Matthew Morgan and the Family Band

“Honestly, I don’t ever remember a time that I didn’t feel like I was a musician and I’ve never imagined a different focus for my life.”

Matthew Morgan has been making music for many years, but his newest effort, an EP titled Empathy For Inanimate Objects, is arguably his best work yet. Layered with varied instrumentation, beautiful vocal harmonies and Morgan’s lyrical storytelling, Empathy is folky Americana done right and serves as one of this year’s strongest undiscovered releases.

We recently had the chance to chat with Matthew to discuss his musical upbringing and how it led to where he’s at now with his current project. He also touches on the themes of the record and what he’s been working on since its release. Follow through below to read our full conversation and to stream Empathy For Inanimate Objects in full.

Hi, Matthew. First off, can you tell me about your first memories with music and what led you to want to become a musician?

Music, for me, was there before I was even born. My mother was sitting at the piano teaching students to sing and play and I was right there with her. It’s in my blood and genes, so to me music doesn’t seem like something that’s peripheral to everyday life. It’s more like the guiding force in my life and it has been from day one. There was always music in my household whether it was people rehearsing, students learning lessons, or blasting from the stereo; it was always there. Honestly, I don’t ever remember a time that I didn’t feel like I was a musician and I’ve never imagined a different focus for my life. I started performing when I was seven years old. For me the far greater struggle has been the difficulty in just being who I am and doing what I want to do because the world is very programmed for achieving finite results and music doesn’t quite work that way, especially not with songwriting. It’s a process that builds upon itself and it’s very hard to define its relevancy. It’s taken me a while to understand that and accept that it’s a gradual thing, but I can say with certainty that most people who know me at this point in my life would recognize me as a musician.

You play several instruments from what I can tell. Where did that all begin?

Well, I started out on piano, but I wasn’t the best student. I’ve always been very impatient and relied on my ears, so the theory was hard for me. It didn’t help that I could learn to play everything by ear, so I was able to fake out a lot of my teachers until I got to college. I studied classical voice at a conservatory for a while and everyone in music school is required to learn keyboard skills. That’s when I actually began to learn the science behind music. Guitar is my primary instrument, but I also play piano and organ (by ear) and harmonica. A lot of what I do is learn enough of a particular instrument to supplement the recordings, but I wouldn’t really consider myself proficient at anything other than guitar.

Your old project, Matthew Morgan and the Lost Brigade, had a similar style and sound to what you’re doing now so clearly it’s something you’ve been interested in for some time. Are there any bands or artists who you feel have been a key inspiration for you in wanting to create this folk-type music?

I think the most obvious answer would be Neil Young and certainly his music has had a profound impact on me. But, it was never a conscious decision to sound a certain way. I would have to say that REM was probably my biggest influence because they made it clear that you could play these old style instruments in a way that sounds fresh and modern, but still incorporate the simplicity and sincerity of folk music. Although I like a lot of straight-up rock-n-roll, I was never able to relate to the pomp and swagger of it; I’m not that macho…so, all of my heroes have been the sensitive, quirky types. You know, people who would be silly enough to figure out how to play a dulcimer just for one song.

In regards to Empathy For Inanimate Objects, first, can you tell me where the name comes from and how you feel it relates to the material on the album? And how did you choose the album image?

The idea was floating around in my mind for some time, but it all came together when I found this old tin dollhouse of my mom’s from the 1950s, which is also the cover of the album. I found it in my parents’ basement with a box of old dollhouse furniture and just spent an entire afternoon assembling it on the back porch. At first glance I saw the sadness of a discarded object, but after spending time with it and noticing all the little nooks and crannies, the painted wall paper and rugs, the rust stains, and dents, I started to notice its strength. So, much of what we have now is temporary and disposable, but in the past the things we made were very thoughtfully constructed and designed with the intention of lasting for a long time.

Matthew Morgan album

Something in your delivery makes these songs feel really personal, yet still relatable in many ways. Where do those qualities come from? How much of this EP is you on the page, so to speak?

I think it’s a culmination of years of living, successes and failures; over time your exterior ego gets broken down and it becomes more important to just be true to yourself. I guess for some people that happens earlier, but for me it took some hard beatings from life, overcoming illness, and the need for acceptance to stop caring so much about how others perceive me. In my mid-thirties I was diagnosed with Chronic Fatigue Syndrome with severe on-set and I had a good five years where I couldn’t leave the house. Something like that, the inherent loneliness of it, gives you time to really evaluate your psyche and you realize the importance of time and how fleeting it is. You only get so much time to leave your imprint on the world, so pretty much everything I do now is intentionally from the heart, or gut and I’m not interested in proving my worth through artificial means.

I feel like maybe there’s also a lot of sadness here. If that’s true, is that something that fuels your music even more? A therapy of some sort maybe?

I’m not really a sad sack. But, I have had my moments. Like most creative people I’m very moody and songwriting is definitely a way of getting my feelings out. That said, the best way to get your feelings out is to actually get them out and learn how to confront people and situations before they get the best of you. I highly recommend actual therapy to anyone; it’s certainly helped me when I needed it. Mostly, I just really like music that presents complex, or juxtaposed emotions. I love it when songs sound happy though the words are melancholy, or the other way around. Something about that really appeals to me.

