Fred Perry Subculture: Kid Ghosts EP
Chicago-based musician William Steffey has been releasing a steady stream of music since 1989. Flying under the radar in his hometown, he has distributed albums
July 7, 2012
Chicago-based musician William Steffey has been releasing a steady stream of music since 1989. Flying under the radar in his hometown, he has distributed albums
You like? You’ll like: (Later-era) Thomas Dolby, The Smiths, New Order, Everything But The Girl If your music was a drink, what would it be:
Utilizing layers of synthesizers, while still giving guitars an ample amount of spotlight, William Steffey’s Roadstar is an intriguing musical montage that conjures up the
Borrowing elements from a generalized 80s/Cars (Rick Ocasek) sound with a stage whisper of Depeche Mode, Steffey’s Roadstar emotes its way through 11 decent cuts,
Every once in a while this job makes you feel like a dick. This guy seems nice, he sent us a nice note and even
I’m having a hard time with this album, and I guess I’m going to have to tell you why (it’s kind of my fake job).
William Steffey’s performance on this CD is very, very good. Considering he is the only performer you hear—vocals, instruments, everything—he is most impressive. The songs
This CD really surprised me. Maybe that’s because William Steffey is creating something not easy to pin down. Oh, it is pop music, that’s obvious.
William Steffey’s latest release, the six song Love and Armageddon, exudes the sophistication of an artist who has been creating music for two decades.
With Roadstar, William Steffey has crafted an album’s worth of stylish, urbane pop in the vein of 80’s pioneers like Talk Talk and Tears for