An ethereal blend of two voices, guided by fate to find each other, travels the wire from iTunes to earbuds and into my ear canal a€” so exquisite, ita€™s almost unbearable. Hannah and Maggiea€™s almost unearthly harmonies evoke descriptions like a€?Simon and Garfunkel crossed with the Indigo Girls.a€? Indeed, they have been included in a number of Simon and Garfunkel tributes.
When Hannah was around 10, there was an electric guitar sitting in the living room, a leftover from one of her fathera€™s stage roles.
The drama club would host coffeehouses every first Friday and that was where Hannah first performed solo, singing her songs and accompanying herself on guitar. Maggie was in chorus, but switched her energies to forming rock bands when she was still in middle school.
Although Hannah earned a degree in American Studies with a focus on Race and Ethnicity and Maggie in Comparative Literature with a focus on English and Spanish Literature, it would be music that defined their path going forward. The house to which Hannah was assigned was an old, Victorian-style residence (the oldest on campus) that, at 50 coeds, was smaller than most. At some point they harmonized on one anothera€™s songs and some friends suggested that they sing together. Hannah graduated in 2011 and moved to New York City, with Maggie still having one year left.
In January of 2012, they recorded their second album, the aforementioned Muscle & Bone, and released it in May.
Hea€™d come backstage to change costumes and she would witness the transformation of her father to an actor with a€?elaborate costumes and crazy makeup.a€? She absorbed the idea that investing onea€™s time into performance and the arts was a valuable thing.
Maggiea€™s dad was happy that she was playing acoustic, and wasna€™t thrilled that her goal was to play rock.
There was a broad range of types of performance, ranging from poetry and music (Hannah would sing and play guitar) to displays of visual art or even hair styling. In 2010, Hannaha€™s junior year, they sat down to play music together working on covers and originals. Hannah graduatedA  in 2011 and moved to New York City, with Maggie still having one year left.
In January of 2012, they recorded their second album, the aforementioned Muscle & Bone, andA  released it in May.
MUDHONEY - BIOGRAPHYA Mudhoney's time line begins in 1980, when teenaged Mark Arm formed the band Mr.
After the 32nd chapter of Treasure Island, two of the puppets strolled out to have a pipe before business should begin again, and met in an open place not far from the story. Some two months afterwards, the young man was carried on a stretcher to the physiciana€™s house. After this talk, the child would never pass one of the unfettered on the road but what he spat at him and called him names, which was the practice of the children in that part.
Now when he was forth of the wood upon the highway, he met folk returning from the field; and those he met had no fetter on the right leg, but, behold! And when he was home, there lay his uncle smitten on the head, and his father pierced through the heart, and his mother cloven through the midst.A  And he sat in the lone house and wept beside the bodies. A little after, they both died, and came together before the great white Justice of the Peace.A  It began to look black for the friend, but the man for a while had a clear character and was getting in good spirits. So the man was cast in the pit, and the friend laughed out aloud in the dark and remained to be tried on other charges. Once upon a time there came to this earth a visitor from a neighbouring planet.A  And he was met at the place of his descent by a great philosopher, who was to show him everything. First of all they came through a wood, and the stranger looked upon the trees.A  a€?Whom have we here?a€? said he. The natives told him many tales.A  In particular, they warned him of the house of yellow reeds tied with black sinnet, how any one who touched it became instantly the prey of AkaA¤nga, and was handed on to him by Miru the ruddy, and hocussed with the kava of the dead, and baked in the ovens and eaten by the eaters of the dead. In the ancient days there went three men upon pilgrimage; one was a priest, and one was a virtuous person, and the third was an old rover with his axe.
Just then they passed a country farm, where there was a peacock seated on a rail; and the bird opened its mouth and sang with the voice of a nightingale. At last one came running, and told them all was lost: that the powers of darkness had besieged the Heavenly Mansions, that Odin was to die, and evil triumph.
And they rode two hours more, and came to the sides of a black river that was wondrous deep.
