. Eventually his songwriting came full circle to the golden era of pop music. When Duncan began writing material for stereojunk’s album 4 years ago, he brought his considerable talents to full force as a instrumentalist/performer. Now 23, Marshall creates and energetic presence at the front of the band; combining soulful crooning, free-styling, Tuvan throat humming, and Harmonica soloing while centering songs around delicate finger-style guitar work and dextrous mandolin playing.