"Had Marissa Paternoster emerged in my era she would be a household name by now. Trouble is, the world is currently not very kind to guitar heroes. In favour instead are the ten a penny stage schooled pop stars. Nevertheless, Marissa’s talents are such that she endures and indeed continues to flourish despite our stubborn idiocracy. She is a true alt treasure. Ignore her at your peril." – Shirley Manson (Garbage)
After a handful of releases under the moniker Noun, Peace Meter is the first ever recording to be released under Paternoster's name, a deliberate choice making it stand on its own as a unique statement from the prolific guitarist.
Marissa Paternoster began writing Peace Meter immediately after arriving home from a west coast tour cut short due to COVID. Alone in her deceased grandmother's empty home, Paternoster sent the skeleton of a song to Andy Gibbs from the metal band THOU with the hopes that he might be able to extrapolate on the original idea. Andy sent his accompaniment back, and that process continued for the bulk of the first wave of quarantine.
As the songs developed, Paternoster decided to include two other musicians whom she admired: long time friend Shanna Polley of the NYC-based band Snakeskin on backup vocals, and the cellist Kate Wakefield from the Cincinnati-based band Lung. All parties recorded their parts within their respective homes. Once the songs seemed fully realized, they were mixed by Eric Bennett, one of Marissa's oldest friends and closest collaborators, who was also quarantined at home alongside his mixing studio.
This LP is the final project of that collaboration, between four US states, a year of isolation, panic, and uncertainty - all the while never writing together in the flesh.
Album opener "White Dove" - streaming now across all digital platforms - is a very simple song, both in structure and content, about observing something or someone you love endure pain and trauma. The entire song is basically two major chords, played over and over, a tonal mantra. Sonically, dynamics guide this song through its high peaks and low valleys, hauling the listener up to the summit within the refrain of the last chorus.
The two musicians mutually agree to disappear the false boundary between producer and speaker.
A messy and unblinking improvisational blurt that quickly becomes dense and confusing, even though reality itself is often incredibly confusing and overwhelmingly dense, and perhaps that’s the fundamental idea radiating from every spontaneous noise-blot ever made by this District duo.
– The Washington Post
Together, they’ve created an unselfish world where each member has room to breathe within their far-out experiments in liberated sound, vision, and performance.
Excited to announce a new album from model home, both feet en th infinite. The Washington, D.C. duo’s work employs a freewheelin’ and improvisational approach to communicate their ideas. Their single-take gonzo mind-melds currently span 19 Bandcamp-only transmissions, a compilation album, one full-length LP, and numerous mixtapes. both feet en th infinite will be released on November 5, 2021.
both feet en th infinite sees the duo under the microscope of a professional studio (Tonal Park), a process that allows them an opportunity to enhance fine details that might slide out of view amid blown-out basement recordings. Clarity has not made them any less weird. The takes are alive with a new meditative focus, while not losing the mutant decadence of previous efforts. The sound is akin to David Tudor meeting African Head Charge with an 808 and a rapper, spilling groove over industrial experimentalism.
On these sessions model home’s core duo – Nappy Nappa (voice) and p cain (electronics) – are augmented by producer and Future Times label-founder, Andrew Field-Pickering (Dolo Percussion, Max D), whose obliquely funky rhythm tracks set a solid foundation for the group to spill alien logic. The 7 songs presented here were captured with the goal of creating a record that could be replicated on stage, they reflect this with live and direct frankness. A communal energy permeates the release with gatefold art work by Maya Miller (Double Leopards), cover art and design by Meghan Raham (woozy) and sonic contributions from a who’s who of contemporary DMV heads – dreamcastmoe, Awad Bilal (Too Free), Luke Stewart (Irreversible Entanglements), Bubbie, and Rob Stokes. The album was recorded and engineered with Mike Petillo (U-Udios, Geo Rip) at the controls routing the fray onto the mixing board.
Album opener “Night Break” - streaming now across all digital platforms - slots into a hypnotic mindset. Funkadelic-esque in its unhinged wildness, but newly and uniquely hectic. A party banger conjured from the true outer limits.
model home create and document their music at an intimidating pace. Amid that flood of noise and energy there are moments that have marked a refinement of technique or a shift in currents. Last year’s album SE was one, as was the compilation One Year. both feet en th infinite is another. Its newfound stillness and gridded percussion are an extension of Cain, Nappa, and Field-Pickering's previous work and also an evolution in vision, expanding the possibilities of communication in the moment. It’s a set that pulls double duty as a brain-breaking koan and an outer-limits party record.