Broadfield Marchers

press reviews

British Press review (4 stars) February 2010 (by Nick West)
The Broadfield Marchers essay a gentle, oblique psych-pop calling to mind such glories as nascent REM and Guided By Voices. This is the third offering from the brothers Zdobylak with their drummer Justin Carter, and cements a growing reputation for care, artifice, and magic.

Displayed In Reflections is an apposite title. Their songs, sixteen in all, are jewel-like shards flashing from hither, thither, and yon. Often brief, they threaten to expose vistas, enticing and unreachable – like Alice's garden. Their titles, examples being "The Revenge Of Jimbo Bell" and "The Steepness Observation", are like unwritten books or lines form haikus; the brief lyrics hinting at a very small part of the story.

At home in the high registers, they can chime and jangle with the best of them In their very best songs, such as "Replacing Aim With Danger", little hints of forebears like McGuinn, Chilton, and Bell contrive knowingness without toppling into pastiche. Their influences sit easy, as a fact not a template, so that Displayed In Reflections, while perhaps announcing itself as an enigma soon becomes a veritable, rewarding comfort.
Uncut Magazine review (3 stars) February 2010 (by Terry Staunton)
"Understated brotherly powerpop" Kentucky siblings Mark and Dustin Zdobylak trade in an alluring blend of early REM jangle and Orange Juice whimsy. Their third long player retains the melodic psychedelia of previous outings, best heard on "Stay Beneath The Mirror" and "Falling Asleep To Disappear", but the teen pop pastiche of "Castle Of The Infinite Hills" and scuffed shirt balladry of "Fistless Fight" suggest they're working from a broader blueprint. The high register voices don't so much harmonise as playfully squabble, the vocal imperfections only adding to the shambling charm.
Americana/United Kingdom review February 2010 (by Keith Lovejoy)
Louisville pop music that tips its hat to Brian Wilson and Alex Chilton amongst others

A three piece fronted by two brothers Mark and Dustin Zdobylak. They plainly spent their childhood listening to some wonderful music as this collection is chockful of harmonies and melodies that are both familiar and loved but also annoyingly unplaceable.

First highlight 'Falling Asleep to Disappear' a hymnal that reeks of the Springfield and the Byrds with its swooping harmonies and other wordly dynamic and chorus. Heart achingly beautiful and reminiscent of 'Everybody's Been Burned' the great Crosby tune that has yet to be recognised as the equal of 'Eight Miles High' et al.

There is the spirit of 66 and 67 here as the nuggets continue to be unearthed. 16 tracks, each one a complete pop song 'Stay Beneath the Mirror' wouldn't have been out of place for Townsend. The acoustic heaven of 'The Steepness Observation' is surely a Barrett era Floyd confection that somehow has so far escaped the archivists.

The worry is, that this is too derivative but the sheer exuberance and diversity of this album puts paid to this fear. Enjoy and embrace.
The LAist in Cali Best of '09 January 2010 (by Heath Biter)
Here's what's been floatin' my boat this year – alphabetical-ish

boston spaceships – zero to 99
boston spaceships – the planets are blasted
bon iver – blood bank ep
avi buffalo – echo residency album
breeders – fate to fatal ep
broadfield marchers – displayed in reflections
crystal antlers – tentacles
dinosaur jr. – farmv elvis costello – secret, profane and sugarcane
flaming lips – embryonic
grizzly bear – veckatimest
john doe & the sadies – country club
king khan & bbq show – invisible girl
kurt vile – god is saying this to you
no age – weirdo rippers
pissed jeans – king of jeans
robert pollard – the crawling distance
robert pollard – elephant jokes
sonic youth – the eternal
various – the dark night of the soul
various artists – SCORE! 20 years of merge
wilco – wilco (the album)
yo la tengo – popular songs
Best of Lists '09 January 2010
We were on some "Best" lists, although these posts are no longer viewable.
Best of Lists '09 in:

BurnandShine.com blog
Daily Breeze San Diego Journal
Action Art by Jon Kelley blog

When the Lifted Connive – "Best of Decade" on Willfullly Obscure blog
Three of our albums – "Best of Decade" on baaab'S INSANITY blog

Triggercut review November 2009
Psst. Mac. You. Yeah. You. Not that other person. You.

You know what you like. You like that Guided By Voices thing, with the short-but-epic songs. You also totally flipped over the first Shins album. You have at least two Lilys albums, and listen to them a lot when you're in a bad mood.

Go check out the Louisville 3-piece calling themselves The Broadfield Marchers. If you were going to put together a band that pretty much hit all my buttons, this might be it. Dustin Zdobylak so effortlessly sounds like pre-Tommy era Roger Daltrey that it's frightening (think of the vocal style on "Pictures Of Lily" made gone album-wide), while the group (his brother Mark and a a childhood friend on drums) just nails the entire "less is more" aesthetic perfectly.
Louisville Music News November 2009 — cover story (by Kevin Gibson)
In a world in which over-produced and over-compressed are the standards in popular music, the Broadfield Marchers are like the weird kid at the frat party who shows up wearing a Han Solo shirt that reads, "Don't ever tell me the odds."

