“… one of the most promising pop tunesmiths in the Southeast… sounds a bit like a young Bono fronting a grittier version of  The Church.”

jim reed – connect savannah


“Jason Hausman is an artist who deserves to be sharing his songs with the world; his work is distinctive, passionate, thoughtful and to top it all off, remarkably entertaining. I feel extremely lucky to be in the sphere of listeners who have experienced Mr. Hausman’s music. Now it’s time for everyone to enjoy it.”

Robby Benson – Actor (Ice Castles, Beauty and The Beast)


Jason Hausman was brought to my attention first by noted studio drummer/engineer Chris Garges, who told me they’d just mastered his new disc at Abbey Road! It’s a very cool record… lots of different textures and feels, and man… does this guy sing his ass off! Get hip to him now!!

Jamie Hoover ~ The Spongetones


“The publicity sticker on the cover advised me to expect a sound like [Jeff] Buckley, U2 and Coldplay. Well I guess that was fair enough but to that list you could add, at the least, Radiohead and Jack Bruce; however, I ended up thinking that overall Marillion would be nearer the mark. It’s a big sound he and his band get together – very dense and introspective with guitars in the lead but muscular drumming to give it thump and keyboard sounds to give it atmosphere…”

John Davys ~ Flyin Shoes, Scotland, UK


Hausman’s voice is eerily reminiscent of U2′s Bono, reaching operatic levels on occasion and mimicking a pedal-sustained guitar riff at other junctures. Yet his pipes don’t overpower the music with that obvious “I’m the singer” zeal. His music has an ’80′s pop vibe mixed with bits of the ’90′s alterna-rock. While there are hints of Brit-pop aplenty, Hausman is especially effective on the slow numbers, such as the jazz-tinged, atmospheric blues cut, “Soft Sweater Girl,” off his recent EP, Hollow.

Samir Shukla ~ Creative Loafing


Jason Hausman

Hollow (five song EP)

Jason Hausman loves things that resonate. From his previous projects including godmanradio to his current solo career, the Hausman signature that emerges is all tone and echo. As the music celebrates the sounds of reverberating objects, the vocals obliquely survey Hausman’s world.

What does it sound like: Shadowy pop rock with layer upon layer of mostly clean but varied electric guitar tones. The music carries a certain bombast, but not in the guitars where you might expect. Instead, the guitars all melt together while Hausman launches into volleys of Robert Smith and Bono wailing. The mournful cry follows some interesting modes as it, too, melts into the music and the final effect is something like a ceremonial call from an unknown religion.

Cons: Pop, Hip-Hop and Metal fans who expect their music jump up and attack them with aggressive brain-attaching sing-along hooks will be disappointed with Hausman’s more nebulous approach.

Pros: Hausman’s dedication to his work is evident throughout. The man manages a serious recording studio by day- and not surprisingly every note of each song is meticulously recorded and mixed. Still not satisfied, Hausman took the EP to Abbey Road in the UK for it’s mastering phase. No one will accuse Mr. Hausman of sounding like a garage band. The EP’s biggest moment is also its most sinister. Three minutes into the track “godlike” the song suddenly takes on weight and speed and the vocal line gives way to a pulsing guitar that sounds like a human voice trapped in a box and fighting to get out. Well done Jason.



Jason Hausman’s CD Hollow opens with a machine-like ambient guitar, a sound out of a composition by the alt-metal outfit Tool. Almost immediately, a classic rock riff moves in, followed by a steady drum backbeat. The four elements blend together when Hausman enters “Playground,” belting out the catchy pop tune with a rich, almost hypnotic voice.

At first breath, Hollow seems like a straightforward pop album, but listen up. There’s more hear than it might appear.

There’s no doubt that Hausman’s pipes — described as young Bono-esque — drive Hollow. But like “Playground,” Hausman textures most of his five-track disc, combining several elements into one, making something complex from simple parts.

On “Godlike,” Hausman slows it down a little bit with a track about a relationship seemingly in flux, and “Wabash Avenue” tells a tale of a man’s life gone astray with “When you were a little boy, did you ever think you’d treat your life like this?”

The one place where Hollow doesn’t take off is track four — “Soft Sweater Girl” — a pedestrian love song that tries to build, but never really gets there. Rounding out the album, the funky guitar and bass work on the seven-minute “Vultures” is another highlight, surrounding lyrics like “You talk to strangers. Nothing could be stranger to me. There are too many fools in command.” Here, comparisons to the U2 frontman really ring true.

Unlike many independent issues, the production here is excellent, done at Abbey Road Studios in London and mastered by Chris Blair, who has worked with Sting and Radiohead. Clearly, based on his voice alone, Hausman has a bright future, and hopefully the Charlotte, N.C. rocker doesn’t come up empty.

Matt Sheley –


The Dark Lord of Pop – yes, my good friend Jason Hausman. He’s a rare breed in the music world, being equal parts musical and lyrical visionary, and not to mention a very savvy studio man. He’s such a bad-ass that his last record was mastered by Chris Blair (Radiohead, Sting, Travis) at Abbey Road Studios in London, UK.

Jay Garrigan ~


2004 Rock & Roll Call (Creative Loafing Cover Story)

The Best of Charlotte’s Original Music Scene

Jason sited as one of “The Best of Charlotte’s Original Music Scene” in the Singer/Songwriter category alongside such artists as Benji Hughes, Gigi Dover, Michael Reno Harrell and more.

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