On Portland-based songwriter Stephanie Schneiderman’s new release, Rubber Teardrop, there is an almost instant realization that it is the perfect blend of two very different artists who have found their collective voice. A fluid recording that seamlessly combines the synthetic and organic into a single powerful compilation, Rubber Teardrop plays like an epic movie soundtrack, at once evocative, entertaining and dramatic, even mesmerizing at times. In fact, it is difficult to imagine that she hasn’t always been an emerging international electronic artist.
Schneiderman and renown producer/DJ/electronic musician Keith Schreiner come from two disparate musical worlds. She is rooted in folk and Americana and lauded as a NW treasure (seven solo albums, two collaborative albums with popular girl group Dirty Martini, music production credits, film and stage roles as well as numerous performances with everyone from Five for Fighting to Hall and Oates, Heart and Pat Benetar). He is an internationally acclaimed electronic musician/producer/DJ who has worked with Grammy-winning artists like Jeff Trott, Sheryl Crow and Dr. Dre/Eminem producer Mike Elizondo.
The duo worked together for the first time in 2008, which resulted in Dangerous Fruit- a gorgeous tug o’ war that transcended genre and defied convention- earning Schneiderman an international following, a label deal and countless new licensing opportunities. What was a unique collaboration on that first outing, has now evolved into something more profound on her new album, Rubber Teardrop.
One can almost see the music as each song plays through the headphones. It is all there. Beautifully written songs and incredible vocal performances, wrapped in ambient textures, undulating beats, and masterful production. From the dreamy electronic pop and shooting chorus of “Wide Open” to the driving swell of “Earthquake” and the hard-hitting rush of “Bridge on Fire” each arrangement ebbs and flows, through whispering ballads, moving ever forward, like an evolving character, to the grand conclusion. In this case, the re-introduction of the opening theme – a climactic remix of the track “Hush.” The pair didn’t mean for this to happen, but it did and it works.
On her Kickstartercampaign page for Rubber Teardrop (she funded the latest project in less than 48 hours) you get a glimpse of the natural tension in their partnership. However, you also get a sense that each has truly embraced this and tapped its musical potential. Schneiderman has opened her vocal range to include new textures, unafraid to synthesize or filter her vocals and let her songs grow within this new musical framework. Schreiner amply splices the arrangements with organic elements, like the guest appearance of slide guitar ace, Tony Furtado on several tracks, and chooses ambient electronic instrumentation that sounds like it could be acoustic on the title track, “Rubber Teardrop.” He even rolls out the Roland 808 for the high energy tracks, using it and several soul-inspired samples to tie many of the songs together with a pounding, yet lush, retro vibe.
“This whole album has been a departure for me, into a more ambient and textured landscape for my songs,” explains Schneiderman “Now I can't imagine them any other way.”
Niether can her national distributor Allegro or mentor Dan Reed’s (Dan Reed Network) U.K based label, Zero One Entertainment, which recently signed Schneiderman and will release Rubber Teardrop internationally in June. With whispers to push the record heavily to the European market and a national/international tour lining up for fall, Rubber Teardrop is already inspiring her legions of fans to help her make this “departure” into electronic music a permanent one.
Stephanie’s solo career began with a coveted spot in the 1999 Lilith Fair. Since then she has earned extensive NW radio play, a devout following and multiple appearances with some the nation’s top touring acts. Prior to Rubber Teardropshe has release six solo recordings- Stephanie Schneiderman (1999), Unbelievably Unbroken (2001), Fall Sessions EP (2001), Touch Down (2004) and Live at Kung Fu Bakery (2005), Dangerous Fruit (2008).In the past 5 years, she has gained widespread acclaim and exposure with her collaborative project, Dirty Martini. The Crosby, Stills and Nash-styled girl group has been corralling enthusiastic listeners and sellout crowds since their “one night only” gig together at a singles Valentine’s Day event. The group still headlines festivals throughout the NW regularly and has even agreed to open for her Portland, OR CD release performance for Rubber Teardrop.
Her musical accomplishments also extend to film, TV and beyond. In addition to placing songs on the WB’s primetime show Jack and Jill, and the title track for the movie Kat and Allison, three songs from the album Touch Down were used in the WB show Felicity and songs from Dangerous Fruit were placed on MTV’s Bad Girl Club and Real World. She has also produced three CDs featured as soundtracks for a series of popular children’s videos. OyBaby, OyBaby 2, That Baby DVD and the accompanying CDs have sold more than 30,000 combined units .
She has enjoyed success as an actress in films like Men of Honor, starring Robert De Niro and Cuba Gooding Jr. as well as leads in several local productions. Her most recent nod combined music and theater in Profile Theater Project’s encore production of the hit Broadway musical The Full Monty.
In 2007 Stephanie founded and produced Voices for Silent Disasters (www.voicesforsilentdisasters.com). Portland’s first humanitarian concert series, Voices for Silent Disasters featured 35 artists through 10 concerts at three venues across the River City. She raised $70,000 for Mercy Corps in Uganda and has plans to continue the successful series in the future.
"Dirty Martini’s Stephanie Schneiderman is going from strength to strength.
