Since its initial June 2000 establishment in the small Michigan town of Ionia, Drinking Mercury has shifted its focus from noise rock to indie folk to psychedelic Americana to baroque pop and back, much as they have shifted their base of operations to Kalamazoo and Lansing to Grand Rapids and Ionia and back. The longevity and overall identity of the band lies within the lifelong friendships of its members, a group of native Michiganders that grew up learning their instruments together and continue to collaborate for the sheer joy of performing and creating music. The pedigree of Michigan bands that has featured the members of Drinking Mercury – guitarists Michael Boyes and Tommy McCord, drummer Kevin Adams, and bassist/keyboardist Timmy Rodriguez – runs the gamut of punk and indie rock to marching band instruction to 60s tribute bands, but everyone always circles back to Drinking Mercury.  The band issued a new, self-titled full-length in 2019, showcasing their most infectious and dreamy music to date.



Delving into the delectable rock amid the nooks and crannies of this self-titled release by Drinking Mercury is like finding some hidden classic from decades past – a collector’s item squirreled away in a dusty record bin. But this is actually bewitching new stuff from this band hailing from Lansing, Ionia and Grand Rapids, and as such, it deserves to go straight to the top of your Michigan playlist. It’s enthralling from start to finish, 12 tracks packed with so much wondrous indie-rock – from the punchy to the dreamy to the folky – that it’s hard to wrap your fingers and ears around all of it as you explore it track by surprising track.”

Local Spins

It only takes one swig of Drinking Mercury’s new self-titled album to feel warm and dreamy on an overcast November day. The Lansing indie rock quartet’s newest album functions as a sonic potion drenching listeners in soothing waves of vibrant folk-influenced dream pop. Soaring vocal harmonies intertwined with slow, thumping drumbeats, driving basslines and gentle acoustic and electric guitars abound on the band’s striking follow-up to 2011’s alt-folk debut, “Orcades.” It recalls everything from The National to Fleet Foxes to Tom Petty to Beck”

The Stratton Setlist

It’s a wonderful album, slightly nostalgic, each track following a different path through the midwestern woods. [It] floats in the echo chamber shared by the studios that captured 60’s psychedelia and 80’s pop, the gaps between the acoustic tiles filled by a synthesizer lifted from the intervening decade. A jangly guitar break nods to a visitor passing down the hallway on a trip from Laurel Canyon.”

Reverb Raccoon

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