Four guys who have been around. The Woodsmen, the Dry Spells, Between Floors, all part of the pedigree. Fenders, Gibsons, Marshalls and Martins, Zildjians, Radio Kings, and hickory sticks. Six packs and smokes.

All buzz, burn, whine, thump and pop. Same sounds with a whole new story. Songs about living, working, drinking and loving. Right or wrong, good or bad, Better fast than sorry.

Sometimes sounds like Creedence or Hank. Sometimes the Stones, Crazy Horse, or VU. Maybe the Replacements or Meat Puppets. Rock and Roll.

The lineup is solid. Bill's twang, Greg's thunder, Tim's bang. Twisted, hard, spontaneous and loose. Genuine.

This is the real deal, the good stuff.

Melodies stick, guitar solos sting, the bass holds fast and the drums shake. This is Gleasons Drift.

Nickel Rocket continues with the sound that has defined Gleasons Drift since their inception in 2002: loose, lean, spontaneous and genuine. Recorded at Saturation Acres in Danville, Pa by Bret Alexander and Paul Smith (badlees, Breaking Benjamin).

“Nickel Rocket” captures the sound that the band has honed live and on the road for the past 5 years;
tight changes, smart melodies, lyrics that tell the story of the human condition and a vintage sound that equally references Chuck Berry, Hank Williams, the Replacements, and the Meat Puppets while still extending the tradition of real American Rock and Roll.

An original and welcome release from a group of post-punk x-men more intent on integrity and song craft than commercial flair.

Several special guests also can be heard on the new CD. David Philips of Frank Black & the Catholics added pedal steel on “SABOTEUR” and “UNREQUITED”, and violinist Rebecca Kaplan, formerly of the Volebeats (Safe House), played on several tracks. LA’s own Jen Corday played some cello as well.

Breech embodies the musical vision of Missy Gibson and Mike Flanagan. Gibson came to Los Angeles from Detroit where her performances gained citywide attention, receiving praise from such press outlets as the Detroit Metro Times, who dubbed her "the best independent singer/songwriter in the country." Primary Critic for The All Music Guide, and Rolling Stone contributor Thom Jurek writes, "Breech's songs reveal the beauty in human flaws, the subtleties of passion, and the dynamics of anger. They are raw, gutsy, frail, tainted with the stain of life and to the bone." Gibson has also maintained a publishing deal with EMI since 1998. Mike Flanagan, a native Angelino, has received many accolades for his multi-instrumentalist and songwriting abilities. “Flanagan is a striking talent& an impressive songwriter& a commanding vocalist& (with) Elvis Costello’s tunefulness and full-bore passion&” says the Los Angeles Times.

In 2002, Breech decided to combine their musical talent with their prowess in the kitchen, garnering much attention from their series of "rock and roll bake sales,” which funded the recording costs of their full-length release Apron Strings. Their delicious treats and DIY genius impressed the Los Angeles Times, LA Weekly (who dubbed Missy "Betty Rocker"), Rocker Girl and Venus magazines, among others. It is not surprising then that Apron Strings won the 2003 DIY Album Of The Year. Breech was also nominated “best indie band” by the OC Weekly, an opinion shared by Music Connection magazine, which, year after year, contends that Breech is one of LA’s best independent bands.

Breech has consistently delivered praiseworthy releases, including their self-titled debut (1999), cd single Junk (2000), the above-mentioned Apron Strings (2002) and Demos Dust and Debris (2003), a collection of live acoustic tracks and recordings seldom heard.

Breech’s music has been featured in film and television, on shows such as the WB’s "Dawson's Creek" and "Black Sash.” They have also appeared on Canadian TV's "Much Music," and PAX TV’s “Ed McMahon’s Next Big Star.” Breech have toured the country extensively on their own, as well as opening for many national acts, including Weezer, the late Jeff Buckley, White Stripes and Liz Phair.

Recorded during a two-year period of growth and change for the band, Tarnish and Undress is layered with the emotionally raw lyrics Breech fans have come to expect since singer Missy Gibson’s notable beginnings in Detroit. Multi-instrumentalist/producer Mike Flanagan supplements this with a wealth of new sounds and textures, inviting a guest appearance by, among others, Frank Black’s own Dave Phillips on pedal steel (“Saboteur”, “Unrequited”).

Tarnish and Undress envelopes the listener in a sultry blend of opaque rock brilliance. The songs address the idea of beauty in decay and the allure of entanglement. It’s fitting that the LA Weekly heralded, “Missy Gibson is at her best naked. The raw place from which she bellows, whispers, cries and spits out her words feels a lot like being unclothed.”

This CD cuts away the fat that chokes the life out of many bloated self-important indie rockers and gets straight to the bleeding heart, pulsing with vibrant density. Tarnish and Undress implements musical subtleties and dynamics that can go from a smart pop chorus to a chaotic rock circus, from the stark underpinnings of a single haunting banjo to a wall of sound.

That’s a heady way of saying that OC Weekly was right when it nominated Breech as one of SoCal’s best indie bands. Tarnish and Undress fulfills the promises made through dozens of unforgettable live performances during the last two years -- that the main course to this amazing meal was well worth the wait.