We Were Promised Jetpacks Scottish Group Goes More Post-Rock Than Post-Punk on Latest LP By Andrew Clayman Published in The Nashville Scene, March 2012
Trapped in a touring van somewhere in backwoods Missouri with a barely functional cell phone, Sean Smith seems surprisingly uninterested in discussing the “Scottish underdog mentality.”
“I don’t really relate to that concept, to be honest,” he says, and the subsequent sigh says a lot. As the bassist for the Glasgow-via-Edinburgh outfit We Were Promised Jetpacks, Smith has likely grown a tad bored of his band’s perpetual association with the current wave of high-intensity indie-rock coming out of Scotland—a pack populated by the earnest likes of Frightened Rabbit and The Twilight Sad. Yes, the Jetpacks came up idolizing those groups, and yes, they’re quite pleased to now call them friends. But as they trek across America in support of their sophomore album In the Pit of the Stomach, Smith and his bandmates won’t be ringing up their forbearers for any Scotsmen survival tips.
“Yeah, we don’t really talk to those guys about stuff like that,” Smith says. “We still have great respect for those bands and stay in touch, but it’s more likely we’ll just talk to them about football or something.”
In fact, aside from meaning “soccer” when they say “football,” there’s nothing particularly UK-centric about We Were Promised Jetpacks these days. Aided by steady touring and some savvy TV licensing deals on shows as disparate as One Tree Hill and Sons of Anarchy, singer/guitarist Adam Thompson’s raw, heart-on-the-sleeve tunes have resonated with American audiences since the band’s 2009 debut, These Four Walls. And that record sounds like a fly-by-night basement recording compared to the scope and ambition of In the Pit of the Stomach.
“Yeah, it was definitely kind of a night and day thing between the two,” Smith says. “Obviously the production is much better [on In the Pit of the Stomach]. And being in a real studio, we had two weeks in there to work out our parts and how everything could fit together—rather than basically playing live off the floor like the first record. I can’t really think of anything that wasn’t better this time around, except that it cost a hell of a lot more money [laughs].”
Released last fall, In the Pit’s bigger budget also revealed a notable shift toward a more American brand of moody angst; be it the inspired adrenalin rush of Jimmy Eat World (whom the Jetpacks toured with in 2010) or the more deliberate, crescendoing post-rock of Explosions In the Sky (tour mates for part of this upcoming U.S. leg).
The influence of the latter band—a veteran instrumental act out of Austin-- is particularly evident on new WWPJ tracks like “Keeping Warm” and “Act on Impulse,” which give their melodies a lot of elbow room for the atmospheres to swirl around and sink in. It’s probably not a coincidence, then, that Smith mentions playing with Explosions In the Sky as one of things he is most looking forward to on this spring tour.
“They’re definitely one of our favorite bands,” he says. “Our tour manager, Esteban [Rey], does a lot of the artwork for them, so he kind of introduced us to their music a while back. I had heard of them but didn’t really know their stuff. Now we’re all huge fans.”
The Jetpacks were also in Explosions in the Sky’s hometown earlier this month, making the rounds at South By Southwest. On one hand, this is hardly a unique way for an indie band to promote itself. But as Smith sees it, We Were Promised Jetpacks are not a band with the agenda of being the “next big thing” anyway. It’s more about mixing it up, shaking off regional misconceptions, and finding new fans, wherever they may be.
“I don’t really think it matters at all where you’re from anymore. A lot of times you have Scottish bands that come over to the States and do well, and they can’t catch a break back home. So you never know. It’s a very gradual thing, I suppose, and right now we’re quite happy. I don’t think any of us are hoping for that one big hit where you’re playing to bigger crowds but they only want to hear the one song, you know? So we’re pleased to just keep doing what we’re doing, get to work on the next album, and see what happens next.”
Explosions In the Sky Austin Post-Rockers Can Speak After All By Andrew Clayman Published in The Cleveland Scene (Village Voice), April 2008
While more than a thousand bands were milling around Austin, TX, last month for the increasingly gargantuan South By Southwest (SXSW) festival, one of the city’s most successful exports was conspicuously absent from the proceedings.
“We try to be out of town when it happens,” laughs Chris Hrasky, drummer for the instrumental rock quartet Explosions In the Sky. “I mean, people come and have a good time, and it’s obviously good for Austin. But there are just some things about South By Southwest that rub me the wrong way. Maybe I’m being overly negative, considering it’s sort of an institution in this town. It just bothers me how much revenue is made off this thing, and how poorly they pay the bands who play it. It’s become something we kind of avoid at this point.”
