Leland Sundries


A house with the floorboards buckled and the sconces blackened with dust. Spider webs in the corners and the windows cracking. A series of regrets.

The lead track. As we moved from live takes to overdubbing to mixing to mastering, “Elegy” just seemed to stand as a frame for ‘The Apothecary EP.’ And it goes back a ways in different forms.

I was listening to Bob Dylan’s “Most of the Time” and holed up on the 7th floor. I scratched it out on one of those sleepless nights and I found it the next day. One of the last songs I wrote on piano and certainly the only keeper of the bunch. This song slowly revealed itself. First the verses. Sometime later, a chorus. Then I made a cassette tape demo of a bunch of songs under the name ‘Transluscent Things Are Valuable Too…’ and I realized that it needed a bridge. Then, finally, it had that quality of walking through a desolate place.

There was no heat in the Creamery Studio in February when we did the live track, which still is the bulk of the arrangement. We had to turn on the space heater between takes. This was the first song of the session and one of the first takes of the song. The vocals are as they were: huddled near the microphone. There were no vocal overdubs.

Credit is due to Joe Lops for a Telecaster-imbued backdrop that I couldn’t have concocted; Adam Blake for a brilliant drum part; and Quinn McCarthy for keeping that barn sound intact.

It seems to meander to a boardwalk on the 2nd verse. Some stores boarded up. The territory of the loners, the prowlers, the outcasts, the only ones who claim it as theirs. Maybe a card game played by the light of a barrel fire.

Only the snowfall brings a kind of peace, though even that is marred by loss. But somehow the physical decay is comforting compared to other kinds of decay.




Brooklyn indie-Americana music project Leland Sundries will transport listeners to ‘The Apothecary EP’ October 5 on upstart label L’Echiquier Records. Leland Sundries is lead by resonator and harmonica-playing songwriter Nick Loss-Eaton. Leland Sundries has been compared to James McMurtry, Richard Buckner, AA Bondy, Elvis Perkins, Son Volt, and Silver Jews. Chuck Prophet has called Leland Sundries’ music “great wordsmith stuff.”

‘The Apothecary EP’ was recorded at the Creamery studio, under the Pulaski Bridge on the Brooklyn-Queens border and instrumentation includes resonator guitar, banjo, accordion, vintage synthesizer, slide guitar, and Rhodes. Laura Minor, who xlr8r compared to Lucinda Williams, appears on guest vocals on the EP’s wistful closing waltz.

The project has played in eight states in its year-long existence, sometimes in electric garage band guise and sometimes as a resonator and harmonica show, garnering press buzz along the way:

Boston Phoenix said, “Leland Sundries singer/picker Nick Loss-Eaton’s the-Band-meets-Lou-Reed approach mates gnawing electric guitar and old-time acoustic six-string, banjo, and harmonica melodies with dry-witted, drawling, modern-day ennui.”

Time Out New York called the music “oddball storytelling with a lo-fi country sensibility.”

Bostonist.com said, “The band has been described as Lou Reed fronting Cracker and we love the laid-back grooves and scratchy vocals.”

Albany Times-Union praised Leland Sundries’ songs as “dark and mysterious.”

Elephant Whale blog called the music “blues Americana with a touch of indie rock sarcasm.”

Leland Sundries will tour the east coast this fall. The EP will be released via TuneCore.

1. Elegy
2. High On The Plains
3. Hey Self-Defeater
4. The Main In The Giant Russian Overcoat
5. Oh My Sweet Cantankerous Baby

Blog Love From ElephantWhale

From ElephantWhale:

Leland Sundries is the mostly solo project of New York based Nick Loss-Eaton. He is re-branding Nashville’s original blues Americana with a touch of indie rock sarcasm.

Although he isn’t the first person to use a resonator guitar (see “Bon Iver”), it is a refreshing sound in a landscape of bands utilizing the same 3 piece set over and over. Leland Sundries has also been known to use a 2 string Cigar Box Guitar made in Memphis, giving his New York audiences the chance to experience something that few city kids even realize exists. Loss-Eaton also uses a megaphone-harmonica set up which captures the vintage-recording-scratchy echo that defines the original Americana sound for modern audiences.

For me, the cigar box was a sound that I had heard many times, but could never actually identify. Played with some hefty slide and nice backing guitars by Dan Kaplan, the Cigar Box was definitely my favorite surprise at the show. The stand out Leland Sundries song was “Giving Up Redheads” which according to insiders might just be Loss-Eaton’s favorite kind of lady. Touching on the classical theme of love-lost man, Leland Sundries takes the twang-y Americana sound and infuses it with a little bit of classic rock styling and extra energy.

Read on at ElephantWhale.

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