Lisa Germano does U.S. tour; releases critically acclaimed 9th album

By on March 9, 2013



Singer/songwriter/multi-instrumentalist Lisa Germano will be touring in celebration of the release of her critically acclaimed ninth album, no elephants . The new album was produced, recorded and mixed by Jamie Candiloro at Banana Chicken Studios. It was written and played by Lisa Germano, some bees, cell phones, a bunch of animals; Candiloro created drum loops and unearthly sounds, and Sebastian Steinberg played acoustic bass. Executive producers: Rocco and Betty Germano. Like her other nine albums, no elephants is made like a book to read to the end. There is foreshadowing from melodies and ideas that weave the record’s story together, and it takes time and imagination from the reader/listener. Unfortunately, few people these days take the time to make or listen to an album created as a whole piece, but no elephants is short and worthy of the attention paid. “Making a record any other way doesn’t work for me,” she says. no elephants was being released by Badman Recording Co. February 12, 2013. I’m hoping you’ll consider advancing her show with a feature, album review or preview. Please let me know if you need the music.


This is a deeply felt, simply and beautifully orchestrated music whose dulcet charms, when scratched, reveal an ineffable glow. While Lisa’s lyrics can be forcefully literal, they’re also gratifyingly figurative; as pure music, her songs offer a resonantly oblique time and place. Such a feeling resounds on the opening track, “Ruminants,” a pensive lullabye that has, Lisa says, something to do with the natural order to this world that the human race has messed up, especially in how we treat animals and the earth itself. “My communication with myself, the earth andits beings is getting weirder every day,” comments Germano. “If I could replace all theshit in my head, my troubles relating to humans and the earth’s beings’troubles relating back to me…I think that’s what this record is about.” Critical response has been overwhelmingly positive:


Lisa Germano has a long, interesting and textured history in the music world– from working as as a studio musician for acts like Sheryl Crow and David Bowie to touring with the Indigo Girls to turning down Billy Corgan when he asked her to be a Smashing Pumpkins backup singer to later agreeing to the tour to only get shit on by him. But most important of all, she released some beautiful albums on labels like 4AD and Michael Gira’s Young God. Along the same confounding continuum, No Elephants isn’t an obscure, hard-to-penetrate album. It’s very listenable and enjoyable. She traipses around a sound near people like PJ Harvey or Marissa Nadler, while maintaining her own personality and eeergy. This is a warm, organic and ethereal record. I highly suggest it…  

-William Cody Watson/Vice Magazine Feburary


…No Elephants is her ninth record, and the fourth she’s made since declaring, in 1998, that she was quitting the music business forever. The music she’s made since she (thankfully) reneged on that promise has been a bit more subdued sonically, centered around her piano and violin rather than the evocative, adventurous guitar tones that characterized her 90s work, but her songwriting has been as cutting and uncompromising as ever. 2003’s Lullaby for Liquid Pig and 2006’s In the Maybe World were cosmically dark enough to find a fan in Michael Gira, who released them on his own Young God label.

     On a cursory listen, the somewhat restricted sonic palette she pulls from on No Elephants might scan as “pretty”: composed mostly of delicately plinking piano and Germano’s snowy puff of a falsetto, which shape these fragile melodies with a featherlight touch. But lean in a little closer and it’s classic Germano– her lyrics perhaps even more jarring, rough-hewn, and anguished than ever…

-Lindsay Zoldadz/ 2/13


It’s hard to imagine that Lisa Germano ever played fiddle onstage with John Mellencamp. Her own music is so dark and personal — a fall down the rabbit hole, that it seems as if her entire being is molecularly incompatible with the broadside crowd-pleasing populism of Indiana’s famous son. Sebastian Steinberg adds acoustic bass and producer Jamie Candiloro throws in drum loops and surreal effects, but this is Germano’s tunnel. She wove these songs together to play as a song cycle with little motifs popping up in various positions while she attempts to grow closer to the earth. Don’t think for a second she’s looking to reach out. She wants you to reach in. If you’ve ever imagined Joni Mitchell scoring Twin Peaks, then you’ll become addicted to these piano and orchestration numbers — try “Diamonds” and “…And So On,” for starters — that can scare the living to death.-

-Rob O’Connor/Relix Jan./Feb.


Lisa Germano’s albums always remind me of a car accident – her lyrical stories contain elements that both attract and repel, like she can’t stop picking at certain wounds, even if it hurts a litte. Her newest album No Eleopoants is rife with smilar dualities. Germano’s breathless voice is simultaneously ecstatic and on the verge of a melt-down, especially when she sings lyrics like, “All is not well outside.”
A multi-instrumentalist, she accompanies herself on piano on mnay songs, and demonstrates her skillful violin work on “Diamonds.” A brief instrumental, “Dance of the Bees,” finds Lisa combining cell phone loops and the sounds of bees with guitar feedback to create a strange mix of technology and nature. Once again, Lisa Germano has delivered a euphoric and cathartic record that sticks to the soul. I’ll keep it close to my hear until her next musical gift arrives  

– Michael Levin/Bust Feb./March


Lisa is known to a worldwide fan cult for a series of savagely honest and musically intrepid solo albums that commenced in the early ’90s for the 4AD label, including the cynical debut Happinessin 1994 and the sexual-warfare-running-amok Geek the Girl, also from ’94 (which was included in Spin’s top 100 records of the 1990s). A series of follow-up records found her exploring with widening musical palettes some of the farther reaches of the scary rock-as-catharsis world. Also known as a multi-instrumentalist with such diverse artists as Eels, David Bowie, Crowded House, Philip Selway (Radiohead), Indigo Girls, John Mellencamp and Giant Sand, Lisa plays most of the instruments and music on her records, giving them even more direct emotion from the storyteller.



March 15th, Green Room Music Source’s official SXSW Showcase at TenOak, Austin, TX

March 21st – El Cid, Los Angeles, CA

April 18th Minneapolis Institute of Art’s “Third Thursday” Series with Kaiser Cartel, Minneapolis, MN

April 19th St. Olaf Collage with Kaiser Cartel, Northfield, MN

April 20th Midwest Music Fest, Winona, MN

April 22nd Shank Hall, with Kaiser Cartel and Freedy Johnston, Milwaukee, WI

April 23rd, Schubas with Kaiser Cartel and Freedy Johnston, Chicago, IL

April 26th The Cabin (Uni of WI) with Savannah Smith, Eau Claire, WI


Author: DaveHHM

Dave Luttrull: Owner/Editor in Chief of Hellhound Music. Star Wars nerd, Gamer, Destiny homer, blogger, writer and lover of all things music.