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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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