When The Record Company pick up their instruments, the members—Chris Vos [guitar, lead vocals, harmonica], Alex Stiff [bass, backing vocals], and Marc Cazorla [drums, backing vocals]—participate in a musical back-and-forth akin to a formative and supportive conversation among siblings. The nuances of their personalities seep through loose, bluesy guitar leads, airtight drum grooves, thick bass, and vividly evocative lyrics. With such fluidity, the musicians respond to one another so instinctually you’d swear they were telepathically linked. However, there’s no such superpower necessary when you’ve got the closest thing to a brotherhood that three musicians unrelated by blood can share…

The GRAMMY® Award-nominated trio only amplify the power of this bond on their fourth full-length offering and 2023 debut for Round Hill Records.

“We know each other’s personalities on the instruments, so we reconnected with one another and really found that brotherhood again,” explains Chris. “It’s always been there, but we got back into a room where it was like a circle of stone. We’re creating something that will go out into the world. We all stand behind it equally, and we’re willing to put our lives and love into it. When you put your career, your future, and your art into another person’s hands and you know they’re doing the same for you, there’s a different level of trust. That’s been our secret since day one. When it’s challenging, we’re all trying to figure out the challenge. When it’s good, we’re all experiencing it together.”

They’ve experienced everything as a family since forming back in 2011. Along the way, they served up a tested-and-proven epic in the form of their 2016 debut, Give It Back To You. The release earned a GRAMMY® Award nomination in the category of “Best Contemporary Blues Album” and spawned “Off The Ground,” which reached #1 at AAA Radio and tallied nearly 40 million total streams and counting. Beyond a string of stunning late-night television appearances, they performed on CBS This Morning, at Bonnaroo, and on an extensive tour with John Mayer in addition to headlining coast-to-coast. They maintained this momentum with All Of This Life [2018] and Play Loud [2021]. On top of praise from American Songwriter, Classic Rock, and more, NPR hailed the latter as “the band’s biggest and most dynamic record to date.”

In 2021, the guys hunkered down and commenced creating what would become their fourth LP. Working out of an intimate home studio in Beachwood Canyon, they wrote, recorded, and self-produced the music. Outside of cutting drums at the legendary Sunset Sound, it proved to be a homegrown affair through and through.

“We got back to our old perspective, which is to trust the idea, get out of the way, make something, listen, and respond to it,” affirms Chris.

Alex elaborates, “We decided to record the organic thing that got us really excited to play music as a band in the first place. That was the general theme of this record. Keep it as close to a three-piece sound as possible. Keep the music raw. It’s a return to form in a way, but we’re still growing.”

“We’ve been doing this for a while,” adds Marc. “As long as we sound like us, we can be proud of it. It’s not going to be for everybody, but we’ve never been prouder of what we’re doing.”

The Record Company kicks off their next era with the single “Dance On Mondays.” Guitar cries through a hypnotically hummable bassline and head-nodding beat. Meanwhile, a chantable hook instantly takes hold with grit and gusto as Chris affirms, “I don’t dance on Mondays.”

“Somebody asked me to go see a band on a Monday night, and I just said, ‘I don’t dance on Mondays’,” Alex recalls. “I wrote it down in my phone. The phrase signifies, ‘I’m taking my life back, and I’m not going to dance for anybody’. It goes back to where we are as a band and us being The Record Company.”

Then, there’s “Talk To Me.” Bass practically dances atop a simmering groove punctuated by tambourine before guitar kicks back in as Chris urges, “So, why don’t you talk to me?” Marc goes on, “It reminds me of one of those rare Blue Note groove records with a chill vibe.”

Launching into toe-tapping bounce, harmonica wails on “Darkest Days” as the stomp and 12-string guitar underline a soulful vocal. “Highway Lady” shines with a Laurel Canyon meditation in the glow of swooning slide guitar.

“We wanted to make music you could listen to “Highway Lady” on a road trip in the car with the city’s lights behind you,” Alex says. “This song had this big vibe of feeling good both musically and spiritually.”

“Lyrically, it’s my favorite,” adds Marc. “It could be about so many different things. I moved into this house with a little pool, which I’d always wanted in Southern California. When it’s hot as shit out, you naturally develop all of these new friends during the summer. You make a pool playlist, and I wanted one of our tunes to be a contender. To me, this is one.”

