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NYC Punk Rock N’ Roll Artist LORNE BEHRMAN Releases “Harlem River Serenade” Single/Video Ahead of Debut Album Out This Friday

DT: SEPTEMBER 14, 2022

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
MOVES ON FROM A BUSTED-UP ROMANCE WITH
“HARLEM RIVER SERENADE”

THIRD SINGLE AND VIDEO FROM THE
NYC PUNK ROCK N’ ROLL SINGER-SONGWRITER-GUITARIST’S
DEBUT SOLO ALBUM ‘A LITTLE MIDNIGHT’
OUT THIS FRIDAY, SEPTEMBER 16
WATCH THE VIDEO HERE

AND READ A Q&A BELOW

A person holding a microphone

Description automatically generated with medium confidence“Harlem River Serenade” Cover Art
(Download)

Harlem River Serenade is the third single/video from LORNE BEHRMAN’s solo debut album A LITTLE MIDNIGHT out this Friday, September 16 on Spaghetty Town Records. Look for the NYC punk rock n’ roll singer-songwriter-guitarist to celebrate the album’s release that night with a show at Arlene’s Grocery on the Lower East Side. LORNE will hit the stage with a 7-piece band featuring two backup singers at 9:30pm.

“Harlem River Serenade” is a slice of dirty and catchy rock n’ roll scrapped off of the streets of the Bowery, merged with imagery-rich lyrics about moving on from a busted-up romance. Today, LORNE has shared the David J Barron-directed video that was filmed at various locations in NYC including Arlene’s Grocery. Watch the video HERE. The “Harlem River Serenade” single/video was premiered yesterday (September 13) by New Noise.

Below is a Q&A with LORNE, who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, about the “Harlem River Serenade” single/video. View the song’s credits + lyrics here.

The 10-song A LITTLE MIDNIGHT is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed. It follows LORNE’s acclaimed 2021 four-song EP When I Hit The Floor, which prompted the esteemed Jesse Malin to note: “Real blood and guts rock and roll that bleeds with soul and redemption.”

A LITTLE MIDNIGHT’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A Little Midnight was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

“Harlem River Serenade” comes on the heels of the album’s first two singles/ videos, the most recent of which was I Hope The Sun Doesn’t Catch Us.” MXDWN noted that “…[the video] gives viewers an incredible sight of Behrman strumming his guitar with fantastic talent and singing about hoping that the sun doesn’t catch us, as we follow a man and woman on the streets of New York trying to get away from the sun that is blaring down on them.” “I Hope The Sun Doesn’t Catch Us” was preceded by the single/video for “A Little Midnight.” Glide raved about how the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”

Read LORNE’s bio here.

Q&A with LORNE BEHRMAN ABOUT THE SINGLE/VIDEO
“HARLEM RIVER SERENADE”

Can you describe your mindset when writing the song and being very honest about a busted-up romance with these vivid lyrics? 

Maybe this is my “I Will Survive” song? Before I met my wife, I went through a painful breakup. It felt so sudden and so cold, and I spent so much of my time obsessing about it. I would be on the train to pick up my daughter and feel impulses to reach out to this person. Everything outside the window felt like metaphorical magical thinking. I would try to find some sign that things would have a fairytale ending. The lyric, “Looking out/to factories as planters/green reaching through bricks/No hope there/we’re shattered/like broken bottles on train tracks,” for me, meant that an old factory outside the window was a metaphor for the relationship and maybe the green—the plants and such—reclaiming it were showing me a sign that there was some hope after all.

Suffice to say, there is a good ending, here. I endured the pain, did a lot of self-improvement stuff (read a lot about co-dependence and radical acceptance), and took a year off dating. My first date back was with the most loving and badass person ever, my wife. That other person reached to me once more, and I decided to move on. The message here is when you decide not to be involved with people who don’t know your worth the Universe sends you better people.

This marks your sixth video overall + third for the upcoming album. It was shot at, and around, your recent gig at the Arlene’s Grocery venue on the Lower East Side.  What did you feel was important for director David J Baron to portray in the video? 

When I decided to pursue a solo career, I was unconfident, I was hurting, and I was angry. My heart was closed off—I felt like it was me against people, and I had something to prove. I don’t feel that way anymore. I have a solo band I love, I’m so proud of this album, and there are so many kind people who have helped me and believed in me along the way.

I wanted David to capture this joy I feel, and he’s such a creative and intuitive person. There is a vibe around this solo project—I’m so blessed to have this—and I just hoped it would naturally come through. We had one show booked, and that meant one chance to get this video right. As something of a new artist, you don’t know how a show will be: will we play okay? will people come? So many unknowns! I decided to just let go and believe in the music, and my honest intention to connect with people. The night went magically. It was packed, people danced to songs they hadn’t heard before, and I just felt so happy. It felt like a rebirth for me—like I fought through a lot of darkness and came out the other side.

Perhaps you can talk about the thrill of being onstage and in such an intimate venue?

When I was in my early 20s, I remember seeing a band play that I loved. They were headlining at Coney Island High, and I said, “aren’t you guys excited?” The singer said, “not really.” He was in his mid-20s and already so jaded! I vowed that night I would never be that way. I started playing in punk clubs and bars when I was 19, and I’ve never lost the excitement that I had before my first show. I’ve hit some cool career highpoints, and I have had to start over many, many times—it’s humbling—but I always get back up and bounce back. Playing small clubs packed with people who get what you do is just electric. That feeling of “we’re in this together” outside of what’s massively popular feels like you’re part of this little in-the-know family. Like here’s a place you belong—there’s nothing like it.

The video definitely embodies “NYC.” As a New York-based artist, what are your feelings about the city these days since cities are always in a state of flux? What do you see when you look around?