And asks for a Zima.

Low-fi, 1960s-influenced pop tunes are the order of the day for this Louisville band, and they throw back with the best of them – the Marchers eschew would-be modern indie rock stylings (or over-stylings, if you will) for a subtle-but-trippy approach that lands them in a category that owes much more to the Cars than to Death Cab and much more to Guided by Voices than to Kings of Leon.

And if front man Dustin Zdobylak's house looked any more like a used record store, well, he'd have to buy an ad in the phone book – crates and crates of old vinyl line the living room perimeter, and rock posters paper the walls. This is a guy who probably has Buddy Holly bed sheets and whose cell phone probably plays the MC5 when it rings.

But as much as this story sounds like the recipe for a group that develops a hometown following and goes no farther, the exact opposite is true – the new Broadfield Marchers album, Displayed in Reflections, was just released on Rainbow Quartz, a small New York label that specializes in trippy power-pop, and the boys not only have played South by Southwest multiple times, but they're getting good press in various parts of the U.S....and yet are lost in the buzz of Louisville's music scene.

Zdobylak and his older brother Mark team with drummer Justin Carter to comprise the Marchers, and they embody old-school. That their music sounds like some lost 1960s garage band recording is not a mistake, yet neither is it necessarily deliberate – they've tried studios, but they simply have not liked the result. So they instead record on an eight-track recorder – yes, on tape – in Dustin's basement.

The equipment is a late 1980s Tascam 488 tape recorder, and the recordings are just what they are on record as they were when performed in Dustin's basement. The White Stripes kicked off a "garage band" craze a few years ago that briefly made low-fi cool again, but even many of those bands seemed to be doing it all on purpose. The Broadfield Marchers just like recording songs.

"We hardly ever bounce tracks and keep things simple and spontaneous," Dustin said. "Just mic up and go; if you can't record a song with eight tracks, the song probably wasn't that good to begin with. Like, with unlimited tracks with Pro Tools, there can be a tendency to over-compress and layer things too much, and then you end up losing the heart of the song."

He sums it up nicely: "Some of the best rock 'n' roll was recorded on two tracks."

EIGHT TRACKS AND A CLOUD OF DUST
The basement in question is just what any garage-rocker past or present would love to call home. There is meager padding on one wall, a few blankets on others, and more rock posters as well. There is a rack of various guitars, probably 15 or so – there are even a couple of Squiers.

"We're not guitar snobs," noted Mark when giving a tour of the home studio recently.

It's a cramped but homey sanctuary, a musical sanctuary where three guys manage to make something organic and beautiful on just eight tracks.

The songs are sometimes brought in nearly finished by either Mark or Dustin, and other times they are half-finished or even snippets, and they get fleshed out by the group. Recording happens when it happens – sometimes for hours at a time, sometimes for minutes. But no song is belabored; they are fleshed out, rehearsed and recorded. This is just how the band wants it.

As it happened, a few years ago they ended up with some free studio time, and decided to use it to cut a demo. The studio was owned and operated by a guy whose trade was recording commercial radio jingles, and it just wasn't a good fit.

"It sounded too slick," said Carter. "It sounded like a band trying to do a demo in a studio."

"It didn't have enough personality," agreed Mark. "It sounded sterile. We went in there, only had a couple of hours, cut three or fours songs and it really sounded pretty terrible."

The band tried again at another studio and got the same result. They had recorded already at home and decided at that point just to keep doing their own thing, down in the basement.

"Basically we said we can do this in our basement" for a lot less dough, Dustin said. "Plus, you've got more creative control."

And so ever since, he said, "that's where the magic happens." The unassuming younger Zdobylak grins.

The latest album was recorded sporadically over a period of about six months – it contains 16 songs and is about 37 minutes long. Yes, do the math and you're looking at less than two-and-a-half minutes per song. That's another differentiating feature of the Broadfield Marchers – the throwback extends to the songwriting as well.

All those Everly Brothers and Elvis songs? They rarely exceeded three minutes; usually it was closer to two. Early pop was a quick hit with a great melody and then done. The Marchers take a similar approach to their songs; listening to a Broadfield Marchers album is almost like listening to side two of Abbey Road by the Beatles.

"It's weird how, if you go back to the '60s and '70s, that was pretty common," Dustin said.

"To us, they're not short," Mark adds. "They sound complete. If you go back to our earlier stuff there are a lot of longer songs. There's not a conscious effort to make them short, it just came out that way. When a song is written and it's complete you just leave it alone – you don't try to make it longer."

"That's what so many people talk about now," Carter then adds. "We know how to draw songs out and do different things, but... why try to make them something they're not?"

"Plus, we have short attention spans," Mark deadpans. "The next album is just going to be two songs: one on each side."