And they rode all that day, and about the time of the sunsetting came to the side of a lake, where was a great dun. At the gates of the dun, the King who was a priest met them; and he was a grave man, and beside him stood his daughter, and she was as fair as the morn, and one that smiled and looked down. And in the meanwhile the two lads looked upon the maid, and the one grew pale and the other red; and the maid looked upon the ground smiling. Presently the news got about; and the two lads and the first King were called into the presence of the King who was a priest, where he sat upon the high seat. And the younger son looked in it, and saw his face as it were the face of a beardless youth, and he was well enough pleased; for the thing was a piece of a mirror. But he was like the hunter that has seen a stag upon a mountain, so that the night may fall, and the fire be kindled, and the lights shine in his house; but desire of that stag is single in his bosom. So the man rose and put forth his boat at the time of the sunsetting; and the Poor Thing sat in the prow, and the spray blew through his bones like snow, and the wind whistled in his teeth, and the boat dipped not with the weight of him.
So the man stooped his hand, and the dead laid hold upon it many and faint like ants; but he shook them off, and behold, what he brought up in his hand was the shoe of a horse, and it was rusty. It befell that the Earla€™s daughter came forth to go into the Kirk upon her prayers; and when she saw the poor man stand in the market with only the shoe of a horse, and it rusty, it came in her mind it should be a thing of price. Now the wind blew through the Poor Thing like an infant crying, so that her heart was melted; and her eyes were unsealed, and she was aware of the thing as it were a babe unmothered, and she took it to her arms, and it melted in her arms like the air. The Kinga€™s daughter made no more ado, but she turned about and went home to her house in silence.A  And when she was come into her chamber she called for her nurse.


Now when the nine years were out, it fell dusk in the autumn, and there came a sound in the wind like a sound of piping.A  At that the nurse lifted up her finger in the vaulted house. So they went by the sea margin, and the man piped the song of the morrow, and the leaves followed behind them as they went. Hannah Hickok and Maggie Kraus, a lesbian folk-pop duo, look at all the facets of living a€” loving, losing, friendship a€” as if peering through a microscope, taking the facets apart and reassembling them with delicate, faerie fingers. In a perfect world, I think their articulate expression of lives so sharply felt and lived could change a listenera€™s DNA.
Her parents were actors but her mother quit the theater when Hannah was born in favor of another career path. In addition to the exposure to Broadway musical theater tunes, folk revival classics like James Taylor and Joni Mitchell were played often.
She was a member of the all-female and coed a capella groups and the chorus all four years of high school. After learning the basics, she and a small group of other campers performed for everyone in camp. Shea€™d coax boys into being members of her bands, selecting roles for them (a€?OK, Brian, youa€™re gonna play drumsa€¦a€?), regardless of their lack of experience. She hated the results and invested in an MBox, a portable computer recording interface (with mic and instrument ports) for computers.
Hannah ran the coffeehouse events each month with few exceptions, and with even more regularity when she was house president in her junior and senior years.
So Maggie visited Hannah regularly at Hannaha€™s campus residence and found the vibe relaxed and inviting, more so than her own residence. At the end of the summer they completed a two-week Northeast tour, their first extended travel on the road. After Maggie graduated they embarked on their first national tour, jumping from Portland, Maine to Nashville to Salt Lake City. We were thrilled to include them in our late-night guerrilla showcase at the 2013 Northeast Regional Folk Alliance Conference and wea€™re eager to help them promote their new album. Epp and the Calculations with some high-school friends from the Seattle suburb of Bellevue; none of whom actually knew how to play at the time.
Because Hannah and Maggie plunge a rapier of emotional honesty into the psyche, the listener might become a better person, more empathetic. She performed in musical plays a€” her first was when she was 5 a€” and was in chorus all through grade school and high school. He taught her how to play The Beatlesa€™ a€?Blackbird,a€? the first song she ever learned on guitar.
She always liked music and, like Hannah, she was exposed to folk revivalists James Taylor and Joni Mitchell.
There was supposed to be an a€?officiala€? staged performance at the end of the camp session, but it never happened. In 2001, Maggie was 11 going on 12 when, with her own allowance, she bought the Fender Stratocaster that she still occasionally plays. In high school, tired of wrangling other students into supporting her, she returned to acoustic guitar and performed with two friends as an acoustic trio.
Using her acoustic guitar, she began making her own digital recordings of songs using Pro Tools software. There was a large living room where everyone would gather together at teatime once a week on Fridays.
Shea€™d roam the halls, listening for good voices singing, perhaps idly, that she might recruit for the a capella group. Toward the end of Maggiea€™s freshman year, there was an event where graduating seniors were given a send-off banquet.