In the end, The Record Company  are stronger than ever as a band and, more importantly, as brothers.

“I’d love for people to hear this record and feel like they’re in the house with us making it,” Alex leaves off. “I want them to feel like they’re part of this unpolished and homemade thing, because that’s what we were trying to get back to.”

“We’re a trio, and that’s the completion of this circle,” Marc concludes. “The fourth member of this group is the space between us. We embrace that space as part of the raw element. That’s what we explored on this album, and it’s beautiful. We can’t wait to bring it on the road.”

More than a mere practitioner of her craft, Cristina Vane has a breadth and depth of serious musical skill compiled from countless miles across all kinds of geography. On her third studio album ‘Hear My Call,’ the pairing of a lifetime pursuit and growing treasure trove of songs makes for a record that demands to be heard.

Her sound reflects and amalgam of experiences; born at the foothills of the alps in Italy and raised between Italy, England and France, Cristina’s half American – half Guatemalan heritage is as unique as her sound. She is a product of a merging of numerous worlds- her classic rock, 90s indie, and heavier roots with her passion for prewar blues, old time fiddle banjo music, country and bluegrass. Rolling Stone described her early single Badlands as “evocative of a young Bonnie Raitt and early PJ Harvey […] entrancing stuff”.

A deft multi-instrumentalist and captivating vocalist, she began writing songs and playing guitar in her teens, before the power of slide guitar captured her attention one summer in London and changed the course of her sound. After graduating from Princeton University, Vane moved to Los Angeles with a dream to pursue her constant passion, music. There, inspired by Rory Block, Skip James, and Blind Willie Johnson, she began teaching herself slide in open tunings and found herself working at folk staple McCabe’s guitar shop where the universe conspired in her favor by putting under the tutelage of her fingerstyle guitar mentor, Pete Steinberg. It was also at McCabe’s that Vane began her journey on the clawhammer banjo, and continued to busk on the Venice Boardwalk, putting in countless hours of practice to become closer to the powerhouse performer she is today.

After four years in Los Angeles, Vane felt the itch to move. True to her industrious and fearless nature, she used her small social media following at the time to crowd sourced her first tour, which she called “Show Me Your Hometown Tour” and describes as one of the most transformative experiences of her life. Six months of living out of her tent, car, and strangers couches, she dove into life on the road with a gusto that culminated in her moving to Nashville and recording her first studio album- “Nowhere Sounds Lovely”, recorded by Grammy award winning producer and drummer Cactus Moser (Wynonna Judd, Noelline Hoffman).  Her second full length album came a year later, recorded at The Studio by Brook Sutton and coproduced with Jano Rix (Wood Brothers).

This third album is different, though. In some ways, it retains the musical diversity of the first two- Vane refuses to bend herself into a box, writing excellent bluegrass songs that exist cohesively alongside her blues, rock, and hill country blues inspired tunes. But she feels differently now- a decade of finding herself has brought her full circle; in her words, “ “When it came to the album, I wanted it to be a reflection of who I am, not just of the old music that I’ve come to love”, she explains, “and I’m essentially a rock kid who is obsessed with old music. After being exposed to all of this music that was foreign to me, I am slowly figuring out how to find my own voice within it. It is the sound of growing up.”

 Recorded with Brook Sutton at The Studio, she had her touring band come in to reflect the reality of what she spends her year doing as a nationally touring artist, and features exciting co-writes with Mike Harris (Old Crow Medicine Show) and Silas Lowe, as well as guest features from Molly Tuttle, JD Simo, Kenny Vaughan, Bronwyn Keith Hines and Brenna MacMillan.

Cristina has an extensive touring history and has provided direct support for: Molly Tuttle, Bob Weir, Jerry Douglas, Wynonna Judd, Sam Bush, Nikki Lane, Town Mountain, Duane Betts Rev. Peyton’s Big Damn Band, Arlo McKinley, and Willi Carlisle. She has been mentioned in Rolling Stone Country and NPR, and was featured in the Bank of America ad for Ken Burns’  “Country Music” documentary. She was an invited guest for Billy Strings’ String the Halls 3, has appeared on Travis Book’s (Infamous Stringdusters) Happy Hour and at Portland Blues Festival, Under the Big Sky Four Corners Folk Festival, and Roosterwalk.