"It may be a reaction to jam band music," Carter continued. "We go to bars and the songs last 10 minutes, so we want to write short pop songs. I always think of [jam music] as musical masturbation. I can definitely respect the musicianship; it takes them so long to get to that level. But we take pride in how tight we sound, and we get to that point really fast. We know where we're going and this is it."

"Unless you're on mushrooms," Mark riffs, not finished, "there's no reason to play a song more than three minutes."

Hanging out with the Broadfield Marchers is entertaining, to say the least.

THERE'S NO PLACE LIKE... SOMEWHERE ELSE
Perform a Google search on the term "Broadfield Marchers." It yields quite a variety of links, reviews and other odds and ends, and the writers just gush about these three guys – their reviews overflow with comparisons.

Seriously. It's almost as if the Zdobylak parents wrote this stuff. And since feature stories like these usually are filled with quotes from the people who know the band best, and since the Marchers seem to be way more popular outside Louisville than within its borders, this is going in a different direction.

Amplifier magazine, November 2008, about the band's last album, The Inevitable Continuing: "Louisville, Kentucky's Broadfield Marchers have masterfully melded the classic sounds of the Byrds, Zombies and Big Star with such latter-day signposts as REM, Let's Active and Guided by Voices, in the process creating a refreshingly lo-fi, melodic mini-masterpiece for the huddled masses.

And here's Uncut Magazine: "Broadfield Marchers have got a mainline to the best qualities of lo-fi power pop... with a basement pop ethic and touches of English psychedelic whimsy."

And Magnet Magazine wrote that the Broadfield Marchers "sound like Alex Chilton fronting Guided By Voices... twisting and floating in the rarefied upper register, these brothers' Byrdsy harmonies make you want to believe."

And the editor of a website called SideoneTrackone.com named The Inevitable Continuing its 2008 album of the year: "Masterful songwriters who take cues from bands like The Kinks and the Zombies, these guys know how to stretch the simple guitar/bass/drum combinations past the traditional limits. I'm literally on the edge of my seat for a new release from the band, hopefully with improved recordings and more of the same timeless songs."

Bruce Brodeen runs NotLame.com, a website based in Colorado that is dedicated to power-pop of all kinds – it's a passion for him, and he drinks up new bands like it's audio Kool-Aid. Of the Marchers he wrote on his site that they sound like the Shoes, while adding influences of "Sell Out-era Who, Badfinger, Cheap Trick, Alex Chilton, early Pink Floyd and others. These short and succinct songs (many under two minutes) are ethereal, sophisticated, and filled with pop craftsmanship. It appears that the members of Broadfield Marchers have been quietly writing and recording power-pop gems for several years... The vault has finally been cracked... The influences parade themselves, no doubt – all the while the Marchers avoid cliché tribute, maintaining a freshness not unlike contemporary practitioners such as Field Music and The Shins."

Even Mojo (yes, that Mojo) spared some words on the Marchers and, while not providing a gusher, referred to the sound as "cheap but cheering." Hey, to be noticed by Mojo is pretty darn significant.

And it doesn't hurt that they're regulars at South By Southwest in Austin, Texas, each spring, as well as the CMJ Music Marathon and Festival in New York. Those aren't power-pop specific festivals; they are for music lovers in general.

INFLUENTIAL
So where did this love of pop originate? For many of us, it was handed down from our parents via Elvis Presley, Buddy Holly, the Beatles and the like. Younger folks sometimes work their way backwards from current guitar-based bands.

With the Zdobylak boys, it's a little tougher to figure, but older brother Thad figures in. Born in the early 1970s, he wasn't far removed from the music of the '60s, and of course grew up smack dab in the middle of Zeppelin and the like.

"(Dustin) probably listened to everything I listened to," Mark said. "We have an older brother, and it started with him buying records."

"We always had the same taste," Dustin said.

"I was a Stones fan and he was a Beatles fan," Mark interjects. "But we got along anyway."

Mark continues, "Our parents didn't have a very good record collection. I got into music at a very early age because of my brother's records. I can remember being seven or eight years old and having Cheap Trick posters on the wall. He turned me on to a lot of cool stuff."

But while some have compared the Broadfield Marchers to '80s groups like Let's Active and Murmur-era R.E.M., Dustin insists he didn't get into the '80s until much later. He and Mark consistently reach back to the era their brother introduced them to, though.

"There was so much good music in the '60s and '70s that you can consistently go back and find something you've never heard before," Mark said. "I think it's fairly obvious some of the best music was written during that period. As to why we gravitate toward it, it's not conscious; it's just where we go. We're not conscious of what decade it comes from."

The brothers have been writing music for at least ten years, and they say the early stuff, while it isn't quite as easily traceable to their current sound, is pretty close. The band hooked up with a small label called Secretly Canadian and put out a vinyl-only release called When the Lifted Connive.

Dustin said, "We put it out, and..." He then shrugged. But that album is the clear kicking-off point of the band's distinctive approach.

"They said 'We'll start you out on vinyl and see what happens," Mark said. "We were like, 'Sure that's cool.' But nobody we knew could really buy it. But we were happy with (how it sounded)."