As far as the instrumentation, I know you tackled the majority of it but you also have some really talented people who contributed as well. How did you get involved with this team?

I’m extremely lucky to be surrounded by some of the best musicians in the Windy City and Ohio where I recorded the album. or some reason they’ve all been willing to help me out. They’re all my friends, so that goes a long way. Right now, I’m part of a collective in Chicago called “The Family Band” and most of us came together through CAUDog Records and an extended network of artists through Chicago Acoustic Underground. We all kind of support each other and it’s amazing! For anyone starting out, or just consciously doing the DIY route I highly recommend organizing and combining forces within your local community. In this current music economy it’s really the only way we as independent artists can survive, supporting and encouraging each other. If nothing else, your life will be filled with incredible live music.

As a collector, I was happy to see that you’re releasing this on vinyl later this year (which I’ll definitely be picking up). Are you a collector or was this just a format you felt this EP had to be released on?

I’ve been collecting records for most of my life and it’s still one of the biggest thrills to break open the plastic on a new album and hold it in your hands. I like to take my time with it and read the liner notes and lyrics while I’m listening. It’s been a dream of mine to make my own record and I’m really grateful that vinyl is making a comeback and I’ve had this opportunity to justify it. Empathy will be available on vinyl in early September and the Family Band and I are planning a big party at Chicago’s SubT Lounge on September 26. This has not been announced yet, but I’m pressing a limited run of 100 EPs on 12-inch, translucent green vinyl. So, there you go.

I see you have a few shows lined up through the Fall, including a release show as mentioned. Do you have any full touring plans lined up or in the works?

I’m doing things a little backwards. I’ll be on tour in September for a week prior to the vinyl release party playing shows in Kansas City, Oklahoma and Texas. Then, after that my plan is to do out of town gigs at least once a month for the next year. Right now, I’m working on taking the band to Ohio in November for a second vinyl release (that’s where I’m from, originally). and we’ll also be making stops around the Midwest, Detroit, Milwaukee, Indianapolis… I really want to go to the East Coast this year as I have family and friends in Vermont and NYC.

And beyond that, do you have any specific plans or goals laid out for the rest of the year? Anything you’d like to discuss that we haven’t covered?

I’m already demoing songs for the next solo album and I’m planning to work with some really amazing guys from Chicago who go by the name Frances Luke Accord. They’re blowing up right now and if everything goes as planned they’ll be producing and engineering the next solo record. Also, I’d love to do a Kickstarter campaign to raise money to cut a debut EP with The Family Band and I hope to work with Nate Lockwood, who produced Empathy on some other projects because he’s an incredible producer. Incidentally, Nate gets credit for most of the sound on this record. I gave him some ideas, but this is as much his project as it is mine. - Brian Lion (interviewer)

There’s something significant about a poignant, significant troubadour who leaves his heart on the table and bares his soul without reserve. The kind of voice and talent that’s hardly born, let alone heralded, these days. Chicago’s Matthew Morgan, a fellow native Midwesterner (and Ohioan), channels his visceral storytelling abilities and penchant for crafting heart-rending, soul-soaked melodies into his new six-song EP, Empathy for Inanimate Objects.

Beginning with the easy-flowing, soft-spoken, melancholy “Songs Like These,” Morgan’s vocals hearken back to influences like Neil Young and Nick Drake, yet sounds right in the vein of modern bards like the Decemberists’ Colin Meloy. His cover of Sam & Dave’s hit “Hold On, I’m Coming” is in second position and gets a backwoods makeover that, while indistinguishable from the original arrangement, contains a sense of urgency and danger, which makes it a stellar reimagining. The melodiously unpretentious “SticksNStones” tells of longing set against a slight backbeat, while “Lost at Sea” juxtaposes the same theme against weeping strings and a bit more desperation (“I need you to believe in me / for a little bit longer / It’s so hard to be alone and lost at sea”). Wrapping up with “When You’re Gone,” a hymn-like durge with a surprising banjo accent, Morgan produces a strong finish to a tight collection.



A folk superstar in the Windy City, Morgan has more than paid his dues on the indie circuit; his songs have received placements on national and cable television, and he’s performed throughout the US. Now, it seems, Empathy is marking a brand new beginning for him, and hopefully a chance to show that there’s still a place for folk in music. And if there’s ever been an ambassador for the cause, it’s Matthew Morgan. - Pop Dose

