Elison Jackson

By ‘Rebel’ Rod Ames

Elison Jackson is a trio of musicians, Sam Jackson Perduta – electric/acoustic guitars, vocals, harmonica, singing saw, jaw harp, accordion, lap steel, chord organ, white noise, Kevin Marrs – drums/percussion, guitars, Greg Perault – upright/ bass guitar, piano, pipe organ, from New Haven, Connecticut. Had it not been for them sending me their music, I probably would have never heard of them. I thank the Gods of all things musical that they did. In fact, I feel honored that they even considered me to review their music.

One of the first things I listen for when listening to any band is; what makes them different or in some cases, unique. Do they have a sound all their own? Elison Jackson has absolutely captured, not only a sound unique to them, but they might have even captured their own genre. It's hard to say. One thing for sure, this is a set of twelve original and extremely complex tunes.

In fixating on, and trying to figure out what exactly it was that was penetrating my inner ear and planting itself in the coveted right side of the brain, it occurred to me that I was listening to some unique indie rock with a sonically psychedelic resonance. If that were not pleasing enough, they added just a smidgen’ of folksy-jazz for extra flavor to an already tasty treat for the ears.

Sometimes, even when listening to the best of bands, there might be a song or two I have to struggle through to get to the next listenable song - not this time. This album has a feel, a rhythm that simply does not let up. Each tune left me longing for the next. It was almost as If I was listening to one long tune. It flows that seamlessly all the way through.

I believe that this may be one of the next great bands to emerge literally out of nowhere. I know it will definitely get and abundance of airplay on my radio show.

I also must add how much their journey sounds like one of my favorite film director’s. John Waters, in his early days of filmmaking had to beg borrow, and yes, sometimes steal, to get his art up on the big screen.

As stated in their bio in reference to “Spectral Evidence” – “Over ten months… the band worked tirelessly on ‘”Spectral Evidence”… recording in basements, bathrooms and closets around CT and Boston, MA, using found instruments such as a tag sale chord organ, a banjo from a back-room guitar shop, and a vintage Hammond organ bought on clearance at Goodwill. Despite low/no funds, lineup changes and everything in between, the band finally finished the record after 10 months of work with the help of post-production from Matt Thomas (MT Bearington, Fuzzy Rainbow Productions), who mixed and mastered the record.”

This is obviously more than just a record. It is a 10-month long love affair. The band put their collective hearts and souls into the record and it shows.

It is available now and Rebel’ Rod says to check it out!
- From Under The Basement: Reviews

By ‘Rebel’ Rod Ames

Elison Jackson is a trio of musicians, Sam Jackson Perduta – electric/acoustic guitars, vocals, harmonica, singing saw, jaw harp, accordion, lap steel, chord organ, white noise, Kevin Marrs – drums/percussion, guitars, Greg Perault – upright/ bass guitar, piano, pipe organ, from New Haven, Connecticut. Had it not been for them sending me their music, I probably would have never heard of them. I thank the Gods of all things musical that they did. In fact, I feel honored that they even considered me to review their music.

One of the first things I listen for when listening to any band is; what makes them different or in some cases, unique. Do they have a sound all their own? Elison Jackson has absolutely captured, not only a sound unique to them, but they might have even captured their own genre. It's hard to say. One thing for sure, this is a set of twelve original and extremely complex tunes.

In fixating on, and trying to figure out what exactly it was that was penetrating my inner ear and planting itself in the coveted right side of the brain, it occurred to me that I was listening to some unique indie rock with a sonically psychedelic resonance. If that were not pleasing enough, they added just a smidgen’ of folksy-jazz for extra flavor to an already tasty treat for the ears.

Sometimes, even when listening to the best of bands, there might be a song or two I have to struggle through to get to the next listenable song - not this time. This album has a feel, a rhythm that simply does not let up. Each tune left me longing for the next. It was almost as If I was listening to one long tune. It flows that seamlessly all the way through.

I believe that this may be one of the next great bands to emerge literally out of nowhere. I know it will definitely get and abundance of airplay on my radio show.

I also must add how much their journey sounds like one of my favorite film director’s. John Waters, in his early days of filmmaking had to beg borrow, and yes, sometimes steal, to get his art up on the big screen.

