The Untitled Interview #92 – SXSW Edition: Starring J. Tom Hnatow (These United States)

The days are getting longer, the nights are getting shorter and sweeter, and that, my little vixens, can only mean one thing: it's getting close to being almost time for the one and only SXSW. And of course, that means I had to ask some questions of the bands I'd sure want to see if I was heading down to Austin for the 25th annual SXSW-stravaganza.

By now, you know These United States to be one of, and quite very probably my absolute favoritest thereof, DC bands (and definitely my favorite DC/Lexington, KY band!). These timeless troubadorian souls are once more taking their beautiful country-fried folksy romper stomper sound to Austin, where sonic triumphs shall certainly transpire. Especially if there's a sunset involved. Below, J. Tom Hnatow takes some time to talk turkey with yours truly.

Les Enfants Terribles: How are you getting to SXSW: plane, train, or automobile?
J. Tom Hnatow: We will be arriving via Evangelina 2, our 2001 Ford e350 XLT. She's a 15 passenger beast with a raised roof and a cage in the back. Holds us, our gear, and our personal stuff comfortably. Once we arrive in Austin, I hope to do most of my motorvation on my new, as yet unnamed, collapsible bike.

LET: Inevitably, you will forget to pack:
JTH: I've been doing this long enough that at this point, I truly hope I have all the essentials, namely: Good walking shoes, sunglasses, sunscreen, and a good hat.

LET: How many showcases/parties will you be playing?
JTH: At the moment, we're playing 5 day parties, 1 official showcase, and 1 "secret" show that we'll happily tell you about if you ask us.

LET: Band you're most looking forward to seeing at the festival?
JTH: We have a lot of shows and will only be around the fest for a few days, so it'll be really hard to get out and see bands. On the positive side, just about every band on every show that we're playing is pretty awesome, so I'm excited to finish playing and get to watch. Plus, with so many bands, I always discover someone that I've never heard of before.

LET: What's the first thing you plan on doing upon arrival in Austin?
JTH: Heading to Torchy's Tacos and chowing down.

LET: What was the first festival you ever attended, either as a musician or member of the general public?
JTH: Bethlehem, PA, not far from where I'm from, has a cool festival called Musikfest every year. My first festival memory is sitting on a lawn under the stars, probably only a few years old, eating a picnic dinner, listening to Don McLean play "American Pie.”

LET: Favorite thing about festivals?
JTH: Our band is somewhat split on this, but personally, I LOVE festivals so much better than rock clubs. The downside is that it’s usually a huge rush on and off stage, no soundcheck, and you're usually soaked through with sweat just from carrying your gear. On the positive side, I love finishing and then getting to wander around, see other bands, run into old friends, and just take in the experience. We've also played a few sets just as the sun is setting, and that is an absolutely magical experience.

mp3: Water & Wheat (These United States from What Lasts)

Megan’s Top 70 of 2010: #57 - These United States

Why I Decree it to Be So:

Long has These United States reigned at the top of the DC heap in my book, and with latest endeavor What Lasts, they show no signs of relinquishing their collective hold on my affections. Troudadourian bandleader Jesse Elliott drew inspiration from a brush with death, and the band recovered from a stolen laptop to create another fine, folksy twangle jangle, with understandably somber undertones. "There is no justice," sings Elliott in "Just This," "just this occasional grace," and What Lasts is definitely some of that occasional grace. Yet another part of the must-have These United States ouevre.

mp3: The Great River (These United States from What Lasts)

A Mix Betwixt Friends: James M.

As music bloggers, Chris and I both have quite a few folks that come to us seeking musical guidance. Now, I can't speak for Chris, but whenever I get asked for recommendations, I tend to draw a blank. Naturally, I remember a whole host of bands I just know people would love hours after they've asked me. It's a gift to have such a horrible memory, I know. So then, it seemed somehow necessary to begin to offer up mixes for my friends, mixes for those who have both asked for my wisdom and those who need my help, whether they know it or not.

First up: my super awesome friend James, who actually inspired this whole concept. James is no stranger to good music, being in a band down there in Richmond himself (which you should probably check out). Over the years that we've known each other, James has often boosted my ego by coming to me for bands to listen to. Naturally, I'm always more than happy to oblige. However, now, instead of having to get back to him with erratic texts at random hours, I present him with a mix. So James, darlin', this one's for you.

mp3: Daydream (Beach Fossils from Beach Fossils)

mp3: Don't Know Why (You Stay) (The Essex Green from Cannibal Sea)

mp3: The Great River (These United States from What Lasts)

mp3: Knots (Pete & The Pirates from Little Death)

mp3: If You Don't Want Me To Destroy You (Super Furry Animals from Fuzzy Logic)

mp3: Night Might (The Strange Boys from Be Brave)

mp3: Tow The Line (Thieving Irons from This Midnight Hum)

mp3: Big Black Sky (Sunking! from Dreamy Of The Sunchildren)

mp3: Us Vs Them (Common Prayer from There Is A Mountain)

mp3: Young And Dumb (Neverever from Angelic Swells)

mp3: Doors (Ice Black Birds from As Birds We'd Be Fine)

mp3: All Y'all (Gringo Star from All Y'all)

