Press

Songs for Strippers (and other professions)

David Buchanan, Consequence of Sound, November 3, 2008

It is seldom that one gets to enthusiastically introduce new bands with raw talent, but this is one of those moments. Swallows, an alternative band out of Minnesota has invoked what people are calling “rock and roll, ugly and beautiful, profane and spiritual.” Formed in 2007 and utilizing everything from your basic guitars and musique concrete to electric cello and banjo, Swallows released their 2008 debut album Songs for Strippers and Other Professions to critical acclaim locally:

“Brilliant…the overall effect is a dramatic, nearly operatic build.” - Bob Milton, The Milton Files

“Eleven tracks of vintage rock and roll that will tear you up.” - John Siwicki, The Comfort Comes

McKnight Foundation Fellowship award-winning avant garde composer Aaron Kerr has worked with everything from dance troupes to various other indie bands, and now plays cello for Swallows. He is not in unlikely company either with founding member of Thinland, Jeff Crandall, on guitar and environmental sounds, Tyson Allison of alt-rock ensemble Gliss on percussion, and rural musician Frank Spencer chipping in between banjo and accordion.

This quartet brings a blend of classic blues, a barrage of eclectic instruments, and warm yet gritty Nick Cave vocals to a state otherwise known for Atmosphere and Sage Francis. After receiving a copy of their debut, I noted a shifting of moods from heavy guitar-laden indie crashing in “Not Your Kind of Man” and “Kerouac” to the dark and somber “Come To Me,” right before entering folk trends with “The Last Happy Shot” and “Days Like This” (the latter featuring prevalent cello). The aforementioned operatic description is not far from fact.

If you like something original that doesn’t try to be anything more complex than rich and flavorful art, then Swallows should be your next taste test. There isn’t any analysis to the guys who if in possession of a harmonica could put Blues Traveler to shame; they have a welcoming, organic feel while their first music video for “Come To Me” stands out like a haunting Jaws theme during Finding Nemo.

Trust me, get yourself a copy of Songs for Strippers and just play it for background sound - you will wonder why you had not done so sooner. Also of note, the band’s cellist Aaron Kerr has just recently finished mastering a collection of 10 coffee shop mood instrumentals titled Dissonant Creatures. There you have it, and coming highly recommended I might add. --> Read original review at ConsequenceofSound.net

Bob Milton, The Milton Files, May 2008
Holy S$&#!! Brilliant - the schizophrenic call and response of styles (belligerent to dreamy, repeat, repeat) on first seven tracks, and then the merging of these styles in “The Last Happy Shot” is very compelling; the overall effect is a dramatic, nearly operatic build. Great (extensive, I'll wager) studio work: Swallows fit the more eccentric sounds and instruments in seamlessly (unlike most bands, where it sounds tacked on and gimmicky). Record reviewers love to say that the sophomore album is a daunting, nearly impossible task, but this “Songs for Strippers...” is great; it sounds like Thinland, but it is most definitely all new - it's like a second act that follows a brief intermission. Also, the lead guitar was beautiful - did you guys get that good? I nearly had to pull the car off the road for the rush of memory flashes of various venues and bad behavior triggered by “Undone.”

John Siwicki, The Comfort Comes, May 2008
[Songs For Strippers and Other Professions] is eleven tracks of vintage rock and roll that will tear you up. “Not Your Kind Of Man” dirties things up with some slimly little riffs and plenty of cowbell. . . . “Come To Me” is the dark and seductive ballad and I think they even use a cash register sound in this song. “Days Like This” shows the bands bluesy side with a very deep and rustic track. Songs For Strippers... even when the subject matter might be a little too in your face for some is still a solid rock record. The band did deliver on what they said by “honoring strippers.” --> Read original review at ComfortComes.com

A few words from the other professions

"Music from a dry and dusty roadhouse on a remote highway between Los Angeles and Phoenix." - Mike, Accountant

"The Cowboy Junkies after rehab." - Robert, Electrical Engineer

"Unabashed and highly sexualized masculinity ... a completely male perspective." - Nancy, Web Consultant

"It's kind of creepy ... but I like it." - Leslie, Service Manager, Harley-Davidson

"Honest, beautiful and sensual in its meanness and decadence." - Teresa, Civil Servant

"Songs for Strippers... is dive bar as theater and Swallows are the barflies." - Gina, Cosmetologist

"I like the birdie." - Kallie, Elementary School Student

The wall where we shot the cover for Tracing the Cracks

Thinland: Tracing the Cracks (2003)