Chicagoan Matthew Morgan opens his album, Empathy for Inanimate Objects, with the lilting, plinky, countrified, modern sound of “Songs Like These.” The man’s obviously strong and distinctive vocals are present from the beginning here as they are on all six songs (as is the slight Angelo Badalamenti-meets-Daniel Lanois background touches often heard throughout). On “Hold On I’m Comin’” we get Liz Chidester’s vocals mixing with Morgan in the chorus and a big stompin’/chunkin’ beat during a very singable chorus. Chris Bosca’s lap steel is pretty perfect here as well. “SticksNStones” is a slow missing-one’s-love song, again with a big, singable chorus informed by Chidester and Morgan’s mix; there is that atmospheric roil of the layering of instruments here too and even a lead whistle part. “First Day” has a plunky beat to it with Bosca managing the national resonator guitar and David Szpunar’s accordion in this slowly evolving character sketch. Sarah Blick’s violin is understated in the mix as well. Once again Morgan manages a cozy little gem of a tune with his singing over just the perfectly produced bed of sound. We are back to that echo guitar with ender “When You’re Gone.” Morgan has a very strong voice here especially and when Nate Lockwood comes in on percussion and Szpunar on banjo, what becomes the best song of the grouping opens up to a little masterpiece. Matthew Morgan’s Empathy for Inanimate Objects will get you quickly intimate with this strong songwriter’s talent. - Ralph Greco (reviewer)

GET ‘LOST AT SEA’ WITH MATTHEW MORGAN
DAVID | 15 June, 2015 at 12:46
Chicago’s Matthew Morgan is a troubadour, a slave to the music and gifted at crafting powerful melodies that speak to the heart. His new EP Empathy for Inanimate Objects is six tracks of poignant folk rock carefully refined, cementing his place as one of the most up and coming artists in the Chicago folk scene.

Lost at Sea is part of Morgan’s latest EP release which draws on a wide breadth of influences. Organic, raw, and refreshingly human in sound, Morgan has seen a ton of success recently, headlining venues and working with over a hundred college radio stations. Songs like “Lost At Sea” show a truly remarkable ability to craft an atmosphere, with reverb-laden violin by Chicago native Sarah Blick and mournful low-end movement courtesy of Ohio cellist Greg Byers. Bold and creative, Morgan is the sound of a bold new generation of folk musicians. - The Future FM

Matthew Morgan is more than just a guitar player and soulful singer; he creates his music playing nearly every instrument out there. Well maybe not every instrument, but he not only sings but plays piano, guitar, harmonica, organ, and many other stringed instruments to add to his unique folky, Neil Young sound. Matthew grew up surrounded by music in Ohio. Not only was his grandfather from the big band era as a professional saxophone player, but his mother had won awards for vocal as well as piano coach. By the age of seven, Matthew was singing in church, doing solos and has been aiming for stage acts ever since. Matthew studied at the Capital University Conservatory of Music in opera and classical voice, as well as musical theatre at Ken State University for a period of time. Matthew had found it hard to find what he wanted most in life, when an illness left him unable to do much for years to come.

After any years, Matthew finally built up the courage to sing his own work in which he produced, engineered, and performed in 2011 his debut “Red Silhouettes.” The record lead to success and helped him form an actual band, so that he wouldn’t have to struggle in doing everything on his own. The band was called “Matthew Morgan and the Lost Brigade.” In 2012, they renamed the band, “Found,” and they were nominated for three Indie Music Channel Awards, as well as achieved spots on TV such as MTV, the Disney Channel, Viacom, and the Discovery Channel. However, just a year after, Matthew left the band and recorded a solo EP early this year with producer Nate Lockwood.

The EP has many heartwarming and moving songs, that show how much Matthew has gone through in his life. Take the song “Lost At Sea,” this really shows his voice in many different variations, as well as how the words show someone who has known enough to see the world through a different light. Matthew has such a talent with musical instruments that he can take someone else’s arrangement and bring it to his own taste and his own way. The one song that shows this is “First Day,” where you can really hear how Matthew’s voice blossoms as the song goes on and how his talents shine brightly, even though the song is about the end of a relationship, you can truly hear the sadness in his voice and not just in the words he sings.

Matthew has played at many venues in Chicago, the Double Door, Hard Rock Café, Taste of Lincoln Avenue, to name a few. This August, Matthew will be performing at the SubT Lounge also in Chicago to promote his debut EP to also come out this August. He will then be going on a series of mini-tours throughout the states. You can listen to his EP here: - Alyssa Milani (reviewer)

Folk doesn’t have to be a downer and the canvas doesn’t have to be fraught with anxiety. Matthew Morgan can write the hell out of a folk song but you don’t have to be in a funk to take it in. At times uplifting, always truth-telling, Morgan’s new EP Empathy for Inanimate Objects spools out stories you can travel with or take in at your own meditative pace. Or neither. Just listening is reward enough.

Morgan comes from a deep pool of music and found his own voice after an illness. His music has wisdom without the lecture. There’s hope without the cloying over-meaningness that can sink a record.

Empathy for Inanimate Objects definitely feels like a record inspired by at least the whisper of Neil Young or Paul Simon. There’s a modern take that carries the listener along as though enjoying a well-written book or a satisfying indie film.

Stand out tracks are “Songs Like These,” “Hold On I’m Comin” and “When You’re Gone” where Morgan’ storytelling skills are on full display. The melodies bely a triumph within each message.

Empathy for Inanimate Objects is also a study in simplicity. Morgan’s approach lets the deeper meaning bubble up to the surface, bringing to mind a different thing for each listener.

