As blueprinted by her work in the synth-rock band Moon Palace, Carrie Biell has a knack for gracing ears with lo-fi psych washes and ravishing harmonies. Imagine a musical menu where the rustic rhythms of Cowboy Junkies meet the edgy orchestrations of Sharon Van Etten, and it will glitter with Biell’s solo work.
As a twin and daughter of Deaf parents, her upbringing was anything but ordinary. Carrie came out as a teenager, and after connecting with other Queer artists, music became the outlet that found her a home in Seattle’s expansive indie rock scene. At 20 years old, her first solo release in 2001 “Symphony of Sirens” launched her music career – landing her on some of Seattle’s top stages, and frequent radio play on indie stations like KEXP, KBOO, and KCRW.
As the pandemic prevented artists from performing in venues Carrie found inspiration in the quiet space of quarantine.  She wrote and recorded demos at home, which eventually led to the completion of her latest solo full-length We Get Along - Released in Feb. 2022.  The record was a long-awaited gift filled with introspective lyrics and a twangy underlying instrumental layers that create a welcoming space for reflection. Biell makes a lasting impression during her performances with yearning tender melancholy and elegantly minimalist songs that can make any noisy room stand quiet. 

With songs that sound like Top 40 hits but read like tarot cards, Danielle, who has been playing piano since 8-years-old and boasts a graduate degree in music, creates compositions that touch opposite sides of the spectrum. On Danielle’s debut LP, which she will unveil in 2022, many of the tracks were born from the pandemic and the song exercises that kept her sane throughout. Woven together with truths about her mental health (and its own unraveling), the songs represent growth, new connections.
Danielle, who has played in popular bands in Seattle like Purr Gato, graced stages like The Tractor Tavern and those abroad in cities as far away as Germany, has worked in children’s theater and performed in musicals, too. She’s a quilt of experience held with uneasy stitching. At times her songs sound like a stroll down a city street, others like the corners of your consciousness. Standouts include the unburdening, “Hindsight,” and sauntering, “Nothing.” But don’t fret. In the end, of course, she’s got the world dancing on a line.