Ben Kweller, Modern Love Child
In late 2011, Matt Myers, Zak Appleby and Shane Cody started playing music together in a historic home in New Albany, Indiana dubbed “The Green House.” Its rooms were adorned with relics from times past, so it was no surprise that songs such as “Penitentiary” bounced off the walls. Nostalgic sounds from their first album seemed to serve as a welcome escape for listeners from the relentless demands of the digital age. But if you asked any one of the guys, they were ‘just having fun.’
Houndmouth signed with legendary indie label Rough Trade Records in 2012. From The Hills Below The City landed them on several world-famous platforms such as fellow lovable Hoosier, David Letterman’s stage. When vocalist, guitarist, and songwriter Matt Myers first spoke with big-name producer Dave Cobb prior to working together on their sophomore LP Little Neon Limelight, the two laughingly agreed to “not make another fucking boring Americana record.” A natural sounding album captured in a familiar fashion came together, except this time with a #1 adult alternative radio single in “Sedona.” “I never once thought of us as an Americana band,” says drummer Shane Cody. “The four of us were just a rock band, but some of us had Southern accents,” he laughs.
The group find themselves on their third full length album, Golden Age, set for an August 3, 2018 release via Reprise Records, now with four new touring band members (Caleb Hickman, Drew Miller, Graeme Gardiner, and Aaron Craker – after Katie Toupin’s departure). Although there is no doubt that their perceived public identity is founded on roots and Americana, Houndmouth nevertheless created a concept album around a nostalgic future – and the sound will certainly reflect its message. The credits for Golden Age only begin to hint at the lengths they went to in order to find the sound of their nostalgic future — vintage Voxes, Vocoders and Moogs, modern programming, strings, tympani, baritone sax, live drums, Linn drums, unvarnished pianos and very distorted guitars. “What’s happening with humans and technology right now was on my mind really heavily,” says Myers, “and we naturally went that way with the music too. Using synthesizers and drum pads just kind of felt right. I feel like we went into it being like, ‘Yeah, let’s do a Bruce Springsteen/Daft Punk record’.” Myers goes on to explain, “I think the human aspects are still paramount, even though it may sound a bit more bizarre. There’s some part of Tom Petty, Randy Newman and the Band that I can’t get away from, and I wanted to keep that untouched, I guess. It’s not about trying to emulate what’s on the radio, it’s combining and messing with sounds to try to make something that seems very familiar but doesn’t actually sound like anything you’ve ever heard before.”