Like a lot of people, I’ve seen many rock n’ roll civilizations decimated by commerce—luxury high rise buildings ousting nightclubs. But I’ve also seen musicians just find new clubs and build new communities. You can’t live in the past—it’s not good for the soul or good for music. Years ago, there were CBGBs, The Great Gildersleeves, and Max’s Kansas City; then Coney Island High and The Continental; and now there is Bowery Electric, Baby’s Allright, Arlene’s Grocery, and so many great clubs deep in Brooklyn. The music is there, the people are there, and the bands are playing loud and fast. I just keep going. New York is still open, and rock n’ roll still feels vital here.

The track listing for A LITTLE MIDNIGHT is:

01 – Love Stumbles By
02 – Harlem River Serenade
03 – I Can Burn You Down
04 – Monday Morning
05 – Well, I Can’t Hold You
06 – A Little Midnight
07 – You Wont Live In This Past
08 – I Hope The Sun Doesn’t Catch Us
09 – Black Cars
10 – Further On Down The Road

A person holding a guitar

Description automatically generated‘A Little Midnight’ Album Cover
(Download)

Lorne Behrman; Photo credit: Katherine Ward
(Download)

WEBSITE
FACEBOOK
INSTAGRAM

SRO Press Releases + Assets:
https://sropr.com/portfolio/lorne-behrman/

###

 


LORNE BEHRMAN Shines A Light On The History Of NYC Rock With The Television-Inspired “I HOPE THE SUN DOESN’T CATCH US”

DT: JULY 27, 2022

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
SHINES A LIGHT ON THE HISTORY OF NYC ROCK
WITH THE TELEVISION-INSPIRED
“I HOPE THE SUN DOESN’T CATCH US”

THE NYC PUNK ROCK N’ ROLL SINGER-SONGWRITER-GUITARIST
TODAY SHARES THE SONG AND VIDEO,
TAKEN FROM HIS UPCOMING DEBUT SOLO ALBUM
‘A LITTLE MIDNIGHT’
OUT SEPTEMBER 16

WATCH THE VIDEO HERE
AND READ A NEW Q&A BELOW

A person sitting on a couch playing a guitar

Description automatically generated with medium confidence“I Hope The Sun Doesn’t Catch Us” Cover Art
(Download)

NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (July 27) shines a light on the history of NYC rock with his Television-inspired song video, “I Hope The Sun Doesn’t Catch Us,” by sharing its video. This is the second single + video from his upcoming solo debut album A LITTLE MIDNIGHT due out September 16 on Spaghetty Town Records. It follows LORNE’s acclaimed 2021 four-song EP When I Hit The Floor, which prompted the esteemed Jesse Malin to note: “Real blood and guts rock and roll that bleeds with soul and redemption.” Watch the “I Hope The Sun Doesn’t Catch Us” video, directed by David J Barron and filmed in Manhattan, HERE. Also read a new Q&A below about the song that will be released digitally this Friday, July 29.

“I Hope The Sun Doesn’t Catch Us” is tough and tuneful NYC rock with a tender emotional heart that embraces the lyrical surrealism and guitar flights of pivotal band Television. The video by LORNE, who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, was premiered yesterday (July 26) by MXDWN, which noted the video: “…gives viewers an incredible sight of Behrman strumming his guitar with fantastic talent and singing about hoping that the sun doesn’t catch us, as we follow a man and woman on the streets of New York trying to get away from the sun that is blaring down on them.”

The 10-song A LITTLE MIDNIGHT is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

Q&A with LORNE BEHRMAN ABOUT THE SONG + VIDEO
“I HOPE THE SUN DOESN’T CATCH US”

In your bio, it says that “I Hope The Sun Doesn’t Catch Us” explores the art-punk transcendence of Marquee Moon-era Television with a hypnotic melodic arpeggio riff; an imaginative arrangement interspersed with quivers of sublime lead guitar melodies; and celestial guitar solos.”  Television is a pivotal band in music history like the Velvet Underground. Can you talk about when you first experienced the band and how they affected you…then + now?

 I have always wanted to experience the musical feelings people ascribe to The Grateful Dead. That idea of music taking you on a journey and having this surrealistic and abstract artistry—and Television had that. I encountered them in my early 20s. Before that, I had heard of them, and read about them, but had no idea what they sounded like. At the time, I had fallen in love with punk, and wanted to know everything about it. I bought the CD as investigative research—I wanted to know what this strain of punk/proto-punk sounded like.

The first few notes instantly pulled me in. It was like hearing music I had wanted to experience my whole life. At the time, I was playing in bands more aligned with The New York Dolls, The Clash, and The Sex Pistols. Most of the people in my circle thought Television was pretentious and too jam-based, as Television had extended guitar solos. I kept listening—this music felt like an extension of the Velvet Underground and The Stooges. I knew one day I could merge all these influences.

Television’s music has stuck with me to this day; it never feels dated and the musicianship is so strong that it feels like decades later I am still playing along to this album and learning new things. Punk used to mean to me total freedom, and this “you can do it” optimism. For many years I became myopic and mired in cliched nihilism, but these days I love the spirit of punk and feel it can be anything, as long as it’s true to my soul.

What was your mindset when you wrote the lyrics for the song? There’s a sense of existential panic in the chorus—and at the same time a sense of open-ended freedom, too: “Heading out on a no way street/I hope the sun doesn’t catch us/I don’t know who I’m trying to beat/just hope the sun doesn’t catch us.”

Every other Friday I take a train to pick up my daughter. During that train ride, I am excited to see her, and it feels like that is the only time I have during the week to catch my breath. A lot of life changing moments and thoughts have happened on the Metro North ride from Manhattan to Westchester. Much of this album was written on these rides.

When I wrote this song, I remember looking out at the sunset reflecting on the river, and, as the train moved, it looked like long legs of sunshine stretched out on the water running. I was thinking metaphorically, like the image was me and my daughter running from the weekend ending, hence the line: I hope the sun doesn’t catch us.

