One-sheet for promotion:

onesheet FINAL



Past press for Little Beirut:

Major labels, come running.—Under The Radar

Ambitious….I gravitate to bands that take big swings at the plate; the bonus is that [Little Beirut] connect most of the time.—Ken Barnes, music editor, USA Today

This little Brit-inspired pop gem has quickly become one of my favorites of 2008. Stunning guitar hooks fill the album as do catchy choruses that are memorable from the very first listen.—Big Takeover Magazine

Not to be slept on. Soaring melodies mixed with intense, pounding guitar-driven rhythms make it impossible to overlook this band. High Dive is one of my favorite surprises of 2008 thus far.—My Old Kentucky Blog

[High Dive] will stay in my stereo for some time. It is too damn full of beauty and possibilities for me not to want to search it for new things with every listen. 9 out of 10—Skyline Press

All the tracks are catchy as hell with loads of hooks and memorable lyrics. Little Beirut is a band to watch out for and catch if you get the chance.—The Chickenfish Speaks

This is an album clearly crafted with precision, with its consistency being something of a rare entity in the realm of independent alternative-rock. A startlingly consistent release that relies on both accessibility and pure melodic infectiousness to create an experience that is hard to rival in contemporary alternative-rock. Once the radios get a hold of tracks like “Belle de Jour” and “Love During Wartime”, I don’t see much stopping them.–Obscure Sound

As the music develops through the tracks, a full picture is painted of well thought out songs with a bit of hope and angst with equal aplomb making this record a pleasurable and interesting listen.—Reax Magazine

Little Beirut is a power-pop band, and a rather good one at that, making the case once again for underground, yet radio friendly pop backed with a hefty, distorted crunch. It’s polished and sleek, with…that extra something special. They don’t make bands like Little Beirut much anymore. I scarcely turn on the radio anymore, but if a band like Little Beirut were to receive a few spins now and then, I might just risk the onslaught of 311 and Panic! At the Disco just to hear it.—Treble Zine

High Dive [is] a great little pop gem….A wonderful pop/rock album with some amazing hooks. This is one of the best debuts I’ve heard in a long, long time. I wouldn’t be surprised if we saw this band going places quite quickly.—Music Emissions

Out of Portland, Oregon comes a quartet that is getting ready to take indie rock, or maybe even power pop, by storm…. What makes this album particularly good is not just the well-played instrumentation or lush vocal layers, but the amount of versatility from one song to the next which keeps the album interesting as songs dip from full throttle to gentle cruising speeds…. The album appeals to both sides, those looking for layers of depth and meaning and those looking for catchy music they can rock out to whether it’s in the car or on the dance floor. With memorable hooks, layered harmonies, guitar-laden rhythms and intelligently written lyrics there is little left to be desired on Little Beirut’s latest effort.—Delusions of Adequacy

Little Beirut is a rare bird: a cerebral indie rock band.—Campus Circle

Seriously, who thinks to write a love song to the irreproachably formidable Condoleezza Rice? It’s brilliantly profound and cheeky in spirit. We find other gems like this one scattered about the disc such as “Sniper’s Lament” and “Loose Medusa”. We sense these tracks wandering around political and social commentary-land in the guise of ambiguous alternative art rock. Needless to say, it tickles our fancy. High Dive is out. Take the plunge.—ACED Magazine

A minty fresh, yet strangely shoegazing sound. Just lovely. Get ‘em before The Hills does.—Stop Okay Go

Little Beirut creates music that could be used as a textbook for Pop Music 101. Their debut, High Dive is catchy without being horribly annoying (are you paying attention Good Charlotte?) and lyrically intelligent without being pretentious…. High Dive is almost the perfect pop record. It’s literate, catchy, and radio-ready. It may not launch the band to super-stardom just yet, but I wouldn’t be surprised if they use it as a springboard (pun intended) to a long-lasting and lucrative career. Little Beirut is here to stay.—Ink 19

Little Beirut plays indie to the mainstream and mainstream to the indie crowd. It seems impossible for Little Beirut to not succeed; when you’re weaving songs with nothing but platinum, you won’t come up with lead.—Pulse Niagra

Little Beirut is certainly one of those bands doing something a bit different-sounding on the indie circuit these days. These guys definitely know how to craft a lush melody, and aren’t afraid to experiment with different musical textures… This is certainly an album worth hearing, as well as a band to keep an eye and ear on in the future.—