Later, in December, they opened for Dar Williams, an inspirational figure and thus, for them, their most notable performance to date. More interested in goofing off, breaking things, and posting flyers for shows that were never scheduled than actually making music, Mr. A case in point is the stark beauty of a€?Curfewa€? from their second album, Muscle & Bone.
Initially, shea€™d crank the sound up on a little amp, playing a€?awful musica€? in her bedroom. At some point in high school, the computer crashed, taking hundreds of hours of recordings with it. When Hannah had settled in, she wanted to replicate the coffeehouses shea€™d experienced in high school, so she offered to organize a coffeehouse event at teatime one Friday per month. We recommend a visit to their website, where their blog will provide more insight into their gentle, quirky humor as well as photographic glimpses of their adventures on tour. Epp didn't get around to playing a show until late 1981, opening for a band called Student Nurse. Hannah wrote the song and sings the lead vocal with a call-and-response from Maggie in a passage near the end.
Her first performance was in sixth grade in a school function called a€?The Extreme Concert,a€? a faculty showcase she was allowed to enter.
Nevertheless, she continued writing and performing at a lot of fundraisers, open mics, showcases and other school events. Hannah, visibly moved, thought, a€?Wow, this girl knows what shea€™s doing.a€? The song is on their first album and Hannah stated that it has been a fan favorite and has won two songwriting awards.
They were upset but not discouraged and committed wholeheartedly to continue playing together. Hannah wrote the song andA  sings the lead vocal with a call-and-response from Maggie in a passage near the end.
Despite their legendary ineptitude (they were described as "the worst band in the world" on more than one occasion), Mr.


It might simply be an unrequited love song, but it could easily describe a heartbreaking failed connection between two people, one who is gay and one who is straight or who is latently gay but not ready to accept a same-sex relationship. She took lessons in her first year of high school and then learned more on her own by figuring out how to play covers. Maggie quickly seized the opportunity to organize her own a€?unpluggeda€? coffeehouse events. This past summer, I attended the 2013 CT Folk Festival and saw them perform and introduce new contestants for the songwriting competition. Hours were spent learning chords for songs she wanted to sing by researching guitar tabs on the Internet, figuring out how to play them.
This past year also saw them begin recording their third album, In the Company of Strangers, their first with Purebred. This past year also saw them begin recording their third album,A  In the Company of Strangers, their first with Purebred. In 1983, in a bid to sound more like a real band, the group added a second guitarist, Steve Turner, who had previously played in a garage band called the Ducky Boys. That same year they released their Live As All Get Out cassette, but things began to peter out for the group, and they played their final show in February 1984. Having gotten acquainted with Hannah in the Smiffenpoofs, Maggie had watched YouTube videos of her playing acoustic guitar and singing, so she invited Hannah to perform at her coffeehouse. Having gotten acquainted with Hannah in the Smiffenpoofs, Maggie had watched YouTube videos of her playing acoustic guitar and singing, so she invited HannahA  to perform at her coffeehouse. In 1981, Arm and Turner, who'd become fast friends, also began playing in another joke-punk band, the Limp Richerds, and briefly placed their focus on that group until the Richerds also broke up near the end of 1984.A Eager to start playing again, Arm and Turner teamed up with drummer Alex Vincent, who had played with Turner in a short-lived band called Spluii Numa, and bassist Jeff Ament, who had recently arrived in the Northwest from Montana. Hannaha€™s performance at Maggiea€™s residence would be the first time either witnessed the other playing live.
When Arm decided he wanted to put down his guitar and concentrate on vocals, Turner asked former Ducky Boys guitarist Stone Gossard to join the group, and Green River was born.
Along with fellow Washingtonians the Melvins, Green River were pioneers of a new Northwest rock sound, merging the snot-nosed sneer of punk with the minor-key thud of heavy metal. Like a smack addict, I play the track again and again, nodding off over and over in rushes of aching, sweet melancholy. It didn't take long for Green River to get noticed on the Seattle rock scene, and in 1985 the band released their first EP, Come On Down.
By the time the record hit the streets, Turner had left the band to return to college (he was also growing disenchanted with the harder rock direction the band was following); and with new guitarist Bruce Fairweather, the band set out on a nationwide tour that was little short of disastrous, in large part because a delay in the record's release had the band supporting an album that hadn't come out yet.
