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Judge for Andrea Wittgens

Seattle, WA
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Portrait of Andrea Wittgens
"A silver tongue rides a voice that flitters with the wonderful unpredictability of a butterfly and the laser precision of, well, a laser…this imaginative pop maestro’s delivery and message are so delightfully refreshing that it’s hard to remember she’s working from the pop music playbook." --Shawn Telford, Seattle Sound Magazine

Common wisdom in the entertainment business dictates if you can't describe it in two sentences, go back and refine your pitch. However, those well traveled in the business know that in truth, it's the ones that you can't describe easily that are the true and lasting artists.

Seattle-based singer/songwriter Andrea Wittgens is the freshest new voice on the scene in years. Combining sultry, hypnotic vocals (she has been compared to artists as varied as Rickie Lee Jones, Regina Spektor and PJ Harvey) with disarmingly honest lyrics, she has been holding audiences in rapture throughout North America.

Originally from Antigonish, Nova Scotia, Andrea began her pop writing career in Seattle WA in the late 90s stirring up a wave of notice with pop outfit Sugartown. After two successful albums with the band, it was time for Andrea to shine as a solo artist. With the help of Grammy producer/mixer Bob Power (Erykah Badu, Citizen Cope), Andrea released her first solo effort, Alibi (2006). The EP and Andrea's instantly arresting voice garnered excited reviews both in the Northwest and on the east coast where she performed to packed houses at legendary NYC venues like The Living Room, The Knitting Factory, and The Bitter End.

While touring to support Alibi, she was plotting and writing material for her full-length followup album. Working with rock producer Johnny Sangster (Mudhoney, The Briefs), the critically acclaimed album is a return to a more viscerally emotional live band setting. As befits the fantastical lyrical content, evocative arrangements make use of a colorful sonic palette weaving spooky Mellotrons, quirky Farfisas, and luscious string quartets into the mix. In the Skyline is a convergence of the writing, singing and riveting stage presence that marks Andrea Wittgens' arrival as a singer/songwriter of the highest order.

WHAT THE PRESS IS SAYING ABOUT "In The Skyline"

"With musical compositions that combine the energy of early punk with the slickness of modern pop, she creates music that is perfect for now... Multiple time signatures, key changes and occasionally dense orchestrations make each song an aural journey rather than merely another pop ditty... It accomplishes something few contemporary albums achieve - a cohesive and unique musical statement that defies labels and simple descriptions." -- Vintage Guitar Magazine, August 2009

“Forget all that compared to this and that stuff, Wittgens is her own voice and it’s one you’ll be glad to hear. Hot stuff from a newcomer that’s sure to be around for a while.” ---Chris Spector, Midwest Record

“With a tip of the hat to Brecht, Jellyfish and maybe even XTC, Wittgens’ music is a soundtrack for a waiting room in a bordello or perhaps a carnival. Throughout the dozen tracks, the ideas and creativity seem to flow effortlessly, from the rock edge to ‘Blue-Eyed Fool’ and the meticulously orchestrated ‘Everything Is Relative to You’. The Beatlesque ‘Beautiful You’ sounds precisely like its title: With a flanged, almost liquid guitar line, the songs ebbs and swells from nothing but Wittgens voice to a beautiful ensemble.” ---Michael Lipton, Charleston Gazette

"Incredible! Her songwriting sensibilities are the ilk of Edie Brickell, Carol Bayer Sager, and Joni Mitchell. And her voice just soars! You've got to invest your time to hear this." - Q-tip (A Tribe Called Quest and solo Artist)

"Magnetic, compelling. People are just drawn to the sound of her voice. She's the real thing."
-- Bob Power, multi-platinum and Grammy-winning record mixer/producer

"Exquisitely evocative of the finest popmeisters of the past three decades. Music that is very new and fresh, unlike anything I've ever heard before."
-- Bill Fisher, Victory Review
 
 
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