LONE VEIN: Press

Tuesday, 21 October 2008
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Lone Vein beats from a single heart with two separate sides. Angela aka Jane and Evil Eddy are mirror images of each other, and both contribute to that beat. They offer up equal but different helpings, of what seems like pain and sadness. And yet the music that bleeds from them, passionate and powerful, makes you smile. It fills you up and then lifts you off your feet until your floating, weightless, so that with every muscle relaxed, the mouth has no choice but to curl up at both ends and smile brightly. Angela and Eddy come from the same place emotionally and spiritually and together dive into deep, and sometimes dark waters. They are so connected, and so well in sync, that whatever Eddy has to say on his guitar and in his music, Angela knows how to reply, vocally and lyrically.



But they weren’t always that in sync. Angela told me when she first played with Eddy, previous to Lone Vein, she wasn’t sure she liked the voice Eddy’s guitar had taken on, because it sounded to her they way her voice sounded in her own ears.
It probably wasn’t until Angela became comfortable with her own voice, that she found Eddy’s to be a lot like her own. After that things just took off.

I messaged Angela and Eddy and spoke to both them on the phone, in a short amount of time, I felt like I’d known them all of my life.

Evil Eddy started playing guitar at 13 to offset teenage depression at the suggestion of his now deceased Mom. His style is a seem-less convergence of at the very least a hint of classical training, and the inventiveness of survival. Surviving with a guitar in a sea of guitarists by letting his voice come to surface.

Eddy has a knack for bringing the music to a feverish pitch and then slamming the breaks on it, until all you hear is the echo of the skid marks, echoing in the distance. He constructs this elaborate web of textures and harmonizing melodies with six strings. He carves up silence with a tidal wave of sound that crashes on the shore. The burst of calm in between, whispers out from his quiet, like the water gently washing back into the sea.

Photo By Ginspin


Evil Eddy’s style and sound converse the words and melodic cat calls that spill from Angelas mouth. Angela went to NYU for experimental theater performing with modern composers, the likes of Merideth Monk. “I had an amazing voice teacher named Lisa Sokolov who was instrumental in me finding my vocal sound.”
Before that she copied people that she liked, like Yoko Ono and Patty Smith, but with a little help Angela’s voice, evolved into its own sound. “Lisa really taught you how to get into your own sound even if it’s ugly, how not be afraid of the ugliness. We would do a lot of weird things like sit with a note for an hour. We’d get into this sound phenomenology, and explore the paranormal stuff that goes on when you sit with a note for an hour, and the weird things that can lock on the sound.”
Like most bands that hypnotize, each Lone Vein song is a mantra or a lyrical om, that vibrates , and resonates inside you. Angela agrees, “I think that simple repetition is a lot more interesting than a lot of notes and listening for the musical space. Living in NY there isn’t any silence, but if there were, you’d hear there’s so much other stuff going on in the silence.”
Lone Vein’s music is certainly Gothic, inspired as much by literary gothic influences, than Goth bands. “I’m from North Carolina and my parents are from West Virginia, so there’s this southern gothic thing that goes on a lot in my lyrics,”Angela explains. We were so connected to legends and ghosts and spooky things, we were really more attracted to things that scared us. The whole Digging for the Devil thing is a true story about going out in the back yard with my friends, holding kitchen spoons , and so excited thinking we were going to get to see what was going on in hell. “

Recently Lone Vein played an event I periodically hold called the Funky Flea. They completely blew me away. I loved the vibe coming from them, it was sexy and heavy, and passionate and experimental. Someone, maybe Angela suggested it was swampy, and felt like sex. The images of Jan Svankmajer’s Alice projected on them, cast shadows of Lone Vein on the wall. Their silhouettes moved in time to the music


Photo By Ginspin


Glubdub:
How would you guys describe yourself, or how have others described you?

Lone Vein:
We’ve been called everything from Morticia & Gomez, to Sunny & Scare, to Bonnie & Clyde from the Wild Side, to Wednesday & Pugsley, and the list goes on.
We’ve been dubbed “Gothic-Blues,” “Glam-Cabaret” and even “Gloom-Pop” but the general consensus is that you must witness and experience it for yourself and then draw your own conclusion.
While the Gothic part of our sound is undeniable in subject matter and style, it is not the cliché Goth-Rock of leather fetish and black lipstick but rather a more unique and literary style stemming from Jane’s Southern (W. Virginia / N. Carolina) upbringing and Eddy’s Northern (NYC) roots. Just think Tennessee Williams’ South meets Batman’s Gotham City and you get the picture.
For better or worst we pretty much remain true to our sound and original intent of making viscerally intense music of stark beauty.
Tuesday, 21 October 2008
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GD:
How did Lone Vein come to be?



