The Postmarks 'self-titled' album

For The Postmarks, stepping outside of their private, music making world is a brand new experience. Describing the environment where their songs and recordings have been carefully crafted as a "heartbreak factory", the band has decided to open up the doors and allow the world in for the first time. It is an act that reveals the journey the members took from the creative mire of emptiness to the overflowing well of heartbreak. A journey that helped them emerge at the forefront of the nouveau pop movement.

The Postmark's approach focuses on classic song writing and features the blissful vocals of chanteuse Tim Yehezkely, who drew the music from a production of melancholy to the solace of a broken heart on the mend, where it discovered a place of sunny amnesty. All these facets have come together to create a sound that has been described as "a suburban bedroom symphony suffused with post-teenage heartbreak and painstaking pointillism." by The New Times Broward/Palm Beach.

In 2005 The Postmarks caught the ear of famed producer Andy Chase (Ivy, Tahiti 80, Brookville) who agreed to mix their full-length studio recording for release on his own Unfiltered Records label. With their symphony finally making it out of the bedroom, The Postmarks will introduce themselves to the world through their self-titled debut album, an expression of pure pop longing fueled by a driving rhythm section and lush strings, a trademark of The Postmarks’ songwriting and meticulous production. The first single “Goodbye” opens the record with a firm farewell to the past and a welcome to the future. Each song is a step toward an understanding of love’s persistent call.

With nods to French pop and Brian Wilson's orchestral arrangements, The Postmarks believe they can rekindle the love affair people once had for beautiful music and well-crafted songs about the trials and tribulations of life. Christopher Moll and Jonathan Wilkins combined their love of the elegant and dreamy soundtracks of John Barry, the soothing and sophisticated sounds of Burt Bacharach and the passionate and poetic nature of The Smiths. Moll’s career, starting with his previous bands See Venus (March) and timewellspent (Parasol) served him well, while the varied musical talents of Wilkins, a longtime collaborator with Moll, gave a life and a sound to his personal compositions. Above this floats the softly sweet voice of Tim Yehezkely, a conspiratorial whisper that winds through each song. Her early experiments with tape recording and a love for the comforting hiss of lo-fi adventures made The Postmarks an even more personal endeavor. This perfect combination of innocence and purpose gives one the feeling that autumn is just around the corner, as a new chapter is beginning in their lives.

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The Postmarks - self-titled