Pearl Earl is the rock and roll brain child of songwriter and multi-instrumentalist Ariel Hartley, joined by the forces of drummer Bailey Chapman, bassist Stefanie Lazcano, and keyboardist / percussionist Chelsey Danielle. Hartley began composing songs in her bedroom in 2012 and later founded the band after a jam session with Chapman and Lazcano in summer 2014. Pearl Earl began performing as a three piece, with Danielle being the latest addition in 2017.
After releasing “Karaoke Superstar” in mid 2015, P.E. gained attention from the Dallas/Fort Worth music scene and went on their first national tour. Their debut EP and self titled LP landed them many Dallas Observer Music Awards nominations and several Denton Arts and Music awards. Their self-titled album was recorded at Elmwood Studio in Oakcliff with Alex Bhore and Brack Cantrell, and was released on vinyl by Dreamy Life records in the summer of 2017. Pearl Earl plans to release new material in 2019, and will be going on a fourth national tour.
“Clearly caught in the crackle of ’70s airwaves, the band is mashing their memories with a deft hand and a feminine snarl. With a slightly less buoyant approach, Pearl Earl are finding their way along the same inflamed tributary that carries kindred spirits Savoy Motel. They embody the ten-foot tall ideals of glam, as evidenced in the gloss that shines on the album’s surface, and they pin it well to their flip of the radio dial. At heart the band’s eponymous LP is as punk as any of their myriad homegrown stagemates, but where others go to the well for the simple quench of sweat, Pearl Earl go for the rainbow ripple off the water in the sun. Having fun with the form, they explode punk into shards of psychedelic debris, each looking to streak the sky with its own glittered flare.”—Raven Sings The Blues
“Pearl Earl are like if Pentangle were a villainous cartoon rock band in an old episode of Josie & the Pussycats. The songs on their debut are cartoon-colored and full of knotty guitar work, weird, witchy vocals and sharp melodic left-turns. Just when you think you’ve got them pinned down, they change shape: “Captain Howdy” opens as a blank-eyed, spell-book incantation before heaving suddenly into a proggy chorus; “Cosmic Queen” is roller-disco glam-rock in which Ariel Hartley tries out about 17 different vocal approaches, from Satanic sneer to punk-rock hiccup; and “Star in the Sky” dabbles in deranged sci-fi psychedelia before dishing out an avalanche of 400-ton Black Sabbath riffs. Everything is heavily distorted and utterly deranged (the last half of “Star in the Sky” sounds like a tripped-out take on the Fat Albert theme, except with a flute). Pearl Earl is a weird, indescribable, genre-gobbling record, a black-light Magic Eye poster that keeps revealing new images the longer you stare at it.” —J. Edward Keyes, Bandcamp Daily