Late September Dogs
Late September Dogs or as the masses refer to them, LSD can be defined with the term “purity”. This band is “Pure Rock” delivered dead sexy. Consume at high
1
songs
115
plays
Come A Little Closer Come A Little Closer
Full power and delicate eligance take the front seat in massively dynamic song. Lizzy delivers a haunting melody as listeners want to answer her call of despiration. Listen for the carefully orchestrated tension toward the end. Masterful.
www.myspace.com/lateseptemberdogs
www.lateseptemnberdogs.com
OVERVIEW
Late September Dogs or as the masses refer to them, LSD can be defined with the term “purity”. This band is “Pure Rock” delivered dead sexy.
Ron Swarner of the Tacoma “Weekly Volcano” describes Liz Teisan, LSD’s particularly beautiful front woman, as could have been the “rocker-chick love child of Pat Benatar and Layne Staley.” Others call the Late September Dogs a mastered melding of Aerosmith, Heart and Silvertide. LSD’s music is a carefully constructed blend of soulful lyrics, often-raw guitar riffage and addicting melodies.
LSD has revived a recipe that has gone overlooked for a very long time. Their sound pulls from the best elements of popular music spanning the last four decades, but is packaged in a wrapper that is undeniably modern, creative and forward looking. The overarching goal is to keep all efforts straightforward and high energy while delivering a refined and undiluted approach to the Rock genre. LSD’s musical attitude is to release a dose of highly consumable material that strikes cords across demographics, and to do it with power, attitude and class.
Consume at high volume in mass quantity.Band/artist history
Chapter IV - Here and Now
Chapter four in this band's history starts in Seattle Washington. We start at chapter four because, like a great book, chapter four is generally when things begin to really get interesting.
THE FULL LENGTH ALBUM “Anything But Beautiful”
In late January 2006, on a rain soaked evening in arguably the greatest town for music, LSD will release their first full-length album. It is called "Anything But Beautiful." That is a humble position to take on anything produced by Indie audio pioneer Ric Vaughn who is known for gorgeous interpretation and superior command and control of his craft and productions. His brilliant story is told elsewhere. What is interesting here is that, "Anything But Beautiful" is a wonderful cross breed of Ric's street level approach, and LSD’s more mainstream style. The merging of the two ended up tempering one another, revealing a sound rarely approached but highly digestible at all levels.
Recorded in Seattle in early 2005 at Electrokitty Studios (U2, The Divorce, Mastodon, Nas) the band came together and executed upon the written material generated as far back as the late nineties. The sessions were goal oriented in that absolute technical perfection took a back seat to absolute vibe. The mission was accomplished as "Anything But Beautiful" takes listeners to dark, ethereal, raw and straight up rock places in the mind. What was produced is a delicately powerful album.
Chapter III GOOD BYE OLD FRIEND, HELLO MR. BILL
From 2002 to 2003 LSD was backed on drums by Noel Lakey. Noel was LSD’s seasoned professional through his tenure with Seattle favorites such as Gods Grocer, Crawl, and Pinch. These bands enjoyed tremendous success in the late nineties. Pinch front man Travis Bracht now leads Second Coming, a highly successful group that packs venues and has been on tour with Powerman 5000.
Noel stepped into the LSD situation because of his love for the music and the people involved. He backed LSD out of the goodness in his heart but was clear with the other members that his future was no longer in music but with his wonderful and loving family. Noel remained in LSD for the better part of 2 years while the band searched for the person that would join them in their long-term pursuit toward stardom. Noel remains active with LSD serving as executive council to the band and also as Executive Producer of the bands 2004 EP release “Not An Addiction” Noel was responsible for LSD’s introduction to Ric Vaughn who produced both “Not and Addiction” and 2006’s “Anything But Beautiful”
Enter Jeremy Bill.
As anyone in the construction industry will tell you, anything worth a shit is built upon a solid foundation. Jeremy is the 10 foot deep, iron clad, concrete filled strength behind LSD's sound. Jeremy was discovered at a drum store (imagine that), just prior to the release of “Not An Addiction” in late 2004. Now a full-fledged member and the backbeat on the new release “Anything But Beautiful” he incorporates his love and talent for rock and world rhythms seamlessly into LSD. Check out the beginning of the song “Sometimes” from the album to get the point. In 2004 Jeremy joined LSD on stage to open a sold out show for power rock act Skid Row. His performance proved his ability to handle big gigs. This first exposure to the cheers and chants of “LSD, LSD” ignited is passion for the music and brought on the realization that he was apart of something powerful, something that had tremendous potential.
Since then, Jeremy and LSD headline sold out venues all over the Pacific Northwest. 2005 saw the band shake the Seattle space needle on the KISS 106.1 Main Stage during “The Bite of Seattle” festival. In addition, The Late September Dogs gave an inspired performance at Seattle’s world famous “Hempfest” on the 104.9 Funky Monkey stage over looking Seattle’s Elliott Bay.
Chapter II STRENGTH IN NUMBERS
At 2 AM sometime in 2001 in a club long gone off the map in Seattle's music scene, Dan Teisan and Brian Timpe (Bass) met one another. Brian had just finished playing a gig with his former band and had completely impressed Mr. Teisan to the point that an introduction had to be made. “This guy’s playing clearly stood out on stage.” said Teisan upon recalling his initial impressions. The two said their hellos, talked music for a while and a new friendship was made.
”That guy is going to be in my band and doesn’t even know it yet” said Teisan after that conversation. A full court press was issued to recruit Brian into LSD, and after a protracted amount of time, the deal was sealed. Dan called it.