LV:
We’ve been writing together for years in so much that Jane (Angela) and Evil (Eddy) have become the Ying to the other’s Yang. We started in a band called Laguna Moree’ (early 90’s) which became a CMJ pick and almost signed to Sony records. Unfortunately we turned out to be too radical for their conservative tastes.
The two of us then went on to form Ash-Negative Research Cabaret (late 90’s), another outside-the-box musical exploration that had the two of us on vocal & guitar (respectively) teamed with a saxophone player. For three people we made a hell of a lot of noise. We were kind of doing the minimal thing for a while before it became chic.
For the new millennium we began Lone Vein which went from a duo to a full band for a while and now back to a duo/ sometimes trio with occasional contributions from Frankie the drummer.

GD:
What was the significance of starting anew on the millennium? Was there something you were looking to make a clean break from, the moment the clock struck 12?

LV:
No. It was cosmic synchronicity. We just happened to feel, at that point, that we wanted to start anew. Not long after, there's no doubt that what happened on 9/11 affected us as NY based artists profoundly. There was a need to give voice to what we were feeling.


Photo By Ginspin


GD:
Was it tough to have a taste of success with the near signing with Sony only to have them change their minds? Its tough to get that carrot dangled in your face and then have it taken away. I’ve been in bands and written a novel that never lived up to other people’s promises. I’ve had those dangling carrots taken away myself. How much of a bad taste did that leave in your mouth, how much wind was sucked from your sails? Or did you use that to motivate yourself to evolve and get better.

LV:
Definitely to evolve and get better. We were young and cocky then, we've learned so much about the biz and, most importantly, about ourselves since then. We really don't think about it much.

GD:
What is your attraction to the outside of the box approach of making great music? What keeps people as talented as the two of you from taking the easy way and writing obviously catchy pop tunes?

Eddy:
That's what comes out when we write music. There's no conscious effort to be outside-of-the-box, or inside for that matter. Anyway, writing catchy pop tunes wouldn't be easy for us (chuckle from both.)

Angela:
This is generally who we are, and we don't think of it, when writing, as outside the box. It's our "norm" (slight chuckle from both). Sometimes when we go out into the world we see, by people's faces and expressions (as we play) just how outside-of-the-box we are.


Photo By Ginspin


GD:
What is it about both you and Jane that makes you work so well together? I’ve always felt that music, art, film and the written word, are most potent when they feel like sex. Anything decent I’ve ever created came from that place. So much so that anyone I collaborated with became some kind of figurative lover. Of course when those collaborations involve a beautiful woman, so much the better. Considering how sexy your music is, I was wondering if either of you ever feel that connection that lovers have, when you’re writing or performing music together.

Angela:
Yes. It's organic communication "in our body" on another plane. As in the occult, it's likened to the alchemical marriage, "lovers", the mirror twin. There's very much a sameness in our voices (my voice/ his guitar) and in our emotional intent, which if it's perceived as sexy, Great! There is surrender, mutual support, dark-light twin, to seek in each other what's lacking in ourselves. Truth be told, we don't really think about it, anyway it would spoil the mystery.
Tuesday, 21 October 2008
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GD:
Your music really lends itself to theatrics. Have you ever worked your music outside of the bar/club arena? Have you ever imagined your music as part of a larger project, like soundtracks to movies or sound-scapes to a dance or performance piece? I could totally see you guys performing at the Brooklyn Academy of Music’s Next Wave Festival, as a backdrop to Robert Wilson’s video installations, or Meredith Monk’s performance dance pieces.


Photo By Ginspin


LV:
Yes. Actually we've scored quite a few theatrical & performance art pieces, most memorable, the underscore for Edgar Oliver's "Hands in Wartime" performed at La Mama playhouse and an original music score to Sam Shepard's "Cowboy Mouth." In the 90's we were part of a regular running cabaret at Under St. Mark's Theatre called "The Gloaming." We've also contributed music to several Indie-movie soundtracks, most recently, a crime-thriller flick called "Hell's Gate."
We would welcome the opportunity to work at BAM and/ or with Robert Wilson and other up and coming visionaries.

