Paul Hogan (Frances) Scores Movie Soundtrack“MUST READ AFTER MY DEATH” – Make Under The Radar Top 50 Albums Of 2008 – “All The While” Out Now On Gigantic Music, Produced By Chris Zane (Les Savy Fav, The Walkmen, Asobi Seksu)

Click Here To Listen To “Lighthouse”

Click Here To View Paste’s Band Of The Week


RCRD LBL Premieres “All The While”

About “Must Read After My Death”

Filmmaker Morgan Dews was very close to his grandmother Allis, but it wasn’t until after her death in 2001 that he became aware of an astounding archive she’d amassed throughout the 1960s. Filled with startlingly intimate and candid audio recordings detailing her family’s increasingly turbulent lives, the collection also contained hundreds of silent home movies, photographs and written journals. Using only these found materials, Dews has fashioned a searing family portrait that affords fly-on-the-wall access to one family’s struggles amid an America on the verge of dramatic transformation.Must Read After My Death was the 2008 Grand Prize winner at the prestigious International Documentary Festival in Marseilles, Must Read After My Death is distributed by Gigantic Releasing, the first distributor to open first-run films in major market cinemas and day and date online via the company’s Gigantic Digital broadband theater (www.giganticdigital.com)

Press For Frances
Prefix Magazine 8.5/10 : “All The While nails its grand aesthetic. It never descends to the pomposity of similar artists like the Divine Comedy, but still forges a friendly marriage between accessibility and mystery. Call it “chamber pop” or just call it like it is: a phenomenal debut album.”Amplifier Magazine :  “With debut album All the While, Frances pieces together an elegant and sophisticated creation, with strings, keyboards, xylophones, and various other exciting little bits of sound coming tog ether to make a unique and delightful pop style.”

Flavorpill : Stuffing his album full of horns, strings, and triumphant choruses, Hogan evokes wonder and earnestness
through complicated melodies and exotic, bookish narratives.

Time Out NY : “FRANCES has a winning way of penning straight-up chamber-pop tunes”

Pitchfork Media (”Kettle” Song Review): “The orchestrations are sophisticated and complex, far more than your average window dressing, and as an opening shot, the EP this is drawn from is quite a statement. I can’t wait to hear the LP.”

Der Spiegel : “Frighteningly good”
It’s been said that to write a decent pop song, all you need is three chords and the truth. But as pop music’s brief history has shown, things aren’t always that simple. Sometimes you need to smudge the truth a little to get your point across; sometimes you need more than three chords. And sometimes you need a glockenspiel, a Suzuki Omnichord, and a Tennessee high school marching band.

Frances know this all too well. The coed sextet’s debut full-length All the While carries on the great tradition of pop music that plays with itself, taking the fun parts and discarding the dumb ones, flirting with chaos but always returning to a gloriously catchy, melodic center. It’s resolutely childlike, fanciful stuff (toy instruments abound, as do sing-sung lyrics about stagecoaches and telephones made of paper cups and string); but then, Frances are correspondingly serious in their execution, employing whiplash-inducing chord changes, bizarre stylistic touchstones (Van Dyke Parks’ pop oddities, classic AM-radio rock, a little Stravinsky, a little Sondheim), and darker moments that hint at something terrifying lurking behind the swooning strings and oom-pah horns.

Frances began as a collection of relatively stark breakup songs written by bandleader Paul Hogan while he worked toward his doctorate of music in New York City. Hogan’s background is in 20th-century classical music; he’s organized experimental works involving 23 children playing 23 pianos and recorded a surprising quantity of frog sounds. In order to match the music’s ambitions, Frances soon expanded into a living, breathing collective, in which all members contribute to the writing and arranging process. After the group self-released Night Light EP to a few quiet internet hosannas, their live shows exploded, regularly incorporating chamber orchestras, brass, woodwinds, and choirs along with the usual litany of (literal) bells and whistles. Frances‘ performances take place out of time, as the band members’ varied musical backgrounds congeal into a sort of indie-rock parlor show.

Vaulting through the window on a wave of woodwinds, All the While’s lead-off title track is a triumphant statement-of-purpose drenched in the band’s trademark orchestral bombast. >From there, the record slides into “The Brain,” a jaunty piano-led number in which the airy-voiced Hogan wears his Glasgow-pop influence with pride. All the While producer Chris Zane’s pedigree is in sly, art-damaged indie rock (Walkmen, Les Savy Fav, Asobi Seksu), and his touch gleams in the record’s shadowy corners. “Tightrope” swings from lightly percolating indie pop to Krautrock chug in a heartbeat; the slow-burning “Cousin,” meanwhile, opens with a menacing pulse, goose-steps through a field of tubas, and then blossoms into a delirious jazz waltz, trilling Broadway flutes and all. You can almost see the cast of thousands bounding into the streets for the dance breakdown.

All the While, Frances‘ debut full-length on Gigantic Music, is a perfectly realized expression of the band’s genteel madness. It’s experimental pop, dressed up in a top hat and tails.

Frances is Stephanie Skaff (vocals, sundries), Brian Betancourt (guitar, sundries), Nick Anderson (bass), Julia Tepper (vocals, violin, sundries), Tlacael Esparza (drums), and Paul Hogan (vocals, keyboards)
For Press Contact Kip Kouri – kip@tellallyourfriendspr.com
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