The music of Courtnee Fallon Rex

Using simple instrumentation combined with an unforgettable voice to create more than the sum of their parts.

“My genre is sort of singer-songwriter ambient-electronic trip-hop punk ukulele acoustic folk klezmer — whatever the fuck that means, rite?” — CFR

30 second mp3 Samples:

Wounded (full song with looper backing)
Wishing For Collapse (Synth pads and vocal harmonising)
Wanna Gno Dick (Ukulele)
Strata (Live looping)
I Hate The Fucking Internet (Mid-tempo Acoustic Guitar)
Calm Before the Storm (Ambient Electronic)
Apollo (Solo Accordion)
Buy My Fucking Music Asshole (Mid-tempo Acoustic Guitar)

Decades of musical expression culminates into an eclectic body of work from this Seattle based solo artist, with original songs ranging from 10-minute atmospheric synth-based operatic soundscapes, to groovy trip-hop looped covers and lyrical singer-songwriter radio-sized tunes about hating the fucking internet.

Downtempo piano soul, sensual soft rock guitar, ethereal macabre accordion, and ambient electronic undertones round out Courtnee’s unique and intriguing vocal style, peppered with vulgarity, truthiness, and comic relief. The best kind of CFR show is an intimate multi-phased journey ranging from trance-inducing gothic anthems to nostalgic distinctive covers to cuss-filled quickies about pussies and assholes and dicks.

“Haunting, Beautiful, and Tinged with Menace” – Aaron J. Shay

“Fucking hilarious” – A Very Important Person

“an angry, foulmouth woman” – some dickhead on the internet

“Creepily exhilarating” – a drunk fan

“Baroque” – a dapper Los Angeles show-goer

“hypnotic and addictive” – basically everyone

“Seeing Courtnee perform was amazing! There was a point I thought the wine glasses were going to shatter!! To me it’s neoclassical performance art. If her songs were the soundtrack to my nightmares then i would prefer them over my dreams. If you are a fan of Enigma, Dead Can Dance, Susixe and the Banshee’s… In other words hauntingly beautiful songs then this is for you!!!” – Isaac Grant, Analogue Collective

Offering versatility while still maintaining a distinctive feel and sound, the atmosphere of a full CFR show is often dark and reflective, yet humorous, authentic, and hopeful.

Smaller cover and opening sets are frequently lauded for their originality and emotional capacity, with sneaky intros and an authentic simplicity accompanying incredible female vocals.

Courtnee’s stage presence ranges from deeply pensive to buffoonery depending on what the performance requires in the moment, offering an undercurrent of connection and integrity with audiences that draws loyal fans in time and time again.

CFR’s lyrical themes are often rooted in deeply personal journeys and social criticisms of rape culture, patriarchy, romance supremacy, colonialism, and ableism. Courtnee prefers to play musically-motivated adult venues and events that hold a personal draw of some sort, generally choosing to prioritise a good quality fit and honest connection over frequency of performances.

Tech rider

Courtnee’s full setup includes a Roland XV-88 keyboard synth, a Roland RC-300 looper, acoustic electric guitar and ukulele, an acoustic accordion, and a beta 87 microphone.

Due to the nature of Courtnee’s use of a looper for sets and the need for all instruments to pass through the looper for recording, most sound is self contained, ultimately using one channel into the venues mixer.

For shows which do not utilise looping and/or have the space and ability to create two performance setups for singer-songwriter and electronic sets, alternative setups are encouraged, including adding two instrument microphones to amplify and effect both sides of the acoustic accordion.


Beginnings:

Formerly noted as “One of MP3. com’s fastest rising electronic allstars”, Courtnee first became widely known for music in 1999 as the underground artist nondescriptly known as Not Applicable.

Courtnee was active in the digital music revolution at the turn of the century, recording, mixing, and releasing independent music online, contributing to news articles, and developing an international cult fan base of gen-x geeks and weirdos.

Collaborations:

Courtnee worked with The Dream Traveler creating “Structure and “Headpusher”, released through Fade Records in 2003. “Headpusher would go on to be featured on Nick Warren’s Global Underground Release “Reykjavik”.

Courtnee also lended vocals to Scribe Machine’s excellent electronic album “Replicant”, in the track Fragile, which was later released as a Maxi-single through Plan B and Tower Records, also in 2003, and is noted to work occasionally with indy film composer Aaron Marshall of Noct.

The music of Not Applicable has been used in numerous films, as noted IMDB.

Early Releases:

Courtnee’s first original works, “Point of Origin” (1999), and “Altercations” (2000), are now available on the self-release “Autochthon” (2012) through Bandcamp.

In 2007, Courtnee self-released “Songs of Leaving”, a 50-album limited edition run sold exclusively on notapplicable.org, which sold out in September of 2011.

That same year, Courtnee performed for the last time as Not Applicable in her first fully produced live show, “Embodied”, made possible by this kickstarter campaign.

Courtnee is still making music and occasionally touring as Courtnee Fallon Rex, having released Keep Going, Decatur, Serpentine, and Cold Front since 2015.

Of the 9 albums Courtnee has self released since 1999, 5 of them are currently available for streaming and physical purchase.

Other artistic pursuits:

In addition to a professional freelance career as a musician, painter, director, and circus aerialist, Courtnee also served as an ensemble troupe member for six years with The Little Red Studio, four years as the board president, co-founder and creative director of Vita Arts, a 501(c)(3) arts non-profit, producing “The Obsidian Show” and “How Art Saved My Life”, respectively.