June 11, 2013

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The Honest Pint


35 Patten Parkway, City of Chattanooga, Tennessee 37402

(423) 468-4192

Mon - Sun, 11am - 2am

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    After spending the last year navigating 60,000 miles of patchwork American highways, these songs were born from kudzu forests, engine drone, missed exits, and AM static. “My Time Ain’t Now,” TURCHI’s third release, showcases a wide palette of musical influences, carving stories from the landscape they’ve come to know all too well. When you’re lost it’s all a sign, and TURCHI has responded with songs about the places they found, the places they meant to find, and the situations they found themselves in.

    Hailing from Asheville, North Carolina, TURCHI put one foot on the other side of the Appalachians for “My Time Ain’t Now,” tracking and mixing in the legendary Studio C of Ardent Studios (Led Zeppelin, ZZ Top, North Mississippi Allstars) with Adam Hill (White Stripes, Big Star, Dirty Streets), and having L. Nix Mastering cut the vinyl lacquers on their infamous original lathe (Elvis Presley, Stevie Ray Vaughan, Beck).

    At the crossroads of American roots music, TURCHI is a blend of slide-guitar fuzz and rhythmic trances of the Deep South, a whirligig welded from equal parts Mississippi Fred McDowell, Randy Newman, Jimi Hendrix, and Kenny Brown. The band's debut album, “Road Ends in Water” (featuring Luther Dickinson of the North Mississippi Allstars/Black Crowes) was compared to the early work of the Rolling Stones and Bob Dylan, and "Live in Lafayette" elicited comparisons to the White Stripes, Drive-By Truckers, and Black Keys.

    Praise for Previous Albums

    “I know I’m not supposed to compare anyone to Bob Dylan, but it’s not just the sound, it’s also the storytelling quality that brings Bob Dylan to mind...Turchi sounds a lot like a young Mick Jagger.”

    -- LA Examiner

    “Turchi’s mindset and loose, fall-off-the-bone guitar grooves still spiritually trace to somewhere in the backwash of Marshall County— down in the Land of Burnside, Kimbrough and Kenny Brown...Respectful of the Southern gothic undertow often lurking in their own tales, these juke-joint jammers always keep it murky and muddy while recounting of doing it in the dirt, imparting violence, pondering death and then doing it in the dirt some more.”

    -- BluesRag Magazine

    June 11, 2013