It made me think of the transience and the limits of love. In my life, it has always felt like love is coming to some sort of an end; ill-fated relationships that worked well at the bar but not in real life. The feeling of being a single dad and only having your kid certain times a week. And my own limits of love. What do I mean when I say “I love you”? Is my love conditional? Is it manipulative? So, there was a panic in the inner dialogue.

That said, there was also this feeling of this being an internal discussion that will lead to some sort of greater understanding of love and what it means to me. There was optimism in there because I know in my heart I love my daughter—so that connection feels real to me, and it shows me I am capable of deep connections. Also, during this time I was realizing I wanted to marry my girlfriend. I never thought I would get married again, as I felt damaged and also scared to merge my life with someone else. So, the song has a lot of questioning in it, some of it is painful and panicked, but, overall, it’s about that feeling of trusting you’re starting a new journey of self-knowledge even if you have made mistakes or you feel confused. There’s sense of awe and discovery in this song.

There’s a lot of rich imagery in lines like “Sunset is waning/the water looks like lava/ It’s a lonely ride home/The broken piece/Running away will never fix.” What inspired these visions?

When I was younger, I read parts of Thoreau’s Walden Pond, and the way he wrote about landscapes just really moved me. I love words and images that transport, and, as a songwriter, I love mixing that with self-reflection. Those words were from a trip back on the train, and realizing I had a respite from feelings of brokenness. The minefield of my mind—it seems like we all have this—was firing all the sad and depressing realities I face day to day. The difference is I realize it’s futile to try to run away. I have to face it.

Can you talk about how you feel the video’s scenes of a couple running through the NYC streets reflect the song’s lyrics?

The video’s scenes of the couple running through the NYC streets really reflect the dual feelings of desperation and hope pent up in the song’s lyrics. Director David J Baron intuitively captured that feeling of running from reality but celebrating the moment. The couple is contrasted with my own performance footage which is more unhinged and urgent. I was so moved by his sense of editing, the stunning lighting he captured, and his narrative visual approach—this video is the song come to life. I am so grateful for his talents, patience, and his keen artistic insights.

As with the other songs on the album, “I Hope The Sun Doesn’t Catch Us” is short, making its point quickly + effectively, clocking in at 2:21. What attracts you to keeping your songs so short?

 “I don’t want to waste your time. I like the idea that my songs can be little bursts of emotions and catharsis. Maybe someone is having a bad day, and they can duck out from work for a few minutes and hear one of my songs and feel better? Or before someone does something dangerously impulsive, maybe they can play one of my 2-minute or less songs and it could change their mind? I like the idea of instant relief. That’s what I strive for as songwriter.”

Read LORNE’s bio here and read the song’s credits + lyrics here.

The track listing for A LITTLE MIDNIGHT is:

01 – Love Stumbles By
02 – Harlem River Serenade
03 – I Can Burn You Down
04 – Monday Morning
05 – Well, I Can’t Hold You
06 – A Little Midnight
07 – You Wont Live In This Past
08 – I Hope The Sun Doesn’t Catch Us
09 – Black Cars
10 – Further On Down The Road

A person holding a guitar

Description automatically generated‘A Little Midnight’ Album Cover (Download)

Lorne Behrman; Photo credit: Katherine Ward (Download)

WEBSITE
FACEBOOK
INSTAGRAM

SRO Press Releases + Assets
https://sropr.com/portfolio/lorne-behrman/

###

 


NYC Rocker LORNE BEHRMAN Today Shares “A Little Midnight”—First Single And Video From Upcoming Debut Album (Out 9/16)

DT: JUNE 9, 2022

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
TODAY SHARES “A LITTLE MIDNIGHT,”
FIRST SINGLE AND VIDEO FROM
UPCOMING DEBUT ALBUM OF THE SAME NAME
OUT SEPTEMBER 16 ON SPAGHETTY TOWN RECORDS
WATCH THE “A LITTLE MIDNIGHT” VIDEO HERE

AND READ A NEW Q&A BELOW

Lorne Behrman; Photo credit: Katherine Ward
(Download)

Coming off his acclaimed 2021 four-song EP When I Hit The Floor–which prompted the esteemed Jesse Malin to praise it as Real blood and guts rock and roll that bleeds with soul and redemption”–NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (June 9) shares the video for “A Little Midnight.” It’s the first single (out digitally this Friday, June 10) from his debut album of the same name, available September 16 on Spaghetty Town Records. Watch the video, directed by David J Barron, here and read a new Q&A below. It was premiered yesterday (June 8) by Glide which noted that the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”

The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.

A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.

The track listing for A LITTLE MIDNIGHT is:

01 – Love Stumbles By
02 – Harlem River Serenade
03 – I Can Burn You Down
04 – Monday Morning
05 – Well, I Can’t Hold You
06 – A Little Midnight
07 – You Wont Live In This Past
08 – I Hope The Sun Doesn’t Catch Us
09 – Black Cars
10 – Further On Down The Road

 

“A Little Midnight” Single Cover Art
(Download)

Q&A with LORNE BEHRMAN ABOUT THE SONG + VIDEO
“A LITTLE MIDNIGHT”

–What inspired you to write “A Little Midnight,” which is also the title of your upcoming album, and release it as the first single? It’s a punchy and upbeat song, with your angular guitar work and almost conversationally delivered vocals. It also possesses the lyrical urgency you’re becoming known for.

It came down to me having a bad day where a lot of normal but challenging life things were stacking up. I was nervous about paying bills. I had taken my cat to the vet, it looked like she was really sick, and I was waiting on results. And someone in my family was struggling with some serious mental health issues. I felt overwhelmed. When I feel that way, I want to escape from it all. But I couldn’t—it’s real life; it’s being an adult. I was so worried and I sat on the couch and picked up my guitar and sang and played that opening line, “I don’t want to run away again/my problems like feathers in the wind.” It gave me a lot of comfort—like a punk rock n’ roll lullaby to ease my fears. A lot of times the problems we have in life seem more manageable on the other side of the day. Like hang on for a bit, the strength and wisdom to deal with your problems will come.