Album Review: These United States – What Lasts

What do near-death experiences, a stolen laptop, and the Keystone State have in common? The answer, friends, is the latest These United States album, heretofore known as What Lasts. The fourth TUS record (recorded in Pennsylvania, after singer Jesse Elliott’s near-drowning, the poor boy also having had his laptop stolen) is, as I’ve come to expect and look forward to from this band, a triumph. Running through the record for the first time, I awaited the start of each song with baited breath weighted down with heavy anticipation, because as you all know, TUS is most assuredly one of LET’s most pet of pet bands. And once more, they’ve proven their worth as one of the most relevant, most important bands of our time.

Turning another page in the goodness gracious great story that is the tall, tall These United States tale, Jesse Elliott and the fantastic four (aka Robby, Justin, Colin, and Tom) that have become permanent fellows of TUS exhibit nothing short of master class on What Lasts. The record itself feels more intimate, more personal than has any TUS record before it. At times it’s even rather stone cold sobering, the more winsome musical follies of, say, Crimes, a distant memory down a dusty road in the rearview mirror. What lies ahead is the wide open, big sky country sound of maturation, the sound of melancholy, and the sound of serious contemplative introspection.

But lest you think These United States has left the good jangle behind them, fret not. Songs like the splendid “The Great River” and “Water & Wheat” proudly fly that old faithful TUS jingle pop folk banner. It must be said that the bulk of What Lasts is indeed on the more serious side of the coin, though, which while initially disquieting becomes more and more appealing as the record goes on. “Life&Death She&I” is cause for both sadness and joy, regarding the subject matter and 70s-esque feel to the beat with that foxy steel, respectively. Title track “What Lasts” is music to mope to, with the haunting, shimmery steel and Elliott’s voice taking on particularly plaintive emotional tones. They often seem to tread water that greats like The Band might approve of, and that I most certainly do.

Sure, it’s the most serious These United States record to date. It made me furrow my brow just a touch. But What Lasts is a tremendously fantastic record. And hell, I’m still waiting for Jesse to put a foot wrong when it comes to his lyrics. He once more shows the kids how to write a record full of amazing songs. They’ve come such a very long way from the gate to the garden of Eden. And yet, perhaps they’ve just come full circle. When it comes to These United States, only the old devil moon really knows. And that’s the way it ought to be.

mp3: The Great River (These United States from What Lasts)

100 Shows of 2010 - #24: These United States/The Mother Hips @ Black Cat, 5/15/10

Man alive. Now this, this friends is a show. Throw together a band I’ve been dying to see live for something approaching ten years (i.e. The Mother Hips) and a band that I’ve seen plenty of times but never, ever get tired of absorbing (i.e. These United States), and you’ve got good odds that my little head just might explode with molten, golden joy. And truth be told, it very nearly did cause cranial combustion.

MINI RECAP: The Mother Hips = Interminable Wait-Worthy! These United States = Predictably Peerless! Overall score: A.

Mother Hips, O Mother Hips. How long you made me wait to hear your saucy, smooth yet tangy rock und roll. Fifteen years is a really long time to stay away from a city, which is the approximate time lapse the band surmised between trips to my fair land. As I knew I would, I fell totally further in love with the band as they played and played and played. To hear them, be it getting their twang on or totally rocking out, was a beautiful thing indeed. Their sound is so warm, so much like a wonderful cocoon. They rocked my world, but in a cozy, comfortable way. They have the ease and casual awesomeness of a band that’s been around the block many a time, like elder statesmen, if you will. Their set was non-stop wonderfulness, and I just hope it doesn’t take them another fifteen years to get their little keesters back this way.

After the incredible fabulousness of The Mother Hips in their set (and encore!), it was time to bring on my local band numero uno. These United States have, from my very first time seeing them, constantly and faithfully wowed me live. And as such, I knew I (and the rest of the folks who wisely attended the show) was in for a treat. I wondered to myself what would be played, though assuredly it would all be splendid. And sure enough, it was. To me, they’re one of the best live bands around, and once again they proved it. It began with “The Business”, an old (well, old for TUS) favorite that I’ve not heard in donkeys. From start to finish, the members of These United States were full of vim and vigor and panache. Bands, this is how you play live.

