Peter Mulvey began as a self-described “city kid” from Milwaukee, Wisconsin. He played, wrote, and sang in bands while studying theatre at Marquette University. After graduating, he traveled to Ireland, where he learned the trade of busker on the streets of Dublin. Returning to the U.S. a few years later, he settled in Boston, building an audience through street and subway performing, while also immersing himself in the thriving musical community. Since his 2000 release The Trouble with Poets, Mulvey has found a home with the venerable indie label Signature Sounds Recordings. His most recent albums for the Massachusetts label were the 2006 release The Knuckleball Suite, the 2004 release Kitchen Radio, the 2003 collaborative Redbird album (with label-mates Kris Delmhorst and Jeffrey Foucault), and his 2001 CD, Ten Thousand Mornings, an album of cover songs recorded entirely in the subways of Boston. MOJO described the album as “simultaneously Mulvey’s homage to his one-time training ground and a beautifully atmospheric record of gifted interpretations.”

THE WASHINGTON POST: “The subtle power of his voice, a husky, hushed baritone… understated, at once sophisticated and intimate… as cover-worthy as Randy Newman, Elvis Costello and Dar Williams.”

THE IRISH TIMES: “Peter Mulvey is consistently the most original and dynamic of the US singer-songwriters to tour these shores… A phenomenal performer with huge energy, a quick fire, quirky take on life, and an extraordinary guitar style… a joy to see.”

ROLLING STONE.com: “A voice lush and hushed that occasionally sinks into a whisper… imagery made all the more haunting by guitarist/co-writer David Goodrich, whose sundry string bending ranges from loose ramblings around the neck… to freeform explorations that recall John Scofield… surrealistic beauty.”

   Tapes ‘n Tapes’ signature sound is distinctly their own concoction; the shaky vocals, the bursts of low-fi guitars and the haunting keyboard refrains. Whether it is on the opening track, “Le Ruse,” where the first thing you hear is one guitar, crackling like the amp might short-circuit or the last, on the swaggering, “The Dirty Dirty,” with its driving guitar and unrelenting rhythm, the band continue to hone their own brand of jittery rock that has found the sweet spot where experimental song structure meets melodic accessibility.