My decision to release it first was that I feel like it set the tone for the album which is hope. It’s a personal and candid album about my life, but there is an optimism and warmth there, even in the sadness and aggressive parts of the music. There’s always, always hope in my music. Always.

–When you sing the lines, “Cracked sidewalk/crooked roots/Shoot up till you fade away,” are you writing about your own experiences?

That was a poetic image on my street. A tree coming up at an angle from the sidewalk and cracking the sidewalk, and next to it on the ground, a hypodermic needle. The image was just really metaphorically powerful.

–The song clocks in at 1:47 seconds. How do you feel that short length benefits the song?

I love the idea of a little dose of strength or a quick jolt into resilience. The thought being, maybe someone is having a hard time, and they can take less than two minutes and “A Little Midnight” will reset them and make them feel better. For me, punk rock always made me feel better quickly. When it’s the right song, you only need to hear a small amount of it to feel centered, hence, the lyric A little midnight/ it’s alright/A little midnight it does you right.

–As with the EP, the upcoming album was produced by Matt Chiaravalle. Can you talk about why you feel his production style is the perfect fit for your songs?

The main thing is I trust Matt. He will tell me when something is up to par, or if a song needs something else, or if I am missing the mark. He’s honest, blunt, but also says things in a way that makes you feel like you can achieve the ideal he sees. Matt is also really eclectic and can reverently realize lots of different musical visions. We can nerd out about Motown, guitarist Robert Quine, 1990s punk, the Stones, Dylan, the Cure, Television, Lou Reed, and he knows the ins and outs of those classic records. In addition to being a great producer, he’s also a great engineer. He gets great tones, can coax great performances out of musicians, and he’s fast in the studio. He’s also hilarious, and I find myself laughing about things we talk about in the studio for weeks after a session. Matt doesn’t give a lot of compliments, and when he says he likes something or a song is good it’s for real. I admire his honesty. He brought out the best in me, and I am so grateful.

–For the video, you went with a fun and light-hearted feel. You’re seen a photo shoot, having playful + flirty exchanges with Paige Campbell, the song’s back-up singer. What inspired you to take this approach and who directed the video?

I was telling the director David J Baron about the meaning of the song and the story that inspired it. He thought it would be interesting to explore the narrative with levity. We talked about the great Replacements video for “Bastards of Young,” and the idea of a video where everything goes wrong.

Paige is like a sister to me, and we’ve been guiding lights with each other’s music careers. I’ve played on a few of her recordings for her band How Tragic before they found their guitar player. So, doing things together, and me being playfully annoying, is part of our lives as close friends and collaborators, especially that scene with the guitar solo.

When we shot the video it was me, Paige, director David, and my fiancée, Danielle, just hanging out at a studio having fun. Just friends laughing and doing something low key. It was a lot of fun and very loose, and I wasn’t self-conscious. However, when I first saw the video, I was nervous because I felt like all the “uncool” things about myself were exposed. I showed it to Paige and Danielle and they were like “that is you,” and that made me feel like I should just got with it. I was overthinking it, and taking myself too seriously.

WEBSITE
FACEBOOK
INSTAGRAM

SRO Press Releases + Assets:
https://sropr.com/portfolio/lorne-behrman/

A person holding a guitar

Description automatically generated

‘A Little Midnight’ Album Cover
(Download)

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NYC rocker LORNE BEHRMAN Unveils Salvation-Themed “Oh Lord, Give Me Time” Video–The New Single From His Debut Solo EP ‘WHEN I HIT THE FLOOR’ (Out 10/15)

DT: OCTOBER 14, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
ASKS FOR SALVATION IN “OH LORD, GIVE ME TIME,”
THE THIRD SINGLE + VIDEO
FROM THE NYC ROCKER’S
DEBUT SOLO EP
‘WHEN I HIT THE FLOOR’
OUT THIS FRIDAY, OCTOBER 15 ON SPAGHETTY TOWN RECORDS

WATCH THE “OH LORD, GIVE ME TIME” VIDEO HERE
AND READ THE Q&A BELOW
SET FOR EP RELEASE SHOW OCTOBER 17 IN NYC AT EAST BERLIN

A picture containing sky, person, outdoor Description automatically generated“Oh Lord, Give Me Time” single artwork (Download)

“Real blood and guts rock and roll that bleeds with soul and redemption.”
Jesse Malin, 2021

NYC rocker LORNE BEHRMAN asks for salvation in “Oh Lord, Give Me Time,” the newly released third single + video from his debut solo EP WHEN I HIT THE FLOOR that’s due this Friday, October 15 on Spaghetty Town Records. “Oh Lord, Give Me Time” is a guitar-driven mid-tempo rocker with a big emotional heart from the singer-songwriter-guitarist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. The “Oh Lord, Give Me Time” video was premiered yesterday (October 13) by antiMusic which noted: “Musically, ‘Oh Lord, Give Me Time’ ventures into semi-punk rock ballad territory, but with credibility. Think Mike Ness meets Bob Dylan.” Watch the video here.

The lead character in the “Oh Lord, Give Me Time” video–directed by David J Barron and filmed at Coney Island in NYC–is Denis Maguire, a Brooklyn-based film maker and playwright originally from Galway Ireland. The young girl casted on the spot is Jada Lopez, a young New York-based singer and dancer who previously attended Harlem School for the Arts along with Barbizon. She attends an arts and performance school now. According to director, the actor is man who is contemplating suicide and is all alone in the crowd while everyone is having fun and being part of society. He snaps out of it when the little girl gives him the prize and he then blends back into the crowd.  *Read a Q&A below with LORNE about the song and video.*

The WHEN I HIT THE FLOOR EP was launched this past August with the rocking-but-reflective title cut “When I Hit The Floor”–a song about “substance abuse and hitting bottom,” says LORNE—the video for which was premiered by Glide. The outlet praised LORNE’s “power chord ethos, cryptic electricity, and gritty voice,” adding: “The incisive songwriting stance Behrman takes on this unapologetic rocker holds nothing back with its blunt account of a hard-living past.” “When I Hit The Floor” was followed by the September release of Sandcastlesand its video was premiered by New Noise. “Sandcastles” a tense and urgent rocker marked by an ominous guitar riff, spooky Farfisa organ and chilling lyrics about the lingering effects of childhood sexual abuse (“What was done to me was done to you, I know/You’re just the messenger, I know”).