These Portlanders are their own band with their own indie niche. “High Dive” is a dreamy and resigned effort, aided on craft by some stellar local contractors.—

Little Beirut thinks big. Such elevated songwriting craft, with its emphasis on melody and difficult subject matter, is a valuable commodity in the realm of indie rock. This unlikely combination almost guarantees the band a place on year-end best-of lists. –There Stands the Glass

[Little Beirut] craft perfect pop songs that grab you by the ears, suck you in from track one and don’t let go until the last notes are being played some 11 tracks later.—Wonkavision Magazine

Little Beirut carve out their own space on High Dive, and mark out a way forward.—30 Music

In a musical atmosphere that is so heavy with mediocre bands promoting fellow mediocre bands to fill the radio waves with an amalgamation of homogenous song[s?] and whose albums contain a monotonous string of songs that sound so much alike that it could easily be one long track, it’s refreshing to see a self-released album garner so much attention….High Dive seems to embody the Portland-raised band’s surroundings. Each track different from the other; one song meets the listener with a bit of an edge, another with a touch of the “crunchy”, a few more with the naiveté of raw emotion and most of all, High Dive ends in rain.—Static Multimedia

[Little Beirut] sculpt their rock and roll into a pristine, hook-heavy weapon that is primed for an assault on the FM airwaves. It’s hard to ignore songs with such addictive choruses and the genuineness in the voice of singer Hamilton Sims. It’s a record that does not disappoint.—The Portland Mercury

Little Beirut has a great sense of melody, they keep the hits brief and it sounds really good. Not glossy, mind you, just good.—Willamette Week, Local Cut

A self-assured collection of sweeping, melodic pop gems, the record also tackles complex subjects in innovative ways and marks the band as one to watch.—The Portland Tribune

The latest album from the band Little Beirut, High Dive, is furious and dreamy in equal measure. It is a heady and memorable album and one that is worthy of your time and attention.—LivePDX

“High Dive” shows off tight, catchy pop-rock, guitars laced with electronics and a maturity that bodes well for the band’s future.—OregonLive

Give them a try…if you aren’t convinced, just wait a few months. They will get big sooner rather than later.—Neufutur Magazine

Portland’s Little Beirut first caught my interest with their 2008 release, High Dive. High Dive not only boasted great cover art, but also sounded like the work of a band on the verge of something much bigger. Furthermore, I feel compelled to mention that these fellas have obviously figured out what metal and punk bands have known for years: don’t forget the logo. Logos, guys and girls! Don’t skimp on them. They look great on merch, serve as perfect shorthand in this soundbyte world and give your fans something to graffiti around town and/or tattoo on their bodies.

Anyway, after a brief sabbatical, during which they reportedly strong-armed a new bass player into relocating from San Francisco,  the band is back with a new full-length, Fear Of Heaven. The record was co-produced by Jeff Stuart Saltzman (Death Cab for Cutie, Menomena, Stephen Malkmus, Sleater-Kinney) and Chris Robley, who is known in some circles as “the Stephen King of indie-pop,” and finds the band planing down the Posies-like guitars that characterized High Dive and investing is arena-sized hooks.  Now, whether you consider that a positive or a negative is up to you, but from the dramatic opening salvos to the sweeping chorii, lead track Last Light makes it abundantly clear that Little Beirut has some big pop acts, whose names we shall not utter, in their sights.My Old Kentucky Blog

Portland-based quartet Little Beirut has created the perfect soundtrack for a warm summer evening with their third album, Fear of Heaven. The music is a delightful combination of pop melodies and soft indie instrumentals with just enough rock to keep things interesting. The vocals are always shifting; sometimes they bring to mind Ben Gibbard from Death Cab for Cutie, at other times Ezra Koenig of Vampire. But no matter which pop or indie vocalist lead singer Hamilton Sims’ voice reminds you of, it is a great match for the music at hand.

The opening track “Last Light” starts off twinkling and mellow, but quickly builds momentum and evolves into a fast-packed rocker before alternating back to soft and peaceful. Then the second track, “Cosmic Waitress,” begins with hooky handclaps. The rest of the disc is very similar – just when you think you’ve got the sound pinned down to one style or tempo, it changes again. Occasionally the songs start to blend together, but ultimately, the constant switches save the album from becoming too monotonous.

