w/ Special Guests Country Westerns
DOORS: 7 PM / SHOW: 8 PM
About Deer Tick
The best art often challenges widely held preconceptions about performance and beauty. We’re moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice’s finest current purveyors is named after a blood-sucking survivor.
Deer Tick: undercutting expectations since 2004.
“I think a lot of my favorite artists have always done stuff like that,” Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band’s love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick’s perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol. 2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.
Ambitious and smart, the twin albums complement one another but also stand independently. Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band’s longtime garage-rock flirtations for a triumphant foray into punk.
McCauley sees the two records as a natural progression. “I think it’s something that was bound to happen, just because I’ve always had one foot in each door,” he says. “Every album we’ve put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.”
It’s been six years since Deer Tick’s last release Negativity, and devotees have grown restless. It wasn’t that the band—made up of McCauley, guitarist Ian O’Neil, drummer Dennis Ryan, and bassist Christopher Ryan—was withholding information. They just weren’t sure they had anything more to share. “It wasn’t anything that we actually talked about,” McCauley says. “We never said, ‘Hey, we should take a break,’ or ‘Maybe this isn’t working anymore.’ We just took some time off. We’d just done our 10-year anniversary shows, and I had a kid like two weeks later.” He pauses before adding with a hint of a laugh, “We just kind of got comfortable away from each other.”
McCauley, O’Neil, and the two Ryans popped up solo and on others’ projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple’s little girl is now two years old. For the first time ever, Deer Tick—an all-consuming band known for constant touring and steady artistic output—took a backseat.
When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another. “Playing that week with the guys made me really want to do it—it made everyone want to do it,” McCauley says. “So we started making some plans to go in the studio.”
The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they’ve become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O’Neil and Dennis Ryan also make killer contributions. Self-aware and never self-important, McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock-and-roll “songs of myself” delighting in the multitudes and putting them on display.
Vol. 1 opener “Sea of Clouds” is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley’s familiar melodic snarl. It’s not the only time McCauley mulls over what it takes to move on. Heart-tugging “Only Love” mixes sadness and hope for a snapshot of impending loss. “I thought, ‘Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,’” McCauley says. “I wanted to capture that mood in a song.”
Sauntering “Card House” is a flamenco-soaked threat with grotesque imagery, while lounge-ready “Cocktail” is a wry, piano-fueled stroll through fond boozy memories. “I guess it’s kind of a song about my strange relationship with alcohol—I’m still learning how to deal with it,” McCauley says. “I’m not a teetotaler. I’ve tried that. It’s not for me. I’m not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it’s something I’m capable of doing now.”
Tricky relationships with drugs and alcohol are addressed in different ways on both volumes. Hushed Vol. 1 closer “Rejection” pulses with vulnerability. “I wrote it about trying to help somebody in some way,” McCauley says. “What was going through my mind but I didn’t say in the lyrics is just reaching your hand out to somebody who’s going through substance abuse problems.” Vol. 2’s “Jumpstarting”—a favorite track of McCauley’s—offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.
“Look How Clean I Am” immediately follows. Written and sung by O’Neil, the song doesn’t poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It’s one of many genuinely funny moments on the project. Jumping “S.M.F.,” (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. “I thought I’d write that one for any band who’s ever had a bad time at a music festival. It’s one of my attempts at humor on the record, but then it just kind of comes off as anger,” McCauley says with a laugh.
McCauley wrote gorgeous instrumental “Pulse” thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. “It’s a Whale” is punk perfection, all screams and growling guitars. “That’s probably the most political I’ll ever get in a song,” McCauley says. “I tried to put myself in the really dark headspace of maybe a men’s rights activist or something like that while trying to poke fun at it.” His chants of “Atta boy! Atta girl!” are the ideal blend of smirk-inducing and scary.
McCauley says he believes “Sea of Clouds” and “It’s a Whale” probably best capture the “extremities” of both records. He’s right, of course: it’s Vol. 1’s quiet vs. Vol. 2’s loud—Deer Tick’s dual personalities, finally channeled onto two distinct and equally brilliant records. “These albums represent a new phase of my life that I haven’t entirely figured out yet,” McCauley says. “I don’t really know what’s going to happen, but that’s part of the excitement for me.”
Country Westerns sophomore album, Forgive the City, hits the streets on April 28th, 2023 via the venerable Fat Possum Records. With twelve songs in thirty minutes, it’s a tighter and faster spin on their sound. Joseph Plunket, chief songwriter and electric 12-string samurai had this to say about the album after being pressed for intel:
“Overall, it’s about partnerships. Though never planned as a concept, writing the last few songs (sometimes in the studio) I started to realize that none dealt with romantic relationships in any direct way. They’re intense songs about friendships, fellow travelers, even business associations—how exciting they can be when things begin and how disappointments, betrayals or shared success can leave just as much a mark on your life as romantic love. In the end that’s all a band is right?”
Forgive the City builds on the band’s self-titled debut LP produced by guitar impresario Matt Sweeney, who says:
“I wanna make records with these fools til the wheels come off. Joey’s this iconic poetic rocker, for real. His voice is desperate and wise. His songs are too. And anyone who’s seen Harmony Korine’s movie Trash Humpers knows how Brian Kotzur can wreck a joint but have you watched him slay the drum set? Kotzur is unmatched.”
Sweeney contributed lead guitar to three stand-out tracks on Forgive The City–adding polish to the Replacements-esque pop of Wait For It, magnifying the brooding chaos of Hell, and catapulting the gloomy themes of Where I’m Going into outer space with his soaring solo.
Money on the Table, the album’s first single, was a DJ pick of the week on Nashville’s Lighting 100 with heavy rotation. The track also gained mention in Nashville Scene’s 2022 “Year in Music” issue, Brooklyn Vegan, Pitchfork, and more.
A Nashville institution in the making, Country Westerns infuse punk rock chutzpah with a classic rock sheen, yielding a sound that’s simultaneously fresh and reminiscent of all the LPs you used to “borrow” from your cool uncle. Their debut album came out in May 2020, beautifully coinciding with… a worldwide pandemic. Despite everything that cursed year threw at it, the self-titled LP survived and thrived on its many merits, receiving glowing reviews from Pitchfork (7.5), Magnet, Brooklyn Vegan, Consequence of Sound, PASTE, Glide, No Depression, Popmatters.
CWs varied inspirations are evident on their self-produced “pandemic EP” that features covers by Richard Thompson, Jad Fair, and Dead Moon. Their pedigrees also belie their musical tastes and range.
Atlanta-native Plunket started as a hardcore-kid turned singer-songwriter w/ an acoustic guitar; his first show was opening for Cat Power when he was nineteen. He traveled north and paid his dues in Brooklyn mainstays The Weight, and as a touring bassist with King Tuff and Gentleman Jesse. He eventually landed in Nashville where he befriended Brian Kotzur.
A Nashville underground music legend, Kotzur, prior to Country Westerns, drummed for indie rock luminaries Silver Jews and Crooked Fingers. His percussive talents also lead to him to play in bands with Duane Denison of The Jesus Lizard, and country legends Bobby Bare Jr. and Charlie Louvin. He also scored and performed in Harmony Korine films over the years. Korine says of his longtime colleague:
“Kotzur is one of a kind, great drummer, even better character. He cracks me up. We used to do push ups together.”
Polymath bassist Jordan Jones (formerly of LA glam rockers Easy), is the newest addition to the band, rounding out the rhythm section with the seasoned touch of a founding member.
In March, Country Westerns embark on a six-week North American tour with Titus Andronicus and will continue on the road throughout 2023 in support of Forgive the City.
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