The Sibleys belong to new form of contemporary music rooted in story telling. The music is at once a document, belonging to the day and to a strong and sparingly arranged, three-piece, driving group, at odds with sameness and overproduction. The undertow of the bass and the brick and mortar drum arrangement anchor the creative phrases of the guitar work that may give a thumbs-up to some other era that lives in the attic of our minds. The stripped down quality conjures early Memphis arrangements and at other times a live stage in Detroit, but that is not to say the music is not "desert" or calibrated by open plains and long stretches of empty road. The sparse instrumentation aims to give ample room to the lyrics dislodged from acquaintances and others the Sibleys have befriended while living in the desert. For instance, "Black Kawasaki" is about a man who crashes his motorcycle and subsequently can't afford to pay his tab at police impound. There is a generous and languorous sense of desire, brought to the fore by songs like, "The Heart Wants What the Heart Wants," where the space of the music is sensual and atmospheric and the lyrics mingle affirmation with doubt. Moreover, their most recent efforts have been brought to the fore by musician and producer Ben Vaughn. This recording with the working titled, "Remote Recordings" captures the live ambience of a desert roadhouse, "The Palms" that is more or less a natural and furthermost gathering spot of the Mojave crowd on the outskirts of Wonder Valley. The record was made one recent Tuesday (closed to customers) with Vaughn working magic over a remote recording enterprise brought out from Hollywood.

Produced by Ben Vaughn