Not Lame Records
"Sometimes you come across 'great music' that just does not conform the way you usually listen to music and which demands a bit more of your focus and attention. Thinland is a band that combines acoustic and orchestral elements, layered guitars, poignant and introspective lyrics, and compelling melodies, giving the band an unique sound that ranges from acoustic folk songs with string and orchestral backing to full-out rockers with loud, aggressive guitars, driving rhythms, and memorable melodies. We could compare them to the very best of moving R.E.M., the beatific landscapes of David Sylvian's solo material, Leonard Cohen and The Eels. That said, no one comparison fully captures the essence of Thinland's sound except the simple fact you should hear this record, sooner as opposed to later. Extremely Highly Recommended. - Not Lame Records

Kings of A&R, New York
(April 21, 2003)
"Intelligent, luxuriant & compelling indie rock/pop/folk. Falls somewhere between Elliot Smith, REM, Radiohead, Nick Drake, The Eels, U2, etc. New album Tracing The Cracks is an album that NEEDS to be heard. It's dreamy, imaginative and inspiring. Listen to it again & again & again." - Kings of A&R, New York

CDBaby.com Featured CD
April 14-17 2003
"An ethereal, lush and dreamy expedition into the dark, deep and blue crystal crevasses of David Sylvian, R.E.M., Nick Drake, and Elliot Smith, among others, tumbling their listeners into an emotionally exposed and beautifully melancholy existence. If and when you picture yourself floating through the expanses of space, moving stars and planets with a sweep of the hand, feeling the glows of the galaxy imprint your heart, Thinland will be the soundtrack. Dive into the formless dream worlds and the gloriously powerless zero-gravity of fate... and take this CD with you." - Tamara Turner, CDBaby.com

The Reader
Omaha, NE, June 26, 2004
"Lush arrangements and arresting harmonies highlight Tracing The Cracks, the debut full-length from St. Paul, Minn., quartet Thinland. Formed in 2001 by songwriter/guitarist Jeff Crandall and bassist Jason Fritts, Thinland quickly added two new members and developed a sound of "atmospheric pop and high-intensity alternative rock" that's reminiscent of both R.E.M. and U2. Tracing The Cracks finds the band alternating from acoustic folk songs to electric rockers, all the while enhancing their material with well-produced string arrangements."

In the thick of things with Thinland
Omaha World-Herald
April 22, 2004
"For a group called Thinland, the band sure has a huge sound.

The Minnesota quartet's massive sound - a mix of dreamy, atmospheric pop and high-intensity rock - is due partly to the musicianship of cello player Aaron Kerr.

'It's a surprisingly great instrument to play in a rock band,' said Kerr, an Omaha native who moved to St. Paul, Minn., in 1995. 'It provides a great tone. It can be a background instrument, a melody instrument. You can use it texturally in a lot of ways.'

Kerr, whose background is in jazz and classical music, said having a cellist sets the group apart.

'There's not a lot of cellists playing in rock bands,'said the 32-year-old Kerr. 'I kind of take the place of what a lead guitarist would do.'

In addition to Kerr, a 1990 graduate of Central High School, Thinland includes lead singer-guitarist Jeff Crandall from St. Paul, bass player-vocalist Jason Fritts of Minneapolis and drummer Patrick Hennessey from Anoka, Minn.

Kerr said Thinland's influences include R.E.M., Radiohead, Elliott
Smith and the Eels.

Since releasing Tracing The Cracks, Thinland's debut album in January 2003, the group has toured heavily - especially in Minneapolis, Chicago and Milwaukee - earning rave reviews.

'Any happiness people can derive from hearing us live is why I'm a musician,' Kerr said. 'I just want to put on a great show for them.'

'I want people to walk away going, 'Wow, what a great show. What a great opportunity to hear live music.' I really think that's what it's all about.'"

BY NIZ PROSKOCIL

Minneapolis Music Hits the Spot
"While visiting Garageband.com a couple weeks ago, I fell upon Jeff Crandall and Thinland in the number 7 spot of the folk/country section. The featured track was "Rarebird." I couldn't believe my ears. It was like listening to a sponge soaked with originality and little pieces of Nick Drake, Elliot Smith, and Beck. It reminded me of something I had heard while driving around on a fall day (very peaceful). I contacted the band and received their CD entitled, Tracing The Cracks, only a few days later. Lyrically, the album had made a positive impression before listening. When put together with the music I was in awe. On the track, "I Don't Belong to the Sun," a 24-piece orchestra was added making the music untouchable. The entire album, which took approximately 300 hours in the studio, proves Thinland to be very dedicated and very talented individuals. Although Jeff feels the Minneapolis music scene could use some more help from local radio, he said there are many great working bands in Minneapolis, and they are happy being a part of the Minneapolis music scene. Thinland is made up of Jeff Crandall (vocals/guitar), Jason Fritts (bass), Aaron Kerr (cello), Yub Yu (guitar/vocals), and Patrick Hennessey (drums). They've been playing together since 2000, and they are well on there way to turning heads in the near future." - Corrie Minor, The Virus, May-June 2003