Matthew Morgan is the storyteller the genre needs and deserves. - Lisa Waugh (reviewer)

Matthew Morgan is a folk musician who grew up in the state of Ohio in America. With his mother being a vocal coach and piano teacher, and his grandfather being a big band saxophonist, it’s no surprise that Morgan learned to play a wide range of instruments including guitar, piano and organ. In 2011, he released his debut, “Red Silhouettes”, and in 2012 he released “Found”, as part of The Lost Brigade. Now he is releasing “Empathy For Inanimate Objects” on June 15th.

“Songs Like These” opens the EP. It’s a relaxing song driven by acoustic guitar with dreamy, reverb drenched electric guitar in the background. Morgan’s voice has a certain depth to it, making it sit nicely in the mix.

“Hold On I’m Coming” is the next track. It has an old blues feel with fingerpicked acoustic guitar and a thumping kick drum. “SticksNStones” keeps this blues feel but adds in a hint of country twang. It’s great to hear such a variety of sounds.

“First Day” is a sombre number. It begins with Morgan and his guitar, but it soon develops with a variety of instruments joining. There are also some great vocal harmonies provided by Liz Chidester. “Lost At Sea” features more fingerpicked guitars. Morgan again showcasing his mellow voice and great sense of melody.

“When You’re Gone” is the final song. It’s a great way to finish things off. Sonically, it really sums up what Morgan is about, soothing folk music with great melody and instrumentation. This is definitely one to check out to get your folk rock fix. - Pure M Magazine

by Cody Conard
Singer-songwriter Matthew Morgan may be from Chicago, but he sounds much more like he was born and raised in the Deep South or on the plains of Canada. On Morgan’s new EP, Empathy for Inanimate Objects, his woodsy picking style brings to mind Neil Young’s early 70’s recordings, and his own tenor voice suggests Young was obviously a major guiding force for Morgan musically.

The most surprising addition here is a cover of “Hold On I’m Comin’,” originally made famous by *Sam & Dave.” The song is so completely overhauled and reinvented, it could almost be considered an original. The mood is moodier and darker than the original, and as quirky as a choice as it is, it works in a strangely magnificent way.

Elsewhere, songs like “SticksNStones” and “Lost At Sea” detail the story of a narrator who remains cautiously optimistic in spite of everything he has seen and been through. But for all of the guarded hopefulness, the EP ends with “When You’re Gone,” arguably the saddest song here, as if this were all an exercise in lying. The optimism wasn’t enough to sustain an entire song cycle, and by the end the bitter truth is revealed.

Empathy for Inanimate Objects, is a poignant and heartfelt work by a deeply personal artist, and if you are like him in melancholic mindset, loving this EP will come naturally for you. - Cody Conrad (reviewer)

Nick Digilio welcomes singer/songwriter Matthew Morgan to discuss the interesting story behind the tile of his upcoming EP ‘Empathy for Inanimate Objects‘ and his show later tonight, Friday, May 1st, at the Abbey Pub. - Nick Digilio (host on Chicago's WGN radio)

Chicago Local Music Radio // Thursdays from 6-8pm on 88.7FM WLUW and streaming at wluw.org #AllChicagoEverything - Hex Hernandez (host on Radio One WLUL)

Matthew Morgan is an urban folk singer/songwriter who has built a loyal following in Chicago's independent music scene. With an appreciation for music from a bygone era he sketches his sonic canvas combining his lyric tenor voice with skillfully woven glimmers of American folk, country, rock and blues that clearly references such musical heros as Neil Young and Bob Dylan, but is also strongly influenced by acoustic outsiders like Nick Drake and Elliott Smith. A multi-instrumentalist he crafts his songs playing the guitar, piano, organ, harmonica, and a variety of other stringed instruments. - Peyton Pinsky - (host of Chicago's Fearless Radio)

Phil’s Faves: Songs
This will be a personal weekly Top Ten list of what I consider to be the best songs that I listened to the previous week. Most songs will be current, but there are no boundaries. I’ve already stated on this web site that I am obsessed with music. I am constantly hunting it down whether it’s online, on CD, from my personal collection, from a library (Yes, I think the library is a great source of music – especially for music that you aren’t sure about), TV, or radio. Since the majority of these sources generally emphasize new music, the odds are pretty good that most of the songs on this list will be new. But in my search, I don’t use any boundaries for the other sources. I am just looking for good music that I haven’t heard, or happened to forget about. Everyone, including myself, has forgotten way more great music than they can ever remember – even if they are also music fanatics.

Also, there will be no rules concerning songs on this list. A song can show up or drop off a number of times. This will be the most volatile of my lists. It all depends on how much music I am exposed to during the week and what I find interesting. On really obscure stuff, I will try to include the source, if I know it.