Fortunately, Carter shares his bandmates' love for pop, and he enjoys adding his own touches to the songs. He and Dustin had played together in a fairly successful local high school band, and then they went off in different musical directions. There were a few drummers auditioned for the Marchers when Mark and Dustin convened in 2000, but it was Justin who was the most natural fit.

Interestingly, the connection actually began before high school.

"Dustin showed up on my parents' front porch in eighth grade, I guess," Justin said. He had already played in a couple of bands and knew Dustin from school – and Justin chose the drums largely because his friends usually picked the guitar. He said Justin appeared that day, announced he was forming a band and said, "We need a drummer."

"Is that a true story?" Mark said. "I never heard that."

"We played in a band called Fuzz, I believe," Justin said.

To which Mark said, "I think it was Peach Fuzz."

"Don't print that," Dustin said.

DANCE WITH THE ONE THAT BRUNG YA
Converting the trippy pop vibe to a live setting is something that does pose a problem. OK, it's actually not a problem – it just gives the Broadfield Marchers a reason to rock out like the big boys.

"With our live show," Dustin said, "we just amp everything up to 11. The songs tend to be a little faster and louder live. We want to sound like the Who or the Kinks with our stage show."

This approach goes back to the recording theory that spending too much time on it can take the song away from what it was intended to be. Dustin acknowledges that the end result on stage may be a little sloppier than on the recordings, but still fun. Hey, it's pop; it's supposed to be fun.

"It can get kinda boring when a band plays exactly how they sound on CD," he said. "I would much rather hear the mistakes and drunken ad libs. It's really interesting for us to hear how the song progresses from the recording to playing it live. They are definitely two different worlds. It also keeps the songs fresh for us without getting sterile."

Another long-standing tradition with the Marchers is something rather quirky: curiously interesting song titles. It started early and bore out on with When the Lifted Connive. Some of the titles on that lilting pop gem include "Unshakable Rumble Child," "Crease of Freedom," "Harriet Nice" (which sounds like the title for a lost Abbey Road track) and the title cut.

The band's next album, 2008's heralded The Inevitable Continuing, broadens this creative approach. Some of these gorgeous songs include "Leopards with Empty Claws," "Watchful Hill People," "Patterns of the Glance" and "When Cowards Stall."

Push play on the new album, Displayed in Reflections, and you'll be able to hear tunes like "Dr. Invincible and the Champions of Love," "The Revenge of Jimbo Bell," "The Steepness Observation" and "Incredible Jumpsuit Shaking."

And if you're thinking this is intentional, well, the Marchers are saying it's not.

"We don't put a whole lot of thought into it but yet they are important to us," Mark said. "When I pull out a record and look at the back, if it has interesting titles, I want to hear it. A strange or weird sounding song title is good – but there's no formula to it."

For instance, some titles are just phrases they come up with that simply sound good or interesting. But in the case of "Jimbo Bell," it's a song loosely based on a Louisville skateboard legend by that name.

Mark, who wrote the song, said, "When we were kids, skateboarding was big and this guy was the local skateboard legend. He was in a Rally's commercial – he was a big deal. As we started to get out of skateboarding, coincidentally his celebrity started to fade. We haven't heard anything from him since that time.

"But I just liked the name Jimbo Bell; I thought it had a good ring to it."

Quite often, the words in a Broadfield Marchers song title do not appear in the song itself – not exactly the pop way, which may confuse the purists. But it's the Broadfield Marchers way.

So for now, the band will march forward as always, doing it their own way – in their own basement, cranking out short songs that don't get overthought, and recording on eight-track. With Squiers. Why let some radio jingle guy or flashy Pro Tools-wielding producer screw up a good thing?

"We still haven't found our George Martin yet," Mark says with a shrug.

They don't appear to be looking too hard.
The Courier-Journal November 2009 (by Jeffrey Lee Puckett)
When pregnant with her boys Dustin and Mark, Mrs. Zdobylak worked her way through the recommended albums section of "Finding Shangri-La(s)," the bible of 1960s pop music, devoting the first half to the older Mark and the second to Dustin. It was the amended edition, with a list that included bands from the 1990s.

And the boys came out humming everything from "Don't Worry Baby" to "I Am A Scientist," plus a little "Happy Jack." Some people are born with an abundance of melody and aren't afraid to use it.

