Goodnight Man began in the spring of 2007 when Austin Pfeiffer, a solo acoustic artist, began to write for a band because his friend Brian Johnson told him his music was codependent, it was addicted to the attention of young girls and was a little short of artistic or challenging.
Brian moved to Spain for 8 months.
While Brian was gone Austin met Philip Pledger and they played in the short-lived band Robot Jesus Attack where they developed a great connection through their guitars. Philip's deep knowledge of theory, the Stratocaster, ambient sounds and Austin's rhythm rooted playing, Edge inspired stereo delay setup, and vocal dexterity tangled into some beautiful work. The two teamed up to collaborate and in March of 2008, booked a show and invited some friends to experiment with them for the summer. As a result, Brian Johnson decided to join the band permenantly.
The music visits folk, rock, and blues through an array of different instrumentations influenced by U2, Bright Eyes, The Police, Radiohead, The Beatles, and David Gray.
Many bands of the indie/rock/alternative persuasion of late are notorious for deliberate shyness for the sake of appeal. The veiled glamour and oxy-moronical nature of borrowing your sisters jeans and spending 30 minutes making your hair look unkempt is lost on these guys.
Goodnight Man aspires to engage a holistic music experience the way operas, symphonies, and only a few rock bands have offered their audiences. They write and generate their music with uncensored creativity and practice with scientific precision.**************************************************
***************************the armies of the old testament were led by musicians and the future vision of goodnight man...not necessarily musically, but as a whole...not necessarily "apocalyptic," but when humanity will giveway to goodness.***************************************************
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Jordan Green (YES! Weekly)
"their music spills out in a technically precise torrent of heavy cascading riffs, atmospheric slide guitar alternating with choppy squawks, throbbing bass lines, dynamic percussion and primal screams...Pfeiffer jabs his finger in the air like a righteous prophet-cum rock star. The band channels some of Jimi Hendrix’s “Voodoo Chile†and the Who’s “Tommy†through a modern polyphonic scree whose blueprint was drawn sometime ago by bands like Radiohead and Coldplay."
