As we all learned as children, a round peg will not fit in a square hole—unless you’re the child with the plastic hammer who pounded to make it fit. Why wouldn’t the circle fit, we wondered? It was interesting and unique. The shape was easy to handle. What was the problem? The problem was simple; we were not ready to recognize how shapes worked. When Jonathan Fire*Eater released their debut record, “Wolf Songs for Lambs” in 1998, it was like shoving the circular peg into a square hole. Although the release was critically praised and adored by collectors of low-fi art-punk rock’n’roll, the majority of public ears were not ready to engage and the band’s demise soon followed.
Born of the defunct Jonathan Fire*Eater and the garage pop band the Recoys, the Walkmen have been fortunate enough to survive the sting of the former’s buzz. “We try and avoid paying attention to any media created hype,” said singer Hamilton Leithauser, “Look what it did for Jonathan Fire* Eater.”
The Walkmen’s latest release, “Bows and Arrows,” picks up right where their critically hailed 2002 debut, “Everyone Who Pretended to Like Me Is Gone,” left off. “Our first record was all trial and error, there was definitely some experimentation, but this time around we entered the studio knowing what we wanted to achieve as far as sound and feel,” said an anxious Leithauser. The result is a more mature and confident continuation of what was already headed in the right direction. The fury and playful intent of the music is still evident, but delivered with a hint of restraint. The topics of ill regrets and dismantled relationships (“When I was told you lied to me, I hung my head... in shame,” he solemnly sings on “No Christmas While I’m Talking.”) are once again harbored, but this time around they seem to have a face to go with the name.
The sound on “Bows” was taken into consideration during the recording. Unlike the instrumentation on “Everyone,” an effort was made to keep the live sound as attainable as possible. According to Bauer, “We didn’t use any alternate instruments for effect. We can play anything on this record live... which was sort of one of the ideas.”
Musically they are a perfect match. Guitarist Paul Maroon and organist Walter Martin provide the hypnotic and haunting atmosphere that has come to be synonymous with the band’s sound. Drummer Matt Barrick or “the constant,” as Leithauser refers to him, brings a no-holds-barred intensity and clocklike meter to his playing that unapologetically propels the band’s performance. Bassist Peter Bauer lays out a solid foundation for the music’s ambience to rest upon.
The canvas created allows lead singer Hamilton Leithauser to brag, boast and cower at times. On tracks such as “What’s in it for Me” and “Little House of Savages,” the frontman’s vocal range is pushed to the limits. This brings up the comparisons that have been made to a very prominent Irish lead singer. “You mean Bono?” Leithauser responds. “I don’t hear it, but... I mean I wish I knew where the comparison comes from.” Obviously frustrated, he tries to make light of the subject by claiming he was recently compared to Robert Plant. “I think that is the craziest thing I have ever heard.” The band starts to poke jabs, “You sound like Coldplay.” “No, you look like Coldplay, or is it Thom Yorke?”
The recording of “Bows and Arrows” saw the band in three different studios, but ultimately landed them back in their home studio. Marcata Studios was established in 1999 shortly after the Jonathan Fire*Eater fall-out. The band gathered the funds remaining from that deal and designed a studio fit to their liking. The 24-track analog studio is lined with vintage Fender amps, Gretch guitars, and a vintage Vox black-keyed organ or two; each crucial to the development of their sound. “When we would mix in other studios, they mainly had automation... which would have the songs ending up sounding dead. The sound we’ve created is top-notch and it’s really exciting knowing we can get that,” said bassist Peter Bauer.
The pulsating and hysteric first single, “Rat,” is a sure thing. Barrick grapples with a determined and relentless drum beat that is accosted by a howling organ and a malevolent guitar riff—which allows Leithauser to spout off with venomous sincerity, “You’ve got a nerve to ask to be asking a favor, you’ve got a nerve to be calling my number. I know we’ve been through this before.... Can’t you see me, I’m pounding in your door.” As the fever subsides, Leithauser chimes a vulnerable lament of what once was as he sings, “When I used to go out, I would know everyone that I saw, now I go out alone if I go out at all.”
“New Year’s Eve” is another track worthy of attention. “It is one of my favorite songs,” chimes Leithauser. Culled from a pinch of Tom Waits and a dash of reggae, this song is testament to the diverse range of musical influence the band has.
The Walkmen have managed to stick to their intent and surface out of a fashionable New York City music scene with a unique sound and style they’ve managed to create; a style which holds the music above everything else. When asked about the future of this new release, Leithauser calmly responded, “I just want more people to get it. I’m sure it will take a long time with this record but it’s worth it.
|