The four-song EP was produced by Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog) at NYC’s Mercy Sound Studios and mastered by Grammy-nominated engineer Joe Lambert. LORNE played all the guitars, wrote all the songs, and sang all the leads. Joining him are drummer Hector Lopez (Alejandro Escovedo/The Sweet Things), keyboardist Rob Clores (Jesse Malin, Black Crowes, Alejandro Escovedo), and singer Dana Athens (Jane Lee Hooker). Look for him to celebrate the EP’s release of with a NYC show at East Berlin (169 Avenue A) on October 17 at 7:30 PM

Below are quotes from LORNE about “Oh Lord, Give Me Time,” the song’s lyrics and more info about the EP.

Q&A ABOUT “OH LORD, GIVE ME TIME” WITH LORNE BEHRMAN

—What inspired you to write this song?

It was a Friday afternoon, and I was going to go pick my daughter up at her mom’s house. I was sitting in my daughter’s room, and I had this feeling of joy. Prior to that, I had spent so long feeling down, and, basically, wanting to die. This song was saying: I feel good, please give me time to live; I’m not ready to die. I guess it is kind of my take on a gospel song.

Parallel to me getting sober, I sensed my daughter was going through her own things. In her bedroom at her mom’s house there was a strange waterscape mural on the wall. I imagined her looking at that from her bed, and processing her life and what private thoughts and struggles she was working through. I wrote this song as a message to us both to find reasons to be strong, healthy, and happy. It is that “always darkest before dawn sentiment.” I saw a little light in that moment, and I wanted to share it.

—How do you feel this song sits alongside the others on the EP?

I’ve never played music in front of my parents before all by myself with just a guitar and my voice. They’ve seen me play in a lot of bands over the years, and I’ve always played them my recordings. When I wrote this EP, I asked them if I could play these songs for them. I was so scared! I performed with an unplugged electric and just my voice. When I played this one, my mom started crying. She said to me, “that song could be for anyone at any age because we all want time.” I know that sounds kind of corny, “my mom liked it!,” haha, so it must be great, but the truth is that was the first time in my life that I felt like my music mattered; that it reached someone.

I confessed a lot on this EP, and I shared a lot of painful truths. I wanted the final song to be hopeful and as sincere and simple as can be. I wanted a listener to go through the EP, and, at the end, feel some sense of positivity. Like that feeling after a good cry; when you let it all out, and you feel some serenity. Stylistically, I know it’s different, it’s an acoustic song, but I felt like if I was being vulnerable, this would be as honest as I can be. It’s a song I can sing with just a guitar and voice, and that is huge for me, as I’ve relied on anger and volume for most of my career—in the past, I was too scared to be soft and gentle.

For the scenes shot in Coney Island, were you present and if so what thoughts were running through your head as you saw the actor embodying the song’s lyrics? Even if you were not present, let us know what it’s like for you to watch the actor?

When I was first divorced, I lived about 20 minutes from Coney Island and my daughter and I would go there a lot. It was a desperate time. I was so scared to be alone. Totally ill-equipped to be a parent, let alone a single dad when she was with me. I felt like I had no life skills—I didn’t know how to cook a hot dog—and I also was constantly scared I would be homeless because I couldn’t pay my rent.

Those times at Coney Island my daughter and I really found something. I am scared of heights, and she wanted to go on those swings. I thought when I took her on it, it would be the kid swings—she was 6—but it was the adult ones, and I was terrified. She thought it was hilarious. We got into a rhythm of going to the magic show, eating Nathan’s hot dogs, and also going to the variety show with snake charmers and firebreathers. They even used a picture of us for advertising for the variety show! We cobbled together some semblance of relationship there, and there were a lot of stuffed animals involved.

I actually don’t think I shared this with director David J Barron, especially the bit about the swings which appear in the video! He had a distinct vision for this video, and I just trusted him. I never met the actor, and I wasn’t there for the shooting. We shot my performances on the boardwalk separately.

I first saw the video while in a cab with my fiancée, Danielle, going to a restaurant. I came up in the punk world, and for me, things were always stylized and there was some type of weird twist to the visuals and the songs, so I was shocked by the video. The sentiment in the song was so out front it was hard for me. I remember Danielle said: “It looks so professional, like a video you would see on MTV!” That horrified me, haha. She advised me to think it over, and respond to David after dinner.

I thought it over: this song is for my daughter, and for me and all the things we’ve been through both separately and together. I realized this video captured that feeling, and I was running away from being sincere and for sharing my feelings. I never want to do that. David really captured something unspoken and magical.