The band survived to make a second EP, Dry As a Bone, for a new Seattle label, Sub Pop Records, in 1987; but, by the time their first full-length album, Rehab Doll, was released in the summer of 1988, tensions between members of the band caused Green River to split up. Ament and Gossard formed a new band called Mother Love Bone, Fairweather joined Love Battery, and Vincent went to law school.A Arm and Turner, meanwhile, had formed a side project while in Green River called the Thrown Ups, featuring graphic artist Ed Fotheringham on vocals. Essentially a more extreme example of the sort of goofy onslaught Arm and Turner had let loose with Mr. Epp, the Thrown Ups brought the two friends back together again, but Turner expressed a desire to form a new band that actually rehearsed songs before they played them in front of an audience. In his spare time, Turner began working up new material with Arm and drummer Dan Peters, who had played in Bundle of Hiss and Feast. Needing a bassist, the three hooked up with Matt Lukin, who had recently left the Melvins shortly before they left Washington for California.
Naming themselves Mudhoney, after a Russ Meyer film none of them had actually seen, the new foursome took the punk metal formula of Green River and the Melvins, added a dollop of '60s garage rock swagger and a large portion of Fun House-era Stooges, and ran it all through the cheap stomp boxes Arm and Turner so cherished.
The indie circuit success of the Replacements and Big Black had created a demand at college radio and the underground club circuit for harder and heavier bands, and Sub Pop's homegrown-but-earnest media blitz was helping to make "the Seattle Sound" -- soon to be dubbed "grunge" -- the next big thing, with Mudhoney the chief beneficiary.
While the band's first american tour was nothing to write home about, the Sub Pop hype machine had already begun to take hold overseas, and the band scored a European tour -- mostly dates in Germany -- in early 1989. A few months later, Sonic Youth, who'd been big fans of Green River, invited Turner and Arm's new band to join them for a British tour, and soon Mudhoney found themselves the talk of the U.K. Superfuzz Bigmuff landed on the British indie charts and stayed there for the better part of a year, and the band wasted no time returning for a headlining tour, complete with massive press coverage and riotous shows. Word of Mudhoney's rep in Europe quickly crossed the pond, and the band was the new heroes of underground rock by the time their first full-length album, simply called Mudhoney, came out in late 1989.A In the wake of Mudhoney's success, a number of other Sub Pop acts began making big noise on college radio and the indie club circuit, including Soundgarden, Tad, the Fluid, and a trio of Melvins fans from Aberdeen, WA, called Nirvana. However, while Sub Pop was doing a fine job of creating the Next Big Thing, they weren't making much money at it just yet; and the label's financial problems were one reason Mudhoney's second full-length album, Every Good Boy Deserves Fudge -- which found the band upping the garage punk quotient in their formula -- didn't hit stores until 1991.
By the end of the year, Mudhoney was shopping for a new label, and they could have hardly chosen a better time; Nirvana had already taken the major-label bait in 1990, and by December of 1991, Nevermind had made them the biggest and most talked about rock band in America. Their first major-label album, Piece of Cake, made it clear that the band's new corporate sponsorship wasn't going to change their musical approach; but their presence on a major label seemed to alienate old fans, while the mass audience who had embraced Nirvana, Soundgarden, and Pearl Jam (featuring Arm and Turner's old Green River bandmates Stone Gossard and Jeff Ament) found Mudhoney's work too eccentric for comfort.
With the release of March to Fuzz, a comprehensive career-retrospective compilation, many observers assumed that Mudhoney had called it a day, but in 2001 the band began playing a few live dates around the Northwest, with Steve Dukich (formerly with Steel Wool) sitting in on bass. The shows went well enough that Mudhoney decided to take another stab at their career, and Guy Maddison -- who'd been a member of Bloodloss, one of Arm's many part-time bands -- signed on as Mudhoney's new official bassist. Arm and Turner also found time to record and tour with a side project, the garage blues band Monkeywrench. When they came back together, they recorded Since We've Become Translucent and released it in the summer of 2002. The angry political and social commentary Under a Billion Suns appeared in 2006, followed by the deliberately raw, return to their aggressive roots The Lucky Ones in 2008.A In the years following The Lucky Ones, Mudhoney toured regularly, with one of the highlights being a showcase of the entire Superfuzz Bigmuff album at the 2010 All Tomorrows Parties in New York.



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