Angela:
I actually worked with Meredith Monk at NYU along with some other well respected/ known performance artists. This has been a big influence.

GD:
Your guitar style is pretty unique and yet very organic. I loved feeling each note spill from your guitar through me. Every last one of them perfect, and not a single one wasted. Can you tell me a little where your style comes from, and where you draw your inspiration from?
Similarly, Jane’s style really is her very own. It’s so rich and full of life, that even when she breaks out into some strange guttural cat call, it feels completely organic, and unforced. Almost to the point that this is the sound she’d be making all the time if she could. I’d love to know where she draws her inspiration from, not just musically but creatively.

Photo By Ginspin


Eddy:
I guess I draw my main inspiration from my life and experiences and it comes out thru the guitar, how I'm feeling in the moment which can be good or bad. I also have a lot of early influences. My main man is Pete Townshend, I love his playing, violent, always urgent and surprisingly very economical, and always tasteful. I was also very influenced by the Punk movement of the late 70's, early 80's.

Angela:
Cats, Yoko Ono. Musically I did take from others like Patti Smith, David Bowie, millions, Little Richard.

GD:
What is it about music, not just yours but others, that makes you want to listen to it?

Angela:
Depends on my mood.

Eddy:
Ditto. At any given moment, something you may have hated to listen to a week ago might just be the perfect thing for that moment depending on how you feel.


Photo By Ginspin


GD:
Have you reached where you want to be musically, or at least are you on target? What is it that you want most from and for Lone Vein?

LV: We hope to reach as many people as possible and to inspire and excite. We want to continue growing and developing our sound, but we feel like it's closer to what we originally envisioned than ever before. We are very excited by what the future holds.

To see more of Lone Vein check them out out at LoneVein.com
All Photos by Ginspin



Comments
Written by kornblu, on 26-10-2008 23:51
Great article and photos! You deserve the accolades, Eddy and Angela.

LONE VEIN "New York Blues"

They may not be typical superheroes, but the incredible duo known as Lone Vein have been saving the New York City music scene since 2003. From poetry clubs to lounges to CBGB's, Angela "Plain Jane" Rogers and "Evil" Eddy Jo Martinez have sent cliched bands running scared. With her Southern upbringing and his NYC roots, Lone Vein's combined forces make an unstoppable team.

With a sound often dubbed "Gothic- Blues," "Glam-Cabaret," and "Gloom-Pop," Lone Vein is a welcomed treat of originality. Although a mere 25 minutes in length, the seven tracks on "New York Blues" leave a lasting impression long after it's over.

The post 9/11 song "New York Blues" serves up melancholy: "We stood silent and amazed/At the mass grave that lay open/Already full of memory," with a side of sanguinity: "Baby shake your tail feathers/Shake your money maker/For the sake of the children/For the sake of the pets," with a jazzy Cabaret beat to wash it down.

Inspired by the founding member of Pink Floyd, Syd Barret, "Syd's Song" is a psychedelic rocker with attitude to boot: "I've earned my right to sing the blues/I've been around the block/I've had my blood transfused/It was a truckload of evil."

"Withering Frights" could be a '60's favorite based on the guitar licks accompanied by breathy lyrics in all the right verses: "So fill my arms with heather/Let me have my pleasure."

The saxaphone used on "Stage My Own Death" and "Asthmatic Romance" adds a sexy undertone to the already sassy "love is a killer" scenario of both tracks.

"Dimensions Collide," an eerie 10-second drum interlude, leads into a slower-paced, spacey cover of Elton John's "Rocket Man."

For more information about these superheroes in their own right, check out www.lonevein.com or www.myspace.com/lonevein.

Lone Vein: The Last of The Indie-Punk Unique New York Bands


In the early 80's New York was a charming place with diverse neighborhoods of people from every walk of life. I lived on the Upper West side and it was not uncommon to rub elbows with other musicians that ranged from punk rockers, metal dudes, new wavers, cabaret piano people, Jazz singers, opera singers and Broadway chorus boys and girls. Of course there were the retired Vaudvillians, aged strippers, Latin percussionists and the list goes on and on.

One time I had blue hair and this weird, older woman with a pinkish-red wig gawked at me and made faces, shaking her head in disapproval. I had seen her many times before and always noticed her pink red wig. I used to think her wig was cool, but most likely, unintentionally so.