As stated in their bio in reference to “Spectral Evidence” – “Over ten months… the band worked tirelessly on ‘”Spectral Evidence”… recording in basements, bathrooms and closets around CT and Boston, MA, using found instruments such as a tag sale chord organ, a banjo from a back-room guitar shop, and a vintage Hammond organ bought on clearance at Goodwill. Despite low/no funds, lineup changes and everything in between, the band finally finished the record after 10 months of work with the help of post-production from Matt Thomas (MT Bearington, Fuzzy Rainbow Productions), who mixed and mastered the record.”

This is obviously more than just a record. It is a 10-month long love affair. The band put their collective hearts and souls into the record and it shows.

It is available now and Rebel’ Rod says to check it out!
- From Under The Basement: Reviews

Chip McCabe
10:57 a.m. EST, November 17, 2011

I love when a band puts out a debut album that I dig. I love it even more when their sophomore release is even better. It's a harbinger of good things to come for the band and their fans. Today that band I'm stoked about is Connecticut's own Elison Jackson.

Elison Jackson is the brainchild of songwriter Sam Perduta. Their debut album, released in 2010, was a pleasant little singer-songwriter, indie-folk album. The songs were strong, likable and often times poignant in their message. However the new album from Berlin, CT's own is a stand out in so many ways. The first noticeable difference is the full band accompaniment. The sound is fuller and richer as you would expect it to be. But it's more than just added instruments and voices. This album shows a distinct songwriting maturity. It's as good as any album released by a CT band this year and one of my favorite albums of 2011 so far.

Upon first listen I immediately heard Leonard Cohen, Bob Dylan and Neil Young as distinct influences. But upon further listens the ghosts of many folk/country-blues musicians reside on this album - Charlie Patton, Robert Johnson, Blind Lemon Jefferson, Big Bill Broonzy, etc. The band mentioned to me that their live set has a louder, more garage rock vibe to it. I can see that to an extent here as well. What makes this album so unique is the dark, almost supernatural (hence the album title?) vibe that is pervasive throughout. Chord organ, pipe organ, jaw harp and lap steel all make appearances on various songs giving this album such an earthy, organic feel to it. The songs on this record would be equally at home in a coffee shop in the Village as they would on stage at a club - and again let me reiterate how well written these songs are. "Tragic Actress" alone has become one of my new favorite songs. This album is highly recommended for anyone who calls themselves a fan of any of the aforementioned artists or musical styles. Listen to this album for free on their bandcamp page.

*Shameless plug alert! - Elison Jackson will be appearing on the next episode of Chip's Unnamed Local Band Show on Sunday, November 20 at midnight on WCCT in Connecticut. - CT.com

Chip McCabe
10:57 a.m. EST, November 17, 2011

I love when a band puts out a debut album that I dig. I love it even more when their sophomore release is even better. It's a harbinger of good things to come for the band and their fans. Today that band I'm stoked about is Connecticut's own Elison Jackson.

Elison Jackson is the brainchild of songwriter Sam Perduta. Their debut album, released in 2010, was a pleasant little singer-songwriter, indie-folk album. The songs were strong, likable and often times poignant in their message. However the new album from Berlin, CT's own is a stand out in so many ways. The first noticeable difference is the full band accompaniment. The sound is fuller and richer as you would expect it to be. But it's more than just added instruments and voices. This album shows a distinct songwriting maturity. It's as good as any album released by a CT band this year and one of my favorite albums of 2011 so far.

Upon first listen I immediately heard Leonard Cohen, Bob Dylan and Neil Young as distinct influences. But upon further listens the ghosts of many folk/country-blues musicians reside on this album - Charlie Patton, Robert Johnson, Blind Lemon Jefferson, Big Bill Broonzy, etc. The band mentioned to me that their live set has a louder, more garage rock vibe to it. I can see that to an extent here as well. What makes this album so unique is the dark, almost supernatural (hence the album title?) vibe that is pervasive throughout. Chord organ, pipe organ, jaw harp and lap steel all make appearances on various songs giving this album such an earthy, organic feel to it. The songs on this record would be equally at home in a coffee shop in the Village as they would on stage at a club - and again let me reiterate how well written these songs are. "Tragic Actress" alone has become one of my new favorite songs. This album is highly recommended for anyone who calls themselves a fan of any of the aforementioned artists or musical styles. Listen to this album for free on their bandcamp page.