Top Ten Songs for the Week of July 7, 2013

1. Cuando Canto–Ozomatli
2. Highway Don’t Care—Tim McGraw, Taylor Swift, and Keith Urban
3. Little Cloud—Joanie Leeds & The Nightlights
4. Send Me Back to Earth—Dylan McDonald & The Avians
5. The Hymn—Kiko Loureiro
6. Red Dress—Matthew Morgan & The Lost Brigade
7. California—Shining Farmer
8. Sare Kon Kon—Antibalas
9. The River Jordan—Lindsay Lou & The Flatbellys
10. The Baker’s Boy—Nora Jane Struthers & The Party Line

Top Ten Songs for the Week of May 19, 2013

1. Riven Man—Crime & The City Solution
2. Last Date—George Bedard
3. Red Dress—Matthew Morgan & The Lost Brigade
4. I’m Partial to Your Abracadabra—Paul McCartney
5. Possum—Joanie Leeds & The Nightlights
6. Fossil Fuel—Roy Scoutz
7. If I Didn’t Have You—Thompson Square
8. Judge & Jury–Hatchetmen
9. Whip It—Drazy Hoops
10. Love Addict—Jessica Dayle - Phil Maq - WHFR 89.3FM (Host of "Theme Attic)

Blending captivating melodies with folk and rock, Chicago band Matthew Morgan and the Lost Brigade is carving its own niche in the local music scene.

The band will perform its new album, "Found," at a CD release party on Dec. 14 at Double Door, 1572 N. Milwaukee Ave., Chicago.

Fellow CAUDog label mates The Future Laureates, Goodbyehome and Jeff Brown. The show starts at 8:30 p.m., and tickets are available at www.ticketfly.com.

I had the chance to talk to frontman Matthew Morgan, www.matthewmorganmusic.com, about the band's new CD... - Eric Schelkopf (The Total Scene)

Blending captivating melodies with folk and rock, Chicago band Matthew Morgan and the Lost Brigade is carving its own niche in the local music scene.

The band will perform its new album, "Found," at a CD release party on Dec. 14 at Double Door, 1572 N. Milwaukee Ave., Chicago.

Fellow CAUDog label mates The Future Laureates, Goodbyehome and Jeff Brown. The show starts at 8:30 p.m., and tickets are available at www.ticketfly.com.

I had the chance to talk to frontman Matthew Morgan, www.matthewmorganmusic.com, about the band's new CD... - Eric Schelkopf (The Total Scene)

...Chicago’s own Matthew Morgan & The Lost Brigade does its part to carry on the alt-country tradition that has its roots in the city on Found (CAUDoug). If Chicago can be a source for alternative country sounds, then so can Minnesota and Lucy Michelle and the Velvet Lapelles prove it on the scorching Heat (Video Grandma). Like her sister Jenni and father Geoff, Clare Muldaur Manchon of Clare and the Reasons is a born performer and one well worth exploring on KR-51 (Frog Stand), the third full-length disc she’s released with her band. - Greg Shappiro (Baltimore Out Loud)

SXSW - March 14, 2013
Matthew Morgan & The Lost Brigade at Haddingtons
More Windy City troubadours took over Haddingtons after Cobalt And The Hired Guns: Matthew Morgan & The Lost Brigade. Morgan has an impossibly beautiful voice, and his crew’s heartfelt Americana sound coupled with a cold can of Pearl made for a perfect early afternoon in the middle of a crazy week at SXSW.
Photos of Matthew Morgan & The Lost Brigade at Haddington’s in Austin, Texas, on March 14, 2013, by Timothy ‘The Impaler’ Schwader @impalerspeaks
All photos © theimpalerspeaks - Timothy "The Impaler" Schwader (The Impaler Speaks)

SXSW - March 14, 2013
Matthew Morgan & The Lost Brigade at Haddingtons
More Windy City troubadours took over Haddingtons after Cobalt And The Hired Guns: Matthew Morgan & The Lost Brigade. Morgan has an impossibly beautiful voice, and his crew’s heartfelt Americana sound coupled with a cold can of Pearl made for a perfect early afternoon in the middle of a crazy week at SXSW.
Photos of Matthew Morgan & The Lost Brigade at Haddington’s in Austin, Texas, on March 14, 2013, by Timothy ‘The Impaler’ Schwader @impalerspeaks
All photos © theimpalerspeaks - Timothy "The Impaler" Schwader (The Impaler Speaks)

After a very busy month of March for Matthew Morgan and the Lost Brigade (MMLB), they will headline this month's RAW:Chicago Marvel show at Double Door on April 11. MMLB are just back from SXSW, where they played Haddington's Pub in Austin, They had stops at the Lonestar Bar in Midland, TX and Mead's Corner in Wichita, KS on their way back to Chicago. The crowds have been huge for all of the shows they've played this year including Double Door, Hard Rock Cafe, Wise Fools Pub and more.

MMLB returns to Double Door April 11 and will be the featured act for the RAW show. Filling out the musical bill are The Omni Rose, Compass Rose, and Jimmy Nick & Don't Tell Mama. The show will be hosted by Tom Fell and DJ Flipt the Skript.


Dustbowl - Matthew Morgan and the Lost Brigade SXSW 2013

© 2013 Microsoft Corporation© 2012 Nokia
Location: Double Door Nightclub
41.910015 ; -87.677093
RAW:Natural Born Artists is a nationwide independent arts organization, for artists, by artists. All kinds of artists, on the stage there will be burlesque by Boobs Radley, comedy by Bobby Hill and fashion by Verneccia LaShay. Off the stage, on all three floors of Double Door, there will be works by visual artists, photographers and accessories designers. The show will have a "gallery-festival feel" to it, according to Kara Coraci, the Chicago and Milwaukee Showcase Director for RAW.

