<img alt="White-Rabbits-08-lo-res.jpg" src="http://venuszine.com/stories/White-Rabbits-08-lo-res.jpg" width="576" height="209" align="center" hspace="5" /> How many times have you found yourself at a rock show and been forced to endure a crappy local opener? Some awkward new band, fumbling their way through songs they’ve barely finished writing, still getting its bearings and no semblance yet of stage presence.
I was bracing myself for exactly that when I wound up early at a friend’s show in fall 2006 and learned I would have to sit through a set from some new Brooklyn band called White Rabbits. Now, one could argue that, being jaded, I simply set the bar way low for these guys, so it’s no wonder I was pleasantly surprised when they were, in a word, awesome. But I assure you — six months later, having caught a couple more live shows, I’m still completely sold. These guys are the real deal, and my new favorite NYC band.
White Rabbits have presence. They ooze confidence. They roam around the stage switching instruments, banging on one another’s drums and keys. I dare you to see this six-piece band live and not get caught up in the intensity of their stacked, wailing vocals, the beat of two drummers and plenty of shakers, and the ramshackle rhythm of their songs. They definitely share a certain style with the Walkmen and Cold War Kids, but with the excess of instrumentation and a dark, dancy, two-tone feel, White Rabbits are truly something unique.
In anticipation of White Rabbits’ debut album, <i>Fort Nightly</i> (produced by Chris Zane, who has worked with Les Savy Fav, Asobi Seksu, Calla), I e-mailed some questions to singer-keyboardist Stephen Patterson. Here’s what he had to say about coming to Brooklyn, making the album, and sharing a bedroom with his entire band.
<b>So the name, White Rabbits, isn’t a nod to my favorite Jefferson Airplane song, is it?</b> It can be if you want. But honestly, no, it’s not really a nod to anything.
<b>You aren’t all from New York originally, right? Where did you come from, and how did you end up in Brooklyn?</b> We all grew up in the St. Louis area, more or less. After cutting our teeth in Columbia, Missouri, for a year or so we decided to pack our belongings into a van and move to Brooklyn.
<b>Favorite place to drink in Brooklyn?</b> Sunny’s in Red Hook. They have some great bluegrass and country bands play there. And it has a wonderful feeling of being at your grandmother’s house or an old country home. Cheap, too.
<b>Is it true you all live together in a commune, er, loft, and share the same bedroom?</b> It is true. The loft is in Bushwick [Brooklyn], and there’s a practice space in it as well. It’s convenient and affordable but hardly comfortable.
<b>While I’m sure I could guess, what are some of the ups and downs of that situation?</b> The ups are what I just mentioned — being able to practice where you live and not paying too much rent. The downs are fairly obvious: not much privacy and arguments over doing dishes while writing music. There’s a swing and a basketball hoop, so that’s fun. <img alt="White-Rabbits-13-lo-res.jpg" src="http://venuszine.com/stories/White-Rabbits-13-lo-res.jpg" width="347" height="216" align="right" hspace="5" /> <b>Where did you imagine you’d be in five years and five years ago? Are you there, or anywhere close?</b> We weren’t a band five years ago, but we were all making some embarrassing music back then, I’m sure.
As for where we are today, we’re probably pretty close.
<b>For not being dyed-in-the-wool East Coasters, you manage to have this very <i>Great Gatsby,</i> <i>Dead Poets Society</i> vibe going on. Where do you suppose that comes from?</b> Fitzgerald was from the Midwest…
<b>I want to ask about one of the more stand-out, narrative songs on the album, “Navy Wives.” What is the song about, and what was the inspiration?</b> That one went through a lot of phases. It’s essentially about a tragic female character. A girl that drinks too much.
<b><i>Fort Nightly</i> comes out in summer 2007 on Say Hey Records. What was the recording experience like with Chris Zane?</b> Long. But ultimately it’s been rewarding. We’re really good friends with Chris. He taught us a lot about the process.
<b>Some early feedback for your music includes track reviews from the <i>Avenue Q</i> puppets as well as track reviews from Mrs. Doyle’s eighth-grade class (which included such in-depth comments as, “It was OK,” “Did not like the lyrics,” and “No”). First of all, someone get Mrs. Doyle’s kids to read some Hemmingway, and second of all, what? Who is Mrs. Doyle and why were her kids reviewing your songs?</b> My aunt Marianne teaches at an elementary school in Illinois. She’s a big fan and supporter of us, so she had her kids review a couple songs as an assignment. A tough crowd, indeed.
<b>Has the press picked up since then?</b> No, I think we pretty much peaked with puppets and eighth graders.
<b>Everyone in the band — which includes two drummers — has some serious chops when it comes to playing their respective instruments. Your piano skills are especially remarkable to watch. It kind of makes me feel like a painted lady in a Wild West saloon the way you cut loose on the ivories. Does this kind of skill come from years of requisite childhood piano lessons, classical training, raw genius, or what? And not just on your part, of course, but everyone.</b> Well, I hate to brag. Let’s just say we’re good at faking it. A couple of us had some training, but we’re mostly self-taught.
<b>You cover “Maggie’s Farm” live. Who does it better: Dylan or the Specials? Or White Rabbits?</b> Tough question. I’m sure we’d be lambasted to no end if we said anyone but Dylan. And in all fairness, we pretty much aped the Specials’ version.
<b>Why are songs about drinking always so goddamn good? Can you think of a song about drinking that’s not good?</b> “99 Bottles of Beer on the Wall” is kind of a stinker, don’t you think?
Copyrights
Liz Schroeter. White Rabbits. Copyright 2007 Venus Zine.
