When Manishevitz's debut record GRAMMAR BELL AND THE ALL FALL DOWN was released in 1999, the record was quickly branded by the press as an "underground treasure" that was "bleak and baleful." To them it possessed "a poker-faced Gothic sensibility flavored with sinister acidity." In contrast, Manishevitz's followup record ROLLOVER is a more upbeat affair, possessing the absorbing chemistry of Mr. Van Dyke Parks, Arthur Lee's Love, and (from a different continent altogether) Robert Wyatt. This is exactly as intended. When Adam Busch, the man behind the band, decided to move from Charlottesville, Virginia, to Chicago, he was also looking to find a new home for his masterful collection of spacious blues effigies. The result: the fractured folk lonesomeness evident on the first record has become wrapped in glistening sheaths of 1960s So-Cal pop enthusiasm. ROLLOVER was produced by Michael Krassner (Boxhead Ensemble, Lofty Pillars and Simon Joyner) and arranged by cellist Fred Lonberg-Holm (Peter Brotzmann Tentent, John Zorn and Light Box Orchestra). In the recording of ROLLOVER, Manishevitz expanded to not only include Krassner and Lonberg-Holm, both of whom performed throughout the record, but also Via Nuon (Drunk and Bevel), Ryan Hembrey (Edith Frost and Pinetop Seven), Jason Adasiewicz (Central Falls) and Jeb Bishop (Vandermark 5 and The Flying Luttenbachers). With the help of this superb collection of Chicago-area musicians, Adam Busch has put together a record backed by cascading percussive pellets and simmering, mellifluous horns that resound in mysterious cyclical rounds.
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