RAW started in Los Angeles in 2003 and has expanded to 56 cities in the U.S. and 13 more in Australia. Their mission is to provide independent artists with the tools, resources and exposure needed to inspire and cultivate creativity at the beginning of their careers.

You can't go wrong with this show as there will be artwork there for all of your senses! You can buy tickets by clicking through MMLB page or any other of the artist's pages listed above on the RAW site. The doors open at 7:30 p.m. and the show starts at 8 p.m. - Lee Klawans (The Examiner)

Comments: A neat collection of folk-rock songs from Chicago's Matthew Morgan & the Lost Brigade on their new album, Found. The band infuses blues, bluegrass, and alternative into its folk tunes, which range from pastoral folk to rock-leaning jams. Album opener "Dustbowl" is the standout; also check out "Shine a Light", "Cut to Fade" and "Whose Gods Are These". - WLUR Radio - 91.5FM

By David Crookston

I've been marveling at the vocal talent of Matthew Morgan, son of Dennis and Paula Morgan, of Massillon, Ohio, since he was a treble with a voice like an angel's. He has matured and evolved. Sunday afternoon, Matthew Morgan and the Lost Brigade (his band) performed for an overflow and appreciative crowd at the Massillon Museum. Reading (with some difficulty because of the unusual type face) from the inside of his "Found' album cover, the Band includes Matt on vocals, guitar and harmonica, Anita Chase on vocals and guitar, Kevin Lahvic on bass, guitar and vocals, Dave Szpunar (sp?) on banjo, guitar, accordian, mountain dulcimer and bass, Anand Christopher on violin and guitar, and (attorney) Jeffrey Gilbert on percussion. All have "day jobs" ranging from attorney to visual artist, and all come together around the creative energy of singer/composer/lyricist Matt Morgan. I was amazed at Matt Morgan's guitar mastery. He is self-taught. I took classical guitar lessons for years without ever coming close to his accomplishments. I especially liked his insertion of major chords in a minor key tapestry of the second song in their set (I'm not certain of the title because there was no program.) The music is in his head and heart, and he and the band poured it out Sunday afternoon in a second concert for the weekend. The first was Saturday night at BuzzBin in Canton. Our daughter Holly Herron, a contemporary of Matt's, helped schedule the concert sites. As amazed as I was at Matt's fingers flying from fret to fret, I also was fascinated by the fluid grace of violinist Anand Christopher as he performed on his instrument. He seems to share a characteristic of some autos, i.e. they appear to be in motion while at rest. An undisputed highlight of the Sunday afternoon concert was when Matt was joined by his Mother, Paula, for a duet. A Chicago blues number also was a crowd favorite. Bill Dewald did a professional job as sound tech and videotaped the concert, I hope for later distribution. A procession of baby shower attendees with packages and balloons in front of the performers was only a minor distraction, as was the sometimes intrusive in-your-face photographer. The band's final selection brought the crowd to its feet for a Standing O. All in attendance were invited after the concert to a light supper at St. Paul's Evangelical Lutheran Church hosted by Dennis and Paula. Compliments to Chef Dennis. My wife Sally and I are convinced the experience was far and above any of the other options for a Sunday afternoon! When Matthew Morgan and the Lost Brigade return to Massillon, Don't Miss It!


Dave's Bio:

Dave and his wife Sally live in Massillon.

He is a life member and former treasurer and trustee of the Ohio Arts and Crafts Guild. Dave also served for a time as secretary of the IlluminArts Board of Directors.
In addition to fabricated silver pieces, he makes chains using sterling silver wire and jump rings, incorporating semiprecious stones as color accents.
Synthetic and natural stones are included in his display of stones faceted on his precision Fac-Ette faceting machine. He cuts using an extensive collection of custom faceting designs, many of them purchased from Jim Perkins’ collection.
He also teaches faceting in a one-on-one setting.
Dave serves as a mentor for IlluminArts, teaching chainmaille weaving and faceting. He also has served as a reading mentor for kindergartners and third-graders at two Massillon area elementary schools.
Dave and his wife Sally do “rock talks” using their collection of mineral specimens at area schools, churches, and assisted living facilities.
Musically, Dave has sung in numerous Washington High School (Class of 1956) performances of Handel’s “Messiah,” in the first Blossom Musical Festival Chorus in 1968, under the direction of Robert Shaw (Berlioz Requiem) and Louis Lane (Orff’s Carmina Burana), in the Capital University Men’s Chorus, under the direction of Wilbur Crist, and for some 65 years in choirs at St. Paul’s Evangelical Lutheran Church in Massillon, under the direction of R. Byron Griest, Loren Veigel, and Paula Morgan.
Dave has served St. Paul’s as president, vice president, Worship and Music Committee chairman, and as a deacon.
He is a member of Phi Mu Alpha Sinfonia, Epsilon Phi Chapter. While employed at The Independent newspaper, he served as arts writer/reviewer, special projects editor, features writer/editor, paginator, etc. - Dave Crookston (former arts reviewer with The Independent)

Chicago is hard at work cranking out music videos aimed right between the eyes of the Republican Party. Last week, this column wrote about The Wanton Looks video, "G.O.P. Greedy Old Pigs," which took a straight punch at the Grand Old Party.

