"Porter's delicate and often deceptively simple arrangements display a great deal of depth and variety. His subjects are disoriented, embattled, and embittered by the day to day grind of life in the modern world ... the melodies lie in wait in the back of your mind only to be remembered days later." - FAKEJAZZ.COM "A masterpiece created with so little financial means opens the door for more of the same, and makes other gifted but poverty-stricken artists feel that their greatest visions are within the reach of their ability, the way punk once did." - THE INAPPROPRIATE Twenty-eight-year-old singer/songwriter/poet/author Patrick Porter wears so many hats his head is likely badly chaffed. The southern-born wanderer (who currently makes his home in NYC) has recorded several albums over the years, starting at age fifteen when he left his father's biker bar band to start up his own project. He has recorded countless albums as Patrick Porter, and with combo projects like Phineas Gage and various bands. His most recent album, Lisha Kill (recorded for Australian label Camera Obscura), was widely acclaimed both domestically and abroad. His new album, Die Wandaland, is his first with Portland's Greyday Records and is an astounding feat of DIY musical architecture, recorded in an isolated studio outside Denver over the span of two weeks. Porter played all instruments; he is a relative virtuoso who learned to play a plethora of instruments after finding several of them dumped in "donation" points on the streets of New York. In addition to writing albums, touring, and generally being the nicest guy in music ever, Porter is also an accomplished writer, having published four poetry volumes as well as a novel (Kristallnacht) and a collection of short stories. His newest novel, Apocalypse Later, is due out around the same time as this release. Porter's literate background shines through in his lyrics, which do not suffer from the same vapid blandness as many of his contemporaries; indeed, Die Wandaland ebbs, flows, and crescendos both lyrically and musically through ten tracks of new pathos in old worlds.