*Shameless plug alert! - Elison Jackson will be appearing on the next episode of Chip's Unnamed Local Band Show on Sunday, November 20 at midnight on WCCT in Connecticut. - CT.com

ust a friendly, emergent reminder that we’ve been fortunate enough to add the latest album from Connecticut-based, indie-folk outfit Elison Jackson.

Their sophomore LP Spectral Evidence, picks up strongly where the eponymous debut left off. Sam Perduta’s piercing vocals resound throughout another album full of mystery, introspective wist, cunning lyrics, haunting melodies, and rockin’ folk twists; leaving us looking eagerly forward to hearing any peep these boys have yet to make in their forthcoming songwriting and recording enterprises.

Wet your whistle with this standout rocking cut “Through the Trees” from Spectral Evidence. - Dirty Hippie Radio

ust a friendly, emergent reminder that we’ve been fortunate enough to add the latest album from Connecticut-based, indie-folk outfit Elison Jackson.

Their sophomore LP Spectral Evidence, picks up strongly where the eponymous debut left off. Sam Perduta’s piercing vocals resound throughout another album full of mystery, introspective wist, cunning lyrics, haunting melodies, and rockin’ folk twists; leaving us looking eagerly forward to hearing any peep these boys have yet to make in their forthcoming songwriting and recording enterprises.

Wet your whistle with this standout rocking cut “Through the Trees” from Spectral Evidence. - Dirty Hippie Radio

Elison Jackson is a New Haven, Connecticut trio that craft a rustic style of folk on their sophomore LP Spectral Evidence. Lead by singer/songwriter Sam Perduta and featuring a list of guest multi-instrumentalists, the album’s twelve songs feature slightly different variations on slow to mid-tempo soundscapes filled with acoustic strumming, plucked banjo, lap steel guitar, vintage organ, and twinkling piano that nicely accentuates Perduta’s vocals.

Upon first listen, one may be inclined to simply label the band’s sound as garage folk or Americana, and on the surface they don’t stray too far from such an aesthetic. But this is not overblown hippie folk like Fleet Foxes or mainstream English tripe such as Mumford and Sons. Instead, Elison Jackson rides a fine line between pop sensibility and a more ruggedly lo-fi production quality. Additionally, Perduta positions his wordplay in a similar fashion to that of Bill Callahan on his recent album Apocalypse, meaning that the songs are like half-remembered memories or stories from a distant lifetime. His deep-toned croon takes the listener inside the tunes without ever resorting to lyrics that are trite or obvious.

Apparently, the loose concept running throughout Spectral Evidence concerns living inside an old house in New Britain, CT that may have been haunted by the spirit of a young girl who died in a fire during the 1970’s. This makes songs like opener “Don’t Die Upside Down” (which comes on like an old fashioned gospel dirge) and the ethereal “Sounds From The Hall” richer and more compelling. Whether or not such tales are mere spook stories is beside the point, as the record does a nice job of balancing both a mood of uncertainty with a peacefully content tone.

On “Tragic Actress” Perduta sings “Oh, Spectral Evidence/Is it you that forces me this feeling of reverence?” over vintage pipe organ, soaring trumpet, piano, and jangly acoustic guitar. The song is wonderfully nostalgic, and yet there is a feeling of pessimism lyrically that keeps it from becoming cloying. Meanwhile, “Perfect Little Place” sounds like a dark lullaby and displays perhaps Perduta’s strongest vocal range on the entire LP— a baritone drawl that is backed by some lovely guitar plucking. The tempo also picks up a bit with “Hour of the Wolf” a bouncy little number that really gets to show off Greg Perault’s throbbing bass lines and drummer Kevin Marrs’ work stellar behind the kit. The song even breaks into an inspired harmonica solo near the end.

