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Artist Information Biography :: The Stationary Set :: They thrive on irony, but not the neo-hipster "Meatloaf is cool now" type. They swim in sarcasm; a perfect conduit for the expression of doubt, struggle, and matters of the heart. They know how to laugh, especially at themselves. The Stationary Set, however, is a mechanism built out of necessity. Our 20-something generation has, since maturity, towed the fine line that separates following dreams and settling for less. We were molded by the baby-boomers and sheltered from our uncertain nation, striving to become educated adults with a mountain of debt. It cannot be pinned down, however, why certain children of a class grow up to rebel against their socio-economic norms, why they attempt to cut a deeper swath. But some do rebel; some really mow it down. And it is perhaps for no other reason than to quell the constant craving for distinguishing themselves as unique within a blase field of peers. From the mitten of the Midwest, in all of its mediocre glory, therein The Stationary Set came to be. Born out of lead singer Andrew Lutes' over-production of indie-rock/pop songs for a former band (thefarewelldrive), Lutes teamed up with long-time friend and rock-band veteran Josh Hoisington (The Minor Fall, The Giveaway, Four Days), Hundreds of miles later, somewhere in Harlem, Joshua Davis (Four Days) and his Telecaster aided in the arrangement of songs old and new as the three sought out the rhythm of Logan Baldwin (i.inside) and Gabriel Kubitz (Bitch and The Exciting Conclusion/Kill Rock Stars) on drums and bass respectively. High above the Gowanus canal of Brooklyn, New York, in a converted industrial loft, The Stat. Set learned to put their emotionally taxing indie-rock back on the shelf in exchange for a new blend of light-hearted social commentary coupled with highly contagious, guitar-driven pop melodies. The songs therein represent a turn towards the lighter, dancier, more attainable hooks that made up the mid/late nineties mix tapes of Lutes' formative years. The diary-esque yet surprisingly optimistic lyrics set in a backdrop of deliciously intelligent arrangements make The Stationary Set a safe bet for anyone with a penchant for melody. They made an album. It is good. T'was the gracious Christopher Walla of Death Cab for Cutie who told the band of a boy in Wisconsin with a magical computer mouse and an almost telepathic ability for stereo imaging. Beau Sorenson was his name and he printed The Stat. Set's idea of good music to tape. They called it "Don't Forget in the Darkness What You Saw in the Light" The boys will be entering the studio this spring with Producer/Mixer/Engineer Bryan Russell in NYC before heading out for the summer festival circuit. Bryan's credits include, Coldplay, Straylight Run, Envy on the Coast Paul Simon, Aerosmith, and Herbie Hancock. In their short lifespan, the boys have shared bills, stages, and merch tables with likes of the All-American Rejects, We Are Scientists, Mobius Band, Little Brazil, Mary Timony, Hanalei, Aberdeen City and Statistics. As venue favorites throughout the Midwest and within Manhattan and its boroughs, The Stat. Set is known for bringing in crowds of good tippers, heavy drinkers, and people of a generally sunny disposition. Instrumentation Andrew Lutes -- Vocals, Piano, Acoustic/Electric Guitar Josh Hoisington -- Guitars, Backing Vocals Josh Davis -- Guitars, Keys, Backing Vocals, Sampler/Loops Gabriel Kubitz -- Bass Guitar Logan Baldwin -- Drums, Percussion Discography Don't Forget in the Darkness what You Saw in the Light. CDLP MATH-001