AMILIA K SPICER
Offers Indie Music Fans Another Chance To Discover Her 'Seamless' Musical World
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Critically Acclaimed Release By L.A. Based Alt.Pop Singer/Songwriter Receives
Fresh Marketing Blitz In Anticipation Of Her Next Collection, Due In 2006
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Darling Of The Americana Underground Featured On Projects For Brian Wilson, Peter Case, David Knopfler And Others; On Film/TV Soundtracks, From Roger Corman To Dead Can Dance
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Who Is This Free Range Artist Some Describe As ‘Part Beethoven, Part Bohemian'?

Fans of smart, edgy, acoustic based rock-pop, take heart! For those who missed Seamless , one of the most critically acclaimed indie CDs of 2003, amilia k spicer —inspired by the growing enthusiasm of her loyal fans and the buzz from the media the disc did reach--is giving many a second chance via a fresh marketing effort.

The new push for Seamless is geared to whet the music world's appetite for her eagerly anticipated next collection, which is due in 2006 from her label Free Range Records. With an underground cult following that is steadily building, there are many places where the secret is already out, but many may have missed Seamless in its initial go-round.  Garnering two of the top awards at LA's 2005 DIY music festival, (Song of the Year and Producer of the Year), now the public gets a chance to find out what the buzz is about.

Though her initial ambition when she moved to LA was to be a film director, Spicer quickly got sidetracked and focused her gift for creating provocative imagery on a more independent means of self-expression—songwriting. Judging from the incredible critical response to Seamless and her debut Like An Engine , the sultry and cerebral pop-rocker made the right choice.

Her voice is often described as haunting and seductive, but it's her writing that really separates her from the rest of the new generation of literary songwriters. With comparisons to Leonard Cohen, Emmylou Harris and Jeff Buckley, Spicer is equally at home in the cozy confines of Hollywood's Hotel Cafe, at the Kennedy Center in DC, and the singer-songwriter's Mecca at the Kerrville Folk Festival in Texas. She has been invited to teach at the well-respected Kerrville Songwriting School.

One of the most unique aspects of Spicer's songwriting is that it fuses together these influences of the different places that she calls home- the languid textures of rural Pennsylvania, the swing and melody of Texas Americana, with an edgy turbulent LA bite. That dichotomy reveals nuances with every listen. While best known for her moody, cinematic songs, there are other facets to her songwriting that show a scrappy, quirky side - often offbeat and full of humor.

Spicer defines herself as a "free range artist", naming her own label Free Range Records. She laughs and says, "Yes, the slogan is ‘Don't Fence Me In'.  I need room to kick a little. Great music sets a mood, creates a scene that is different for each listener. If you can create a movie with your melodies and lyrics, that is powerful stuff. I am often called a visual writer, and that's a huge compliment,” says Spicer.

Ethereal textures abound on this release, and remind one of Daniel Lanois. There's an edge amidst the melancholy to many of these songs, but it appears and disappears mysteriously. Her song “Moving Mountains,” which is also featured on the compilation Songs For A Better Planet , is a spiritual folk influenced piece based on imagery from her home state. “Tangerey” is a dark groove rock song, while in the blues-based "Wasted" you can almost hear her wink in a little run-down bar, playing an out of tune piano while the place breaks in to a tizzy. In one interview, she describes the award winning title track “Seamless” as a cross between Ravel's “Bolero” and Led Zeppelin's “Kashmir.” The journalist called it a “slow build song, like Simon and Garfunkel's ‘Bridge Over Troubled Water,' that sucks you in and doesn't let go until the last note.”

Spicer has also been on several compilation disks including the Brian Wilson tribute Making God Smile with Sixpence None The Richer, Songs For A Better Planet , and the soon to be released Peter Case compilation, A Case For Case the Hungry For Music fundraiser project featuring John Prine, Joe Ely and Dave Alvin.

As a live performer, one of Spicer's greatest moments was being flown in to perform with the Washington Symphony Orchestra for the 2002 September 11th Tribute on the West Lawn of the U.S. Capitol Building. Another high point was touring in Germany with David Knopfler of Dire Straits fame. She has appeared both on tour and in the studio with well-known folkies John Gorka and (2 time Grammy nominated) Bill Morrissey and, after a show at McCabe's in LA, Jackson Browne introduced himself and called himself a fan.

In addition to playing scores of festivals, clubs and performing arts centers around the country, songs from Spicer's discs have been included in various high profile DVD and film projects. Tracks from Seamless were included in the DVD releases of the TV hits Dawson's Creek (“Seamless”), Roswell (“Falling In”) and Party of Five (“Long Time”). “Falling In” is also slated to be included in an upcoming independent film. Tracks from Like An Engine are featured in several movies. To further cement her underground cult status, Spicer wrote and performed two songs for a Roger Corman film.

The cinematic quality of Spicer's music makes it a favorite of eclectic radio stations as well. “Like An Engine is a masterpiece,” raved Jim Guyette of WRUW-FM/91.1 Cleveland. “The songs convey a sense of musical grandeur honed to perfection with a razor-sharp edginess…One can easily imagine viewing the tales of these tunes through a film director's editing machine.”

Spicer hasn't left the filmmaking world completely behind, indeed she has a few projects up her sleeve. But the greatest moments for her come on stage. “I love the quiet that follows a song played well, the pindrop moment,” she says. “To me, that's really the whole point - shutting up the room, stopping people in their tracks. That moment of silence before the applause is profound.  In yoga, it reminds me of what they call the fourth syllable in the Om chant.  And if you are lucky enough to hear it, that's where music can transcend what people brought into the room. It's a magical place to reside, and I can't imagine a time when it wouldn't be exciting to me.”