This collaboration was born when the energy of ignorant exuberance was tempered by loving musical knowledge. Marco Rossetti and Rebecca Wolfson approach making music like a 10-year old might approach piloting an F-15; The outcome will be unpredictable, but definitely fun for someone. 

Rebecca's classically trained talents bring a mandatory restraint to Marco's ability to try anything that's possible. The combination of theory driven structure, with rarely-tamed synesthetic creativity, produce a classically simple sonic beauty delivered with slick technical perfection. These entirely opposite approaches to making music are fueled by the agreed-upon common ground of an absolute lack of pressure and having a bunch of fun. 

Marco and Rebecca create, learn and write during standing weekly "musics" sessions, joined occasionally by friends and fellow musicians Andy Boje and Bobby Adler (whose initials are ABBA, which is pretty cool).  Having the luxury of generating many more ideas than finished pieces, this is a labor of quality not quantity.

Indeed, peace... by pieces.

Rebecca's lived a musical life since the day she was handed a microphone at her grandmother's karaoke bar at the age of 4. She's a musical theory academic, an accomplished classical composer, and a lover of  90's Hip Hop. She emerged during Omaha's Americana surge of the 00's (Yes that happened) and has been writing and performing heart-honest and moving music throughout her life.

Rebecca brings so many talents to the table, that it would be hard for me (the writer of this bio) to make a readable list. I will tell you that almost all of those talents, are a critical balancing force for equally intense and opposite talents across the studio from her.

When she steps up to a studio microphone,  Rebecca proves that all the fancy equipment in the world can't come close to a vocal track sung with the proper technique, the first time. It doesn't hurt that her voice is indescribably beautiful - that means I cannot describe it... you need to listen to it.

She has a soothing ability to breathe love into a piece of music, not by adding something, but by stripping it down to it's most elemental pieces. She prefers staff paper and pencil to a DAW, and she's never lost sight of what music is actually about; creativity, truth and raw expression.  She's always honest with her music, her fellow musicians, her audiences and, most importantly, with herself.  

As long as I've known Bob, he's been in a great mood. Always! It's infuriating. His fun attitude extends well beyond the social gathering, he brings that energy onto every stage and into every recording session he graces with his well-honed chops.  While he might miss a chord because he's waving at someone smiling, a show that includes his guitar playing is instantly jolted a few levels up the energy scale.

Steeped in his instrument as a student, teacher, performer and salesman, Bobby can execute some of the most delicious guitar work, then humbly ask "how was that?"...  It was good Bob, really, really good... 

Bob comes to Studio X1 to put his guitar signature on things, but really, we like him even more because he reminds us all that life, unlike his playing, is not to be walked through with polish and precision.  Bobby treats life as if he's looking after a clown with food poisoning: Concerned and caring, not afraid of the messy moments, but always anticipating certain fun!

Sharing a name with 'The Unspeakable' Beckenmoore has allowed Bobby access to guitar knowledge and chops he cannot share and I shouldn't write anymore about.

A multi-instrumentalist since he carried a cello (twice his size) home in 3rd grade, Marco spent much of his musical career performing and recording as a drummer, percussionist and singer, for bands in an absurd range of musical genres. Beating on things with sticks, was infinitely more visceral than soaking a reed during the clarinet days.

From jazz trios, metal bands, synth-pop and horn-based R&B acts to the ever-present cover gigs, Marco reinvented his style, techniques and approach with every changing project. This kept him curious and growing behind the instrument he used to claim was "the only one I will play in front of people". 

In 2020, he put down his drumsticks temporarily, and buckled down to learn as much as he could about the instruments he hadn't played as often, or ever. Marco's taste of recorded music spans the gamut from the obvious to the obscure and his goal is to release a collection of music as varied as the stuff that's inspired him through the years.   

This "nothing is off-limits" disregard for musical genre has spawned a collection of songs and sounds that are as difficult to place in a musical box as they are to ignore. While playing most instruments himself, trusty hired guns (and dear friends), make appearances throughout his creations.

Andy plays the bass.  He's better at it than most people are, even when those people are bass players.  He's also a really humble soul who would never have written something like this himself.

Adler Beckenmoore has played ALL of the important guitar solos in ALL of the songs you have ever heard. All those classic rock guitar players you thought were so good? All fake. They never played their own instrument.  There is only one guitar player in the world.

From Muddy Waters to Dimebag Darrel, Mark Knopfler, Jimmy Page, BB King, Brian May, Tiny Tim, Frank Zappa, Neil Shon, Tom Scholz, Keith Richards, Pete Townshend, Jeff Beck, Gary Moore, Charlie Sexton, and Ric Ocasek, he played ALL "their" parts. Every lick, every song every album. They gave him tons of money, made him sign non-disclosures and he did them all - in one take - usually with a borrowed guitar that was probably out of tune. (As evidenced by anything recorded between 1967 and 1974)  No practice, no charts, no nothing.  

After wrapping a session for Pink Floyd he had to teach David Gilmour to play every guitar solo he had just recorded. It was then he was quoted as saying:

"If light refracts through a prism, you get a rainbow and if you drop pizza on your pants, you get a stain.

Neither should be an album cover" 

Joe Satriani hired him to record everything Joe ever released and he did it in one session that lasted 3 days, in one of 7 studio broom closets in International Falls, MN.  This is confirmed by the fact that every song is almost identical in all of Joe's 129 albums, except for the guitar solos, which make up 90% of each song.  Adler cares not.  Adler's only worry was the blazing fires he would set as he was ripping the fretboard up and down for a whole week.  7 studios were burned down, and 185 guitars were torched in that session. Adler? He was fine.  He didn't eat or sleep, just shredded and cashed his enormous check.

Gear? He plays the only guitar that exists - his; nicknamed "The Hammer" because of  it's propensity to smash the confidence of any musician within 25 feet of it. In the early 1990's 'the hammer' was refinished by a mere mortal. Adler (kindly) asked that "HAMMER" be inlaid on the stock with the fingernails of the recently deceased Johnny Thunders.  Due to Thunders' poor hygene, however, there were not enough fingernails left and Adler's weapon now reads "HAMER"... he wasn't even upset, he just picked it up and in a few hours finished up Tool's 'Aenema', Pantera's 'Cowboys From Hell' and a little side gig he did for an unknown Nirvana called 'Nevermind' which he did for the price of a cupcake and a glass of milk. These sessions also sparked Dave Grohl's love of hawaiian shirts, so you have Adler to thank for that too.

What does he spend his money on when he's not wielding his killer axe and making countless millions for Metallica while they complain about each other?  Mostly, popcorn for himself and fluffy duvet covers for his pet ferrets, all 91 of them. So remember, next time you hear a guitar playing, in any song, from any year between 1860 and 2052, you're hearing Adler.

He's only recorded one song for Studio X1 so far, then walked into the sunset mumbling something about Taylor Swift.