http://www.rhapsody.com/goto?rcid=art.11594&rws=%2Fkelley-stoltz%2Fmusic-videos.rssSan Franciscan (by way of Detroit) Kelley Stoltz is one of those wunderkind four-trackers who can bounce recorded tracks on a Tascam better than Julius Erving can bounce a Spalding. In fact, it was <I>Antique Glow</I>, his collection of hook-laden indie pop demos drenched in lo-fi psychedelia that caught the attention of <I>Mojo</I> magazine and Sub Pop records. His songs are wayward pop compositions that mirror the cream of his own enormous record collection. He works as a record shop clerk in San Francisco, so it's no surprise that his songs reflect heavy vintage influences: sometimes he seems to conjure up the spirit of George Harrison's adoration for Bob Dylan; in other moments, Stoltz sounds like he could be tapping into Syd Barrett's riddled mind. He also mashes up the wry British wit of the Kinks with Beck Hanson's funked-out genre-scramble and, like many a young indie troubadour, he worships Brian Wilson. But these are influences and not imitations; at the core of all his inspiration is Stoltz's own eccentric vision. He bestows the listener with a familiarity of vintage songs, unpredictable arrangements and kinetic instrumental textures that are as innovative as they are original. - Eric SheaIndie/Alternativeen720Wed, 2 Dec 2009 06:17:38 -0800 http://static.realone.com/rotw/images/logo_rhapsody_113x22.gif http://www.rhapsody.com/goto?rcid=art.11594&rws=%2Fkelley-stoltz%2Fmusic-videos.rss San Franciscan (by way of Detroit) Kelley Stoltz is one of those wunderkind four-trackers who can bounce recorded tracks on a Tascam better than Julius Erving can bounce a Spalding. In fact, it was <I>Antique Glow</I>, his collection of hook-laden indie pop demos drenched in lo-fi psychedelia that caught the attention of <I>Mojo</I> magazine and Sub Pop records. His songs are wayward pop compositions that mirror the cream of his own enormous record collection. He works as a record shop clerk in San Francisco, so it's no surprise that his songs reflect heavy vintage influences: sometimes he seems to conjure up the spirit of George Harrison's adoration for Bob Dylan; in other moments, Stoltz sounds like he could be tapping into Syd Barrett's riddled mind. He also mashes up the wry British wit of the Kinks with Beck Hanson's funked-out genre-scramble and, like many a young indie troubadour, he worships Brian Wilson. But these are influences and not imitations; at the core of all his inspiration is Stoltz's own eccentric vision. He bestows the listener with a familiarity of vintage songs, unpredictable arrangements and kinetic instrumental textures that are as innovative as they are original. - Eric Shea