She explores a heartfelt electro-pop direction... gentle piano, programmed drumbeats and her delicate, processed vocals…it’s a beautiful song and represents a fascinating new direction for Schneiderman." read more
“Shoegaze goddess Stephanie Schneiderman and her delightful trip-hop/folk…Schneiderman’s vocals are most definitely demanding of well deserved auditory attention. The songs she writes are obscurely beautiful as they drift over electronic beats… will absolutely drop you to your knees... This is human experience
in the greatest musical sense imaginable. This is good stuff.” read more — Ron Trembath
“With electronic producer Keith Schreiner,[Schneiderman] transformed from mere singer/songwriter to heartfelt electronica pop queen. The two musicians have fine-tuned this metamorphosis with a second collaboration entitled Rubber Teardrop. Schreiner is versatile, moving through ambient background textures to upbeat dance tempos, always coming up with just the right landscape for Schneiderman's moving lyrics. Together they've found a formula that renews the relevance of a talented songwriter and opens all kinds of possibilities for respectfully expanding into the larger pop music realm." read more — Ava Hagedus
“You can hear the two settled into their mutual roles as artist and muse…
to create an intimate and sexy LP that demands repeat listens just to catch up with every noise and lyric that drifts through it... sultry vocals with supple beats and skeins of gorgeous ambient electronics… It is that push-pull with putting personal matters... that makes Schneiderman’s work—both on her own and with Dirty Martini—so exciting." read more — Robert Ham
"A seemingly effortless blend of rippling electric beats and Schneiderman’s lullaby-like, laid back vocals with a sound similar to Death Cab for Cutie. Schneiderman’s vocals are deep, whispery and ethereal… moving behind subtle, ominous electric sound effects that slowly become more textured and colorful… exudes a relaxed, truthful essence…” read more — Whitney Lewis, WomensRadio.com
"A gorgeous diversion from this erstwhile folk/pop talent… she gave her songs and her silken voice over to sound artist and producer Keith Schriener, who wrapped them both up in crinkly, metallic-tinged electronic wrappings and warm, engulfing layers of ambient synthesizer noise… has fully inhabited the role of down-tempo diva on her latest album, "Rubber Teardrop." The album opens with three gorgeous tracks that Schneiderman throws her whole person into. She takes a come-hither tone on album opener "Hush" that melds into AutoTuned pleas over heartbeatlike beats on "River Stone," before she curls up into the smoky, lovelorn "Anchor." It's quite a transformation and a tribute to her pliant, engaging voice." read more — Robert Ham
"Laid back trip-hop feel… subtle dub tones... a very well balanced album to listen to that can fit all types of moods." read more
“A record brimming with bass and pulsating drums… the tracks on Rubber Teardrop move her to a new level... She is quirky - She knows how to write a song... and boy can she sing... Stephanie held her audience spellbound… I'll shed more than rubber teardrops if the music-buying public doesn't wake up to the fact that she is a talent they need to hear." read more — Mike Cohen
“Beat driven and dark at times, yet still revealing and very personal...there is a compelling quality to this record. It is certainly worth picking up.” read more
“It’s a brave new world for Stephanie Schneiderman, who has made the transition
into electronic music from her indie roots, a move readily apparent in the new album “Rubber Teardrop.” The second venture with producer Keith Schreiner, Rubber Teardrop mixes Schneiderman’s sultry voice with electronic more than ever.” read more — Jason Vondersmith
“The collaboration with Schreiner (aka Auditory Sculpture) drastically changed her style, putting her strong lyrics in a totally different setting. He was the electronics guy, she the guitar poet/goddess…” read more — Tom D’Antoni
"an absolutely beautiful voice and natural talent...Stunning Stephanie sent chills down my spine." — Mike Cohen, Jewish Telegraph UK
"Dangerous Fruit reveals a confident singer boasting a collection of torchy techno pop in the vein of Zero 7 or Morcheeba... the result is a poished album that feels fully realized and amplifies the drama and sophistication..." Read more
"Her sound is distinct... her songwriting craft is very focused; it is clear that she has a vision... The songs blend soft acoustic, swaying vocals and electronic beats. Romantic, sensual lyrics top off the over all intimate mood. These tracks reveal her as an artist who is not afraid to experiment..."
"Multi-faceted singer/songwriter Stephanie Schneiderman...artfully combines pop, trip-hop, soul, electronica and folk." Interview video with Brooklyn Rocks
"...for all around musicianship, imagination, songwriting and pure inspiration, this gets my vote for the best of the year on any chart, in any genre." Read more — Tom D'Antoni
"Philadelphia debut...serving up a different style of music...combination of pop, trip hop, soul...took her songwriting and music to a new level."
"...stronger electronic component, with a heavy awareness of groove and harder beats...it was downright sexy!" — Luciana Lopez
"...soulful story telling...breathy vocals...impassioned...contemporary pop and synth-patched soul...yet another fine example of Schneiderman's deep potential."
"mature, subtle and sexy...they [her songs] carry an energetic force — like water behind a dam." Read More — Serena Markstrom
"...dangerously mesmerizing numbers that make you want more and more... red hot set of vocals wraps the record in a sound all her own, with skillful songwriting and a unique influx of ambient tunes and tones." Read More — Amie Street
"Stephanie is not afraid to change her music up a bit...Her new sound is a mixture of sultry, electronic, with smooth vocals to sooth listeners. It could be described as Zero 7 meets Goldfrapp but totally her own." Read the interview
"In Schreiner's hands, the tunes' subtle shadings and bits of texture take on a distinctly different character, one that is part Zero 7, part Beth Orton, but wholly Schneiderman's own." — Corey du Browa
"Schneiderman's exceptional songwriting talent and radiating charm are a winning combination. Her honest, earthy presence and rich, serene vocals separate Stephanie from the hordes of "girls with guitars." She shows all the potential of becoming a world class, world renowned artist." — Adam Zacks, Talent Buyer, House of Blues
contact Alex Steininger at In Music We Trust email@example.com