Tuesday 22 Jul

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?

Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
06/17/2014 | Comments 0
Home · Articles · Music · Music · The Whigs find power and thick...

The Whigs find power and thick texture 'In the Dark' corner of their Georgia garage

Chris Parker July 8th, 2010

The Whigs with The Hold Steady
8 p.m. Friday
Diamond Ballroom
8001 S. Eastern
$16 advance, $19 door

Recently, before returning to the United States for its current tour supporting The Hold Steady, The Whigs played for 65,000 in London's Hyde Park. The Georgia trio isn't an act whose popularity overseas far outstrips its success in America; the musicians have just been fortunate enough to develop a friendship with Kings of Leon just as that band's profile ascended to another level.

"It's just amazing learning experience," said drummer Julian Dorio. "There's a mutual respect about each band's music. Of course, they are in a great place where they've gotten so popular they can do what they want, and for them to choose to have us on the road with them is, of course, flattering."

These tours with higher-profile acts afford the chance to expose a larger audience to their boisterous, power-pop/garage-rock blend " a sound that finds a sweet spot between The Hives and Weezer. Although its current album, "In the Dark," hasn't taken off commercially, it does make good on the promise of its two predecessors. Before 2008's "Mission Control," Rolling Stone cited The Whigs as "perhaps the best unsigned band in America."

"In the Dark" bristles with even more power and texture, produced by Ben Allen (Animal Collective). While the guitars are thicker and knottier, the hooks compensate with equal heft, bullying their way past your attention's doorman. Allen was already familiar with The Whigs, allowing them to hit the ground running.

"He's not only really skilled in the studio, (but) has done a lot of records that I think exploit the studio equipment, like Gnarls Barkley or Animal Collective," Dorio said.

Allen's studio acumen and the members' comfort with producer brought on the exploration of new tones and approaches.

"The record is still us, and we perform pretty much everything live," Dorio said, "but I know (bassist Tim Deaux and front man Parker Gispert) were playing a little more with pedals and different textures or sounds, while I was messing around with some different drum tones instead of everything being straight-ahead, dry and 'good sounding.' He helped sort of push that envelope a little bit."

The result amplifies the spark apparent in the band since the beginning. Indeed, shortly after forming in 2002, The Whigs drew attention from a major label, despite not having recorded any music. They had to make the rather difficult decision to pass on the opportunity and trust themselves, rather than force themselves into a poor fit.

"It was one of those situations where they like what you do and they're going to try to sign you, but they're also along the way, trying to change everything about you," Dorio said. "At a certain point, it was like they were smothering the band and making us so miserable, we thought, 'We're going to suck if we go on with these people anyway.' So (the decision) became clear and less scary, if you buy into good music, you know? It's just something where you have to believe people will respond."

Instead, The Whigs recorded their debut, 2005's "Give 'Em All a Big Fat Lip," on a college student's budget, demonstrating an amazing level of resourcefulness. Rather than shell out for a studio where each tick of the clock means more money out-of-pocket, they talked a property management company into letting them use an empty frat house as a studio over the summer.

The band pushed couches and mattresses against the common-room walls as baffling and bought the high-quality equipment they needed to make a good recording on eBay; they resold the gear when they were finished. The project managed to break even, and The Whigs used that money to buy boxes of its new product.

"It's exciting when you get the CD back from the pressing plant, but it's also scary when you get home and stack them up in a room," Dorio said. "They don't move unless you move them. It's a little intimidating." "Chris Parker
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