“Everything Touches Everything”, title track of the band’s most recent LP, was up next, and featured the gleeful undulating and gesticulating and probably other –ings of the irrepressible Jesse Elliott. In fine form, Jesse made sure to give thanks where thanks was due. “Thank you, Oregon,” he mischievously stated before the band launched into “The Important Thing”, full of fine, thumping bass action. Elliott was in such a mirthful mood that he was actually giggling throughout the set, and frankly, I think there’s not enough giggling in rock these days. Another newish song, “The Secret Door”, broke up the giggling, as did old favorite “First Right”, which sounded lovely as played with the newer, meatier lineup. Formerly ethereal and light, the song took on a new, full-bodied flavor. In a nod to the new additions, Elliott finagled some lyrical wrangling as he changed the lyric, “There’s a picture of the three of us at the gate to the garden of Eden” to “There’s a picture of the six of us at the gate to the garden of Eden”. All together now, aww.

Elliott was full of proclamations and explanations, as per usual. “The Black Cat is the goddam greatest venue in the history of the universe,” he cheerfully opined, before voicing a totally killer rendition of “Good Bones”, one of my favorite songs from the newest record Everything Touches Everything. One of the many things I love about this band is how much of a group effort their performances are. As one goes so too do they all, and I’ve been lucky enough to see them on very, very good nights wherein everyone is kicking musical ass and taking names. When introducing “Honor Amongst Thieves”, Elliott elicited some giggles from the gaggle as he proclaimed, “This is just one of our greatest songs ever.” True words, friends. True words. But then, there are so many greatest songs ever with this band.

As the set went on, it was clear that the band was in the zone. They were in their special, happy musical places, and it was pretty dang magical up on that stage. They closed the dozen songs in the set with the excellently poppy “I Want You To Keep Everything”, and it was divine. My question as to whether or not there would be an encore was soon answered, and as the band strolled back to their places, Elliott smiled as he said, “I can’t believe we forgot to play these songs!”. First came a dead perfect cover song, “Can You Picture That” by Dr. Teeth & The Electric Mayhem. The ramblin’ rose lyrics are just the sort of song you’d expect this band to cover. “Slow Crows Over” really did finish the proceedings, and it was brilliant. Hot damn, do I love this band.

‘Course, I can’t let them get by with a totally gushing review. Next time, boys, please make sure to include “Night & The Revolution” in the set. But otherwise, the set was fanfuckingtastic. If you haven’t seen this band live yet, make it a priority.

mp3: Honor Amongst Thieves (These United States from Crimes)

The Untitled Interview #27 – SXSW Edition: Starring Jesse Elliott (These United States)

I’m finding it hard to believe that it’s almost time once again for the annual industry hootenanny known as SXSW. To celebrate the impending week of absolute havoc, Austin-style, we’ve thrown down the interview gauntlet to see what some of our favorite bands are going to be getting up to whilst down in the wilds of Texas.

Up first, may I happily present to you the head honcho of one of my current favorite of favoritest bands: Jesse Elliott of These United States. Having recently put out their third album in just about two years (not-so subliminal message: buy them all), Mr. Elliott and the gang are once more amblingly and ramblingly venturing down south to spread the good word of DC-meets-Kentuckian out-of-this-world-folky-soul-poptacularness. If you’re heading to the festival, make sure not to miss ‘em. Fortunately, since the band is full of busy little bees, you’ll have plenty of chances to catch the live These United States experience. And if you’re lucky enough to be going to the 2010 installment of SXSW, Jesse has some sage advice for you. Read on.

Les Enfants Terribles: How are you getting to SXSW? Plane, train, or automobile?
Jesse Elliott: The only way we travel – the U.S.V. Heyoka, fondly known as “Evangelina” for short. Comin’ the long way, from DC to Kentucky to Colorado to Seattle to San Diego back to CO and down to Austin. We’ve never been known for our efficiency. Sure do get to see a lot of good things, though.

LET: Inevitably, you will forget to pack:
JE: So far along the way out west we’ve left a sleeping bag, a guitar stand, a case of beer which woulda coulda shoulda served the purpose of holding us over til the next day when we rolled into Boulder at 2 am. These are all things we can do without, of course. Not much is really and truly necessary, when you get down to it.

LET: How many showcases/parties will you be playing?
JE: Seven of ‘em over the course of Wednesday, Thursday, Friday. Hopefully gonna squeeze in at least one more informally – our buddy Tom Inhaler is throwin’ a killer shindig via his label, Supply & Demand. Max Sorenson, who made this amazing video for our song “Everything Touches Everything” is showcasing in the Film part of SXSW too – so I guess 9 or 10 if you count those.

LET: Band you’re most looking forward to seeing at the festival?
JE: The Loom, from Brooklyn, put together this incredible backyard BBQ on Friday. Lotsa favorites of ours there – Roadside Graves and The Love Language and The Rural Alberta Advantage and a lot more. The Loom included. Come to think of it, every party and showcase we’re playin’ll have a great lineup…sadly, that’s prolly all we’ll have the time and energy to see.

LET: What’s the first thing you plan on doing upon arrival in Austin?
JE: For me, I’ll change out of my Minnesota snow boots and into my shitkickers. Justin’n’Robby, they’ll be glad just to thaw out their holy Converse’n’snakeskins, respectively. Tom’n’Colin, they should be pretty set with good solid footwear to hit the ground running already. Footwear makes er breaks ya.

