Heather Duby has been a fixture on the Seattle indie scene for over 12 years now. She's lived in every corner of the city, performed in most every venue and somewhere along the way, also learned to navigate the roads of the city faster than any Seattle cab driver could ever hope to. 

Following a stint in Olympia's Evergreen College, the Portland born singer-songwriter moved to Seattle in 1994. For several years, Duby fronted her own band and worked the Seattle restaurant industry. In 1998, after joining forces with producer Steve Fisk (Low, Soundgarden), Duby recorded her first full-length for Sub Pop Records. Dubbed Post to Wire, the album was lauded by fans and critics for its uncharacteristic approach to dreamlike pop-based sound scapes. And Sub Pop posters from the Post to Wire album also found their way onto the set of the coming-of-age teen movie American Pie 2. If you look hard enough, you might just see them. 

In 2001, Duby released an EP with the improvisational electronic band Elemental. Also released on Sub Pop, Heather Duby Elemental revealed a counterintuitive side of the singer-songwriter's instinctive capacities. Eventually, Duby left Sub Pop, enduring a bout of tonsillitis and a return to the restaurant business. She also made the decision to focus on challenging the conjecture of her past works. And the resulting album proved challenging even to herself. 

In 2003, Duby returned with Come Across the River, her first for Sonic Boom Recordings. Continuing to work with Fisk as a producer, the album painted a poignant and personal memoir of lovelorn and despair. Laboring over a simplistic template of hushed samples, pianos and strings, Duby sought to focus more on composition and less on the atmospheric production values of her earlier work. The resulting album, though daring and much more brooding than her previous work, was hailed as a critical success, establishing Duby as an adept and versatile force in the Seattle indie scene. 

In the interim, Duby focused on writing, recording and touring. She lent vocals (both live and recorded) to the Seattle math-rock band Minus The Bear, touring fervently alongside them, as well as the David Bazan project Headphones and Omaha's Criteria. The constant touring found Duby playing such esteemed venues as The Troubador in Los Angeles and The Great American in San Francisco. Due to distribution issues with Sonic Boom, Duby's third full-length, recorded throughout 2004 and 2005, took slightly longer to release than anticipated. 

In July of 2006, Duby released her third full-length album on Sonic Boom Recordings. Again produced by Fisk, the self-titled album, featuring fellow Seattle musicians Erin Tate, Alex Rose (Minus The Bear) and Rob Hampton (Band of Horses), met with critical acclaim in the likes of The Onion, The Seattle Times and The Village Voice. Its terse instrumentation, juxtaposed against Duby's languished piano sections, adroitly demonstrated the caustic forces at work within Duby's song writing. Supported by a West Coast Summer tour, and a handful of weekly jaunts throughout the Northeast, Duby appeared alongside acts such as Minus The Bear, Maritime, Headlights and David Bazan. Her self-titled album eventually went on to land in the number five slot in The Seattlest's Top-five Northwest releases for 2006, along with the number one single spot by music critic Michael Alan Goldberg (Seattle Weekly, Village Voice) for the song 'Dullard, Or Are You A Breakfast Alcoholic.' Several tracks later went on to appear in the MTV drama 'The Hills.'

In the coming months, Duby is slated to begin studio work on her fourth yet-to-be-titled album at Red Room Recording in Seattle. Working alongside producer Matt Bayles (Minus The Bear, Isis, Mastodon), Duby intends to record 12 songs written during the Fall of 2006 and Winter 2007. The new demos convey a healthy range of Duby's multifaceted song writing abilities, ranging from pensive piano sketches to solemn guitar-based melodies. Coupled with Duby's critically-acclaimed vocals, the recent demos capture an expansive breadth of emotion and melody, revealing Duby as an artist ceaselessly affected by love, loss and all of their respective intermediaries. 

Following production of her fourth album, Duby is planning a move to New York City, followed by touring and performances both with and without her backing band. Thankfully, for the pedestrians of New York, she will not have a car. 

"A self-challenging, career-progressing album — what better present can an artist give herself?" -Tom Scanlon, The Seattle Times

"The sinewy bass, drum, and synthesizer threads that weave through "Never Even Made A Voyage," the first song on Heather Duby's third full-length, are a triple-match for Duby's voice, which shifts easily from ethereal to bratty to grandly theatrical. Heather Duby (Sonic Boom) expands the singer's sound, moving beyond the atmospheric piano-and-electronics balladry that she started with in 1999. The new album pulses and surges, responding to heartbreak with defiant triumph." -The Onion AV Club

"On her terrific self-titled third album Duby’s piano-heavy arrangements are more organic, and her vocals are grittier and more confident. There’s a gothic tinge to her work, though it’s more Brontë than Siouxsie, and her touring ensemble—which includes members of Seattle math-rockers Minus the Bear—brings added rhythmic complexity live." -Michael Alan Goldberg, Philadelphia Weekly

"In a long dark room masquerading as a dance club, a pig-tailed, fresh-faced Heather Duby led a strong four-piece through some darkly beautiful, atmospheric tunes. Duby's ethereal voice crashed against the fuzz-toned backdrops... Joyful and loud, the band had to restart a song when they realized that the guitar wasn't plugged in. Up to then, the audience and the band were so wrapped up in the sound they didn't notice." -Charles Bermant, Rollingstone.com

"Seattle 25-year-old with a deeper voice than you'd put to her Juliette Binoche haircut pursues interesting project: Take outsider cool and early-'80s synth bumps and echoes into Sarah MacLachlan territory. It's a seductive journey, even though she may never get back." -Greil Marcus, Salon.com

"The juxtaposition between the darkness of her verse and the brightness of her choruses act as a push-pull of tension that makes both ends of the spectrum so much the better. This very effect, this tension between tragedy and beauty, is what made Shakespeare's plays so effective and timeless. It makes Heather Duby's [latest effort] a record to be heard immediately." -Joseph Riippi, threeimaginarygirls.com

"Singer-songwriter Heather Duby weaves a tapestry of atmospheric rhythms and eclectic grooves, all of it ingeniously produced and brimming with contrasting moods, personality, and emotion. No blistering beats here, just smooth spaciness." -Download.com

"Like Aimee Mann, she writes pithy, catchy songs that explore bitterness and regret with wisdom. Her wounded voice gives her songs gravitas that her younger voice lacked. The spaciness of the electronic effects plays nicely against the driving, structured pieces." -The Ectophiles Guide

"Backed up by an amazing band, Duby isn't exactly picking up where Hope Sandoval and Mazzy Starr left off. Her music has much more instrumentation, along with Duby's amazing voice; there's really no one who sounds like her. Full of maturity and depth, her voice resonates her words perfectly. If you thought Beth Orton had one of the strongest, most mature voices in music today, Duby could prove you wrong." -LastFM.com

"Duby's material is achingly lovely, conveying a sense of longing and loneliness through slow tempos, spare instrumentation, and her gorgeous vocals with their tremendous range." -Will Lerner, Rhapsody.com

"Duby's strength is her ability to match her angelic voice with abrasive instrumentation. Unlike artists who wear their eclecticism like a loud suit, Duby's oddball combinations fit together nicely." -Charles Bermant, Rollingstone.com