Nathan Larson has always displayed his singer/songwriter heart boisterously, never once veering toward the lo-fi shoegazing that took over a lot of the musical ’90s. From 1992 along with his use the post-punk-, R&B-, and glam-rock-informed Shudder to believe, Larson included his penchant for emotive musical swells and lust-drenched crooning. On STT’s Pony Express Record he added his electrical blues-influenced guitar function furthermore to cowriting a number of the album’s most achieved tracks. And on the beefier 50,000 B.C., he added to five tracks and sang back-up to Craig Wedren’s even more insistent business lead. In 1998, the mainly instrumental soundtrack towards the film Great Art noticed Larson reaching additional into his organizing capabilities, with ambient, subdued songs changing the angular audio the band experienced previously cultivated. He also published and sang around the score’s just vocal monitor. The achieved First Like, Last Rites, also a soundtrack, which offers vocal contributions from the past due Jeff Buckley in addition to those of Nina Persson, Liz Phair, and Billy Corgan, consists of a few of his greatest songwriting work up to now. Larson remaining Shudder to believe in 1999, as well as the group disbanded immediately after. His 1st solo work was to rating the Academy Honor winning Males Don’t Cry, which guaranteed him representation by Hollywood’s Blue Concentrate Management and, consequently, use filmmakers Joel Schumacher (Tigerland and Phonebooth), Morgan Freeman (Desert Blue), Jesse Peretz (Le Chateau), and Todd Solondz (Storytelling). In 2001, Larson released his 1st non-soundtrack solo documenting, Jealous God. Citing the creation ideals of Clive Langer and Alan Winstanley (Elvis Costello, David Bowie, Morrissey) as well as the “organic balladry” of spirit mogul Al Green as affects, Larson left a lot of the intense leanings of his previous band behind because of this set. It had been made by Langer and Winstanley, and it is a assortment of soulful and influenced gems.