The Zdobylaks, however, definitely do not overuse it. "Displayed in Reflections," their third Broadfield Marchers album, is a compact 30 minutes and change – although it does boast 16 songs – and it's for anyone who worships the enduring power of a good hook and the prettiness of a perfectly resolved chord.
Limewire review October 2009 (by Jason Newman)
On their third album, the Kentucky-based Broadfield Marchers continue to mine the same sonic universe pioneered by pop wizards The Kinks, The Byrds and The Beatles (circa 1965). Like their previous efforts, the group displays its love for the short-and-sweet pop song, never venturing past the three-minute mark and wrapping up this collection of power pop-gems well before it hits its expiration date. Unlike many of their bloviating peers, Broadfield Marchers understand that the best ideas are those that are applied tersely and succinctly. For them, it's a "get in the listener's head and get out" philosophy. On the title track, vocalist Dustin Zdobylak's phrasings recall both the more melodic side of John Lennon and the country inflection of My Morning Jacket's Jim James. The guitar-driven "Conquering Major Miles" recalls Big Star at their best. By the time the slow, haunting closer "Castle of the Infinite Hills" comes to an end, you realize you've just a heard a band that said more in 30 minutes than most do in 60.
The Paisley Umbrella February 2009 — SXSW 2009 Pick #9
SXSW 2009 Pick #9: The Broadfield Marchers

Among its origins, Psychedelic rock could be characterized as an early offshoot of garage rock. Fuzz pedals, Farfisas, and older Rickenbacker guitars with their classic twang integrated into garage rock to take it from basic to freaky. This progression not only took place in the '60s, but also in the '80s once punk bands integrated The Velvet Undergound into their sound, then later The Byrds, Thirteenth Floor Elevators, The Beatles Revolver, and others. That result was bands like The Soft Boys, REM, The Bangles, The Plimsouls, and others. Right now, we're witnessing the third wave of that progression that started in the mid '90s with The High Dials, Asteroid #4, and newer acts like The Urges, who stick to a loud, fuzzy garage rock, but also have integrated small elements of psychedelic rock, The Disraelis, and The Parties. In fact, one could say this is the year of psychedelic garage rock. A relative unknown to this third wave is The Broadfield Marchers, a three piece outfit that carries melodic psychedelia with a raw, lo-fi sound, and a slower tempo. In fact, they're a bit of a standout with the combination.

Considering they're on Rainow Quartz Records, a label long known for picking a lot of the best sounding, highly polished psych pop out there, The Broadfield Marchers are a bit of a surprise since it's not the crisp sound that many of use have come to expect from acts on the label. "Raul" is a strong, slow but heavy blast of low tempo, heavy chords that seem to have more in common with early Pixies than the band's labelmates, but the nearly out of nowhere guitar lick and the buildups to the chorus have more in common with the louder, heavier songs from The 13th Floor Elevators. One also notices that guitar/lead vocalist Dustin Zdobylak has a soft, high pitched voice that stands as a good contrast to his somewhat heavy guitar playing. If one has a genuine affection for lo fi, "Leopards With Empty Claws" is a wonderful fulfillment with it's Peter Buck, early REM style guitar, and although early REM was not exactly top studio production and has a great element of newness in its back to basics approach, The Broadfield Marchers have an even less frills sound.

One can tell The Broadfield Marchers are a basic psychedelic outfit by way of The Byrds and previously mentioned acts, but with the odd, sliding diversions on "Stutter Shaker" and "Watchful Hill People", one notices that The Broadfield Marchers use a good bag of psychedelic touches that are always original, exciting, and just odd enough in their contrast to the rest of a song that show that this band is well above doing anything formulaic. In fact, although "The Inevitable Continuing" is mostly downtempo with little guitar effects, they got quite a response at last year's CMJ showcase, where Dustin wowed the crowd to the point that a few likened them to early Nirvana! Possibly, what makes The Broadfield Marchers is that they've completely eschewed the '90s shoegazer type psychedelia for something much less refined and exciting. That's not to say that the songs border on catchiness, but songs like "Mondo from Growth" carry a much stronger air of rock 'n' roll than lush psychedelia of shoegazer music. Also, the songs just sound like they're being played in a room in front of you. They're great songs that although are quite well done, don't sound like they came from a studio. For example, Mark Zdobylak has a prominent, melodic bass on "Following Minds" that seems to be on its own melody at times and is just complex enough to be interesting. At the same time, Justin's guitar is best described as "active" and never predictable, but his voice possesses a clarity and almost innocence since it's so high that that it makes for a song that one could both sing along to but never be able to predict the music to it.

The combination of a minimalist approach with careful attention to the music itself is hard to come by. In fact, the band that always championed this approach was The Velvet Underground by doing few things and not relying on studio tricks. One of the greatest results of this idea was Loaded, which was an album full of great, basic rock songs that were often slow, but remain fresh and modern with every listen. The Broadfield Marchers have a natural affinity for this sound and approach on "Patterns Of A Glance" and "Eagles Prevail." A personal favorite is "Panic Imposed", with a near '70s beat from drummer Justin Carter and many creative touches combined with some similar decade guitar riffs over Dustin's high voice that seem to communicate a heightened sense of fear when he sings the words "Panic imposed". Another standout is "Rightness of Commands", with an almost familiar melody interspersed with flowing but almost disturbing guitar effects.