LET: What was the first festival you ever attended, either as a musician or a member of the general public?
JE: Musta been the 3rd grade science fair at Coleman Elementary. I think that was the one I made the spinning bowl that was supposed to prove something about the difference between centrifugal and centripetal force. I never did remember that lesson.

LET: Favorite thing about festivals?
JE: Science! Spinning! People! Motion! Sound! Fury! Collision!

mp3: Everything Touches Everything (These United States from Everything Touches Everything)

{Photo by Sarah Law}

Megan’s Top 25 of 2009: 10-6

And here we are already, at the bottom half of the top ten. Here was where I found myself struggling the most to put a number next to a record, they’re all so very wonderful. Here we have both some saucy and some sorrowful Scots, some lively Louisianans, some nifty New Zealanders, and some wandering nomads of wonder. A seriously special group, I must say.

Do a little research and you might be a little surprised to discover that historically, New Zealand has a pretty darn good track record when it comes to putting out really great bands (The Clean, Look Blue Go Purple, The Chills, and The Bats to name a scant few). In keeping with the tiny nation’s tendency to churn out bands with a skillful blend of punk-pop seasoned with a decidedly English flavor, we now present Cut Off Your Hands at #10. They stick with the New Zealand tradition of musical Anglophilia, making You and I one heck of a delightful record. The record starts off big, with single “Happy As Can Be,” as good an opening impression as you could hope for. Big and bold, it sets the tone immediately and you know right away that you’re in for a treat. These charming boys are indebted to Brit stalwarts like Marr & Morrissey, and you’ll probably hear shades of The Smiths hither and thither, with a youthful edge. You’ll also hear some of the catchiest songs you’ve heard in quite some time, namely the “Expectations”-“Oh Girl”-“Turn Cold” triumvirate, joined a few songs later by the pairing of “Let’s Get Out of Here” and “Still Fond”. All of them are unavoidably addictive. They can even do a damn fine ballad, with the sentimental “Nostalgia” being one of my favorite songs on the record. So grab that special boy or girl and hold ‘em close, and fall in love with Cut Off Your Hands while you’re at it.

mp3: It Doesn’t Matter (Cut Off Your Hands from You and I)

I’ve recently heard My Maudlin Career called one of the best heartbreak albums of pretty much ever. While I’ll refrain from casting my vote one way or the other on that particular heart-wrenching subject, I will say that Camera Obscura made one of the best records of 2009 (#9, to be exact). The strength of Camera Obscura to me lies in their eternally sweet sound, bolstered by the perfectly weary yet still lovely vocals of Miss Tracyanne Campbell. It’s not easy to make sad sound so sugary, but Camera Obscura manages just fine. “French Navy,” the first track on the record, is one of my favorite songs of the year, and easily one of the most danceable, what with the jangle of the tambourine and jaunty attitude. And the wistful irony of “The Sweetest Thing,” with the lyric, “You challenged me to write a love song/Here it is/I think I got it wrong”. Hope you’ve got a box of Kleenex handy. “You Told a Lie” features vocals so fragile it sounds like our heroine is on the verge of tears as she delivers the lines. And so it goes, on and on, song after song of woeful, painful, beautiful misery. If it’s not the best heartbreak album ever, it’s certainly near the top of the heap. Hey Lloyd, they were ready to be heartbroken, and they certainly got what they asked for. They got heartbreak, and we got a great record.

mp3: Swans (Camera Obscura from My Maudlin Career)

Moving away from broken hearts but staying in Scotland, may I present #8 on the Top 25, otherwise known as The Phantom Band’s Checkmate Savage. I’ve likened them to British Sea Power with a brogue, and I think given their propensity for sonic experimentation and oft-bizarre lyrics it’s not such a bad comparison. Right away this isn’t your usual rock album, as the Phantoms go in for expansive sounds and wacky noises, and actual howling in “The Howling”. “Folk Song Oblivion” is just that, a slight hint of an acoustic guitar layered upon with structured guitars and oftentimes monotonous vocals, making for yet another interesting effect. Like British Sea Power, The Phantom Band doesn’t shy away from long, rambling songs, with four songs clocking in over six minutes each. My favorite song on the record, “Halfhound,” is a fierce, forceful track interspersed with gentler moments of light, before plunging back into darkness. Checkmate Savage is wild and wooly and dark and completely, wonderfully insane. And I love it to pieces. This is definitely a band I’m dying to see live, because I need to visualize how this crazy bastard of a record was made. So dearest darling Phantom Band, please make it happen.

mp3: Throwing Bones (The Phantom Band from Checkmate Savage)

