About Quicksand:
It’s impossible to overstate the influence that Quicksand have on the hardcore scene. Formed in New York City in 1990 out of the ashes of Gorilla Biscuits, Youth of Today, Burn and Bold, the band took the aggression of hardcore and added a more groove-driven crunch to it, unintentionally inventing the genre known today as a post-hardcore.
After releasing two major-label masterpieces in the nineties—1993’s Slip and 1995’s Manic Compression—the band split up at the peak of their powers, only to reunite in 2012 and release Interiors and Distant Populations. In that spirit, Bring On The Psychics marks a new chapter for Quicksand—guitarist/vocalist Walter Schreifels, drummer Alan Cage and bassist Sergio Vega—by creating a sonic bridge for these two eras of the band. The album is just as heavy as the band’s influential nineties sound while retaining the ambitious sense of experimentation from their more recent era. “This was seriously the easiest record we’ve ever recorded… nothing compares to it,” Schreifels says of Bring On The Psychics, which was recorded by Jon Markson (Drug Church, Drain). “We got the entire thing done in about ten days and then just tightened it up.”
About Bane:
Formed in Massachusetts, Bane began as a side project between Aaron Dalbec and members of Converge. After contacting Aaron Bedard, a former drummer in local hardcore punk bands, the group entered the studio in December 1995. After recording a demo, Bane made their live debut in February 1996. The lineup saw the addition of bass player Pete Chilton and released a debut 7″ single. In May 1997 Bane released Free to Think, Free to Be, another 7″ single. Another guitarist, Zachary Jordan, was added to the group as a member of Converge returned to his top priority. In May 1998 another 7″ single, Holding This Moment, was released and was followed by a tour with Saves the Day. In 1999, Bane signed to Equal Vision Records and released the band’s debut full-length album, It All Comes Down to This. A national and international tour with Death by Stereo ensued. The group also toured with Good Riddance and Strike Anywhere. In 2001, Bane released Give Blood. They have toured throughout Europe as well as performing at various festivals, including Furnace Fest. The band returned in the spring of 2005 with The Note. A few EPs followed during the rest of the decade, although the project didn’t release another album until 2014’s Don’t Wait Up on Equal Vision.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