The Broadfield Marchers The Inevitable Continuing can best be described as striking. Most of 19 tracks on the album are sharp pieces that don't repeat themselves, but are definitely a great psychedelic trip because the album moves like being in an ever changing world with sharp turns and never knowing what's coming around the corner, but having Dustin's voice as a permanent tourguide. Even the songs that one can easily point to influences carry enough string disturbances to keep one from becoming too comfortable and feeling like they know what The Broadfield Marchers are all about. In summation, this is what psychedelic music should be like: raw, harmonic, but also never predictable and often, unsettling. However, the confrontational elements are never shocking, but some to come naturally as part of their talents. The fact that the songs on The Inevitable Continuing have what can best be described as on overall weirdness to them while retaining a rock 'n' roll sound instead of being experimental are testimony to the fact that The Broadfield Marchers carry a lot of talent in three people that have translated into incredible performances according to the few who have seen them.

If you love rock 'n' roll, a part of that affection is for an element of disturbance because it's a rebellion to something standard and accepted. Unfortunately, most elements of the music that we hold so dearly that once were rebellion are now packaged and sold for it. The Broadfield Marchers play music that is still rock 'n' roll, but psychedelic and somewhat off either in key in certain places or full hits of odd but never contrived noise that they will remain with us and not be co-opted like so many of our favorite acts have been. It's not anarchy, but The Broadfield Marchers create short masterpieces that really provoke thought and appreciation for melodies with more than hints of disturbance to keep one always interested without being musically overbearing. Not only is The Inevitable Continuing a fast paced, psychedelic mindtrip on an unfamiliar and changing path, but their live shows simply cannot be missed.
The Courier-Journal January 2009 (by Jeffrey Lee Puckett)
If Syd Barrett and Robert Pollard got together to program an AM radio station, they'd have the Broadfield Marchers in heavy rotation and playing live at every office party. Barrett's dead, of course, but for most people so is the kind of music that the Broadfield Marchers champion: Wispy power pop with a psychedelic heart.

The antecedents for the Louisville trio on its second album, "The Inevitable Continuing," are plentiful and obvious. The trippy pop that Barrett wrote for early Pink Floyd is floating around, as is the anthemic garage rock of Pollard's Guided by Voices. You can also toss in any band with a gift for subtle melodies that strengthen their hold over time – from The Kinks to Big Star.

The Zdoblyaks and drummer Justin Carter are also models of efficiency, keeping most songs around two minutes (with seven coming in under), creating a breezy, old-school, Top 40 feel.

Anyone who owns the "Nuggets" compilation of 1960s pop or followed the Paisley Underground movement of the '80s will find a lot to love here. The lovably murky recording quality also recalls the lo-fi aesthetic that Pollard perfected in the '90s, giving these polished miniatures a roughness that offsets their many pocket charms.
SideoneTrackone.com December 2008 — Album of The Year 2008
Best National Album of The Year: Broadfield Marchers - The Inevitable Continuing

I think John covered the major releases well this year, so I wanted to quickly mention my favorite non-major label release this year: The Inevitable Continuing. Despite the inexpensive recording equipment that likely yielded this release, The Broadfield Marchers have made an album that I simply can't listen to enough. Masterful songwriters who take cues from bands like The Kinks and the Zombies, these guys know how to stretch the simple guitar/bass/drum combinations past the traditional limits. I'm literally on the edge of my seat for a new release from the band, hopefully with improved recordings and more of the same timeless songs.
Amplifier November 2008 (by Rick Schadelbauer)
A solid addition to the already stellar Rainbow Quartz galaxy of artists, Louisville, Kentucky's Broadfield Marchers have masterfully melded the classic sounds of the Byrds, Zombies and Big Star with such latter-day signposts as REM, Let's Active and Guided by Voices, in the process creating a refreshingly lo-fi, melodic mini-masterpiece for the huddled masses. By cramming 19 songs into just over 42 minutes, Broadfield Marchers (brothers Mark and Dustin Zdobylak, aided by drummer Justin Carter) have mastered the seemingly lost art of leaving the listener hungry for more – far preferred over hammering an otherwise pleasant riff into the ground until fetid and moribund. And on The Inevitable Continuing, the hooks just keep on coming...and going. "Leopards with Empty Claws" offers some nifty Peter Buck-style arpeggiated guitar, while "Panic Imposed" melds Raspberries-esque power chords with Dwight Twilley's vocal quivers. Only on "Circle Avenue Cig Hag" does the band shift gears ever so slightly, injecting some progressive elements into the largely psyche-pop proceedings. And while the lyrics throughout are largely inscrutable ("A rare sighting seen unconscious/Growing up, don't wake the bear/Notice good ones, careless and blind," as just one example), that's hardly a fatal flaw in this style of melodically psychedelic pop and roll. Rather, creating the proper atmosphere and offering up inescapable melodies are far more critical than is readily accessible wordplay (see, for example, REM, Murmur.)
Left Hip November 2008 (by Kristen Cudmore)
Like good home cooking, Broadfield Marchers offer variety pop dipped rock that brings you back to the simplicity of good songwriting. Imagine you're in a time machine, suddenly driving in your Dad's old Cadillac listening to the new radio station while fanning your hand out the window in patterns and weaves though the autumn air. A soundtrack to a time once past, The Inevitable Continuing is a testament of just this.

