About Margot & the Nuclear So and So's
"It's part Okkervil, it's part Bright Eyes, it's part Lemonheads, it's part OK Computer, it's part Gram Parsons, it's part Beatles. The first time I played the album, I forgot to take my iTunes off random and the mellotron intro of "Strawberry Fields" came on after the album opener. The transition was flawless. I guess that I can end on that note. Buy this album. Please." THE TRIPWIRE
"With a relatively meteoric rise, chamber-pop band Margot & The Nuclear So and So’s are fast becoming one of those mythical indie rock basement-to-penthouse success stories. And it’s all so well deserved." POP MATTERS
"Richard Edwards’ voice blends the desperate darkness of Elliott Smith with the literate sensitivity of James Mercer." CMJ
"I like this record for the same reason that I enjoyed Radiohead’s The Bends: These are great acoustically based songs performed in a creative way." DRUM!
"I have not felt this strongly about an artist since I heard ‘Grace’ by Jeff Buckley." Yahoo Music
"It’s a captivating combination of folk-rock flourishes, indie rock aesthetics and bittersweet narratives of a quixotic New York City circa the late 1960s." DIW MAGAZINE
"The new Village People – i.e., the West Village." SPIN MAGAZINE.COM
QUIET AS A MOUSE, VOGUE, INDPLS
2006 TOUR MONTAGE
A HISTORICAL PERSPECTIVE
As with most good stories, the tale of Margot & the nuclear so and so's begins in the depths of poverty and despair, far from the bright lights of Hollywood, tucked away in a decaying neighborhood somewhere in the midwest. The kind of neighborhood where it's often cold and grey. The kind of neighborhood where you might expect a gang of hoodlums like the so and so's to take solace in recording pop songs and causing general mayhem.
So, in the winter of 2004, in this decaying midwestern neighborhood, Richard Edwards and Andy Fry happened to meet at a pet store. Both in the market for a companion of the cuddly variety, they struck up a conversation and soon realized that they were becoming fast friends. After discussing Paul Simon and the Cardigans for awhile, Richard confessed that he had written a bunch of songs and offered to play them for his new friend. Once the cassette tape ended, Andy's eyes lit up! He liked those songs. They made him happy and sad at the same time. The two would start a band! Richard informed Andy that in a week's time, he would come up with a name, and that within 24 hours, he would be moving into Andy's house, as would a few other homeless musicians, who would now be playing in this collective.
Over the next few months, the band set up a sort of socialist commune in their midwestern neighborhood and started recording their debut album, 'The dust of retreat.' This went on during some very cold months, and the so & so's nearly froze on several occasions. They drank hot chocolate and took vows of everlasting friendship. When the record was finally finished, the so and so's rejoiced. They drank wine and patted each other on the back, then they climbed into a van and started driving. They drove all over the country with their new record and played songs for anyone who wanted to listen. People called their music sex-folk, or even urban folk, if they didn't like to say the word, 'sex.' It was a cacophony of electric and acoustic instruments that sat on top of rock-type rhythms.
Margot & the nuclear so and so's continue to drive around the country, playing their songs for those who would hear them. Their album, 'The dust of retreat,' is a wintry sort of album, filled with stories and observations, made tastier with Jesse Lee's cello, Emily Watkins' rhodes piano and Hubert Glover's trumpet. Chris Fry played the drums and Casey Tennis played more drums and banged on things with mallets. Tyler Watkins played electric bass, usually without any shoes on his feet.
The so and so's will continue to travel around the country in the year 2006, and once they have travelled 10,000 miles they will make another record.
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