Fear of Heaven will certainly have all of Portland’s indie hipsters singing along and tapping their feet in no time. (Self-released)–Performer Magazine

Weaned on college radio (like REM, The Smiths), Portland, Oregon-based Little Beirut gives us here a third full-length full of lush pop songs – without the all the polish. The trio has here turned in something with maturity and songcraft. Nothing too edgy, but never ever cheesy, Little Beirut posses that wonderful quality you yearn for in a band: restraint tempered with a sense of when to let loose; hooks that can come from a line of vocals or a guitar riff; a rhythm section that sets down a hard backbone of infectious beats… all along the band manages to sound like its very own band – they’re influenced of course, but not terribly derivative.The beautiful “Apology to My Heart” is airy, while the groovy “Bow and Quiver” (which immediately follows) is driven by a slightly distorted guitar and a mega-catchy singalong chorus. “True Swords” is Wilco-ish in its construction (a good thing). “Tullalah, How Long” is music to make love to, with ups and downs and a lovely and ethereal vibe haunting the five minute track all along. “Armageddon Rag” has a pre-chorus that I simply love, with crackly, hot-tubed guitars cranking out this atonal riff that is simply delicious. “Crooked Crown” – a toe-tapper if there ever was one – puts the final bookend on a pop album for people who say they don’t like pop music. Little Beirut should be heard farther and wider away from the Pacific Northwest, so get to checking them out, pronto!— Dylan Gibbs,

Really digging the video and sound of this Portland indie-pop outfit called Little Beirut. (fact: their name comes from an off-hand slight from former President George H.W. Bush, who called Portland “Little Beirut” after a visit to the city was met with massive protests). After listening to a few tunes on their Myspace, I can safely say that these guys have some solid pop skills.

The group is currently getting ready to release their new album, Fear of Heaven, but in the meantime check out the cool stop-motion video to their tune “Last Night” as well as the track “Cosmic Waitress” — Now to check out the rest of the album. –

Whenever I see that a band is unsigned, one of three thoughts comes to mind: 1) The band sucks, 2) record labels are stupid, or 3) the band is really picky because there is no way on earth this band should be unsigned. If I had to guess, Little Beirut falls into either the second or third categories because as their latest album shows, there is way too much passion, beauty and talent on display for the powers-that-be to not notice them.

From the dreamy guitars of the stunningly beautiful pop number “Nadia” to “Last Light,” a track which opens slowly before building into a dance-worthy piece of power pop, this album goes in a number of directions and deftly handles most of it. There are some dreamy Americana strains found in “Apology to My Heart,” funky driving rock ‘n’ roll (with hand claps too!) on “Bow and Quiver,” and “True Swords” is a slow and lazy ballad that could serve as a prom theme. With these and other tracks, Little Beirut walks the fine line between inspired variety and schizophrenic uncertainty with aplomb.

A lot of the album’s content steers in the direction of love lost, love found and perhaps even love regretted. In “Armageddon Rag,” lead singer Hamilton Sims asks “Do you love me? Will you hold me? I’ll never ask why” when crooning to the object of his affection. On the heartfelt “Lifeboat,” he sings, “People say that we are so blind, but I feel fine. Girl we’ll be all right, I’ve loved you all my life.” And on “Cigarette Girls,” he reminisces longingly about the features of a former love whose tongue could do some amazing tricks. Okay, so maybe that last one isn’t exactly love, but the listener is made to think the singer at least thought it was, and that alone speaks just as many volumes about the nature of love as anything else does.

Although the album begins to sound a little stagnant toward the end (dreamy pop numbers are fine, but they start to blend into one another after a while despite whatever flourishes the artist gives to them), Fear of Heaven is a delightful little record. Sims sings beautifully and at times sounds like Guster’s Adam Gardner. In addition, each member of this trio (at least when the album was recorded anyway, they have recently added a proper bassist to their band) injects enough flavor into their instruments to make this an enjoyable ride. Fear of Heaven is a promising disc, and any label would do well to add the band to their roster—Stereo Subversion

One of the things I tell people when I give them the album is to expect it to be a pretty big fat pop record, because that’s something that stands out here,” says (singer Hamilton) Sims. “We’re not avant garde, we’re not trying to weird you out.”