Switching gears once again, it’s time to visit my absolute favorite group of Louisianans, the good people of Generationals. My #7 record is their ever-so-excellent Con Law, otherwise known as the aural equivalent of a little ray of sunshine. Formed by Grant Widmer & Ted Joyner (and some amigos) of the now-defunct and greatly missed indiepop outfit The Eames Era, Generationals will light up the darkest of days, guaranteed. They’ve made a record that made me grin uncontrollably the first time I heard it, a grin that reappears during every subsequent listen. Something about listening to Con Law makes me want to jump in the car, go somewhere sunny and warm, and drive around blasting the album with my sunroof open and the windows down, drinking in the sunshine. “Angry Charlie” is my favorite I’d have to say, but each and every song on this record is divine, so well-produced and beautifully, gleamingly clean (but not overly so, mind you). It’s the perfect album to listen to and long for Summer (as I look out my window to a view of an endless blanket of cold, cold snow). Even the substance abuse-themed “Bobby Beale” sounds light and freshly summery, though the subject matter is anything but. So take heed, while enjoying the lovable musical stylings of Generationals, because as they so lyrically and wisely put it, “Everyone’s a dime a dozen/Everyone’s a wolf in waiting”.

mp3: Exterior Street Date (Generationals from Con Law)

They missed the top 5 by a hair, and the top spot by just a few hairs. But at #6, These United States is still one of the loves of my musical life. Having proved their musical chops over the course of two previous records, Jesse Elliott and company reappeared for yet another go at musical superiority. The fruits of their labors this time around is the most excellent Everything Touches Everything, both a thought to ponder and an album to really fall in love with. Opening track “I Want You to Keep Everything” is another of my overall favorites from 2009, a bit unexpectedly poppy coming from the These United States camp, but a very welcome song indeed. Continuing on, Everything Touches Everything ends up being a record you might have expected from These United States. It’s full of their utterly disarming, rustic simplicity, be it in the form of acoustic or slide guitars, and Elliott’s rambling and ambling and occasionally obtuse (though always fantastic) lyrics. “We’re going out/With our hearts strapped across our chests,” Elliott boldly proclaims in the titular track, and somehow you can picture Jesse venturing forth, red heart pinned to his chest to boldly face the unknown. Somehow, though it jumps all over the place, the album never loses its cohesion, or ceases to follow the tried and true TUS blueprint. Perhaps that IS the TUS blueprint, come to think of it. And what a good plan it is.

mp3: Night & The Revolution (These United States from Everything Touches Everything)

Album Review: These United States - Everything Touches Everything

It’s no secret that Chris and I each have a few bands apiece that we’ve loved fiercely and ferociously for years. To put it bluntly, they’re our pets and we love them. On certain occasions, we’ve been lucky enough to be around these certain bands from virtually the beginning. And when it comes to These United States, well, we go back a ways. I think, and have thought for some time, that they’re one of the best bands around, and not just in the locality sense. There are few bands in the country, let alone in DC and Richmond, who can keep up with them on an artistic level. Not many bands can impress me on a regular basis as much as these boys can. And friends, this third album very well could be that last, biggest push into world domination (and coincidentally, it’s one of the best damn records of 2009). I’d say it’s their finest work so far, but since everything they’ve released is so amazing I really can’t go there.

To refresh your memory, These United States has released three records in their history thus far. Album number one was the ethereal, floating introductory record. Album two was the brilliantly thematic country-fried space folkish one, garnered them quite a lot of attention to boot. But album three, well, it’s probably going to be the one that makes them famous.

The band has expanded from a three-piece to a five-piece, and the added heft of the new and improved lineup favorably adds to the fullness and breadth of the album. Everything Touches Everything is definitely the most accessible These United States record, and darned if it doesn’t sound downright poppy at times. For example, opening (and my favorite) track “I Want You to Keep Everything” is a slick, spotless, nearly perfect pop song, though of course it contains none of the meaningless pop treacle prevalent in bad pop. Jesse Elliott probably couldn’t write a bad song if he tried, bless his heart. Further into the record, the most excellent “Conquest & Consequence” has a robust guitar sound and an almost 60s feel, as though it might have been plucked from right around the dawning of the psychedelic era, and naturally there’s a deeply political slant to the lyrics. Another gem, “Good Bones,” is just warmth and glory blended together. It feels hopeful and triumphant, choc full of vim and vigor. The album closes with the opus “Good Night Wish,” a dreamy track that ebbs and flows along the rhythms of nighttime in the city, bringing things to an end in a most magnificent manner and punctuated by a bang on a guitar at the bittersweet finale.