This week comes Matthew Morgan & the Lost Brigade with "Elephant Man," that takes a more subtle and subversive yet just as damning poke at Mitt Romney and company. The video, in a crafty bit of genius, names the candidate "MORMONEY," referencing all at once our current Republican candidate's religion and wealth.

View slideshow: Matthew Morgan and the Lost Brigade's 'Elephant Man'
It follows him along the campaign trail, meeting female fans, bitching out staffers, and having staged tender moments with his family. It's probably not far from the truth of any campaign! You can click below left to see the Bailout Pictures video.


Matthew Morgan and the Lost Brigade's 'Elephant Man'
Photo credit: Matthew Morgan and the Lost Brigade

Video: MATTHEW MORGAN & THE LOST BRIGADE - Elephant Man
The whole video was shot in the Wicker Park neighborhood of Chicago, specifically in and around The Flat Iron Building and in front of Milwaukee Avenue storefronts. It's so well done that it could be mistaken for actual election year propaganda. It's directed by Felix Pineiro, the song was written by Anita Chase and the song produced by Ellis Clark of CAUdog Records (*video cast listed at the end of this article).

I asked Kevin Lahvic of Matthew Morgan & the Lost Brigade why they made the video and he said,

"As Elephant Man's author Anita Chase says in the song's lyrics, "It’s all in the beholder’s eye..." If everyone's interpretation of this piece was identical, the band would be very disappointed. The hope is that it gets people thinking, but it's certainly not intended to confine those thoughts."

You can hear hear "Elephant Man" live in Chicago at the world famous Double Door on December 14 as Matthew Morgan & the Lost Brigade celebrates the release of their debut album "FOUND" with a live show, also featuring special guests The Future Laureates, Goodbye Home and Jeff Brown.

Tickets are $10 at the door, $8 in advance.

Pssssst: Order before election day and get your tickets for just $5, when you type in the discount code: FRIEND at checkout.

* Elephant Man Cast:

Mormoney - Joseph Burke
Secret Service Agents: Ryan Flennoy, Sam Raysby, Rhom Ixexi
Hairdressers: Singleton Tate, Andrea Davoren
Campaign HQ workers: Patrick Moriarty, Joanna Torres, Kyle King, Nataliya Shumylo, and Tony
Adviser - Marco Garcia (guy in trench coat and glasses outside)
Mistress - Tracy Walsh
Mormoney Family: Trevor Burke,Karen Burke
Hooded Lizard Man - Alex Bonner
Doctor - Kevin Lahvic
Military official - Patrick Moriarty
Alien - Kyle King - Lee, Klawans (The Examiner)

" He cites influences like Nick Drake and Neil Young and you can certainly hear that in his thoughtful lyrics and straight ahead vocal delivery. He played most of the instruments as well as engineering it himself and and all in all, he did a pretty good job. The arrangements fit the songs and the instruments blend well...."The Crashing Waves" is centered around a finger-picked acoustic guitar and pushed along by a lively snare. The first line, "If we could paint a brighter sky/Maybe we could learn to love this life" is really beautiful and makes you want to hear more." - Jaime Anderson (IndieMusic.com)

"While Chicago artist Matt Morgan's visual art pares images down to basic shapes, simplifying objects into blocks of color, his recent music album is just the inverse of that-- it turns the sweater of life inside out and shows us the fascinating patterns, loops, twists, turns and strings behind it. He does this through simplicity, complexity and through a word not often used outside overly-serious law firm advertisements, yet is in “Red Silhouettes” in spades: integrity. The DIY creation helps the album at every turn. This home-spun album is peppered with detail and salted with a quirky charm that make it surprisingly complex, entirely original and fit like a perfect hat. It makes it unexpected, bitter and tasty; warm and conversational, light-hearted as tea and dark as strong whiskey, and as eye opening as a cup of coffee or transcendent as a peek at a perfect ray of sun. " - Hannah Frank (On Axis Music)

In Matthew Morgan and the Lost Brigade’s new video “Elephant Man” the upbeat folk/rock band dares to ask the question “What if all the conspiracy theories were true?” This is a very intriguing video, and should be the perfect anthem leading into the election this month, as well as, MMLB’s CD Release @ Double Door! – Dec 14th, 2012. Enjoy! - Lonnie Edwards (The Neorevivalist)

Matthew Morgan – Empathy For Inanimate Objects – EP Review

Oddly enough, Matthew Morgan and I have something strange in common! My brother’s name is actually Mathew Morgan as well – just one less T…how bizarre is that? So, completely due to his gentle approach and a melodic acoustic pop/folk sound, I hereby dub the new Matthew Morgan my official brother-from-another-musical-mother.