Her wig had a ubiquitous pink sponge roller placed in the same place each time I saw her. This one day she would stare me down and said under her breath "Freak". I being sassy asked her: "What the hell are you talking about, your wig is freakier than my hair on a good day? Your hair is friggin Magenta, have you looked in the mirror lately? Besides you always have that same God damnned pink roller in it!"  She walked away and though I'd see her many more times, she never would dare say a word about my collaidescope of hair colors to come. 

I was a young punk rocker in the sea of interesting people living in the West 70s. One early evening, before rehearsal me and my then band mates met up for a dinner in my local diner Uptopia that I nicknamed Myopia. We met a most charming older gentleman who kept smiling at us and complimented my hair saying " I love your haircolor, it is the color of a heavenly blue morning glory". This was a positive reaction as many people had an opinion and would voice it whenever I walked by, anywhere. I thanked him. 

The elderly man asked us if we were musicians. We said yes (though it was obvious with the guitars, our hair and gear). He told us that he was a retired Vaudvillian, singer comic who appreciated artists. In that day and age an artist could live out a dignified existence in their golden years in New York City. Those days are gone forever!!

His name was Jack. We chatted about people that Jack knew back in his day. Jack liked rock n roll, in fact he knew some late 50's and early 60's rockers by name. He traded stories in exchange for our youthful awe as we were totally absorbed in this wise man's tales of some who were great. He also spoke of others who were never was's and those that were has beens, some of who lived in the neighborhood.

Suddenly in walked the lady with the pink-red wig and roller in place. She said hello to Jack and sat down in a booth in the back of Myopia with another older woman that had a bit of a hard edge. I asked Jack "Is that a friend of yours?" Jack then whispered to us "Yes, that's So and So, she was a big time stripper back in the golden days of Burlesque!" One would think an ex-stripper would be more open minded. It was an interesting moment.

We were so charmed by Jack's grace that we pitched in and bought his dinner. This made Jack's night. I had the feeling that Jack was a bit lonely and forgotten in a certain way. He did however, have the stimulating company of those in the neighborhood that were always a visual treat. Jack turned to me as we said goodbye and he said "My dear young lady, remember, keep making your music and knock on every door. Ge seen! Many a beautiful flower grows on the mountainside unseen until it is finally discovered".

I would never see Jack again and soon the lady with the pink-red hair would disappear from the parade of neighborhood color. I  will however never forget Jack or what he said to me: "Many a flower grows on the mountainside unseen until it is finally discovered". It was a seed of hope and now that I'm a bit older and jaded it's nice to remember the untainted hope of youthful dreams.

Evil Eddy of Lone Vein were also on the scene in the the early 80's. They would witness the punk scene coming up and saw a lot of the greats as they passed thru NYC including:
the original Bad Brains, UK Subs, The Ramones, Anti-Nowhere League, The Exploited, The Professionals (Steve Jones and Paul Cook), The Clash, The Circle Jerks, X, The Cramps, Black Flag with Henry Rollins, Fishbone, Royal Crescent Mob, Bauhaus, Pere Ubu, Devo, Motorhead, Midnight Oil, NYC hardcore (the Mob, Reagan Youth, Carnivore/ which became Type-O Negative) and many others. Evil Eddie is also a Who-head and love so many other types of music.


Plain Jane and Evil Eddy were in a band called Laguna Moree in the late 80's/ early 90's. They were almost signed to Sony but ended up being too outside-the-box in the very homogenized 80's mindset. Jane had too much personality and bravado for 80's-eary 90's unimaginative, corporate record companies.

Sony passed on them as many record companies looked over many truely talented artists. Every record company wanted their artists to be clones of existing successful artists. It was the pandemic, stupid mindset that ruined Cyndi Lauper's career once Walter Yentnikoff left CBS records, the new brass insisted that Cyndi be like everyone else. There was only one of her and they blew it! Q Lazzarus and Neon Leon were also ruined by the narrow minded Yuppy, A&R people who felt that they could not market artists that did not ft their  banal, categories.


Plain Jane and Evil Eddy continued with Ash-Negative Research Cabaret where they continued to fuck people's heads up. It was a trio with Frankie on raw guitar, Jane on vocals and Robert Aaron on sax.