Fortunately, Explosions In the Sky is no longer a band that needs an SXSW showcase to get noticed. Nearly a decade into their career, Hrasky and guitarists Mark Smith, Munaf Rayani, and Michael James have ascended to the pantheon of “post-rock”—the faux-genre assigned to indie bands that use guitars for texture and atmosphere, rather than traditional riffs. It’s hardly a classification that EITS were shooting for, but the subsequent association with similarly unconventional, cinematic acts like Mogwai and Sigur Ros hasn’t exactly hurt, either.
“The term (post-rock) used to frustrate us more,” Hrasky says, “but it’s been used so much now, it just bounces off of us. People have to label things. They’ve got to call it something. So, I suppose post-rock makes sense in some weird way. Just in terms of, yes, it’s music with rock instruments and a rock aesthetic, but put together with a different formula. So, it doesn’t really bother us anymore. It just kind of comes with the territory.”
Since their infancy in Austin, EITS have never dabbled with lyrics, but they do slap many of their songs with ironically long-winded names like “Six Days at the Bottom of the Ocean” and “With Tired Eyes, Tired Minds, Tired Souls, We Slept.” Try as they might, though, these titles only hint at the type of widescreen, technicolor majesty that the music itself tends to convey. It’s obscenely serious, “meaning of life” kind of stuff— chockfull of crescendos that bridge the gap between beauty and fury.
The guys in fellow Austin band American Analog Set really said it best, however, in the note they included with their submission of Explosions’ first demo to Temporary Residence Records in 2000. It read, “This totally fucking destroys.”
“When we were first starting out as a band here in Austin, American Analog Set and Trail of Dead were two bands that extended their hands to us and helped us out in a lot of ways,” Hrasky says. “They inspired us and got us moving.”
Temporary Residence, Ltd., has been Explosions In the Sky’s permanent home since that fabled demo was delivered eight years ago, and both the label and band have come a long way since.
“When we first got on the label, it was run out of (founder) Jeremy DeVine’s house,” Hrasky recalls. “We got there in the middle of December, and they hadn’t paid their heating bill. The place was just a bunch of cinder blocks and junk all over the ground, and we’re thinking, ‘Jesus, what have we gotten ourselves into?’ But over the years, we’ve just kind of grown up together and become something,” he laughs, “somewhat more legitimate.”
Thanks to the help of their music biz allies—and some snowballing hype around their energetic live sets, Explosions In the Sky started making their presence felt in the mainstream in 2004, with their superb album The Earth Is Not A Cold Dead Place serving as a jump-off point for the soundtrack to the film Friday Night Lights. Fans couldn’t blame EITS for doing a soundtrack, since all their music sounds like an epic film score, anyway. However, some backlash did emerge in 2006, when the band licensed several of their songs for use in commercials.
“There’s no denying, we do feel a little dirty for doing that,” says Hrasky. “I mean, we did a Cadillac commercial, and we’re totally embarrassed by it! But ultimately it was our decision. And there’s no other reason we did it except that, at the time, the money was a real lifesaver for us. That’s the God’s honest truth.”
The “rock music in commercials” debate is an old one, but it’s given a unique twist with an instrumental band like EITS, whose music can elicit highly personal and often radically different responses from listener to listener. Even within the band itself, a wordless song could theoretically take on conflicting meanings among the four guys who wrote it. For the most part, though, Hrasky says he and his bandmates tend to be on the same page.
“A song usually works best when it’s the four of us sharing the same brain,” he says. “So any time we’re writing a song, it’s just the four of us looking to connect. And it’s very clear when it happens.”
SIDEBAR/BOX: Some Words on Some Wordless Songs Explosions In the Sky’s Chris Hrasky Plays Some Word Association with a Few of His Band’s More Popular Tracks
“Greet Death”: “I remember we wanted part of it to sound like a man standing on a hill, watching a city on fire.”
“First Breath After Coma”: “When we were writing that record, Mark (Smith) got this weird idea to visually chart the songs out like an EKG machine. So he had a little graph, and when a part got intense, he would spike it up accordingly. I think the name ‘First Breath After Coma’ evolved out of that somehow.”
“Welcome, Ghosts”: “Well, I can’t help it, but the first thing that pops into my mind when someone mentions that song is Conan O’Brien! That was the song that we played when we did his show. “I think a band is always going to have the goofiest answers to questions like this. What we think of when we think of a song, it’s never like, ‘I think of climbing a mountain!’ It’s more like, ‘I don’t know, I think we had Burger King that day’ or something.”
