Part I.

Haunting melodies, dramatic ballads, mysterious cries of woe. As a young girl, Miss Clarissa Ysel was given lessons on the piano but her creativity did not thrive in such a rigidly structured environment. She later cast aside sheet music, preferring to follow her natural instinct and chase a penchant for weaving wistful tales of eerie Transylvanian nightmares and soft lullabies of yesteryear. With heavy hands she gently pounded ghostly vignettes from the baby grand in a dimly lit hall. Before long, she became acquainted with classical violinist Miss Naomi Cherie, and for the first time was accompanied by another musician. Late at night the two would refine their unique harmony, creating soundtracks to silent films and nostalgic tunes reminiscent of halcyon days. Dramatic lyricist, unique instrumentalist, and avant-garde filmmaker, Miss Clarissa Ysel thrives in her own world of creation and composition and is like no other.

Part II.

Sentimental sounds resonate from an antique heirloom. A seventy year old Czechoslovakian violin, found in an attic, is bequeathed from a mother to her daughter. Miss Naomi Cherie, fourth-generation artist and classically trained violinist, had performed in the orchestra for nearly ten years when she began to yearn for a more creative means of expression. When she happened upon songstress Clarissa Ysel, she began to play free-handedly for the first time, finding it rather intriguing. After acquiring a shiny hot pink electric violin, Naomi was inspired to further explore the medium, synthesizing her orchestral background with experimental techniques, eclectic genres and unstructured improvisation. Her soulful melodies compliment her counterpart's renderings with elegance and intensity and it is her ever present ambition to make an art of music combining sound and sight as one.

Part III.

On a fine spring day, the ladies caught the ear of Blues Impresario and music historian, Mister Clifford Antone. Mister Antone would spend long summer evenings sitting in with the two on bass guitar, surveying vintage records, and recounting endless tales of legends past. Proving to be their greatest inspiration, he dubbed Clarissa 'Sister Ray Charles' for the passionate rhythms she would hammer out of the ivories and introduced Naomi to the music of legendary fiddlers such as Django Reinhardt sideman Stefan Grappelli, Jole Blonde's Harry Choates, and Texas Playboy Johnny Gimbel. Though his days came to an abrupt end, Clifford's soul would live on forevermore through all those that he influenced, and his heart would continue to beat through the sound of the rhythm and blues.

Part IV.

On hot and steamy, Texas-thunderstorm laden August nights the ladies would tote their instruments rain or shine to peddle their wares at street festivals for spare change. It was on one of these occasions that a young gentleman musician by the name of Mister Gary Delgado became quite taken by their sultry sounds. Mister Delgado however, was far too bashful of a lad to approach the girls, so, he lied in wait. Each month he silently returned for an encore performance until he was finally accompanied by a companion brave enough to speak up. Little did he know, that within just a few short weeks of introduction, he would find himself on stage with the ladies. When bestowed with a borrowed, rusted and warped Fender bass, Mister Delgado who was a self-taught guitarist by trade seized the opportunity lock, stock and barrel to saturate Miss Ysel's handiwork with carnival-esque electric bass lines that thundered like the a stomping circus elephant. Not before long, it became necessary that he take the role of drummer. Straight away, Mister Delgado had a shattering propensity for the drums and continues to persist with the habit to this day. His ability to feel and interpret music regardless of his knowledge of the instrument is uncanny. What is more, his unbridled and trademark ramshackle drumming style is nirvana to the eccentric and unusual style of the musical anomaly known to some as Southern Drama.

Epilogue.

The trio recently disembarked from their first national tour. It was a West coast tour during which a music-history obsessed band's dream materialized with a trip down Hollywood's Sunset Boulevard to play the world famous Whisky A Go Go Club, a legendary venue haunted by the countless musical god heads of decades past that made history there. Since their return, Southern Drama has celebrated the release of their debut album, an LP titled 'Little Broken' which is increasingly available at select record stores. They have also been reacquainted with experimental bassist/guitarist Mister Steven Reyes who has recently filled the void left by Mister Delgado's departure from bass to drums. No matter their ambition, Southern Drama's ever present desire remains the same; to share a dramatic musical experience, unlike any other, expressing themselves always through a total work of art or Gesamtkunstwerk.

The End