Vocalist/songwriter Leigh Marble’s music is situated in traditional folk, filtered via an eclectic mixture of folk-rock, punk, hip-hop, and indie affects for a audio his press package describes like a mix between Tom Waits and Fugazi, though Ani DiFranco, Beck, G. Like & Particular Sauce, and different members from the anti-folk picture will also be useful touchstones. Elevated in New Britain, Marble graduated from Dark brown University or college in 1997 and instantly relocated to the artistically friendly climes of Portland, OR, spurred by way of a burgeoning companionship with Portland-based maker and studio room owner Larry Crane (Elliott Smith, the Decemberists, etc.), whom he previously met in a meeting sponsored by TapeOp journal. Carrying out a cassette demonstration, Marble’s first genuine launch was a Crane-produced break up solitary with fellow New Britain alt-folkie (and Dark brown graduate) Erin McKeown, Expectation et Denouement, released on Marble’s personal Laughing Stock Information imprint in 1998. Carrying out a diversionary part trip into ironic hip-hop using the jokey rap trio the Buttery Lords, Marble came back to his single profession with 2003’s Peep. Although Marble documented Peep almost completely by himself, he produced a support group for live schedules, comprising organist and accordionist Ben Macy and drummer Jason Russell. Both also show up on Marble’s second single record, Crimson Tornado, released in nov 2007. Among Marble’s solo information, the Buttery Lords released an extended “collector’s model” of the previously difficult to find debut record, Buttered on her behalf Pleasure.