New Yorker Paul Brill certainly chose the road less taken for his alt-country "Caroline," which meshes iron-clad bluegrass with downtown savvy and a lyric that dishes pain and love - with a whimsical wink for those listen beneath the surface. You'll hear everything from violin, pedal steel, and cello to banjo, dobro and mandolin served up on his Halve the Light, as Brill reaches back to a day when pride was in the performance, not in pigeonholing a demographic to the lowest common denominator. Brill's peers may be digging Staind and Defalt, but this talented guy need answer to no one. For those wondering, O, Brother Where Art Thou?, he's right here. Search Brill out at paulbrill.com. - Chuck Taylor, Billboard Magazine. April 13, 2002 -Critic's Choice - New releases, regardless of chart potential, highly recommended because of their musical merit. As the clear, bittersweet cry of pedal steel opens Halve the Light, marooned atop slow drums and acoustic guitar, it's tempting to piegeonhole New York City singer/songwriter Paul Brill as just another alt-country heartbreaker. But you'd only be half-right. The man also happens to know a few things about rock and pop, making his eight song debut a richly textured statement that buoys his late night lamplight sound with enough hooks to carry you through until morning. "Maybelline" sports the sad, sweet slacker charm of fellow New Yorkers Clem Snide, while "Start it Again" has a distinctly pop feel that evokes the lighter side of indie rock lumniaries Built to Spill. Throughout it all, however, Brill's commanding performance is consistently affecting, allowing the listener to feel the particular pathos behind every song. So before you attempt to listen to the beautifully dejected tones of "Love Survives Us All," it may be wise to lock up your liquor cabinet, and hide the key. - Jason Kundrath, CMJ New Music Report Paul Brill first began making music in the great tradition of bedroom musicians, writing and recording songs on his four-track home studio. Following a period of wood-shedding in Vermont, Los Angeles and San Francisco, with extensive national DIY touring, he settled in NYC. Paul's 2001 solo debut, Halve the Light, was critically acclaimed and was a college radio darling, entering the charts as 12th-most-added and receiving strong airplay across the nation. He terms his music, "Post-Country Heartache," writing songs that fall somewhere in the intersection between Pop and Americana and weave a narrative amongst the sultry tones of pedal steel, guitars, strings, piano, and vocal harmony. One year later, Paul has followed upon the success of his debut with two new sister CDs that both continue upon the musical path blazed by Halve the Light and break new ground. Sisters EP was recorded during a marathon four-day recording sessionat Lift Studios in Portland, Oregon. The result is a sparse, spare, somber, and soothing record that somehow falls squarely between Nick Drake and Gillian Welch. Sisters LP documents the material Paul's band has been performing during the past year and was recorded in New York City. Sisters LP is an energized record featuring a variety of instruments, textures, arrangements, and moods. Woven into its 12 songs are strings, pedal steel, brass, accordion, Tibetan singing bowl, and many other stringed and percussive instruments. The CD features Paul's regular gigging band and special guest performances by members of the DUKE ELLINGTON ORCHESTRA and the TIN HAT TRIO. Through these new sister records, Paul Brill successfully distills the essence of Americana and Pop and transcends it at the same time, creating music that is soulful and timeless, while remaining refreshingly modern.