I don’t believe that all that many people are really, truly gifted at what they do. But that Jesse Elliott, dears, is gifted. I could smell it years ago and he just keeps proving me right, along with the help of some rather special co-stars. His songs can confound and astound and leave you just about breathless and teary/starry/wide-eyed. The band is constantly growing and changing, at once and never quite the same. And most importantly, this band and the music they make has soul. Yet again, here’s another fantastic record, and it doesn’t sound like anything else that anyone else is doing. Each track has its own distinct, unique personality, though they all fit together beautifully and completely, creating a full, cohesive sound that could only be made by These United States. And what a glorious sound it is.

mp3: I Want You To Keep Everything (These United States from Everything Touches Everything)

mp3: Good Bones (These United States from Everything Touches Everything)

Megan's Top 18 of 2008 - #6 - These United States

I'm sure, my dears, this selection will come as a surprise to exactly none of you, given the heaps and heaps of praise I've directed in the general direction of These United States over the past 350ish days. To be sure, I most certainly have a soft spot for my (former) local faves. But also, Crimes, their second album of 2008, is absolutely fucking brilliant. There's just no getting around it, and you probably ought to consider it a fact.

Future generations will undoubtedly consider TUS ringleader Jesse Elliott a musical genius. He's that good. For now, trust me when I say he's one of the best lyricists around (an entire album about criminal activity, really? Why not?), as well as one of the most naturally gifted frontmen you're likely to have the pleasure to come across, on record and on stage. And as a band, the current configuration simply can't be beat, working together so well you'd think they've been together for decades. And who knows? Perhaps in spirit they have been.

In short, Crimes is the best damn backwoods-meets-barndance-meets-folk-meets-pop rock'n'roll ruckus of the year. And if 2008 is any indication, there's no stopping These United States.

Best Live Band of 2008: Nine Inch Nails

This one was pretty much the hardest category to choose. I was fortunate enough to see dozens of amazing bands this year, and they sure did make this one big ole bastard of a tough choice, which is why I have about a billion Honorable Mentions. But in the end, I'm pretty happy with my final decision.

I can officially state, for the record, that Nine Inch Nails just might be the best live band out there these days.

This year I saw Mr. Reznor and co. twice, one at the Virgin Festival in Baltimore in August, and again in Charlottesville last month.

I've never been a huge NIN fan (which I'm working on correcting), but each time I've seen them I've been totally blown away. They're incredible live. As in, jaw-dropping, awe-inspiring, ass-kicking incredible. It's not just that the music sounds so perfect, which it most certainly does. It's more than that. When you go to an NIN show, you're getting a total concert experience. The Charlottesville show was especially elaborate, a bonanza of fancy lighting and unique stage settings. Nearly every couple of songs, the stage setup and lighting would be rejigged to totally chage things up. And when it comes to showmanship, there are few people out there who can match the intensity of Trent Reznor.

Honorable Mention: The Stooges, Dead Confederate, These United States, Die! Die! Die! the Verve, the National, the Black Angels, Fleet Foxes, Spiritualized, My Bloody Valentine, Brian Wilson





[Photo by Megan Petty]

Live Review: These United States @ Black Cat, November 22

Alas and alack, it's the end of the line for These United States. After one tour after another, not to mention those two little albums they put out over the course of the year 2008, November 22nd marked the end of the performance portion of TUS's banner 365 days. And it is with a certain amount of shit-eating smugness, dear friends, that I relate to you just what a fine, fine specimen of a syonara show it was. I had been alight with anticipation to see just how the new songs from Crimes would sound live, and while I knew I wouldn't be disappointed, my expectations were exceeded song after song after song.

It was a cozy, celebratory set, full of glad tidings and giddy smiles. As previously documented, Jesse Elliott is far and away one of my favorite music-makers these days, and he demonstrated (as did everyone involved) just what it is that makes him such a rarity among his peers: the sheer joy that he gets from the music. All through the set he beamed with pride, laughed with abandon, and smiled a hundred humble smiles. While the band was rolling down the river of "Pleasure & Pain & Pride & Me", I thought to myself how wonderful it is to see a band enjoy themselves so much. The members of These United States love what they do, and gosh almighty does it show. The entire band, in this instance the band being comprised of Jesse, Robby, Tom, and Justin, knocked my socks off (tights, technically, as it was a rather chilly evening after all) musically. What began with the mighty "Six Fast Bulets (Five Complaints) did not let up for an instant. They brought the rock, the folk, the country, the soul, and laid it all out there in their undeniable, effortless way. By the time they played "Get Yourself Home (In Search of the Mistress Whose Kisses Are Famous)", I scribbled that this was easily the best I've seen them play. The presence of my favorite TUS song, the delicately beatific (slightly less fragile when live) "Study the Moon", solidified the night as a winner.

In my notes I equated the rise of the band to one of those cartoon snowballs, such as you might see in an episode of Scooby Doo, for example, rolling down a mountain and growing larger and faster with each rotation and picking up any Fred, Shaggy, or Scooby (and any of a variety of nefarious villains) that happen to be in its way, arms and legs and skis sticking out all sorts of akimbo. The point of such an analogy is this: These United States is a very, very good band. Not only are they a good band, but they pretty much took my breath away at this show. I'm already looking forward to see just what 2009 holds for my favorite DC/Lexington hybrid (and I sure do hope it involves many, many more shows).