“Oh Lord, Give Me Time,” the song credits:
Written by Lorne Behrman (ASCAP)

Produced by Matt Chiaravalle at Mercy Sound Studios, NYC
Mastered by Joe Lambert

Lorne Behrman: Vocals and All Guitars
Matt Chiaravalle: Bass
Hector Lopez: Drums

“Oh Lord, Give Me Time,” the lyrics

Look out/on the ocean
To the ocean/take me

Drown my demons/ in the water
Hope to lay/ these burdens free

So tired/my hands are shaking
Peace/ finally

Heartbroken but ready
Lost at sea

Chorus: Give me time, give me time, Oh Lord, give me time
It’s not my time, it’s not my time, Oh Lord, give me time

I know/ I don’t know you
But I hold you/ dearly

Lost faith in/understanding
Understanding/who I’m supposed to be

I’m praying on/ a bent knee
O heaven/hear my plea

Look up/an eagle is soaring
Man, I wish it was me

Chorus: Give me time, give me time, Oh Lord, give me time
It’s not my time, it’s not my time, Oh Lord, give me time

The ‘When I Hit The Floor’ EP, track listing:
“When I Hit The Floor”
“I Won’t Fade Away”
“Sandcastles”
“Oh Lord, Give Me Time”

The ‘When I Hit The Floor’ EP, production credits:
The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). “Matt played in the East Village rock n’ roll scene as a respected musician, and he produced my old band, L.E.S. Stitches, as well as other punk-influenced artists around town. He then went on to produce songwriter artists,” Lorne says. “I see myself living between these worlds, so he felt like the perfect pick to capture the attitude of my music and the sentiment of my songs. Matt also has a great sense of humor, and that made me feel at ease when singing about some painful things from my past.”

The ‘When I Hit The Floor’ EP artwork:
Wyldlife bassist Spencer Alexander designed the EP artwork, and it is a subtly playful homage to the cover of Don Henley’s first solo album, I Can’t Stand Still.

‘When I Hit The Floor’ EP album artwork (Download)

A picture containing text, person Description automatically generated

Photo Credit: Alex Bershaw (Download)

WEBSITE
FACEBOOK
INSTAGRAM

For more info about LORNE BEHRMAN, contact SRO PR:
Mitch Schneider // mschneider@sropr.com
Andrea Faulk // afaulk@sropr.com

###


LORNE BEHRMAN Reveals Second Single + Video “Sandcastles” From The NYC Rocker’s Debut Solo EP

DT: SEPTEMBER 16, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
REVEALS SECOND SINGLE + VIDEO
“SANDCASTLES”
FROM THE NYC ROCKER’S
DEBUT SOLO EP
‘WHEN I HIT THE FLOOR’
OUT OCTOBER 15 ON SPAGHETTY TOWN RECORDS

WATCH THE “SANDCASTLES” VIDEO HERE
AND READ A Q&A BELOW

“Sandcastles” single artwork

“Real blood and guts rock and roll that bleeds with soul and redemption.”
Jesse Malin, 2021

NYC rocker LORNE BEHRMAN, the singer-songwriter-guitarist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, today (September 16) has shared the video for Sandcastles.” It’s a tense and urgent rocker marked by an ominous guitar riff, spooky Farfisa organ and chilling lyrics about the effects of childhood sexual abuse (“What was done to me was done to you, I know/You’re just the messenger, I know”). “Sandcastles” marks the second release from LORNE’s debut solo EP WHEN I HIT THE FLOOR that’s due October 15 on Spaghetty Town Records.

The fittingly dark video for “Sandcastles,” directed by David J Barron and filmed late at night in NYC’s Central Park, was premiered yesterday (September 15) by New Noise. The “Sandcastles” single will be available tomorrow (September 17) at all streaming platforms.

The WHEN I HIT THE FLOOR EP was launched in August with the rocking-but-reflective title cut “When I Hit The Floor”–a song about “substance abuse and hitting bottom,” says LORNE—the video for which was premiered by Glide. The outlet praised LORNE’s “power chord ethos, cryptic electricity, and gritty voice,” adding: “The incisive songwriting stance Behrman takes on this unapologetic rocker holds nothing back with its blunt account of a hard-living past.”

The four-song EP was produced by Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog) at NYC’s Mercy Sound Studios and mastered by Grammy-nominated engineer Joe Lambert. LORNE played all the guitars, wrote all the songs, and sang all the leads. Joining him are drummer Hector Lopez (Alejandro Escovedo/The Sweet Things), keyboardist Rob Clores (Jesse Malin, Black Crowes, Alejandro Escovedo), and singer Dana Athens (Jane Lee Hooker).

Below are quotes from LORNE about “Sandcastles,” the song’s lyrics and more info about the EP.

“SANDCASTLES”
Q&A WITH LORNE BEHRMAN

–“Sandcastles” is a tense and urgent rocker marked by an ominous guitar riff, spooky Farfisa organ and chilling lyrics (“What was done to me was done to you, I know/You’re just the messenger, I know”) about sexual abuse cycles: how hurting people hurt others. What inspired you to write this song and the catharsis you went through during the process?

LORNE: When I was a little kid, I took karate classes, and there was an instructor there who promised they would give me a kit to build sandcastles if I went with them into the bathroom. This began a very stressful and painful time for me. It was sexual abuse, mind games, and secrets. I was a really sensitive kid—I still am really sensitive—and I felt in over my head, but scared to tell anyone. I remember thinking I wish my soul could disappear into the calf of my leg—like I felt like I had to be at karate, but I wished I didn’t have to be present. I have the best parents—open, loving, and there for me, always—but I had too much fear and shame to tell anyone. I felt like I deserved this, so I just dealt with it, and eventually moved on from karate class, though I would experience more predatorial people and have more painful experiences until I addressed this and really got help.

I would always bring this stuff up when I was drinking, and share with anyone around, but I couldn’t talk about it with people in the daylight. It was always there, hindering my trust, my connection with others, intimacy, body images, feeling safe, and even feeling safe alone—as if I was going to attack myself. It was the nightmare roommate in my head I never wanted.

I eventually got help, and spoke to many people about this. I got a lot of comfort. One person told me to pray for the person who did this to me. I wanted to punch this guy in the face. I remember walking home that night and just being livid—they don’t understand, I thought. But it dawned on me, that the person who did that to me, probably had that done to them. All forms of abuse are passed on until you stop them. Not long after, I wrote the song.

As far as a catharsis, I’ve heard people say if you shine a light on darkness it goes away. So, this is me, putting that saying into real life. Singing this in the studio was very hard for me, but my producer Matt Chiaravalle made me feel comfortable. Leaving that vocal booth and finishing the vocals of the song, I felt lighter—like a left a part of my history behind. Hearing it mixed and mastered, and knowing it will be out there scares me. I feel naked and vulnerable. That said, when I listen to the song, I feel like I am speaking up for that little kid that endured that private hell.