Now they are Lone Vein and  continue to be ignored by most ridiculously unimaginative record companies. Of course record companies are not what they once were and we have the magic of MP3s and download serices and indie artists can make more money being who they really are. Lone Vein say this with half humor because it really is funny when you think about it, but they are too hard-headed to give up.... 

http://www.myspace.com/lonevein  

Lone Vein

New York Blues

No Catalogue number

2004

New York must be an interesting place. Way back in 1965 New York was a lonesome town according to the Trade Winds. In 2004, Lone Vein brought us the New York Blues.

Probably inspired by a communion with vampires, Plain Jane Rogers and Evil Eddy Martinez bring us a dark, grungy take on the urban adventure. You can just tell that they don't venture forth in the daylight. A curiously compelling collection of mostly self penned tracks that include almost psychedelic lyrics in album highlights "Stage My Own Death" and "Wuthering Frights". They round off things with a fine, if restrained cover, of Elton's "Rocket Man".

We'll classify this one as arthouse meet grunge. Interesting nonetheless and BluesBunny is curious to see what they do next.

LONE VEIN
"New York Blues” Review

New York, it seems, is dying. Not economically, certainly; nor in terms of what may be called “high culture”, but for those of us who fondly remember the late eighties of downtown NYC and the artistic daring which proliferated, both in terms of performance art, theatre and music, it does seem that many of those things which made New York unique are disappearing. $80-a-person restaurants have sprung up as far east as Avenue C, and are spreading; Loisada, south of Houston Street, has become unrecognizable, with clubs where performance-art/music spaces once were; and I, for one, even preferred sleazy old Hell’s Kitchen to the gaudy monstrosities of the new Times Square. Even the reassuring twin towers are no longer visible to let us know where the hell we are.
In this period of uncertainty we can only welcome the arrival of Lone Vein’s “New York Blues”, which serves both as a paean to that which is lost, a celebration of that which remains, and is most of all the thrilling introduction of a great new band.
The band’s songwriters and primary members are 'Evil Eddy' – guitarist and main instrumentalist – and ‘Plain Jane’ – lyricist/vocalist. Her lyrics combine a southern Gothic with a dark urban sensibility, and her vocal styles display an extreme versatility and range. And Brooklyn-born 'Evil Eddy' seems to be able to do almost anything with his guitar: providing the rhythm which drives a song, embellishing atmospheric touches which create mood – and is still able to tear into a searing, thundering solo when required.
Though the theme of the opening song, “Stage My Own Death”, is overtly morbid, it has a bouncy beat which manages somehow to appear both jolly and sarcastic – a duality reminiscent of the Violent Femmes, both in the gothic humor of “Hallowed Ground” and in the self-pity of their first, eponymous album. With a voice deliberately girlish at times, Plain Jane has her narrator cheerfully imagine her own funeral: since her ‘stack of bills is so high’ and her ‘love is just a lie’; she playfully asks her lover ‘will you think of me often / will you kiss me in the coffin? / … I’ll wear a cape, and my ex- will read some Yeats. /’ However, just when you’re convinced that the girl’s despair really is a pose, the ferocity of the song’s climax, as Plain Jane, in increasing triumph and ecstasy, repeats ‘I’m dead…and loving it!’, leaves you with a lingering sense of unease.
The album’s title track is the one most directly concerned with New York City itself, using the city as both subject and setting, in a tone that is both elegiac and profoundly celebratory. The verses have a jazzy, poetic tone, with lyrics closer to spoken than sung, in powerful contrast with the rock-like chorus, powered by Eddy's surging guitar. Perhaps the central image is of New York as Oz - a Mecca for the displaced, the needy, or the simply adventurous: ‘and we all came / from rooftop to parking lot / skipping through poppies / From Park Avenue to Loisada / …you’re home / No longer alone “. And considering the delicacy with which any reference to 9/11 still must be handled, I believe, by any NY artist, the song’s third verse manages it well: ‘Who did you call / who did you see / when the ash was flying, sticking to the trees? / It’s still your home”. The song’s final message is one of faith, struggle and survival: referencing ‘Oz’ again, Plain Jane ends with, “You’re out of the woods, you’re out of the dark…”. The third track – “Withering Frights”, in a nod to Bronte’s doomed, defiant lovers – continues and deepens this theme, with its portrait of New Yorkers as damaged survivors: ‘It’s not enough to have loved / You must have…LOST / And all the windows of NY / Are full of broken hearts ‘. Musically this is one of the album’s most interesting – and difficult to categorize – of songs: the lush detail of the production, especially evident in the choruses, is worth particular mention. The layered, interwoven vocals and guitar effects are reminiscent of the mid-period Patti Smith of “Easter” and “Wave”, of whom one is also reminded of when Plain Jane declares, ‘I’m not just another / angry bitch / I’m an endangered white witch.’
“Syd’s Song “ is the album’s most straight-out rock song, complete with a blistering guitar solo from Eddy. The song refers – and is dedicated – to Pink Floyd’s legendary original front man Syd Barrett, who was dropped by the group during sessions for their second album, perhaps stretches of time. “We didn’t even tell him he was out,” Dave Gilmour later admitted, “we just didn’t bother to pick him up one morning.” Lone Vein turns this rather pathetic detail into the song’s striking and disturbing opening image: ‘Today the van didn’t pick up the man / Today the van never came’ Plain Jane sings, voice draped in menace. This van, passing in silence by the wounded, stricken artist, becomes the song’s central image of indifferent malice: ‘It was a truckload of evil’. Barrett (who went on to record a solo album, “The Madcap Laughs”, which has developed a considerable cult audience) is elegized here in a heroic light, an archetype outsider: ‘He’s my pinup boy!’ Plain Jane intones in defiance; and later, perhaps in a warning to those not yet left behind to take nothing for granted: ‘If you see a hearse go by / You may be the next to die.’
“Asthmatic Romance”, a sardonic love song that manages somehow to be both tongue-in-cheek and utterly sincere, may be my favorite track. Love songs never seem to acknowledge the sometimes laborious - or at the very least, inconvenient – contingencies of corporeality, as if passion could actually bring about that transcendence of the body it always seems to promise; and this song’s depiction of lovers whose tenderness towards each other takes into account that neither may be completely healthy, is both funny and touching. ‘Baby I hear you wheezing / I got my hand right here on your heart ‘ the narrator sings, ‘…and it’s time for your inhaler’. Meanwhile, the music, with its bumps and stops, its changes of rhythm which only seem to fuel the piece’s relentless forward motion, subliminally give the lie to all impediments to love, and serve as a celebration of the human ability to overcome – indeed, to exult. This is never better expressed than in a joyous scat which Plain Jane delivers to the accompaniment of Evil Eddy's seemingly effortless rhythms and the virtuosity of Robert Aaron’s guest appearance on saxophone.