For all its goodwill though, Spectral Evidence does suffer slightly from an air of sameness. Tracks like “The Scariest of Places”, “White Light” and closer “Seems To Be A Dream” are well written, but don’t sound dissimilar enough from other songs on the album to truly make much of an impact. More impressive are some experimental diversions, such as the instrumental “Spectral Evidence Pt. 1” and “Spectral Evidence Pt. 2”. Likewise, the shoegaze/folk hybrid that is “Through The Trees” sees the band branching out in a bolder direction, with a muddy wall of sound nearly drowning out Perduta’s singing. Though it’s entirely consistent tonally with the rest of the album, production-wise it’s a welcome left turn that shows what Elison Jackson are capable of if they embraced a more off-kilter sensibility. But one shouldn’t complain about what a band isn’t doing and praise what they do well, and they happen to play this particular style of music extremely well. There are flashes of The Snake, The Cross, The Crown (most notably on “Invisible Music”) Elvis Perkins in Dearland (“Sounds From The Hall”) and even a little Okkervil River with Perdutta’s vocal delivery on “Tragic Actress.” But mostly, Elison Jackson deserve mention outside influences altogether, as they have put together a very strong album that may take listeners more than a few listens to fully absorb. Spectral Evidence, despite a few songs that refuse to truly register, is an under the radar release that feels genuinely heartfelt, lacking the kind of radio friendly pandering that so often plagues bands trying to make a name for themselves. - Symbiotic Reviews

Elison Jackson is a New Haven, Connecticut trio that craft a rustic style of folk on their sophomore LP Spectral Evidence. Lead by singer/songwriter Sam Perduta and featuring a list of guest multi-instrumentalists, the album’s twelve songs feature slightly different variations on slow to mid-tempo soundscapes filled with acoustic strumming, plucked banjo, lap steel guitar, vintage organ, and twinkling piano that nicely accentuates Perduta’s vocals.

Upon first listen, one may be inclined to simply label the band’s sound as garage folk or Americana, and on the surface they don’t stray too far from such an aesthetic. But this is not overblown hippie folk like Fleet Foxes or mainstream English tripe such as Mumford and Sons. Instead, Elison Jackson rides a fine line between pop sensibility and a more ruggedly lo-fi production quality. Additionally, Perduta positions his wordplay in a similar fashion to that of Bill Callahan on his recent album Apocalypse, meaning that the songs are like half-remembered memories or stories from a distant lifetime. His deep-toned croon takes the listener inside the tunes without ever resorting to lyrics that are trite or obvious.

Apparently, the loose concept running throughout Spectral Evidence concerns living inside an old house in New Britain, CT that may have been haunted by the spirit of a young girl who died in a fire during the 1970’s. This makes songs like opener “Don’t Die Upside Down” (which comes on like an old fashioned gospel dirge) and the ethereal “Sounds From The Hall” richer and more compelling. Whether or not such tales are mere spook stories is beside the point, as the record does a nice job of balancing both a mood of uncertainty with a peacefully content tone.

On “Tragic Actress” Perduta sings “Oh, Spectral Evidence/Is it you that forces me this feeling of reverence?” over vintage pipe organ, soaring trumpet, piano, and jangly acoustic guitar. The song is wonderfully nostalgic, and yet there is a feeling of pessimism lyrically that keeps it from becoming cloying. Meanwhile, “Perfect Little Place” sounds like a dark lullaby and displays perhaps Perduta’s strongest vocal range on the entire LP— a baritone drawl that is backed by some lovely guitar plucking. The tempo also picks up a bit with “Hour of the Wolf” a bouncy little number that really gets to show off Greg Perault’s throbbing bass lines and drummer Kevin Marrs’ work stellar behind the kit. The song even breaks into an inspired harmonica solo near the end.