Over the course of Empathy For Inanimate Objects he brings a modern indie-element into a blend of classic folk-rock sounds and lyrics that really paint the picture in full. I read somewhere on Matthew’s official site somewhere that this new EP contains similarities to the ‘happier moments of Elliot Smith…’ – I was shocked to find that statement could even be found in plural! Believe me, I can hear the similarities…but not so much from the one, or half-of-one song that Smith wrote in a blissfully happy state of mind; no – it’s much more from the sincerity and tone, genuine passion and emotion that Morgan puts into his music. I’d also add his storytelling ability; lyrically this is definitely a writer that connects strongly to his words and from his words to his music. And from his music…to guys like me and potentially people like YOU.

The guitar work in “Songs Like These” throughout the opening especially, but the song to follow as well, is beautiful. Melody is prevalent…honest sounding…genuine. Almost with a Neil Young vibe or perhaps Band Of Horses, Morgan sings sweetly overtop of a truly atmospheric beginning to Empathy For Inanimate Objects. It’s a melancholy opening for sure, which is always a bit of a chance to take in my personal opinion…some people find it tough to find room for sounds like this on their energetic and ‘great hair days.’

But if you’re anything at all like me, maybe you just have ‘hair days’ and there’s nothing great about them aside from food never actually making it all the way to the floor. Music doesn’t always need to put us on the dance floor, or make you jump into the mosh pit…sometimes it’s just time to chill out, reflect & let the emotions out. “Songs Like These” makes a perfect excuse for one to do so – and Morgan’s hauntingly melodic atmosphere takes you away into the mist of melancholy completely veiling the sun from even coming up.

And again…I do think it’s a slight gamble when you consider the invitational nature of “Hold On I’m Comin,” the neighbouring track to follow. I mean…it’s so close to being the first song as it is! It’s right on the doorstep! But for some, it truly might be too far away…we’re a fickle bunch us human beings…we judge quickly; if people convince themselves off the opening tune that’s the tempo, style & sound they’ll be in for…there is a chance they might not make it to the bright energy of “Hold On I’m Comin.” It’s a sonic smorgasbord of harmonies and tight song-writing and I think that this might have worked slightly better as an opening track to Empathy For Inanimate Objects…might just be me!

But I suppose that’s where I come in…I’m the guy to tell you to hang on through the haze of the opening tune (which I like for the record) and allow this EP to seep in with its clever changes in atmosphere, texture and style. “SticksNStones” drifts back towards the isolated feeling of the opening tune and reveals that Nick Drake-meets-Neil Young type of song-writing and delivery; a little Young in the verse, a little Drake in the chorus…it’s a great blend of sound and melody…excellent chanting chorus that’s catchy and certainly something you start to sing along with quickly.



I was supremely impressed with “First Day.” It’s another song I think might have worked well as an opener to the EP, but aside from that it’s also an exceptionally beautiful song. Innovative ideas here…I’m thinking something like, plucked mandolin…strings or violin…gentle acoustic guitar…hint of piano…mild percussion to tie it all in together…and gorgeous, haunting vocals that leave a memorable impression. The subtle rhythm in the music is genius…sparkling bass really brings this song out in full as Morgan sings with fragile confidence and tells a vivid tale of struggle, loss, love & rebuilding. The backing vocals are completely perfect in their compliment to the main…”First Day” is a tune with a real uniqueness and beauty…highly memorable indeed.

“Lost At Sea” actually reminds me a lot of one of my favourite bands that I never mention much…Toad The Wet Sprocket. Something about the acoustic nature, the sing-along factor and the absolutely brilliant emotion in the lyrics all remind me of that sweet-natured pop/rock band. I never really understood how music that sounds as genuine as they made flew so far under the radar…but perhaps we live in a different time now; a time that is ready for change and one that certainly embraces folk-music heroes tightly. “Lost At Sea,” for all its isolated feelings & mood…really has that feeling of change through unity and togetherness…authentic hope through the lyrics and music that you can feel course through the blood in your veins. Matthew Morgan has a real shot at acceptance in today’s day & age – it’s the right time for him and for this exact style & sound you find in “Lost At Sea.”

“When You’re G…

Hold on fiddle player. You don’t think I’d let you get away without mentioning the incredible job done on “Lost At Sea” do you? That’s a ‘single-this-dude-out’ moment if I’ve ever heard one – immaculate playing, fantastically dynamic parts that are played with a professional precision. Matthew – if that’s you – that’s another incredible talent you have; if it’s not – go out and high-five that incredible guest star…that’s a highlight performance on this EP for sure.

Okay…now where was I? Right!

“When You’re Gone” is about as intense as you can get emotionally on a song as slow & subtle as this. The guitar in this song is incredibly gorgeous and angelic…the vocals and composition come out closer to something like Jose Gonzales…who wouldn’t want that? It makes for a great exit out of the EP and final closing to the album…there’s a real finality through the emotion, lyrics and performance of “When You’re Gone.” Matthew Morgan has proven to be a real song-writer of high-caliber throughout Empathy For Inanimate Objects…I think there’s a real potential here for a break through artist in the folk-acoustic genres. Get this guy a couple more solo albums under his belt and I think we’ll be hearing a lot more from Morgan on the regular; he’s a wonderfully authentic artist with real heart & real emotion that bleeds sweetly into his melancholy melodies.

Find out more about him from Matthew Morgan’s official page at: http://www.matthewmorganmusic.com - JER @ Sleeping Bag Studios (reviewer)