LONE VEIN
"Artist Spotlight"

You may have never heard of vocalist Plain Jane or guitarist Evil Eddy, better known as Lone Vein, but like a handful of other New York musicians, they are longtime players in the ever-changing NYC live music scene.

The duo specializes in their own brand of “tombstone blues” and “gloom pop” with a haunting repertoire of epic story telling and cityscape tales set to an edgy grooving rock n roll soundtrack that mixes roots music with hard rock attitude and garage abandon.

Influenced by the events that proceeded 9/11 Lone Vein’s debut CD “New York Blues” is loaded with hard-hitting emotion and intensity that reflects a great city in distress. Selling consistently on CD Baby without a multi-million dollar ad campaign, I'm told their cover of Elton John’s Rocket Man has been downloaded all over the world. Forged by the years and many musical experiences shared by the two, the music is inventive and full of urgency almost bursting at the seams.

Speaking to them, they seem to have come around full circle in understanding and accepting why they entered the unruly waters of music-making in the first place. Eddy uses an analogy from the song “Walkin the Boogie” by John Lee Hooker, in which the narrator exclaims “let that boy boogie-woogie, it’s in him … and it sure got to come out.”

They are one of the many stories in the naked city having managed to stay on course through heartaches and tough breaks. They continue to keep their vision in tact amidst an ever-growing artist-unfriendly, trend-of-the-moment-driven club environment.

Like “White-Lightning” bootleggers churning away in the hills of Jane’s native North Carolina, they continue to peddle the “hard stuff” to satisfy a demand; a demand that will always be there whether hidden under the radar or splattered across tomorrow’s trend setting rags. It doesn’t really matter to them because they have managed to stay in business with a product that is both unique and quenching. They simply do what they have to do to keep it coming.

So, if you want to experience a musical delight slow-cooked and aged to perfection in concrete barrels, cured in dank lower east side cellars and at the precise moment served up in every downtown dive that has come and gone in the past 10+ years…get turned on…to Lone Vein.