For all its goodwill though, Spectral Evidence does suffer slightly from an air of sameness. Tracks like “The Scariest of Places”, “White Light” and closer “Seems To Be A Dream” are well written, but don’t sound dissimilar enough from other songs on the album to truly make much of an impact. More impressive are some experimental diversions, such as the instrumental “Spectral Evidence Pt. 1” and “Spectral Evidence Pt. 2”. Likewise, the shoegaze/folk hybrid that is “Through The Trees” sees the band branching out in a bolder direction, with a muddy wall of sound nearly drowning out Perduta’s singing. Though it’s entirely consistent tonally with the rest of the album, production-wise it’s a welcome left turn that shows what Elison Jackson are capable of if they embraced a more off-kilter sensibility. But one shouldn’t complain about what a band isn’t doing and praise what they do well, and they happen to play this particular style of music extremely well. There are flashes of The Snake, The Cross, The Crown (most notably on “Invisible Music”) Elvis Perkins in Dearland (“Sounds From The Hall”) and even a little Okkervil River with Perdutta’s vocal delivery on “Tragic Actress.” But mostly, Elison Jackson deserve mention outside influences altogether, as they have put together a very strong album that may take listeners more than a few listens to fully absorb. Spectral Evidence, despite a few songs that refuse to truly register, is an under the radar release that feels genuinely heartfelt, lacking the kind of radio friendly pandering that so often plagues bands trying to make a name for themselves. - Symbiotic Reviews

Elison Jackson have a new record, and they want to press it to 10 inch vinyl! They set up a kickstarter to get your help in pressing this record and they even have a gig tomorrow at Cafe Nine and all proceeds go to their kickstarter!





For many locals, vinyl is the kind of permanence one must always be trying to attain. A fantasy for so many of us, and a possibility for Elison Jackson. All the mixing and mastering is done for this EP and they want your help pressing it!

Elison Jackson have crafted a wonderful folk-pop gem with "I Do Believe She Flew Out The Drainpipe", an EP ripe with well crafted tunes.

A guitar and banjo introduce "The Man From Lowell", as the song picks up the vocals come in, cracked and fractured but soulful. The sorrowful verses are met with triumphant horns in the chorus. This is a fantastic first track, it has a traditional folk sensibility, with modern twists.

"Burned" creeps in with bass and light drums, like something out of The Black Lodge from Twin Peaks. The haunting warble of the vocals lends to this sensation as well, with tinges of Jeff Buckley and Dave Longstreth, even a little Chris Issak (in a good way). The organ in this song is a very nice touch. This song reaches it's peak after a big build up, and delivers all the way to the end.

"Parking Lot" continues down the dark folk path, with touches of the same kind of hazy supernatural energy of the last song. It all sounds a bit more urgent in this song though. The reverb swells all the sound in waves and there is an intermittent synth lead between the verses. This one as well gets big and intense by the end, distortion leading the way to a cacophony of awesome.

The folk becomes a bit light hearted in "New Britain Song", at least with the music. It would seem these guys don't dig on New Britain too much, but that's OK as they turned their disdain into an interesting combination of folky guitar, disco dance drum beat and continued crooning by lead vocalist Sam Perduta.

"Family Vacation" closes out the set in a fittingly dark way. This EP is as dark as midnight on a moonless night, and this song brings it all to a head. It's 2nd half really takes it over the top with swelling organ, big drums and vocal harmonies everywhere.

This recording totally deserves to be pressed and it is up to all of us to pitch in and help Elison Jackson keep moving upward in their journey.

You can help by going to their show at Cafe Nine tomorrow with a huge slew of awesome bands, all donating their time to help this awesome band get closer to a dream realized.

7/18 @ Cafe Nine 8PM/$6/21+
250 State St, New Haven
Taco Hut and CT.com present:
Fake Babies
Ports of Spain
Elison Jackson
Kindred Queer
Jose Oyola
- CTindie.com

Elison Jackson have a new record, and they want to press it to 10 inch vinyl! They set up a kickstarter to get your help in pressing this record and they even have a gig tomorrow at Cafe Nine and all proceeds go to their kickstarter!





For many locals, vinyl is the kind of permanence one must always be trying to attain. A fantasy for so many of us, and a possibility for Elison Jackson. All the mixing and mastering is done for this EP and they want your help pressing it!

Elison Jackson have crafted a wonderful folk-pop gem with "I Do Believe She Flew Out The Drainpipe", an EP ripe with well crafted tunes.

A guitar and banjo introduce "The Man From Lowell", as the song picks up the vocals come in, cracked and fractured but soulful. The sorrowful verses are met with triumphant horns in the chorus. This is a fantastic first track, it has a traditional folk sensibility, with modern twists.