You perk up and pay attention when you read a press quote like that, because it’s a crystal clear indication of what you’re about to hear: a band steeped in self-confidence drawing power from who they already are, rather than who they wish they were. That’s Portland, OR’s Little Beirut on Fear of Heaven, an astral album stuffed with shoegaze tones, hypnotic bass lines, and of course, lots and lots of unabashed pop. But don’t check out if the “pop” label turns you off. They haven’t allowed it to entrench them in radio pop protocol – don’t come in expecting Taylor Swift. If anything, their sound still leans heavily towards “indie” and “experimental” ideals. But there’s a refreshing accessibility to it that sets it far apart from the acts trying too hard to innovate only to fail. Little Beirut sounds hip without ever having to resort to gimmicks.


You could say Fear of Heaven is reminiscent of New York City’s Nightmare of You at times, because they both seem to like heart-piercing 80’s melodies (for the former, see closer “Crooked Crown”). But whereas Nightmare of You sometimes comes off as awkward and pretentious in the lyrics department, Little Beirut have no trouble expressing themselves eloquently. They get high-flown in “Cigarette Girls” as they muse “I pinned the corsage through the chiffon, I could see through the dress she had on, she could tie a cherry knot with the tip of her tongue,” and transparently angsty in “Apology to My Heart” (“Let the floodgates out, go ahead and cry… Ashley, Adrienne, Kate and Clementine left while we were turning a blind eye”) without much difficulty.


The highlight track, however, is probably the mesmerizing “True Swords.” It introduces itself with jangly guitar strums (think The Smiths) before breaking into a groovy bass line that will have you humming for months. But then the vocals come in and things turn dark. “And she cries all night over what you said, and then it’s off to sleep and off with your head!” the song moans, “Are you lining up their skulls? Can you satisfy your taste for blood?” It’s all done over a sweet pop sheen, too, which makes it all the more eerie. Still, the best part about it is that it’s a reminder that sometimes, the most expressive music is unadulterated – no swirling effects, no auto-tune, no jagged noisy riffs that are weird for the sake of being weird. Sometimes, all you need is some wholesome pop.


Recommended If You Like

Nightmare of You, The Smiths, Morrissey–Absolute Punk


With “Last Light”, Little Beirut are able to capture the sweetness of Fire Theft and blend it with the off-time masterpiece “Wordless Chorus” by My Morning Jacket. Little Beirut round it out and bring in a fresh and new rock element. The packaging alone makes you wonder what this four piece (three on Fear Of Heaven) is all about – it’s as clean and precise as their music with the same edge. Portland, Oregon is where we find Little Beirut and Fear Of Heaven is the name of their third album. “Last Light” is short, just over three minutes. It begins with an electronic introduction and thunders in at around a minute in. Vocalist Hamilton Sims is remembering the day he gave up and the imagery related in the lyrics is other-worldly and almost magical. “Now we can swallow the deep blue sea and keep all our mermaids in a white limousine, your makeshift coffin, so post-modern”.

With a Jawbreaker-esque guitar break the song reverts back to the beginning and explodes into the chorus yet again and the urgency in palpable. There’s something familiar about the sound on Fear Of Heaven that draws you in. Fans of the greats such as Smoking Popes and Sunny Day Real Estate will feel at home with Little Beirut. Little Beirut’s third release may spring them up and out of the underground, landing hard in your lap with originality.–DOA

The third full-length release from the Portland, Oregon’s Little Beirut. Fear of Heaven is a nice thick lush album featuring technology-laden pop fueled by soaring melodies. So many modern bands tend to overproduce their songs to try and make up for a lack of substance. That is definitely not the case here. The songs on Heaven are already strong and vibrant…but they are made even more so by the cool articulate arrangements and subtle studio polish. At the center of Little Beirut tunes are wonderfully sincere sounding vocals…with harmonies that are always right on target. The more we spin this one…the better it gets. Twelve clever modern pop cuts including “Last Light,” “Cosmic Waitress,” “Lifeboat,” and “No One Special” (our favorite). Cool stuff.–

Fear Of Heaven is the third album by Portland, Oregon’s Little Beirut, chock full of gorgeous indie rock songs. Rather than provoking a strong visceral reaction, the tracks slide over the skin, seeping slowly into the subconscious. Frontman Hamilton (dentist by day, no less) offers youthful, heartfelt vocals and poetic lyrics that invite listeners to interpret the colorful imagery through the lens of their own experience. After all, only the songwriter and maybe his close circle could possibly know what “There’s a lifeboat/On a tightrope/In my air-conditioned mind” (“Lifeboat”) could possibly signify, lending the tracks an extra air of mystery and intrigue.

