Idiosyncratic, classical guitar-playing, melodic-wailing, damn good tunes.
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Care for mildly self-indulgent history?Mark Lint, aka Linsenmayer, was born 8/4/71 in a suburb of Chicago. My father, Robert Linsenmayer (aka Lindsay), had been a folk singer in California in the 50's playing alongside the likes of the Kingston Trio, The Smothers Brothers, and Pat Paulsen. Both my parents listened to a lot of classical and elevator music around the house. From these folks, I inherited a love of classical guitar and a lot of irritating elevator-music melodies permanently etched into my brain. Unlike my father, I tends to express his love for the classical guitar by beating the crap out of it in an aggressive punked out style. By 15, I had written my first couple songs, which sported lyrics like "Girl from the Bayou, I really want you, and I still love you; oh, why do you leave me," despite my having never kissed a girl and thinking that the Bayou was in Africa.
Many years passed, and many tunes piled up, most of which are available for purchase. First, there was The Backdrop, my amateur high school endeavor (listen to our best tune here). Next, I spent his four years of college in The MayTricks, an eclectic, psychedelic outfit from Ann Arbor, Michigan (producing three lengthy albums posted here). Throughout all this, I was working up my solo act. In 1994, I moved to Austin TX for philosophy graduate school and created The Fake Johnson Trio (FJT), an attempt at distorted power pop. My first well produced album (released in 1998) captured this experience, entitled Mark Lint & the Fake Johnson Trio. Listen here.
In the fall of '97, I changed the name of the band to Mark Lint and the Fake, with a new sound to incorporate my Austin surroundings and take advantage of both my eclectic songwriting and some excellent new musical cohorts, with slick country-blues slide guitar lines and funky grooves. Rather than repress the goofy elevator-music-inspired tin pan alley melodies and the movie-soundtrack Latin jams that flow from my guitar, the Fake embraced these ventures beyond the bounds of straight-ahead rock. The final recorded product, So Whaddaya Think? was all recorded in 1999, though the mixing process dragged on until 2002. Listen here.
I moved to Madison, WI in June, 2000. In the months leading up to that time, as the Fake stopped gigging and I waited around to become a dad and left Texas, I did the bulk of a recording-only project called The Sinking and the Aftermath under the name Mark Lint and the Simulacra with hyper-artistic guitarist Mark Doroba and several local drummers. This featured lyrics that are honest to the point of subconscious (i.e. generally impulsive, occasionally embarassing) and music that is direct (i.e. mostly kind of poppy, sometimes angry, sometimes poignant). The full album has yet to be released, though many of the songs have since trickled out and can be listened to here.
Through 2000-2001 I bult up my most powerful, versatile, professional-sounding unit yet, Madison Lint, which transplanted the Fake's ecelcticism to replace the country elements with with Chicago blues and R&B. The band made a nice initial splash, had some lineup changes, and fizzled out in May of 2004, with the last scheduled gig (for a very large motorcycling enthusiast gathering) getting rained out. Yet another partially competed album sits awaiting eventual completion, with several pieces of it released in EP form and on the web.
Burned out, I then took a two year break from playing shows with only occasional recording activity. In 2006, after finally escaping a soul-crushing five-year employment situation, I joined up with another singer/songwriter, Matt Ackerman, to form New People, intended as a really fun, direct rock outlet with little-to-no eclectic funny business. We recorded three albums that are far sonically superior to anything else I've ever been involved with, heavy with sweet vocal harmonies and alterna-rock guitar. After New People bulked up to a 5-piece in 2013, Matt left to pursue other projects, effectively ending the band.
Since then I've been solo again, largely collaborating with musicians over the Internet (if you've got a decent recording setup and might want to play on one of my songs, please drop me a line) and trying to finish up my various unfinished projects and pump out some new songs. I put a full-length song at the end of each of the first 150 epidosdes of my philosophy podcast, which has enabled me to reach a much wider audience than I ever have with my music alone, so that's good creative motivation. New songs created for that culminated in the Songs for the Partially Examined Life album near the end of 2015. Due to this podcast, and (starting in Jan. 2016) the Nakedly Examined Music podcast, I've gotten to connect with a lot more musicians including some celebrity types. It's been a thrill being harmonized by Lucy Lawless (who played Xena the Warror Princess) and Ken Stringfellow (The Posies, Big Star, R.E.M.).
In summer 2014, I met Rei Tangko (violin, keyboards), and have since played with him and singer Iris Hutchings as Mark Lint's Dry Folk. You can watch some videos and see when we're playing on our Facebook page. Any musicians in the Madison, WI area that might like to play with me should definitely reach out.
Thanks for reading. Thanks for any support you are now or have given to non-corporate, competent amateur music.
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Special thanks to Brian Casey and rootlevelservices for providing so much web space for my music and other projects over many years.