–The David J Barron-directed video for “Sandcastles” is fittingly dark, given the subject matter and other lyrics like: “What hides in me, haunts you, I know.” David has said: “It was shot in color, made in to black and white then rephotographed in color. The palette chose me. I like the black and white but needed it to be more degraded and violated feeling.”

LORNE: I had nightmares about shooting that video. Director David J Barron had this very powerful concept of capturing the fear and darkness inherent in the song. The camera chases me, the nighttime is overpowering, and the color palette enhances the horror of it all.

We shot it around 10 PM at night in Central Park, and let me tell you, nighttime at that park is still scary, haha. We shot it on a throughway that bisects the east and west side. The sidewalk was so narrow, and cars whizzed past you so quickly. It felt like we could get hit at any time, and then there were some “characters” passing in and out of the night. We shot the parts of me playing guitar right after.

Making the video brought up a lot of stuff. Thankfully, David is a deep guy and I could talk to him. He had that balance of knowing the shots he wanted, but also being sensitive to what I was going through. When the outside parts were over, I was so happy to be safe at home, it was like I was away from the horror. Seeing the video, I feel proud of myself. Like I finally took a stand, and I feel like I did it in a way that’s me.

–At the end of the video, the chyron reads: “Dedicated to survivors of sexual trauma everywhere.” Can you talk about the importance of survivors sharing their stories and emotions?

LORNE: I started sharing my stories in the last two years. When you speak about this, and someone says to you, I went through that, too, it’s like feeling like you’re not alone for the first time. Like you have a best friend that experienced the same minefield in their mind, and you can talk about this. The shame goes away, the feeling of being damaged goods go away, and your abnormal feelings feel normal, for once.

–Since you’ve shared your soul in the song + video, can you tell us which introspective artists, and which songs of theirs, have impacted you as a songwriter?

LORNE: The album Black Celebration by Depeche Mode probably influenced this song the most. I used to listen to Black Celebration all the way through as a teen, and it felt like a purging of bad feelings. When it was over, I felt clean inside. The final track, “But Not Tonight,” felt like I was all cried out and at peace with things. Also, the song, “Walking In My Shoes,” was really big for me. I guess, for me, it felt empowering maybe in a self-pitying way—like, “deal with my crazy mind for a day, haha, and then let’s talk.”

Another writer I really admire for her candor and boldness is Natalie Merchant. Her solo album Tigerlily really hit me. At the time I heard it, I was a punk purist, but the writing really got to me, especially the songs “River” and “I May Know The Word.” Her writing is so impactful. That album had this smoky emotionality that I wanted to one day conjure in my own way. I definitely was thinking of that album with this song.

I am a late bloomer as a songwriter, and the solo music of John Frusciante has been huge for me. The album To Record Only Water For Ten Days felt like it whisked the listener away to this private world for dark feelings. The opening track, “Going Inside,” is like an introverted person’s anthem. Jesse Malin has also been a huge influence on me. He writes with such vulnerability, but there is always a feeling of hope. Songs that really inspired me from his catalog are “Scars Of Love” from the album, The Heat, and “The Dreamers” from the album, New York Before The War.

“Sandcastles,” the lyrics:

What was done to me was done to you, I know
You’re just the messenger, I know
Were you frightened, and did you sit still?
Shame pulls you in/breaks your will
What was done to me was done to you, I know

Chorus: On the floor/dreamed of sandcastles/never got up
Ooooh, Ooooh, Oooooh
Can’t shut the door/dream of sandcastles/ I feel your touch everyday
Ooooh, Ooooh, Oooooh

What hides in me, haunts you, I know
We were just kids, I know
Do you forgive, is the enemy within?
Buried my pain in nights of sin
What hides in me, haunts you, I know

Chorus: On the floor/dreamed of sandcastles/never got up
Ooooh, Ooooh, Oooooh
Can’t shut the door/dream of sandcastles/I feel your touch everyday
Ooooh, Ooooh, Oooooh

“Sandcastles,” the song credits:

Written by Lorne Behrman (ASCAP)
Produced by Matt Chiaravalle at Mercy Sound Studios
Mastered by Joe Lambert
Lorne Behrman: Vocals and All Guitars
Matt Chiaravalle: Bass
Hector Lopez: Drums

The ‘When I Hit The Floor’ EP, track listing:

“When I Hit The Floor”
“I Won’t Fade Away”
“Sandcastles”
“Oh Lord, Give Me Time”

The “When I Hit The Floor EP artwork:

Wyldlife bassist Spencer Alexander designed the EP artwork, and it is a subtly playful homage to the cover of Don Henley’s first solo album, I Can’t Stand Still.

‘When I Hit The Floor’ EP album artwork (Download)

Photo Credit: Alex Bershaw

WEBSITE

FACEBOOK

INSTAGRAM

For more info about LORNE BEHRMAN, contact SRO PR:

Mitch Schneider // mschneider@sropr.com
Andrea Faulk // afaulk@sropr.com

###

 


LORNE BEHRMAN Shares First Single + Video, “When I Hit The Floor,” From NYC Rocker’s Debut Solo EP Due October 15

DT: AUGUST 12, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK/SRO PR

LORNE BEHRMAN
SHARES FIRST SINGLE + VIDEO,
“WHEN I HIT THE FLOOR,”
FROM THE NYC ROCKER’S
DEBUT SOLO EP OF THE SAME NAME
DUE OCTOBER 15 ON SPAGHETTY TOWN RECORDS
WATCH THE ROCKING-BUT-REFLECTIVE VIDEO HERE

“When I Hit The Floor” single artwork

“Real blood and guts rock and roll that bleeds with soul and redemption.”
Jesse Malin, 2021

NYC rocker LORNE BEHRMAN, the singer-songwriter-guitarist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things, today (August 12) shares his debut solo single + video, “When I Hit The Floor.”

