DAVID CLEMENT is a distinctive stylist of what has been called "lyric-centered Rock." He had just moved to New York to work for visual artists Nancy Spero and Leon Golub when he made a career move into music at the encouragement of a high-school classmate, Liz Phair. His first CD, "Be More Like Me" (Wild Monk Records) garnered critical acclaim and was picked as "critic's choice" by Billboard.

For the next two years, Clement honed his craft with a series of musical experiments, and finally found a collection of musicians he wanted to record with: avant guitarists Chris Cochrane (Suck Pretty, No Safety) and Marc Ribot (of Elvis Costello's Attractions, etc.), Richard Dworkin (Alex Chilton), bassist Mike Stanzillis (from Sandra Bernhard's backing band), Marty Beller (They Might Be Giants, The Negro Problem), and the spidery prince of glam guitar, Rob Bailey.

His upward soar was delayed when Mercury Records was acquired by Universal, sending his newly-finished second CD into legal limbo for years. So he detangled with shows in L.A., in Chicago (including Steppenwolf Theater), and in New York. He spent years playing "residencies" at Bar B CB's Gallery, The Sidewalk Cafe, and the Baggot Inn. He has also played at The Mercury Lounge, Fez, The Living Room, Arlene's Grocery, Finally Fred's and Hannah's Lava Lounge. Those shows got him the role of the BAR BAND on the WB's "Jack and Jill" and his music could be heard beneath some of the machinations on "Dawson's Creek." In 2002 he re-recorded the songs of his ill-fated second CD as "your Free Gift" (Show Dog Records).

He mostly now plays with Rob Bailey, whose pop sensibility, classical training, and love for a sonic experiment mix with Erin Hall's cello to make a dreamily driven framework for David's tightly crafted "post-Brechtian-pop/acid folk" songs.

Kindamusic.net wrote, "With hypnotizing guitar chords and a flair for subtle lyrics, David Clement can be found between REM, Ryan Adams and Eels, deep in the territory of accessible, well-written alternative music."

Independent Songwriter Magazine wrote, "The breathy vocals are a sharp contrast to the hard-driving music. And the tug-o-war between the two elements create a tension that's hard to ignore. The production is so over-original that it technically breaks new sonic ground. It's rare to find such a revelation in original music. Not only are the lyrics deep, but the music, the production, and the vocals all blend in some multi-layered smorgasbord to create a type of complex maze...decipherable only if one allows the subconscious to take control. Hard to believe that humans could operate at such an atmospheric realm."

DAVID DRIVER recently released the album “Phillips&Driver: Togetherness” on the Bar/None label. It’s a collaboration with Texan dyke songstress Gretchen Phillips that the two describe as “seventies-soft-rock-country-folk” music. Their mission, as performers and people, is to bring people (most specifically fags and dykes) together.

Driver has also performed in and created music for theater projects. He was in the original Broadway company of "Rent," as well as the La Jolla Playhouse / Streisand Festival production of Frank London’s "Bei Nacht" and Theatreworks USA's production of "Romeo and Juliet." He recently appeared in the new rock opera "People Are Wrong!" at Off Broadway’s Vineyard Theater.

His work has been heard on NPR's "All Things Considered" as well as Vin Scelsa's "Idiot's Delight" on WNEW-FM and "CityFolk" on WFUV-FM in New York. He can often be heard on The Daily Show with Jon Stewart singing "Pride Of America," the show's closing theme.

Driver is currently appearing alongside Deborah Harry, Elvis Costello, ex-Psychedelic Fur Richard Butler, jazz veteran Nancy King, and other luminaries on “Fire at Keaton’s Bar and Grill,” (Six Degrees Records) chief Jazz Passenger Roy Nathanson’s music theater piece/concept album. The live performance played to sell-out crowds at its debut at The Arts at St. Ann's in Brooklyn, and continues to tour Europe and America.