Biography
After the breakup of the late 90's Brooklyn pioneers The 527S, Jerry Adler needed a new band. In three short years, The 527S had recorded an incredible 187 songs. "That band was almost an art project," says Jerry. "This was before the days of a professional grade computer studio in any bedroom. We rented the storefront space at 527 Metropolitan Avenue (now The Subway Bar), installed an 8-track reel-to-reel, a couple of mics and some pedals, and went to work. We had no idea about anything, but we just went in there every day and recorded. I wouldn't say it was all process and no product, but it was close. It's impossible to describe what I learned during that period. It was the foundation for everything I've done since. We might release some of it one day, but I have to say that in this age of the compulsive digital archiving of every thought and action, I like the idea that it exists only in the memories of the people who were there."
While Jerry's partner in The 527S, multi-instrumentalist and songwriter Shahar Even-Tzur, had always done the drumming on the band's recorded output, their man for live shows was Yuval Lion. He was first aboard in the new outfit. Next was Reuben Maher. Reuben had been playing, along with former Pere Ubu bassist Tony Maimone and Schumann pedals creator John Schumann, with the just then defunct Poka Poka. The 527S had shared many bills with Poka Poka, and Jerry and Reuben were good friends. Reuben had also been a part of some of the ever-changing live line-ups for The 527S. Needing only a bassist to round out the quartet, Jerry turned to the best one he knew and invited Itamar Ziegler of the also just then defunct hip-hop group Side Effect. For the four members, previously all friends and now together in a band, the chemistry was immediate.
In 2002, The Blam burst onto the very fertile NY music scene that bands like Interpol, The Strokes, and Yeah Yeah Yeahs were just bursting out of. They released two records within 11 months. Both were college radio hits, coming from literally out of nowhere to break into the top 50 on the CMJ charts and each garnered airplay on over 220 stations in the U.S. alone. The band also made a splash in the UK with great reviews, rotation on BBC radio, and a tour. The Blam's next step was to record two more records simultaneously. One was to be a collection of previously written songs from Jerry's 527S period, while the other would be brand new material. In the spring of 2005, just as the third record was completed and with the fourth record two-thirds finished, The Blam abruptly disbanded.
Curb Cut Records/Engine Company is excited to begin its catalog by re-issuing The Blam's first two records – The Blam (2002) and Caveat Emptor (2003) – and is proud to follow that, for the first time anywhere, with the much rumored about yet heretofore unseen third album, Blow Wind Blow (2011). Blow Wind Blow is a marked departure for a group clearly unconcerned with repeating themselves. Gone for the most part are the buzz saw guitars and elevated tempos of the previous records, and in its place is a lovely collection showcasing another side of Adler's writing ability and with production qualities reminiscent of Friends-era Beach Boys. Though recorded in 2005 and populated with songs written from 1996-2000, this record sounds completely fresh and undated.
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