In closing, I've probably already said it before, but go ahead and jump on the TUS bandwagon now, while the getting's good. You can sit right next to me.

The Untitled Interview #15: Starring Jesse Elliott (These United States)

Some people are music personified, they embody musicality so much that all they can do is play and play and get their sonic innards outside into the world. Jesse Elliott is one of that rare breed of folks. He seems to eat, drink, and sleep, maybe even breathe music. And it's obvious he loves it. It's almost as if he's bemused when he sings, and you can almost see Elliott smiling when listening to a These United States album. Go see them live and you will see it. As I've said before, he's on a different page than most, and you know it immediately. Elliott is by far one of my most favorite souls in the DC music scene, and I'm fairly certain you'll feel the same once you meet him. These United States is becoming quite a band of road warriors, so I predict plenty of chances to take in the joyous spectacle that becomes a TUS gig. In the meantime, well, here's a few good words from the man himself.


Les Enfants Terribles: How the hell are you?
Jesse Elliott: Yes!

LET: What was the last song you listened to?
JE: "Out at Sea" by Salt-Water-Shoes from Austin.

LET: Playing music is ___
JE: All that's left sometimes.

LET: What album most made you realize that you wanted to make music?
JE: Midnight Vultures.

LET: Beatles or Stones?
JE: Dylan.

LET: What're your top 5 albums?
JE: Right now, and in no particular order:
Slow Gems (Kitty Hawk)
Loaded (Velvet Underground)
Perseverance (Percee P)
Fox Confessor Brings the Flood (Neko Case)
Cheekbone Hollows (The Childballads)

LET: Favorite music-related movie?
JE: The Muppet Movie.

LET: What city or venue would you like to play, but haven't yet been to?
JE: Tokyo.

LET: Half-full or half-empty?
JE: Overflowing.

LET: Apart from your band, which of your peers do you think is making the best music these days?
JE: Cotton Jones.

LET: What's the first thing you think when you wake up in the morning?
JE: Where are we?

LET: The greatest record store in the world is:
JE: Spillers Records, Cardiff, Wales.

LET: What's the longest flight you've ever been on, and where were you going?
JE: Chicago to Copenhagen, delayed, 24 hours.

LET: Shaken or stirred?
JE: Splashed!

LET: If you weren't in a band, you'd be:
JE: On a Mountain.

LET: You just went on another gigantic tour. How do you get mentally prepared for such long spans of being in new places all the time?
JE: Maps!

LET: What color croquet mallet would you choose for playing with the Queen of Hearts?
JE: Black.

LET: Which feels better: leaving to go on tour, or coming home from a tour?
JE: Being there.

LET: Best song ever written?
JE: “A Change is Gonna Come”.

Album Review: These United States – Crimes

I haven’t had the pleasure of his acquaintance for all that long, but ever since we met I’ve had a sneaking suspicion that Mr. Jesse Elliott has his finger on a pulse the rest of us haven’t quite cottoned onto yet. That sense of otherworldly wisdom isn’t merely confined to conversations with the good sir, either. The music of Elliott’s These United States serves as a testament to what he, and the other madcap members of TUS, knows, and what the rest of us are still searching for. The missing link, perhaps? Yes, that’s probably overdoing it just a shade, but boiling it down to bare-bones basics this is a band that knows how to make a damn fine album. Heck, make that two damn fine albums. You see, they only just released their debut mere months ago, but I guess the band just figured there’s no harm in releasing another one.

Mostly DC-based These United States already impressed me with their first album, A Picture Of the Three of Us at the Gate to the Garden of Eden, which I sure do love a whole lot, but I’d opine that Crimes, in addition to being way less of a mouthful to say, one-ups its predecessor musically-speaking. Whereas A Picture… was a bit more folkily floaty and ethereal (and yes, too fleeting), Crimes is more rooted in earthly ways and has a smidge more of the rocking going on (and it’s longer!). There’s also a lot of this sort of feel of olde time rusticity draped across the duration of the album, as if we were all gathered round on someone’s front porch, breathing slightly-smoky air and watching the sun dip into the horizon while the sky vibrantly burns violet and peach, drinking moonshine by the bottle and hootin’ and hollerin’ until dawn.

Naturally, it’s a dandydoo of a record from start to finish, but I do have a few songs that have found themselves given favorite status. My (current) favorite track, and in my mind one of These United State’s absolute best songs to date, “Study the Moon”, is one of Elliott’s finest dreamy, silken, dew-heavy lyrical spider webs (“According to the big blue ox/I should just look up, Paul”), backed by gentle guitars immediately conjuring up a dark, deeply starred country night. My other (current) favorite, “Those Low Country Girls”, conjures up the ghost of one of my favorite Skynyrd songs, “Gimme Three Steps” (minus the gun-toting boyfriend, of course). It’s short, sweet, sassy, and like the band itself it’s immediately irresistible. And lest I forget, Crimes has already produced a bona fide radio hit (at least, I sure do hear it on WOXY all the time), the rambling, catchy as all get-out romp known as “Get Yourself Home (In Search of the Mistress Whose Kisses Are Famous)”. “It’s a wicked world,” forsooths the good Mr. Elliott, and how right he is. But These United States has made it a bit more enjoyable, and, dare I even say it, a wee bit more wicked.

