The music of Courtnee Fallon Rex
Using simple instrumentation combined with an unforgettable voice to create more than the sum of their parts.
(and the usual ripoff streaming services I don’t like to plug)
“Haunting, Beautiful, and Tinged with Menace” – Aaron J. Shay
“Conjures up moods that are hard to define” – Brian Martinez de las Rivas
“hypnotic and addictive” – David Bartholomew
“Fucking hilarious!” – A Very Important Person
“an angry, foulmouth woman” – some dickhead on the internet
“Creepily exhilarating” – Azriel J. Knight of mp3.com
A CFR show is an intimate multi-phased journey ranging from trance-inducing ambient electronic landscapes, to boroque vocal gothic anthems, to nostalgic distinctive covers, and swear-filled ukulele quickies about pussies, assholes, and dicks.
Offering versatility while still maintaining a distinctive feel and sound, CFR is dark and reflective, yet humorous, authentic, and hopeful, with lyrical themes rooted in deeply personal journeys, and scathing social criticisms of rape culture, patriarchy, white supremacy and colonialism.
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, honesty, and comic relief.
CFR’s smaller cover and opening sets are frequently lauded for their originality and emotional capacity, with sneaky intros and an authentically unique simplicity. Courtnee’s stage presence ranges from deeply pensive to buffoonery, spanning the breadth of a huge, multidimensional personality, creating an undercurrent of connection and integrity with audiences that draws loyal fans in time and time again.
Preferring to play musically-motivated adult venues and events that hold a personal draw of some sort, Courtnee prioritizes a good quality fit and genuine relation over frequency of performances; so when you get the notice that CFR is playing, do not pass the opportunity up!
“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 these 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
30sec mp3 Samples:
Wounded (full song with looper backing)
Wishing For Collapse (Synth pads and vocal harmonizing)
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)
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, unless a qualified and enthusiastic sound person is available to run lots of extra cabling.
For shows which do not utilize 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.
Decades of musical expression composes 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.
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.
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.
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. Courtnee is a Licensed Massage Practitioner owning and operating their private bodywork practice, and a Certified Grief Recovery Specialist, as well.