"Burned" creeps in with bass and light drums, like something out of The Black Lodge from Twin Peaks. The haunting warble of the vocals lends to this sensation as well, with tinges of Jeff Buckley and Dave Longstreth, even a little Chris Issak (in a good way). The organ in this song is a very nice touch. This song reaches it's peak after a big build up, and delivers all the way to the end.

"Parking Lot" continues down the dark folk path, with touches of the same kind of hazy supernatural energy of the last song. It all sounds a bit more urgent in this song though. The reverb swells all the sound in waves and there is an intermittent synth lead between the verses. This one as well gets big and intense by the end, distortion leading the way to a cacophony of awesome.

The folk becomes a bit light hearted in "New Britain Song", at least with the music. It would seem these guys don't dig on New Britain too much, but that's OK as they turned their disdain into an interesting combination of folky guitar, disco dance drum beat and continued crooning by lead vocalist Sam Perduta.

"Family Vacation" closes out the set in a fittingly dark way. This EP is as dark as midnight on a moonless night, and this song brings it all to a head. It's 2nd half really takes it over the top with swelling organ, big drums and vocal harmonies everywhere.

This recording totally deserves to be pressed and it is up to all of us to pitch in and help Elison Jackson keep moving upward in their journey.

You can help by going to their show at Cafe Nine tomorrow with a huge slew of awesome bands, all donating their time to help this awesome band get closer to a dream realized.

7/18 @ Cafe Nine 8PM/$6/21+
250 State St, New Haven
Taco Hut and CT.com present:
Fake Babies
Ports of Spain
Elison Jackson
Kindred Queer
Jose Oyola
- CTindie.com

You can get a little spoiled when you live close enough to Café Nine to frequent the joint on a weekly (or multiple-times-weekly, on a good week) basis. The club’s owned by a musician, and most of the staff are musicians. This results in the programming of bills there almost always making sense: The acts are going to complement each other aesthetically, will fit together cleanly, which makes for an evening of music with a suitable arc to it.

This past Thursday, I knew as soon as Elison Jackson and the Bohemians plugged in, this was going to be one of those rare sonically disjointed nights. Not because the band started off on shaky legs, but because I’d been prepared for the headlining band, Singing Bridges, who I’ve seen and who I knew to be incredibly loud. You might call what the Waterbury/New Haven trio plays “noise-pop,” but the emphasis is really on the pop, and the noise comes only from some occasional, well-timed bursts of guitar and bass feedback. You might call it “shoegaze” because of the wall-of-sound effect and the plainspoken vocals that always come out sounding a bit hazy on account of the instruments’ sheer volume, but they don’t gaze at their shoes, or stand still. Basically, it’s direct, unfussy, post-punk-informed pop music … played very loudly.

And Elison Jackson and the Bohemians were much quieter. The Berlin quartet plays singer-songwriterly, indie-fied folk rock, modest in delivery but peppered with the kind of harmonious, spirited swells you’d hope for from a contemporary young band playing this kind of music. It took me a few songs to get into the right headspace for this sound, but once I was there, the band also seemed to have warmed up, and it clicked well. Their multiple-part vocal harmonies sometimes slipped tonally, but the rough spots seemed to aid their overall charm, aided furthermore by blasts of harmonica and trumpet. Sam Jackson Perduta’s lead vocals seemed to lift tone and phrasing from the school of Okkervil River’s Will Sheff — loath as I am to say “musician X sounds like musician Y,” Sheff’s delivery is pretty distinctive, and my mind drew this arrow readily. (Elison Jackson and the Bohemians are playing The Space in Hamden with fellow young indie-folk travelers Sidewalk Dave on April 8.)

Singing Bridges took the stage later and destroyed. Literally. The drummer cracked his kick drum head mid-set, a task I’ve rarely seen accomplished by a drummer during a show. Rather than end the set prematurely (“I can’t not play this song about making out!,” exclaimed the singer/guitarist), the drummer flipped his floor tom on its side, turning it into a makeshift kick. Crafty. They closed the set with a blast of feedback that made my ears ring. - New Haven Advocate