While the instruments are played beautifully, the guitar and drums in particular, not one element is showcased above the rest, all coming together on one level for a flawless aural experience. The band has a spacey, ephemeral feel, but they also know how to rock, upping the intensity in all the right places. Even when getting down, Little Beirut keeps the tone mellow and shimmering.

All of the tracks on Fear Of Heaven are excellent in their own right, but most don’t jump out at you. You have to stick around and make their acquaintance to appreciate all their nuances. However, one song in particular has that special star quality, that indefinable something that makes you sit up and take notice and then want to play it over and over again. It wouldn’t be at all surprising if this song, first track “Last Light,” garnered the band significant attention (perhaps via a movie or television soundtrack, if Little Beirut doesn’t consider this selling out). Enhanced by the sound of a forgotten turn signal —a unique choice — the song breaks into booming drums, crashing cymbals, rocking guitar and fantastical imagery (think mermaids in a limousine). “Bow And Quiver” picks up the pace, adding a clap beat, wailing chorus and pedal-enhanced bass chords that hum just beneath the words and ringing guitar.

Weaving harmonica, piano and some type of intriguing percussion instrument with jangly guitar and warm bass, “True Swords” is a nice showcase for Sim’s voice; the high piano notes at the end sounding like twinkling stars. “Cigarette Girls” has a retro feel while “Armageddon Rag” ventures into murky waters with an ominous gothic organ sound likely produced by lap steel and harder rock in the verses. Sims plays along with the apocalyptic mood, adopting a sombre croon that quickly disappears, though the instruments persist with their undercurrent of darkness. The final track, wistful ballad “Crooked Crown,” offers this gem of a multi-layered image: “in the house that held me for ransom/in a sawed-off shotgun wedding gown”, tucked in among the verses. One thing is for certain, Little Beirut’s lyrics are in a class by themselves.

Basically, there is nothing but good things to say about Fear Of Heaven. A superb album, it provides indisputable proof that a band can be successful without the members needing to give up their day jobs. Also, contrary to popular belief, it shows that a group doesn’t necessarily need the backing of a record label to make incredible, polished music. This is an album listeners won’t soon tire of and one that only gets better with every play. Excellent job by Little Beirut, a band destined for great things. —ANITA MORF,

On their third record, Fear of Heaven, Little Beirut continue to make fearlessly big pop songs. They’re the kind of shimmering, catchy rock band that won’t fit in at all with the faux-expansion of fuzzy chillwave, but they have a sound that’s sturdy enough to outlast that kind of movement. The way guitars churn along, only to swirl up in squalls on the bittersweet “Nadia”, the careful bed of chords on “Cigarette Girls” or the moodier atmosphere of “Lifeboat” are all signs of a confident band making guileless and exciting music. In fact, it’s hard to believe that there are only three guys making this sound because this is pop at its most lush and extra-large. Sure, despite the album’s consistency, you may find yourself waiting for a standout track or two—and, really, no one track outshines the rest—but Fear of Heaven succeeds by being a carefully composed, intricate record that never forgets the key to driving pop tunes: they need a lively pulse.–Pop Matters


The raw, honest sound of Little Beirut‘s Fear of Heaven is pure from beginning to end. On this killer album, the quartet from Portland displays a Supergroup sound channeling the vibe of an amalgamation of Coldplay and Death Cab for Cutie, with less Hollywood production and more outright musical talent and execution. Fear of Heaven is their second self-released album, giving them the benefits of full creative control, which breaks through clearly in the unadulterated musical elements and the straight forward, thought provoking lyrics. It’s not every day you come a across an album you feel you are hearing exactly as the band intended it.

Their intro song Last Light eases you into the album with a soft intro and immediately kicks in with catchy guitar riffs and chorus lines, just when you’re ready for it. Cosmic Waitress, is an all around upbeat pop song you’ll have trouble not singing along to. True Swords, a slower melodic and easily one of my favorites on the album, is just an amazingly great and sincere song. The entire album, like this song, is soaked with heart-on-sleeve lyrics- it’s pure truth. The final three songs on the album are a power trio that exemplify Little Beirut’s talent: Lifeboat, No One Special, and the outro Crooked Crown. If these guys find their way out of Portland and in a venue near you, I recommend you stop by and pay a visit, I have a feeling this is a show to be seen. As for Fear of Heaven, I’ve said pretty much all I can say, it’s straight up good music. If you’re not into that kind of thing, you lose.

