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There's a difficult to describe yet timeless quality to certain songs that transcends genre or era. It's something that you can't fake or contrive and it's what lies at the core of Skating Polly's music. The duo of guitarist/vocalist Kelli Mayo and drummer Peyton Bighorse formed in Oklahoma in 2009 when Mayo's father began dating Bighorse's mother and the duo started writing music together on instruments they inherited from their parents. They recorded their debut album Taking Over The World in 2010 and instantly achieved acclaim from underground music icons like X's Exene Cervenka (who produced 2013's Lost Wonderfuls and Beat Happening's Calvin Johnson (2014's Fuzz Steliacoom.) After the release of 2016's The Big Fit, the group realized another one of their musical dreams when Veruca Salt's co-frontwomen Louise Post and Nina Gordon reached out and said they wanted to work with the band. Writing with the alternative icons went so well that the foursome decided to fully flush out the song they had worked on as well as a couple of new tracks and the end result is the three-song New Trick EP. “Everything just came together the best way we could possibly imagine,” Mayo recalls. “Nina and Louise really helped us step outside of our usual way of doing things and suddenly we were breaking all of these songwriting rules that we didn't even know that we had.” Produced and mixed by Brad Wood (Liz Phair, Sunny Day Real Estate) the result is a fully formed collection of songs that sees Skating Polly pushing the boundaries of their sound without losing sight of the playful dynamic of the band that has endeared them to fans all over the world. The EP sets the tone out of the gate with the fuzzed-out pop sheen of “Louder In Outer Space,” takes on a moody, harmony-rich bent on the melodically minded “Hail Mary” and culminates with “Black Sky,” an instantly memorable song that shows that Skating Polly doesn't need distortion or fancy studio trickery in order to craft something that's instantly memorable. “Nina and Louise have an excellent knack for harmony and layers and every time we'd start to record the four of us – five if you include Brad's clever input – kept coming out with more subtle pieces to add,” Mayo says. “If you listen closely there's a lot of layers to every song that translated in a very dynamic way as opposed to being overproduced.”