Indie-Music.com
"Lush and sensual, with haunting influxes of cello and strings." - Tyler Dancy, May 2003

Thick and Thinland:
Local band lays it on at the Highland Fest
Look for the indie rock group Thinland to be the musical hit of Highland Fest this weekend. Though few have heard of the St. Paul band, its obscurity won't last long. Thinland's recently released CD, "Tracing The Cracks," has been praised by music moguls and critics from as far away as Chicago, San Francisco, and London, where it is being distributed by the pretigious Minus Zero Records.

Thinland, which will perform from 4:00 to 6:00 p.m. on Saturday, August 9, on Highland Fest's Cleveland Stage, is led by guitarist and singer Jeff Crandall of Summit Hill, who in black plastic glasses, a Hawaiian shirt and Bermuda shorts looks more like an accountant on his day off than a rock musician. Accompanying Crandall are Jason Fritts on bass and vocals, Aaron Kerr on cello, Yub Yu on lead guitar, and Pat Hennessey on drums.

A transplanted Californian, Crandall studied English literature and theology in college. After graduate school he moved to Minnesota to work in graphic arts, and he is currently making his living as a web designer and graphic artist. Four years ago, he and Fritts were playing together as a duo at coffeehouses and other folk venues when they made the decision to pursue a bigger sound.

"I guess you could say we were folkies," Crandall said, "but [modern] rock bands like R.E.M. and U2 were always an inspiration."

Fritts and Crandall played a set in February 2000 at a CD release party for Heyday Records and were later included on the Heyday release "Out of the Gate: Heyday Records' Bay Area Sampler," along with notable local performers like Mellow Drunk, Mandible Chatter, and Missy Roback. After the San Francisco gig, they added Kerr and Hennessey and soon began laying the tracks for what would become "Tracing The Cracks."

"Aaron is absolutely fantastic," Fritts said. "Having a cellist sets us apart from other groups. And Pat has added a stability to the group that's both rhythmic and personal. We went through a lot of drummers - drummers can be strange - before we got Pat. But that's when things really began happening."

The latest addition to Thinland is the Korean-born Yu, a guitar virtuoso who added an edgy, hard-rock quality to Thinland's sound. "Having a strong lead guitar was the one element we were missing," Fritts said. "So we feel very fortunate to have Yub in the group."

The layered arrangements on "Tracing The Cracks" create a thick, almost operatic foundation for the vocals. The chord progressions are simple, often melodic, and Crandall's and Fritt's lyrics are reminiscent of groups like U2. In selections like "Water for the Man" and "I Don't Belong to the Sun," the band wrestles with the nature of the cosmos, God and the desire for, and flight from, wholeness. The lyrics are devoid of the snide irony so commonplace in popular music today, and complex enough to have confused listeners who haven't delved beneath the surface.

"We've somehow been accused of being a Christian rock band," Crandall said, "but we're not. I don't consider myself religious in the strict sense, but I studied philosophy and comparative religion in college, so some of my lyrics lean in that direction." He laughed. "If anything, I'd say I'm a Taoist."

"I'm told we remind people of bands like the Moody Blues, Pink Floyd, U2 and R.E.M.," Crandall said. "In a sense, they're all right. It is all there. I've been writing songs for a long time, so I'm not consciously aware of those early influences anymore. Now I'm largely working off myself, the band and other stuff I hear."

Thinland has had some difficulty replicating its huge studio sound in live performances. "Getting a cello to carry over a loud rock band is difficult," Crandall said. "When we set up to play, we build our sound check around Aaron. We need to make sure he's going to be heard. After Aaron is taken care of, the rest of us can set our sound levels."

Shelly Harris, executive director of the Highland Business Association, first heard Thinland at Grand Old Day in June. "I just loved them," she said. "Thinland has a lot more going on than your average rock band. I decided that they just had to play the Highland Fest." - Bill Stieger, The Highland Villager, August 6, 2003