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      <image:title>News - Clay Street Unit Seeks to Define the 'Good, the Bad and the Ugly' Through Debut Album Sin &amp;amp; Squalor (Exclusive) [People Magazine] - Make it stand out</image:title>
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      <image:title>News - Clay Street Unit’s Eclectic Sound Shines On Heavily Anticipated Debut Record “Sin &amp;amp; Squalor” [Whiskey Riff] - Make it stand out</image:title>
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      <image:title>News - Clay Street Unit Chat Sin &amp;amp; Squalor and Excitement for the Future [The Bluegrass Situation] - Make it stand out</image:title>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>News - ALO Debuts Animated Video For "The TIcket"</image:title>
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    <lastmod>2015-09-17</lastmod>
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    <lastmod>2015-09-17</lastmod>
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      <image:title>News - ALO To Release "Tangle Of Time" on October 2nd</image:title>
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    <loc>http://www.luckymanmgmt.com/blog/2014/3/20/fruition-on-the-road-with-the-infamous-stringdusters</loc>
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    <lastmod>2014-03-20</lastmod>
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      <image:title>News - Fruition on the Road with the Infamous Stringdusters</image:title>
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      <image:title>News - Fruition opening 2 shows for Leftover Salmon in Seattle!</image:title>
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    <lastmod>2013-12-19</lastmod>
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    <lastmod>2013-04-30</lastmod>
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    <lastmod>2013-03-29</lastmod>
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      <image:title>News - Broadheds Release Week Shows</image:title>
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    <lastmod>2013-03-22</lastmod>
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      <image:title>News - Fruition is headed to High Sierra Music Festival for two sets!</image:title>
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    <lastmod>2013-03-22</lastmod>
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      <image:caption>The Broadheds</image:caption>
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      <image:caption>Zach Gill</image:caption>
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      <image:title>CLIENTS</image:title>
      <image:caption>photo by Vern Evans at Chinatown Summer Nights</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5148ab9de4b0b0be2ded12fa/1553107725626-4MHH2R9697JC6K0A5MXB/TK_MAIN.jpg</image:loc>
      <image:title>CLIENTS</image:title>
      <image:caption>FOR THE PAST SEVERAL YEARS, there’s a good chance you’d find TK &amp; The Holy Know-Nothings songwriter and lead vocalist Taylor Kingman onstage at the LaurelThirst. Portland’s oldest independent venue has long been a lifeblood for artists like Kingman. It’s a sort of misfit stronghold–a sanctuary for the same kind of spirit that sustained local punk legends Dead Moon and outsider folk hero Michael Hurley. Rejecting the influence of fleeting scenes, foodies and encroaching developers; it’s stayed in tune with its muddy patrons who’ve carved out lives as blue collar artists for generations. It’s here that Kingman earned the respect of his community. Ask around and you’ll quickly uncover Kingman’s reputation as the kind of songwriter who makes other songwriters jealous, even angry. Still, those same artists line up to play with him. It’s more than his exceptional songwriting that draws them in, though. It’s his creativity, tenacity, and disarming honesty. It’s led him to play with both Portland legends and newcomers, starting myriad projects to explore different concepts and styles, and making the sort of honest music that stands starkly against the backdrop of a city quickly fading under the lacquer of gentrification. TK &amp; The Holy Know-Nothings is perhaps Kingman’s most beloved project. Affectionately dubbed “psychedelic doom boogie,” the group was born out of Kingman’s desire to create a loose, groove-heavy bar band that never sacrifices the importance of good, honest songwriting. Doing so required pulling together a supergroup of local friends, neighbors, and fellow LaurelThirst royalty, including drummer Tyler Thompson and multi-instrumentalists Jay Cobb Anderson (lead guitar, harmonica), Lewi Longmire (bass, guitar, pedal steel, flugelhorn) and Sydney Nash (keys, bass, slide guitar, cornet). It’s a band of deeply contrasting styles buoyed by a sincere and palpable mutual trust–one that allows them to find and lose the groove with the same ease. They build graceful, spaced-out landscapes around Kingman’s storytelling–his voice ragged and broken one moment and raging the next–only to deconstruct them through a fit of manic and often dissonant rabbit holes. This is irreverent rock and roll, tempered and deepened by the sacred mystery of western country. Western country isn’t southern country. It’s a sound as rough-hewn and alluring as the western landscapes it comes from. Its heroes are outsiders on a path set by a stubborn devotion to the truth of things, no matter how dirty or tender. Its misfit poetry is addled by influence, scarred by hard luck, and haunted by the eternally drifting, lonesome heart of a cowboy. Its sound is accessible and human in its pure honesty, but it’s one that’s too big to be tamed. Ultimately, it belongs to the great darkness you’ll only find in the wild, open expanse of the West. Following this lineage on their debut album Arguably OK, TK &amp; The Holy Know-Nothings cites Doug Sahm, The Holy Modal Rounders, The Flatlanders, Dan Reeder, and Jeffrey Frederick &amp; the Clamtones as strong influences. For Kingman, though, it’s Terry Allen’s 1979 art country gem Lubbock (on everything) that’s most affected his songwriting. Like Allen, Kingman writes with delicacy about indelicate things. The songs on Arguably OK are about dead ends, addiction, self-sabotaged relationships, drug trips gone bad (or good? or both?), and, above all, holding out for the real thing. His lyrics are tightly crafted and profoundly paradoxical; simultaneously self-deprecating and unapologetic, clever and crass, irreverent and tender; and sometimes riotously funny. Each song takes you somewhere unexpected, every