Aliases:
L.M. Childe; LMC; Late Mourning Child; The TinPan Alley Fun-Time Revue; Let's Make Coffee.

Culpable parties:
Jayme [Childe]
Jon-Paul [Childe]

Product of:
Seattle, Washington, United States of America, Planet Earth.

Sounds like:
We invite you to fire up Radio Free LMC, and find out the hard way... Or, you could scan the following list for a selection of comparable artists that we love very much, but do not necessarily imitate: Cranes, Mazzy Star, the Rosebuds, Radiohead, My Bloody Valentine, Wye Oak, Mojave 3, Carissa's Wierd, Public Enemy, 10,000 Maniacs, Ladytron, Air, CocoRosie, Depeche Mode, The Innocence Mission, The Knife, James, and/or the guy who did the music for Wii Bowling.

Historical data of questionable relevance and sketchy authenticity:
L.M. Childe is the collective brainchild of two individuals. Jayme [Childe] possesses two X-chromosomes, while Jon-Paul [Childe] muddles through life with just one. After meeting in the halls of academia in 1998, the pair began writing and recording intimate and ambitious music together. Soon, there was enough material to make a record that would really alienate everyone!

Recorded entirely in a small bedroom, the first self-released album The World Wakes Up Without You was conceived in 2001, a 12-song collection of sparse and deliberate fragility. Acoustic guitars laid a soft foundation alongside reverb-soaked synths and tape loops, letting beautifully haunted melodies take center stage, while percussion was forcefully and roundly ignored. Encouraged by delusions of grandeur, the band then proceeded to embark upon a successful national tour of the U.S.A.

Being reactionary and creatively restless people, upon returning home LMC made a conscious effort to expand the scope of the songwriting and develop a more fully-realized, less "mild" identity for their next record, One Reason For Not... . However, the project would take a backseat for a time, as they decided to relocate from their hometown of Baltimore, Maryland to the greener pastures of Seattle.

After settling in on the Left Coast, plans once again got underway for a much different sort of record. As sessions began (this time in a different small bedroom, a continent away from the first small bedroom) a collection of vintage drum machines, overdrive pedals and increasingly arcane plug-ins became the new nervous system of LMC's body artistic, and a brave new world began to take shape.

The band's second self-released LP One Reason For Not... represents a bold departure from their past and an open challenge to the status quo. In songs such as "Orphan", "Hush, Satellite" and "The Pretty Negative", the sound attacks like an undertow: one is taken deep underwater by gauzy swirls of tremolo and turbulence, leaving a unshakable feeling of acute disconcert. Others, like the sublime "Stay Awhile", or "The Impossible", trade chainsaws for cherubs: delicate and sparing; with Jayme's hushed, assured voice settling gently over lush waves of guitars. With over twenty-five songs tracked during the project, the b-sides and unreleased material from those sessions are likely to be released as supplemental EP's or made available as online exclusives.

As time goes on, ideas continue to shift and new sounds are discovered, sometimes colliding and making for a constantly-evolving future. "We're never sure quite how to characterize this band," says Jon-Paul. "We are nice, ordinary people and we just happen to make egregiously uncool music, of the type typically enjoyed by ghosts, phantoms, poltergeists and housecats. And many other common household pets, as well."