The rocking-but-reflective “When I Hit The Floor”–a song about “substance abuse and hitting bottom,” says LORNE—is the first release from his debut solo EP of the same name, due October 15 on Spaghetty Town Records. Watch the video here, premiered yesterday by Glide, which praised LORNE’s “power chord ethos, cryptic electricity, and gritty voice,” adding: “The incisive songwriting stance Behrman takes on this unapologetic rocker holds nothing back with its blunt account of a hard-living past.” The single will be available tomorrow (August 13) at all streaming platforms.

The four-song EP When I Hit The Floor was produced by Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog) at NYC’s Mercy Sound Studios and mastered by Grammy-nominated engineer Joe Lambert. Lorne played all the guitars, wrote all the songs, and sang all the leads. Joining him are drummer Hector Lopez (Alejandro Escovedo/The Sweet Things), keyboardist Rob Clores (Jesse Malin, Black Crowes, Alejandro Escovedo), and singer Dana Athens (Jane Lee Hooker).

The video for “When I Hit The Floor” was directed by David J Barron and set in Brooklyn, specifically the areas of Midwood, Kensington, and Bay Ridge. The video was shot on 9-minutes of film with a Bolex H16 handheld camera from the 1970s.

Below are quotes from LORNE, the song’s lyrics and more info about the EP.

“When I Hit The Floor,” the song:

In January 2020, I was kicked out of my previous band, The Sweet Things. I was really depressed. I had played music for 30 years, and for the first time ever, I felt like it was over for me. Up until then, I had been a lead guitar player, and an occasional songwriter. All those years my focus was really just on playing solos and being a gunslinger—playing fast and showing off. This song changed everything.

When I wrote this song, I was single, and living alone at the time. I have a young daughter who is with me every other weekend. That summer of 2020, after I was kicked out the band, I would go into her room, I guess for strength and to not feel alone. While there, I heard the leaf blowers and lawnmowers, and it made me sad—hearing that noise made me feel like life was passing me by. One Friday this song came to me, I shared it with my friend, Darren—former drummer of The Sweet Things. He said it was really good, and that gave me the confidence to try and record a solo song. It felt like a sign, and from there I wrote the three other songs on the EP.

“When I Hit The Floor” is about substance abuse; it’s about hitting bottom. Consequences come and go, and you stop caring. You scare people away or alienate them by your actions. They worry about you, but then let go. All these feelings closed in on me when I was in my daughter’s room during the time of writing the song.

Before I got sober, every night I would go to bed I would pray to God to take my life. I didn’t want to wake up. I hoped everything I ingested would take me away. I remember one time my daughter said something about me dying; she said “you would never see me again.” That is etched in my mind, and is one of the lyrics in the song. It took a minute to clean up, but on November 30th 2018 I became sober. The chorus in this song is about the faith you find when you fall down the stairs and you’re still alive. It’s sad but triumphant—you come to the edge of the cliff but you don’t jump. Instead, you change the course of your life.

The EP is like a concept record. This first song tells the overarching story—feeling life has passed me by, feeling lost in pain, losing parts of my life that I thought made me who I am, and coming close to throwing life away. It’s about desperation, and that desperation leading to positive change. Doing something drastic that isn’t killing yourself—saving yourself.

“When I Hit The Floor,” the video:

I had a small budget to make this video, and me and the director David J Barron decided we would film it near where the drama unfolded. I have since moved away from the area, so it was emotional to go back there. We had a handheld film camera from the 1970s, and it felt like we had to do it in a series of one-takes. I had to be “on point” and convey the emotions and narrative of the song without a lot of chances. It was kind of exhilarating to rise up to this role. There was no rehearsal, and I had no idea what I wanted to do or how I wanted to move. I just made up my mind to let what comes naturally flow.

It’s funny the first version of the video had no images of me playing guitar. I played every guitar part on the EP, and playing guitar is my life. I think I was just so focused on the sentiment I forgot that. Then it was strongly suggested we add in the guitar footage. We shot me playing in a Brooklyn warehouse one rainy night. I think we did it in 3 minutes of film—we were in and out.

“When I Hit The Floor,” the lyrics:

Well, the leaf blowers are blowing
I know, it’s time to move on
No more days of not knowing
Summer is almost gone

The sadness is overtaking
So, baby, I’m over overmedicating

Have this sinking feeling
Fall is almost gone

Chorus:

It ain’t luck
Things look up
A life of more
When I hit the floor

Well the lights are dimming
And the sinners keep on sinning
Bittersweet swallow
Don’t look back

Well I came close to going
Baby girl, I wouldn’t see you again
Got so desperate not knowing
Nowhere else to go

The ‘When I Hit The Floor’ EP, track listing:

“When I Hit The Floor”
“I Won’t Fade Away”
“Sandcastles”
“Oh Lord, Give Me Time”

The ‘When I Hit The Floor’ EP, production credits:

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). “Matt played in the East Village rock n’ roll scene as a respected musician, and he produced my old band, L.E.S. Stitches, as well as other punk-influenced artists around town. He then went on to produce songwriter artists,” Lorne says. “I see myself living between these worlds, so he felt like the perfect pick to capture the attitude of my music and the sentiment of my songs. Matt also has a great sense of humor, and that made me feel at ease when singing about some painful things from my past.”

‘When I Hit The Floor’ album graphic:

Wyldlife bassist Spencer Alexander designed the EP artwork, and it is a subtly playful homage to the cover of Don Henley’s first solo album, I Can’t Stand Still.

‘When I Hit The Floor’ EP album artwork

Photo Credit: Alex Bershaw

WEBSITE
FACEBOOK
INSTAGRAM

For more info about LORNE BEHRMAN, contact SRO PR:

Mitch Schneider // mschneider@sropr.com
Andrea Faulk // afaulk@sropr.com

###

 


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