phrase crafted with the same signature combination of dirtbag revelry and haltingly poignant poetry. He brings all of himself to these songs–the honest, unglorified truth. Arguably OK came together swiftly on the heels of Kingman’s stark 2017 solo debut Wannabe. The morning after Wannabe’s release party, the band left Portland and drove across the state to the prairies of northeast Oregon to make a very different album. Arguably OK was recorded in three days in Enterprise, a quiet cowboy town at the foot of the snow-capped Wallowa Mountains. It was made live, with no overdubs, on stage at the historic OK Theatre, where most of their budget was spent on keeping the heat on. Built in 1918, the theater is a striking testament to the old west. After putting their name on the old marquee, TK &amp; The Holy Know-Nothings went to work. Engineered on the fly by Thompson with the help of old buddy and local theater resident Bart Budwig, the band recorded the entire album by way of whole set run-throughs, stopping only at the end of each day to kick back in the theater’s seats and listen through its speakers. After the final night of recording, the band played a few songs at The Range Rider, the oldest of Enterprise’s two bars. At midnight, what felt like the whole town followed them back to the theater for one more run-through. It’s the locals’ raucous approval that can be heard on the track “Good Stuff.” It’s no surprise TK &amp; The Holy Know-Nothings found an audience so easily that night. Arguably OK is as wild and expansive as the eastern Oregon landscape; and its songs are as complex and idiosyncratic as the sort of outsiders who find family in bars like The Range Rider and LaurelThirst. https://www.tkandtheholyknownothings.com</image:caption>
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      <image:caption>In a time drenched in escapism, where an unceasing barrage of synthetic shine promises comfort and relief from facing the complexity of our natures, Taylor Kingman’s new album Hollow Sound is an antithetical long night in a solitary cave, with nothing but a small fire and a hard look inward to keep you company. Between his work fronting TK &amp; The Holy Know-Nothings and his 2017 solo debut Wannabe, Kingman is no stranger to the darkness. But here he transcends the desolate rock bottom, as Hollow Sound whispers, then howls us into that place beyond brokenness where breathing begins again. To listen deeply to these songs is to lay down naked on the wet, unforgiving earth, pushing the ground through your fingers; it is to be soothed by the wholeness of who we are, filth and all. Kingman pulls no punches with his writing, and requires us to listen with the same honesty. It’s been hard for me to look at myself naked (from “Dead Bird’s Wing”) First, though, you’ll notice the sounds. At once primordial and historic, Kingman has honed a guitar sound so impressively wrangled and so distinctly his own, that it makes your hair stand on end. Moving like a side-choir of voices, each bend and slide dances around his words such that you often mistake its notes for lyrics. The songs on Hollow Sound were recorded live to tape in a hundred-year-old Oregon schoolhouse, which was also Kingman’s childhood home. The same high ceilings and scarred wooden floors painted into his earliest memories were the backdrop for the album. There’s an intimacy to each track that holds you from wandering away from the stories he tells. His roots are warmed and bleeding across every note, every line, and that’s exactly how he intended it.  Self-producing the album, Kingman pulled in some world-class players to join him in the schoolhouse: Jon Neufeld on telecaster, Jeff Leonard on electric bass, and Jason Montgomery on pedal steel—all of whom stand out as much for their talent as for their instinct to listen for the moments when not making a sound can be as powerful as the perfect melodic run. The engineering by Ryan Oxford and mixing by Tyler Thompson brilliantly capture the scene just as it was: four musicians in a half-circle, cutting the tracks into existence as they were performed.   The result is a warm bath of whispered and haunted tones that evoke the wild stillness of Oregon and highlight the way Kingman’s observations of the natural world parallel his stark and oftentimes brutal confessions about his own internal landscape. Nature doesn’t care to tell it any other way than it is, and on Hollow Sound, we can feel Kingman adhering to the same ethos.   Anyone who has journeyed down to the impossible darkness of their own abyss—and then awoken the next morning to find the unexpected beginnings of a newly-drawn roadmap—will resonate with the themes of shame and forgiveness in these songs.   Heaven ain’t hiding in moments of triumph It’s alive on the wings of a bird slowly dying (from “Heaven Ain’t Hiding”) Without ever needing to say it so bluntly, Hollow Sound reminds us that—for all the awful weight of the finiteness of things—our limited time here and the failures we own are crucial to any recipe for true beauty and understanding. And in this space, even the ugliness of living can become a treasure deserving of gratitude.   The words escape me But I remember when the poetry would chase me And it’d run and overtake me And beat me till I was holy (from “Dead Bird’s Wing”) In its simplicity, the 11-song album is teeming with the full spectrum of existence, each line worth chewing on for days. Kingman’s humble acoustic guitar dances with timeless melodies upon a bed of warm reverberant fuzz and hum, bass and electric guitar, and that far-off wail of the pedal steel. It’s a perfect world for these songs to live in. A distant coyote on a dreadful night and the majesty of white hot stars splattered across the expanse. It’s broken glass and wet matches and dead birds, but it’s also the echoing bells of youth and the desire to love so hotly it hurts.    If Hollow Sound points toward any one thing, it’s that the darkness we fear is often a prison of our own making, and the scenes dancing in the firelight will reveal only as much as we allow ourselves to see. Kingman sits with eyes wide to his own failure and emerges again and again with a power and a distilled knowing that can’t be earned any other way.   There is a sickness in my mind Desperate to unwind all of the goodness my mother gave to me That I shared with you and then took away And when I open my mouth  It’s just a hollow sound reaching out for nothing (from “Hollow Sound”) https://www.taylorkingman.com</image:caption>
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