photo credits & thanks:
Mr. Curt & Ms. Donna, Douglas Despres Photography, Mobotica Photography, Quinn


In between days
(Cover )



There’s forever a floating quality to her playing even with the roots and gypsy refrains she favors inextricably linked...Her real gift is in the washes of atmosphere she imbues each cut with, measurably expanding each and every song.
— Folk & Acoustic Music Exchange on 'Symbiotica'
The multilayered vocals and Clara Kebabian’s violin lure us into the winter scene of “In The City”. In fact, Kebabian’s violin represents the feel of a shiver convincingly. “Ululate”, penned by Kebabian, is a euphonious highlight that lingers in my mind.
— The Noise
Clara Kebabians electric violin completes the sound and surrounds you like a warm blanket.
— The Noise
...mascara-ruining electric violin romanticism from Clara Kebabian (formerly of Steve Morse association) are enough to bring out that teenaged sehnsucht all over again.
— The Ugly Couch
Her outstanding violins add a folk flare to the edgy, upbeat track
— KFJC 89.7FM
A violinist named Clara [Kebabian] came up on stage...”We met this woman on the street,” Lloyd said before letting her drop violent, slashing fiddlework into the mix, careering off the Middle-Eastern chaos of new song “Wot No Blog” and entering into the blinding density of Nightingales classic “How to Age.”... It was mesmerizing, heady stuff, a perfect close to the main part of the set.

A short break and then the encore. Here, a blistering rockabilly-on-speed song called “Let’s Think About Living” from Out of True reminded everyone how the Nightingales spliced punk and country with A Good Old Country Way, dropping mad hoedown guitars and swooping violins. And then the band covered T. Rex’s “Slider,” a gleeful, extended glam, joyride that stretched endlessly out on guitar-based vamps and might have gone on forever. And we wished it had, because once it was over, it was over, and who knows how long it’ll be before the Nightingales will be stateside again.
— Popmatters
Clara Kebabian resumes the lead vocal role in her own ditty “Cocktails,” a story of a man she loves falling carelessly out of love with her. She’s a clever lyricist who, in these words, wants to toss it all off over cocktail indulgence. Her vocal is straight forward pop rock timbre with a bit of classical training. ..It’s a tasty mesh of sound textures that delights with all it has to offer as it moves forward like a steam locomotive.

“Peonies” has a breezy vocal from Kebabian, a swaying musical texture, and a percussion that’s at once alluring and unobtrusive. There is something in the way Kebabian holds her notes that make this one special. Her breathy brief sustains alone create this particular song’s other worldly quality, giving it a slight foreign exotic flavor while keeping it pleasant to the ear. There’s a handful of melody instruments carrying this along in a way that makes you feel a bunch of enthusiastic travelers are in the middle of a long journey and they’re inviting all the meet along the way to join them.
— Bill Copeland on MC3's "Half Bubble Off Plumb"