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Biography
from Team Love: It was only four years ago that Tilly and the Wall burst like a popping balloon onto the independent music scene. A potent combination of sing-song boy-girl vocals, acoustic guitars, keyboard accents and a tap dancer instead of a drummer, the Omaha-based five-piece sang songs about not wanting to grow up, losing your love to the road, the urge to force the night as far as you could take it and more. Their debut, Wild Like Children, was a revelation to anyone who’s ever wanted to sing their hearts out like vocalists Neely Jenkins and Kianna Alarid; anyone who’s ever wanted to pummel big chunky chords from their acoustic guitar or keyboards like vocalist/guitarist Derek Pressnall and keyboardist Nick White; anyone whose love of rhythm meant letting their bodies create the song’s beat through motion like tap dancer Jamie Pressnall. Their follow-up, Bottoms of Barrels, pushed their sound one step forward, taking Tilly’s signature point of view of “we” to new heights: they told us we didn’t have to back down and close our eyes to go to sleep; we could shout for our freedom; we could wake up your mothers and start a commotion, and this youthful excitement would never ever stop.And then something changed. Kind of.
Tilly and the Wall decided it might be time to move that energy of declarative exuberance in another direction. After extensive tours of Europe, Australia, and Japan with the likes of CSS and Lightspeed Champion, in addition to their first time playing at the Reading/Leeds Festival, Coachella, and Summer Sonic, the band knew they had to open their heads and their hearts to all they were seeing, and use those experiences to the fullest. When they finally came back home, they went back to their old stomping grounds, artist-in-residence center The Bemis Center for the Contemporary Arts in Omaha, where they wrote Bottoms of Barrels, and began to work on what would become their most collaborative effort to date, each person throwing his or her songwriting hat in the ring more than they had previously. Drawing on everything from nature and magic to sex, rivalries and astrology, and featuring more instruments, voices and bodily percussion than their last two records put together, Tilly and the Wall have begun to forge a brand new musical path for themselves. One listen to their newest album, and you know it’s a special journey indeed, one we are very thrilled to take with them.
Tilly and the Wall decided it might be time to move that energy of declarative exuberance in another direction. After extensive tours of Europe, Australia, and Japan with the likes of CSS and Lightspeed Champion, in addition to their first time playing at the Reading/Leeds Festival, Coachella, and Summer Sonic, the band knew they had to open their heads and their hearts to all they were seeing, and use those experiences to the fullest. When they finally came back home, they went back to their old stomping grounds, artist-in-residence center The Bemis Center for the Contemporary Arts in Omaha, where they wrote Bottoms of Barrels, and began to work on what would become their most collaborative effort to date, each person throwing his or her songwriting hat in the ring more than they had previously. Drawing on everything from nature and magic to sex, rivalries and astrology, and featuring more instruments, voices and bodily percussion than their last two records put together, Tilly and the Wall have begun to forge a brand new musical path for themselves. One listen to their newest album, and you know it’s a special journey indeed, one we are very thrilled to take with them.
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