You can buy all kinds of nice fan packages including the cd, or just get the digital download, whatever it is, just get one, now.–Soverign

Little Beirut take their name from an insult former President George H.W. Bush made about their hometown, Portland, Oregon. Thinking the comment was both unjust and unprofessional they decided to express their affection for the city by forming an indie rock band. Fear of Heaven is their third LP and it’s full of catchy and moving songs, making it an exceptional entry into the genre.

Just as they took their name from a quote, their philosophy stems from a comment author Chuck Palahniuk made in Fugitives and Refugees, “Everyone in Portland is living a minimum of three lives.” The quartet consists of Edwin Paroissien, Hamilton Sims, Alex Inman, and John Hulcher, and they all appreciate being able to live as musicians while also playing the role of employee, spouse, parent, etc. Regardless of what these other personas require, they clearly spend a lot of time crafting their work into something special.

The album opener, “Last Light,” is the perfect way to begin. Its delicate guitar work, passionate production, affective vocals and catchy melodies (which are not quite as high pitched as William Hut) complement each other to form a gem. While the sentiments and style may be familiar, Little Beirut executes the feeling better than the most. It’s a great song. “Nadia” includes a beautiful guitar arpeggio and “Apology To My Heart” features sublime harmonies. Both tracks (and really the whole album) would provide a great soundtrack for gazing at stars and reflecting on life.

Every aspect of “True Swords” brings Death Cab for Cutie to mind, but that’s fine because (1) not every song on Fear of Heaven sounds like this (so there’s diversity) and (2) DCFC are a phenomenal act that every pop/rock group could (and should) learn a few things from. “Cigarette Girls” could definitely be the album’s single because it’s so accessible, while “Tullalah, How Long” is one of the denser and more encompassing songs. Slide guitar helps carry the regretful mood of “Lifeboat,” and “Crooked Crown” ends the album on a heavier and more emotionally neutral note.

There isn’t one second of filler on Fear of Heaven; the aforementioned tracks are just the highlights. All twelve songs deserve their place on the record and it your consciousness. Fear of Heaven will play in your mind continuously after it’s done playing in your ears. Simply put, in a genre saturated by artists trying to express similar ideas, Little Beirut is easily among the best.– (philly)

There are few local bands that I can imagine getting more serious play on alt-rock stations across the country than Little Beirut. The local quartet—led by singer-songwriter Hamilton Sims—do power pop the right way, with big, fat choruses and driving guitar chords that wouldn’t sound out of place on the Angus soundtrack. The band’s new LP, Fear of Heaven, drops tomorrow when it plays a show at the Secret Society Ballroom, but you can peep the video for first single “Last Light” right now. It’s a nice little stop-motion animation clip that does the song justice.–Willamettte Weekly

Nearly every song on Fear of Heaven, the third album from Little Beirut, sounds to me like it should be on the radio. I don’t mean that as a slight, either. Yes, there is plenty of garbage on the radio dial, to be sure, but Little Beirut—their moniker coming from Portland’s nickname, coined by the staff of George Bush Sr. after he was greeted with protests on his visits to town—transcends the lowest-common-denominator dreck that makes up so much of rock radio. Their melodies sparkle and sheen with tightly composed arrangements, immaculate production, and consummate playing. “Nadia,” in particular, is a perfect, triple-step pop song, and there’s plenty more on Fear of Heaven—the kind of record that epitomizes the term “radio ready,” if that phrase didn’t imply so much rawk-block terror. So let’s call it “listener ready,” or perhaps say it’s “great,” and leave it at that.–Portland Mercury

Portland’s Little Beirut are earnest power-popsters, creating tight, deceptively simple and lightly orchestrated up-tempo and midtempo indie rock that shimmers, shakes, soars and sings. The quartet — Hamilton Sims on vocals and guitar, Edwin Paroissien on guitar and vocals, Alex Inman on drums and vocals, and John Hulcher on bass — is about to release a whole new batch of pop rock songs called “Fear of Heaven.” You can check out the band’s nifty stop-action animated video for the CD’s first single, “Last Light,” on YouTube.–Portland Tribune