When Brian entered the musical picture in late 2001, it was immediately evident that his musical interpretations of the material were as right as rain. Brian has a very unique talent, in that the creativity flows naturally from his fingers and very rarely is there a forced position on his fret board. Brian's musical omnipotence allows him to create or find space and time in the music, adding a dimension rarely found in the genre.
In early 2002, Brian made the suggestion that the sound needed both brawn and beauty. Beauty in the form of a keyboard, brawn in the form of a drop tuned seven-string rhythm guitar. The band agreed as they identified the needed nail, but who was to be the hammer? Enter Travis Murphy.
Brain and Travis had played for several years together in a highly successful situation known as Travis Shredd and the Good Ol’ Homeboys. If you have been around Seattle for a while, you know these guys. It you hang with Penn & Teller, you know these guys. Travis predominantly played piano for the band, but Brian knew he also swung a mean axe. It was only a matter of time until Travis found himself in the studio with LSD. The personalities clicked, the music took on a different and more robust dimension and the sound, as we know it today was solidified. Travis brought with him a huge stage presence and a remarkable sense of overall musical arrangement. Besides total command over his seven-string guitar, Travis’ talents on piano added an increased depth and agility in recorded and live presentations. His contributions engender versatility and polish to the overall composition that differentiates the LSD sound from contemporaries.
Chapter I The Beginning
It is all pretty simple really. The lead guitar player (Dan) is the big brother to lead singer (Liz). They have been making music together their entire lives. Lives spent across the globe from Africa, to Europe to Asia. Alive in this band, is that sort of that family blood-soaked psychic connection and deep-rooted historical intimacy that only comes from siblings. You can call these two the "seed" of innovation and creativity when it comes to defining the key attributes of LSD's material. If you don't understand, call Eddie and Alex, Dimebag (RIP) and Vinnie, Ann and Nancy or Noel and Liam. They can give you the download on the significant impact sibling symbiosis has on music.
Chapters V and Beyond
The Late September Dogs have the potential to do what all truly great bands do. They hold the keys and have the overall attributes to earn a place in popular culture, influence our spoken lexicon and let us know just how far off the fashion curve we really are. Once a household name they will grow old with us, helping us deal with our mortality through their parallel immortality. Perhaps their music will help us remember and milestone certain points in our lives when "things were the best of times" and/or "the worst of times". One thing however is for sure. LSD brings serious music that cannot be considered trivial in terms of content, message or delivery. There is no doubt that they will continue to produce songs based in real human emotion, which can transcend language, culture and hopefully time. Ask anyone who has seen this band live and there would be no reticence in telling you that this quintet’s future is infinite. They are that good. They have that type of staying power. Subsequent epilogue post chapter four in the "Book of LSD" will be written as the rest of the world figures this out. As they catch the plot stadium by stadium, arena by arena, hall by hall, album by album and song by brilliant fucking song.Have you performed in front of an audience?Notable Performances:
Bite of Seattle (2005) KISS106.1 Main Stage
Seattle Hempfest (2005) 104.1Funky Monkey Main Stage
Late September Dogs in support of Skid Row (Fenix Underground)
Late September Dogs in support of Warrant (Fenix Underground)
Late September Dogs in support of Metal Church (Ballard Firehouse)
Late September Dogs CD Release Party (Fenix Underground) Sold Out!
Fully supported by the following venues in the Puget Sound area:
The Fenix Underground
El Corazon
The Central Saloon
Doc Maynard’s
Waldo’s
Studio 7
EMP Liquid Lounge
Lakepointe Bar and Saloon
Tommy’s Nightclub
Manette Saloon
Fenders
Ballard Firehouse
The Catwalk
Owl n’ Thistle
Your musical influences
Jeremy:
Band: Led Zeppelin
Song: Creep - STP
Brain:
Band: Frank Zappa and the Mothers of Invention
Song: Echidnas Arf
Liz:
Band: Prince and the The Revolution
Song: Purple Rain
Dan:
Band: Black Crowes
Song: Mother Pink Floyd
Travis:
Band: Metallica
Song: Deadhead - Devin Townsend BandWhat equipment do you use?
Jeremy Bill
Drums
Gear:
Pearl Export Select (Dark Purple)
Tom Sizes 10", 12", 13", 16". Kick 22"
Gibraltar Chrome Stage Rack
Cymbals: Zildjian A Custom 12", 16", 17", 22", Sabian Evolution 20"
18" Paiste China type, 14" Zildjian New Beat Hi hats
Tama Iron Cobra DB pedals.
14" Yamaha Steel snare.
14" Yamaha Recording custom Birch Snare.
Travis Murphy
Rhythm Guitars / Keyboards
Gear:
ESP guitars
ADA MP-1 preamp
Microtube 200 Power amp
Rocktron Chameleon effects
Marshall cabinets
Jim Dunlop Tortex picks
Elixir Nanoweb strings
Ensoniq - KT-88 keyboard
Mackie 1402 mixer
Brian Timpe
Bass
Gear:
Mike Lull M5, Mike Lull M4V fretless, Mike Lull P4, Musicman Sterling, Hamer Chapparal 12-string, Modulus Q4 fretless
SWR Mini Mo preamp
Mackie 1400i power amp
SWR Goliath III 4ohm speaker cab
Hughes & Kettner Tubefactor
DR Bootzilla strings
Dan Teisan
Lead Guitars
Gear:
Parker NiteFly
EMG 85, 81, S, SA pickups
SansAmp PSA-1 PreAmp
Peavey 60/60 Tube Power Amp
ADA 2/12 Split Stack Cabs
Celestion Vintage 50 Speakers
Liz Teisan
Vox
Gear:
High heels
Long hair
Attitude
Bellevue, WA
USA
ID
526190
Contact
Please sign up or log in to contact the artist.
Sign up
Log in
