O'Brother's Prosperity
By Hannah Cook, Managing Editor
Imagine bass notes so low, the strings noticeably wobble with each pluck, guitars both distorted and glimmering, persistent, clever drumming and a voice that can roar like a lion and reach a humming falsetto. These seemingly contradicting sounds work in harmony to form what is Atlanta-based O'Brother's music. There’s certainly a haunting aspect to what they create and their first full-length album, Garden Window, is this expression.
O’Brother took its precious time creating and mastering Garden Window, recorded in the Favorite Gentlemen (Manchester Orchestra,Kevin Devine) studios in their hometown. “We basically had the studio at our disposal whenever we wanted, so we got to experiment and change things and really be content with what we were doing,” said drummer Michael Martens of the recording process. Every small detail, every layer, every drumming pattern was thought of so carefully, down to a science. This would be the album that represented the band’s matured capabilities--and not only that, but its point-of-view.
“The last album [The Death of Day] was up and down, up and down, up and down. This record is more like each song is us. There’s more diversity from song to song, so that it cohesively all comes together as one thing. The Death of Day, one or two of those songs [Merritt] just brought to us. This one--it’s O’Brother,” said Martens.
Garden Window possesses an array of leading themes, but if Merritt had to put a finger on it, it would be growth. “It’s just metaphorically using nature to describe everything else as far as life could go,” he said. So it seems, he’s questioning and eventually coming to terms with the cycle of life--growing older, gaining thoughts, doubting them and recognizing a certain personal place in this world. And what better way to manifest that than through the things that most obviously grow and perish around us?
If anyone could be most intelligent at begging questions, Merritt would be a genius. Through his lyrics, he takes the qualms of life and paints a bigger picture, making it universal all the while.
“Everything deals with life, death and God... definitely not optimistic... but a lot of people will be able to relate to it because it’s the kind of things you would really ask a higher being if you believe in it,” Martens said. “From what I’ve been able to surmise from the parts that I’ve delved into, it’s just about growth, within relationships that are physical, and ones that are not physical, but that are spiritual. It’s finding your place in the common things that everybody questions and deals with and it’s dark. That’s what a couple years on the road will do to you. It’s a lot of wear and tear. I think that opens up different points-of-view or different perspectives on life and what we’re doing.”
“It’s a garden,” guitarist Johnny Dang simply added.
That succumbing “garden” is not a particularly serene vision through the sounds of O’Brother’s music. In fact, one wouldn’t really imagine a garden at all by just listening. “It’s one of those things where I don’t think people are going to understand it until they sit down and digest it,” Martens said. The sounds blaring through are distorted, heavy and dynamic, supporting lyrics just the same.
Take “Lay Down,” for instance. The song begins with a screeching descent down a guitar and steady drumming. Merritt’s voice comes in, soft but intense, singing, “Live, learn, and let it lie / Skip to the end to wonder why / And I lay down / Here you’ll find that we all are / blossoms that bloom to fall apart / And I lay down”--alas, swallowing the process of growth and letting it simmer and calm in the body.
Perhaps the most rambunctious O’Brother is on Garden Window is in the song “Machines, Pt. 1,” which immediately launches into Merritt roaring unrelenting words: “Is this what you wanted? / Eat, breed, repeat. Populate and decease and take it all. / Trade living for a living / Measure your worth in flesh and blood.” He’s drawing attention to the worth of a life--if only judged by “flesh and blood.”
It’s plain to see both on stage and on Garden Window that O’Brother has grown, as individuals and as a band, over the last three years. Watching them play live, one can tell they’re all there for the same reason and they’ve found a sense of comfort in what they’re doing together.
Despite his being truly kind, Merritt sounds intimidating when he sings. His open mouth cocks crooked as he belts dark words, his eyes stare off past the crowd towards some far-off, nonexistent entity. He's "in the zone," so to speak, and his bandmates support the same demeanor.
And how wonderful it is to see brothers Anton and Johnny Dang work their magic. Their long, dark locks circle through the air in sync, showing almost the exact same kind of enthusiasm. The bassist and guitarist, respectively, seem to be on the same intuitiveness, but still portray only a genuine friendship. “Sometimes I forget that he’s my brother,” Anton said.
“They’re really weird friends though. It even throws me off, where you guys will be on the perfectly exact wavelength, where I’ve heard you both say something, and I’m like ‘where did that come from?’ Martens added. “For the past 13 years that I’ve known them, they wouldn’t ever speak Vietnamese. For the past year, they randomly started doing it and apparently, we just found this out like five months ago, when they really talk to each other, they’re having less of a conversation and more of them trying to figure out how to say what they want to say.”
“We’re getting better at it,” Johnny added.
And let’s not overlook the art coming along with the album, created by the guitarist/percussionist of the band, Aaron Wamack. Harvey, apparently the spokesman for the band, was found on many posters at venues they played at and on their website. “He’s an imaginative monster that came from Aaron’s crazy head,” Anton said.
The friendly chemistry within the band is flourishing as each member brings to the table something grander than just their instrumentation.
Truth is spoken with such clarity on Garden Window. Tanner’s voice, beautiful in its own right, paired with his ominous words, then combined with the heavy and demanding guitars, bass and drumming have created what is, to this day, O’Brother’s masterpiece. The cohesiveness of this album proves the utter strength this band possesses to carry forth, move onwards and upwards--to blossom even if to fall apart.
