To describe the style of The Black and White Years is not easy; to classify them, an injustice. Their exhilarating, genre-blurring sound is like nothing you have heard before. Since their formation in 2005, their sound has evolved into an infectious electro-dance-rock that has brought them buzz-worthy status, radio airplay, and heavy recognition of their remarkable talent. Already, they’ve been labeled a band to watch in 2009 by Austin Monthly. Add in five 2009 Austin Music Awards (best producer, best new band, best song: “Power to Change,” best bass player, and best rock band) and you begin the grasp the big picture. That being, this band is burning down every stage they play with their unique, upbeat form of funk dance rock.
The Black and White Years (comprised of Scott Butler – Vocals/Keys, John Aldridge – Bass/Brass, Landon Thompson – Guitar, and Billy Potts – drums), are currently based out of Austin, Texas.
But before they were officially The Black and White Years, they met in Nashville, where Butler, Thompson, and Aldrige attended Belmont University. The three hit it off as they shared a common interest in performing and recording. The trio recorded their first efforts in an apartment in the Spring of 2003, and called the result “The Living Room Recordings.” In 2005, they headed to Austin, armed with their dream and hoping to find a more receptive audience. But soon after arriving, their former drummer took off with little notice. Faced with the choice of breaking up or reinventing themselves, they chose the latter, added a synthesizer (and later, drummer Potts) – and the rest is beautiful music-making history.
With appearances at SXSW, CMJ Music Festival, Austin City Limits Music Festival, FUNFUNFUNFest, and MIDEM (France’s version of SXSW), they are quickly garnering an immense following. And that’s no surprise, given the upbeat, obscenely catchy music they create. It was my experience (and that of my friends), that one listen to their self-titled debut album and their newly released ep “Nursery Myths” inspires the will to dance (even if you swear you don’t).
Cuts like “To Modern Science” “Steady as it Goes,” “Everyone,” and “My Broken Hand” are funky and so full of energy that it’s all too easy to get lost in the music and find yourself listening to every song you find on repeat. A true testament to their talent is their ability to balance vocals and music, so that both are on display and neither overpowers the other. That being said, Butler’s truly innovative vocals combined with an always pleasant melody makes for some fantastic songs.
“Power to Change” in particular is quite a work of art. Guest drummer Steve Ferrone (of Tom Petty’s Heartbreakers) and bassist John Aldridge get the song going with a funky groove; from there, layers of vocals, keyboard, and percussion join in harmoniously to create a pulsating, abstract, and highly irresistible tune. “Power to Change” has received a fair amount of national attention via college and specialty radio, but has also proven itself on stations such as WEQX Albany (#1 for four weeks) and KROX Austin (Top 10 and #1 Requests).
The album wraps up with the triumphant “Zeroes and Ones,” my personal favorite, which was featured on Kanye West’s blog.
Overall, the band presents a mix of mostly electro-beats, combined with forays into reggae and ska territory. Their sound has drawn comparisons to the Talking Heads, which is no surprise, given the fact that former Talking Heads keyboardist Jerry Harrison took the band under his wing. Harrison happened to be in the audience as the guys played a 2007 SXSW showcase. He was so impressed with the feel of their music that he asked them to join him in California for a recording session. Though the band admits it was a challenge to immerse themselves in a new recording studio, it ultimately paid off as their step in a new direction proved to be a successful one.
Of The Black and White Years, Harrison says, “I think they’re immensely talented. And I think Butler is one of the more clever lyricists to come along in a long time.” On “My Broken Hand,” Scott Butler sings, “I nearly broke your hand trying to hold it…nearly broke your heart when you opened it.”
Though the band draws from a variety of inspirations to achieve this eclectic mix, their sound is truly all their own. But don’t be scared off by music this cool. It isn’t just for “scenesters”; it’s music that everybody can get together and dance, jam or just tap a foot to.
And it’s not just their recorded music that draws this attention. After the band’s (coveted Saturday) ACL debut, Doug Freeman reviewing for ACL Live Shots noted, “Given a half hour slot, The Black and White Years capitalized on the spotlight, proving as effective on the bigger stage as they are in the clubs.” It’s no surprise, then, to hear that festival organizers at MIDEM went on to add, “We’ve never seen anything like the exuberant crowd response they commanded.”
At a time when there are groups galore who play generically, it is refreshing to discover a band whose passion and energy emanate from their music. I, for one, am very much looking forward to seeing them play live.
With just about all of the major record labels sitting up and taking notice, numerous gigs lined up, and a return to the studio in 2009, The Black and White Years are certainly living up to their status as the next big thing. Before they inevitably reach super-stardom, sold out shows the day tickets go on sale, and thousands of adoring fans blocking their way to the tour bus, come catch them at downtown Bryan’s Rock The Republic, a Spectacle of Sight and Sound. It just might be your last chance to get to know this group’s unique brand of addictive music, up close and personal, in an intimate setting.