The Louisville sluggers: Mark & Dustin Zdobylak have a created a sound reminiscent of Brian Wilson and Guided by Voices. Perfectly comfortable in their higher registers, the vocals sail through you. Melodies and harmonies match up with flawlessly present guitar driven conception. Gripping melodies in especially "Following Lines" tend to stick with you.

This is a great experience. Uplifting and light, a consistent and lovely bop, it's great album to have for road trips. Even though it was just released, it'll be one for the memory banks.
Uncut
Broadfield Marchers have got a mainline to the best qualities of lo-fi power pop...with a basement pop ethic and touches of English psychedelic whimsy.
Party In Kingston November 2008 (review by Chris White)
Hunting for shiny, happy music Rainbow Quartz recording artists Broadfield Marchers have what you're seeking on their second album The Inevitable Continuing (2008) released in early September. Their DigiPak has no export restrictions so as a "foreigner" up here in Canada, eh I can kick back and enjoy the entire medium.

The band has a interesting REM meets the psychadelic 60s with a twist of YES going on in their music. Brothers Dustin Zdobylak (vocals, guitar) and Mark Zdobylak (bass, vocals) with Justin Carter (drums) have delivered a sophisticated 19-track album filled with pop artistry and good vibes.

Spirted selections such as the opener "Raul", "Mondo From Growth" track 5 and number-16 "The Thoughts Of Simple Simon" convey their straight forward approach to music; no frills, all fun. You won't find any horrific messages embedded within their lyrics. Dustin has a genuine voice with full range as heard on track 4 "Watchful Hill People", "Panic Imposed" in the middle and track 12 "Eagles Prevail". Their music will no doubt be a hit along the campus music scene.

The album is very well produced. The instruments and method of recording creates a wonderful tube amplifier savoir-faire to the disc. The album art is unique depicting a social landscape of their sound by simply putting a boy in a room; when you see it, you'll know what I'm suggesting.

Unlike placing the perfect bet at the Kentucky Derby, putting your money down on The Inevitable Continuing with the boys from Louisville is a sure fire win.
Louisville Music News November 2008 (review by Kevin Gibson)
Power-Pop is Not Dead

I'll tell you right up front that I'm a power-pop fan from way back (thank you, Beatles), so it's no surprise I dig the Broadfield Marchers' new album, The Inevitable Continuing. This is low-fi indie pop with a cool, haunting vibe that ratchets up the melodies and offers up songs with titles like "Leopards with Empty Claws," "Sad Earth Maze" and "Patterns of the Glance." (Gotta love a good, engaging song title.)

One of the aspects of this album that is so interesting is that there are 19 songs, many of them not even cracking the two-minute plateau. And with melodies as breezy and easy as the one in "Stutter Shaker" (as an example), one can kind of get lost in the meandering sweetness of the album.

Led by Louisville brothers Mark and Dustin Zdobylak, Broadfield Marchers seems to capture a time in the 1960s (one reviewer compared this to Sell Out-era Who) and blends it with the same kind of steamy and breathless precision of Iron & Wine. And power-pop aficionado Bruce Brodeen's website, NotLame.com, compares the Marchers to the Shoes, while also mentioning Guided by Voices as a reference point.

This outfit actually sounds a bit like Badfinger to me, with a Shins-like modern twist (and some Teenage Fanclub tossed in for good measure). Really, though, this is just solid and catchy rock 'n' roll. The mournful slide guitar in "Sad Earth Maze," for instance, just reaches into your chest and grabs you, comparisons and genres be damned. And Dustin Zdobylak's vocal delivery is a perfect way to transmit this music – with his brother providing backing vox and Justin Carter providing subtle but solid backdrop on drums, there's a lot of depth to the simplicity of this trio. I mean, the bright and happy "Amazing Wheels" is just one song that will put down roots in your brain. And while on the surface it doesn't immediately seem like anything special, well, in the end it sort of is. And I can't even explain why.

A huge part of the charm here is that Broadfield Marchers don't spend a lot of time on lengthy guitar solos (except on a brave and successful venture in "Circle Avenue Cig Hag"), nor do they give a damn about sounding "radio-ready," which is the downfall of so many bands these days.

Sure, every band wants to hear their songs on the radio, but these guys seem happy to simply be what they are and to let the chips fall where they may. It's like they're saying, "Here's our song; we hope you like it." Nineteen times. In other words, it's more about the songs themselves than any kind of contrived sound or approach. We have enough bands that sound like Bowling For Soup, for chrissakes – it's refreshing and encouraging to hear a band take its cues from something more organic and real, like the psych-pop of the 1960s, the power-pop of the 1970s and even the skinny-tie bands of the early 1980s.

