Creeping Time

Creeping Time, planted in 1997 when Ken Nottingham (lead singer, lyricist, and upright bass) met former guitarist and songwriter, Adam Boesel at an open mic on Seattle's Capitol Hill. They had an instant connection through their passion for songwriting and enjoyed playing each others' songs. Adam brought Dave Forrester (drums, background vocals) on board and Creeping Time was born. Creeping Time recorded their first LP ?Down That Muddy Road? in 1999 at the Chicken Eye Studio with Ken's long time friend Ivan Lee at the controls.

It was a simple album that captured the pure songwriting and simple chord structures that is the soul and roots of this original band.

Their second album, ?How to Fly? released in 2001 and featured a number of different guest musicians that had been sitting in with the band at the time. With electric guitar, piano, Hammond B3 and accordion - the result was a more produced sounding album and still remained true to their good time, foot stomping feel.

Soon after the release of ?How to Fly? Ken met Kjell Anderson (fiddle) at an open mic where Ken was host. Kjell sat in with the band for a couple songs at their next show and it was clear to all that his fiddle was what they were in search of in a soloist and Kjell fit right in with the guys.

2003 was a good year for Creeping Time which included the release of ?Live? a full tilt, high energy, hoe down frenzy featuring Kjell's blazing fiddle style, as well as their first west coast tour; through Oregon, California, Utah, Arizona and New Mexico. The highlight of the year was the addition of Michael Splay (guitar, mandolin, vocals) - at 6 feet 6 inches, he is the tallest child prodigy you will ever meet and Dave's best-ever find on Craig's List. In late 2004, Adam left Creeping Time to start his solo career.

The current line-up, whose music spans the gap between your grandfather's bluegrass and modern rocket science, continues to entertain audiences of all ages throughout the Pacific Northwest. It's like Bill Monroe, Doc Watson and Vassar Clements jamming with Phish, Steve Earle and the Ramones. The poetry of the lyrics is matched only by the passion and fire with which they play.

Discography:
2006 ? Cheap American Lager
2003 ? Live at Conor Byrne
2001 ? How to Fly
1999 ? Down that Muddy Road

Kjell Anderson
Fiddle, Jumps
kjell@creepingtime.com
Kjell (pronounced: Chell) was born with a passion for performing in his genetic code. His mother is a concert pianist, father a minister, his brother is a cellist and professor of music and his sister is an accomplished flutist. Raised on Bach & Mozart, Kjell also has a penchant for Metallica, Guns ?n Roses and Modest Mouse, making his a raucous blend of stellar fiddling. On-stage, his enthusiasm, irreverence and ability to whoop up the crowd is personified as a dancing, fiddling dervish. Kjell's mesmerizing melodies and soaring solos enhance and enliven Creeping Time's sound, adding vivid colors to their musical canvas. It's obvious when you see and hear Kjell, he's there for the pure joy of playing great music. Kjell also enjoys scarfing fries and squirreling burgers.

Dave Forrester
Drums, Vocals
dave@creepingtime.com
Born and raised in Massachusetts, Dave was captured by the thunder of the drums at the age of six, started lessons at age nine and has played in concert, small group jazz and big band, rock and marching bands for the past 24 years. He enjoys being part of an ensemble, an independent voice in the band, while also laying down a solid beat that the others can get behind. Dave brings various musical influences to the band, including a love for the explorations and improvisations of bands like Phish and Widespread Panic, as well as the straight-ahead beats and subtlety of players like John Densmore and Bill Kreutzmann. A behind the scenes type of guy ? Dave brings a cool attitude, focus and drive to the band - helping to deliver their upbeat and very dance-able shows to venues throughout the Pacific Northwest. His keen attention to sounds and baritone background vocals do not go unnoticed as Dave's musical talents, creative direction and influence help to make Creeping Time the band it is today.

Ken Nottingham
Bass, Vocals, Grunts
ken@creepingtime.com
Ken, one of the founding members has been playing bass since age 14. He studied jazz at Cornish College of the Arts in Seattle and has played in numerous bands over the years including Hungry Young Poets and Addison Moonstone. In 1997, Ken wrote, played bass/guitar/mandolin and sang for his solo album ?Songs from the Shed?. Ken discovered he had a knack for writing songs while living in an abandoned warehouse in the heart of Georgetown in the early nineties and has been honing his craft ever since. He finds a lot of his inspiration from songwriters such as John Prine, Steve Earle and Robert Earl Keen. Don't be fooled by his mild mannered exterior - underneath, there lurks a deranged madman who only reveals his true self through a well placed lyric or mass quantities of tequila. Ken's favorite part of playing with Creeping Time is the people, ?I have to like who I'm playing with regardless of talent and these guys, in addition to being world class musicians, are the best?.

Michael Spaly
Mandolin, Guitar, Vocals
michael@creepingtime.com
Michael grew up playing violin in local, regional, and state orchestras as well as receiving honors in individual and ensemble competitions. Michael continued to pick and butt-rock his way around Colorado and Michigan before finally landing in Seattle in 2003. Michael met Dave on Craigslist on a Wednesday, rehearsed with Creeping Time on Thursday, and joined the band for their tour of California and Oregon that weekend.

Michael's influences are anything at anytime and he's said his musical fantasy is to play for 24 hours straight. His passion, invaluable musical and vocal skills, song-writing, and love of all things musical gives Creeping Time their signature sound and energy captured so well on Cheap American Lager. Michael looks forward to inspiring audiences into memorable nights, while always searching for that elusive groove.