Live Review: These United States @ Gallery 5, March 4

Let the Great Experiment begin. But what is the Great Experiment, you might wonder? In the world of These United States, the Great Experiment is simple. 33 cities. 33 shows. Why not try to make each show as special and unique as possible? Advance copies of These United States’ debut album A Picture of the Three of Us at the Gate to the Garden of Eden were sent to bands on each of the bills in each of the 33 cities to be visited, so that the bands could learn some of the songs. The plan was to have just a few songs done by the members of These United States on their own, before sharing the stage with some local talent for a truly personalized experience. Oh, and the local bands were given free reign as to which songs from the album they wanted to perform. Nifty, no?

And so, night 2 of the tour saw the Great Experiment roll into Richmond. Marionette was the local band chosen to partake in the experimentation, which made me happy because, having seen them before, I knew and liked them and felt they’d make sweet music with These United States. The traveling These United States foursome took the stage second, which was a complete switcheroo from what was supposed to happen (tUS were advertised as headlining), but there was method to the madness. Jesse Elliott, ringleader of the Great Experiment, explained that it made sense for them to go second so as Marionette could help out, and then Marionette would go on, with These United States reciprocally guesting on a couple songs.

As expected, These United States were as fantastic as I knew they would be, really expanding upon the foundation laid by the album. After doing their thing for a few numbers, the members of Marionette joined the lads, cozying up the stage. The addition of Marionette made it clear what’s so great about the Great Experiment: it’s all about the interpretation. Sure, I already loved the fantastical folky poppy rockness of the album on its own, but throwing new musicians into the mix added a richness and fullness, and new angles to songs that made for a special treat. My favorite moment of the night was “Burn This Bridge,” which with the members of Marionette partaking, filled every inch of Gallery 5 with its warm, steadily building noise. It was an especially beautiful song in a set full of them. This is a band that obviously loves what they do, and is just happy making music and sharing it with the world. If you’re in the path of the Great Experiment, I can’t recommend enough that you go experience it for yourself.

(photo by Laura O’Neill)

Album Review: These United States – A Picture of the Three of Us at the Gate to the Garden of Eden

It’s been a long time in the making, but the day of reckoning is upon us, ladies and gentlemen. These United States, most certainly one of DC’s finest musical groups, has reached the dawning of a new era. The debut album era. And it pleases me to report that any waiting for said debut has been rewarded by a very nice little record indeed. You see, A Picture of the Three of Us at the Gate to the Garden of Eden isn’t just a mouthful, it’s a collection of a dozen rather enjoyable songs in the key of delightful. It is at once grandiose yet stripped bare, incredibly smart, haunting, enveloping, a whisper that screams in your ear.

On this album you will find varying components of rock, pop, folk, country, and perhaps even more than that. Like the good city of DC, A Picture of the Three of Us at the Gate to the Garden of Eden is full of a little of everything, to use that oft-uttered cliché, it’s a melting pot. The most common thread is an overall sense of fantastical spacecakery; nearly Suess-ian lyrical cleverness and beautiful, dreamy instrumentation. There are pieces of Hopewell, Andrew Bird, and dashes of Rogue Wave and Mercury Rev here, but those are just jumping off points. One day, I would reckon sooner than later, we writers will use These United States as a reference point for others.

A Picture of the Three of Us at the Gate to the Garden of Eden has a lovely, welcoming lo-fi feel to it. Stealth production, kids, take note. My favorite sound is that of the deceptively lo-fi, but perfectly tuned and calculated. Shockingly, I as of yet have not been able to select just one favorite song from the delectable dozen. I do strongly recommend listening extra close to “First Sight,” “Remember Dear,” and “So High So Low So Wide So Long,” as I have formed particular attachments to that particular triumvirate.

My one complaint about the album is that it’s only an eyetooth over half an hour long. Mind you, it doesn’t feel all that short. Perhaps I’m only being greedy, but I could really use another song or two. Should you also feel that way after your first listen, I recommend just listening to the album again. It gets even better the second time (and the third, and the fourth…). It’s a record to give you the warm fuzzies, put a smile on your face, and make your day just that little bit better. Godspeed, These United States, godspeed.

And hey! Here’s something for DC and Richmond kids to rejoice over: These United States will be a) at Iota in Arlington on Monday, March 3, and b) at Gallery 5 in Richmond on Tuesday, March 4. Go and support excellent local music, have a drink, and let your ears get some sweet, sweet lovin’ in the process.