"Bears resemblance to Ben Folds 5, but influences including '70s prog rock, jazz and classical set them apart. Sounding like a less-operatic Rufus Wainwright, Mann's voice has true indie-rock quality, and shows dead-on amazing songwriting." - UR MAGAZINE

11 MP3 Songs
ROCK: Progressive Rock, POP: Piano



Details:
Watch "March of the Ghost" Music Video at kylemanncombo.com or at youtube.com

Through Kyle Mann's unorthodox approach to piano-driven melodic rock, he captivates audiences with sophisticated arrangements, incisive lyrics, high-ranging falsettos and eclectic instrumentation. Drawing upon a wide range of influences and styles, the combo's unique mixture of traditional sounds & fresh, complex, and energetic pop sensibilities have enthralled listeners across the Midwest. Since their formation in 2005, the young group from Chicago has primarily been performing around the Midwest including performances at The Taste of Chicago, HedgPeth 2006, Martyrs', The Rave/Eagles Club, Iowa City's Yacht Club, and The Congress Theater. Their debut full-length album "Goodbye Kites" was released in December of 2006.


Kyle Mann Combo is:

Kyle Mann - Vocals, Piano, Keyboards, Acoustic & Electric Guitars

Vince Naples - Backup Vocals, Acoustic & Electric Basses, Pedal Steel

Inga Olson - Cello, Electric Guitar, Percussion, Glockenspiel

Matt Nagrodski - Drumset, Percussions, Glockenspiel


Description: Kyle Mann Combo can be described as Wilco times the Beatles, minus the guitar, genetically spliced together with the product of a Paul Simon/Regina Spektor love child that got angry one day and threw a brick through Brian Eno's window, and as punishment had to mow Andrew Bird's farm for two whole months, but had ample time to listen to Radiohead and Ben Folds Five on his ipod which inspired him to write a poem that changed the way The Dresden Dolls looked at sunsets, (and taught John Scofield how to love again) but in the process tore a whole in the fabric of space and time allowing Johnny Cash and Sufjan Stevens to record a duet album of Cole Porter standards and gregorian chant that topped the charts, but evoked such a melancholy in the general population that the Magnetic Fields had to be flown in to save the day with a combination of swedish death polka, and some good old fashioned southern baptist hymnody, raising spirits to a place where folks could listen to Elliot Smith again without making them cry. Except they only cover negro spirituals while bouncing up & down on trampolines in their underpants.