In fact, these guys would have been a natural fit for Greg Shaw's Bomp! Records label back in the 1970s, which was the label to first sign acts like the Flaming Groovies, the Germs and even Iggy Pop when he recorded his first solo album. Bomp! followed these punk beginnings by signing the aforementioned Shoes, as well as power-pop bands like 20/20, the Plimsouls and the Romantics. Truth be told, the Broadfield Marchers would appeal to fans of all these acts.

Once again, Louisville shows us that its music scene is diverse and deep. It's especially telling that more people outside this town seem to know about bands like the Marchers than do those who live here. Enough with listening to canned, piped-in music already – this kind of stuff deserves some attention. March on, lads.

LMNOP Babysue November 2008
Hmmm...some very interesting stuff here. Magnet says this band sounds like "Alex Chilton fronting Guided By Voices." We'd almost agree with that...but instead, we would say that the guys in Broadfield Marchers sound like a cross between Guided By Voices and The Shoes. In particular, the tracks on The Inevitable Continuing remind us very much of songs on The Shoes' Black Vinyl Shoes album...except the songs are more progressive and much less obvious. Pop fanatics who get tired of overproduced music will find this album to be a refreshing change of pace. Brothers Mark Zdobylak and Dustin Zdobylak and drummer Justin Carter create underground guitar pop that is surprisingly genuine and heartfelt. Their songs are not instantly familiar. These guys throw in plenty of unexpected melodic twists in their songs that give them a wonderful spontaneous feel. And the vocals are exceptional. Something else that makes these guys stand out is the length of their tunes. Many of the nineteen tracks on this album clock in at about two minutes. YES!!! It all adds up to a hit record in our twisted little corner of the digital universe. Cool cuts include "Raul," "Mondo From Growth," "Eagles Prevail," and "Cobblestone and Pinetrees." Recommended. (Rating: 5++)
Magnet September 2008 (by Neil Ferguson)
On paper, at least, this Louisville, Ky., power-pop trio would appear to be an utterly faultless proposition, an aging hipster rock critic's proverbial wet dream. Broadfield Marchers have all the right moves and touch all the requisite musical reference points: a hefty slice of Radio City-era Big Star meets the Raspberries via Badfinger, with added echoes of The Who Sell Out, a whole lot of sub-Byrds Rickenbacker jangle and just a smidgen of R.E.M. mystique. All this plus a neat line in vocal harmonies and a succinct attitude toward song length (only two of the 19 tracks on sophomore effort The Inevitable Continuing clock in above the three-minute mark), and both this magazine and Mojo have lauded the band. What's not to love, right? And yet, it's all so interminably dull. The Inevitable Continuing is certainly pretty, and it possesses a certain psych-pop fragility. But nothing here ever gets under the skin. It's as if it's been airbrushed and buffed into near nothingness, calling to mind the last Shins album (another musical reference point), which promised so much and delivered so little. Ultimately, The Inevitable Continuing is a pleasantly inconsequential experience that wafts by and is gone before you know it.
Not Lame
Heads up fans of SHOES. The Broadfield Marchers may be the most Shoes inspired band I've heard since The Spinning Jennies, but add slices of other classic pop influences like Guided By Voices(at their very finest, pop-wise), "Sell Out"-era Who, Badfinger, Cheap Trick, Alex Chilton, early Pink Floyd and others. These short and succinct songs (many under two minutes) are ethereal, sophisticated, and filled with pop craftsmanship. It appears that the members of Broadfield Marchers have been quietly writing and recording power-pop gems for several years. Until now, few folks have walked in the hazy sunshine of the Louisville, KY trio. The vault has finally been cracked with this fabulous record. The influence parade themselves, no doubt – all the while the Marchers avoid clichÉ tribute, maintaining a freshness not unlike contemporary practitioners such as Field Music and The Shins.
Magnet November 2007
Would it be too over-the-top to declare that Broadfield Marchers – led by brothers Mark and Dustin Zdobylak – sound like Alex Chilton fronting Guided By Voices? The Louisville, KY trio's debut dreams in Technicolor power pop and plays in basement-quality fidelity. Twisting and floating in the rarefied upper register, these brothers' Byrdsy high harmonies make you want to believe.
Mojo June 2007
From Louisville, KY, siblings Dustin and Mark Zdobylak are powerpop fans and proud of it. You could spend this breezy, mid-fi 13-tracker marking off the influences- the title track unconsciously cops a slice of Strawberry Fields, for example, and various others ( The Who, Pink Floyd ) litter the rest - but there is still enough things to enjoy. Could it be unselfconscious, almost naive digging of the music they love? Cheap but cheering.
Arthur Issue 26 (by Thurston Moore + Byron Coley) — Top 80 of 2006
When the Lifted Connive LP (St. Ives) Totally addictive lo-fi power pop trio from Louisville w/ lotsa moves lifted from the Wilson brothers and Sell Out -era Who, but assembled w/ the ham-fisted "precision" that made Salvation Army SO MUCH BETTER than the Three O'Clock. Often such bands "mature" into something a bit too evolved for our own tastes, so sample early. Edition of 300. EXTREMELY HIGHLY RECOMMENDED!