'We did things a bit differently, we wanted to have an album of our material before we played out anywhere. We spent the past eight months working on Masceo's original material quietly in our North Conway based studio and eventually chose six from a list of over forty college/progressive rock songs he had created to serve as our debut album. Over the past two months we have spent countless hours refining and recording the material with the help of Ian Jones, a final year recording engineer student at the New England Institute of Art.' Says drummer Jeremy Larochelle. 'I have known Ian for many years, and had worked with him on a number of projects and found him to be a very talented individual, I suggested the band grab him up before he finished his schooling under legendary producer Al Shapiro and would eventually move on to bigger and better things. When we approached him about the project he was overjoyed to have such an important part in the album and was excited to be able to work in such a relaxed and creative environment here in North Conway. 'This is a very talented group of individuals with varied musical backgrounds all with the same goal; to make the song sound it's best. They are as funky as funky gets and this album demonstrates all those qualities,' says Jones. Over two years ago lead man; vocalist and songwriter Masceo Williams made a musical pilgrimage to North Conway from North Carolina. 'I had so much musical material floating in my head that needed to escape and I needed to find the right musicians to capture it when it did. During my first year in the valley I attended every open mike I could hoping to find the personnel to fit the position.' Says Williams. And those musicians were right around the corner waiting to be found. At the Wildcat Tavern's 'Hoot Night' Williams had taken the stage in a solo performance, a quarter way through his set his evening and life was turned upside down when percussionist Kenny Hull joined him. 'He had jumped in during one song and blew away both the crowd and myself. After I finished I turned around with a big smile and saw him standing there waiting for the next number. He looked at me and said 'just play I've got you covered' Williams says with excitement. 'I knew it was the start of something.' As a veteran musician who had supported many great acts including Tracy Chapman, Littlefeat and many others, Hull knew he had found untapped talent and decided to stay just a bit longer in the valley in hopes that he and Williams could complete the line-up and bring their original music to the world. Over the next year the two played countless acoustic performances. They would eventually find a group of local musicians to help add more power to Williams's songwriting. Among those musicians was bass player Mark Morin of Berlin. Morin's bass style would quickly shed a new light on Williams materials. Professionally trained at the Musicians Institute in Minneapolis and the Bass Collective in New York, Morin was able to incorporate funky and original bass lines to Williams material bringing it to a whole new level. The band started playing regular shows in the valley first as 'Diesel' then 'Maura Bytes'. Despite all the hype, the increasing larger crowds at gigs and better gigs Williams wasn't 100% satisfied with the way his material was turning out. 'It was a great time, with lots of playing and people telling me how great we were, but I wasn't feeling it because the material I had written had disappeared and it was no longer mine. These songs are snapshots of my life, my emotions and myself. I knew something needed to be done so I sat down with the band, told them how I felt and we went our separate ways.' Williams says with a sad look. 'A lot of people became angry with me because I had taken this from them. I spent many sleepless nights questioning what I had done and decided I needed to talk to someone who had more experience.' Williams decided to have a sit-down with Hull who had become more than a fellow musician but a guru for the young songwriter. 'Kenny put it into a whole new light. He sat me down and told me that it's my material and I need it to feel good to me or it isn't worth playing, he went on to say how good we were live but felt that I needed to finalize my material and make a real album with the musicians I wanted. I couldn't have agreed with him more.' Williams and Hull went to work searching for the right team to produce his material. Immediately the called upon Morin who was happy to oblige. 'I gave mark a call and we talked about how we both felt and how we wanted to progress with my music. Our biggest problem was to find a drummer to complete the line-up and compliment the material.' Williams had remembered Morin telling him about his go-to drummer. 'I remember that almost every practice Mark would quietly tell me about this guy Jeremy Larochelle who they called 'Pudge' that he used to work with and that with his talents could take the material up a notch. I had never really seen him play and rumor had it that he had disappeared from the valley bar scene and was busy working with the Berlin Jazz Band, the Mount Washington Valley Theatre Company and now was working as an independent musician filling slots throughout Northern New England. Mark and I made our way to 'Hoot Night' in hopes of finding him so I could see him play. As luck would have it he was in town and was acting as the house drummer for the evening. 'That night I watched as this single drummer carried every band, no matter what their style, tempo or level of talent was on a magical musical journey. At the end of the evening Morin joined him with Jeremy Dean and the trio played one of Dean's original tunes they helped craft. I watched as this drummer blew the roof off of the Tavern when he went into his solo, rolling off the kit and on to the floor as he danced around the room tapping his sticks off of everything in sight. He had played the floor for a minute or two and made his way back to his drum throne and finished the song. He never missed a beat. I knew then and there this was my drummer. And had mark approach him to see if he wanted to make an album. And he did.' 'Now with the album done we can move on to bigger and better things.' States Williams. 'As a band we have orchestrated over forty of my original pieces and now our biggest question is what do we put on the next CD.'