By Jef With One F
By Rocks Off
By Chris Lane
By Angelica Leicht
By Corey Deiterman
By Angelica Leicht
By Corey Deiterman
But one of the many good things about indies-for-life like The Handsome Family is their accessibility. If the band is not on tour now, you know it will be sometime soon. Unlike a big-time performer, a small-scale act, independent of cushy expense accounts, does not make its living through record sales. It makes its gravy through touring. Which means an act like The Handsome Family can spend, in some cases, upward of 200 days a year playing gig after gig after gig and untold days traveling. An indie-rock fan can only hope at least a small portion of that interstate runs through his hometown sooner or later.
This week Houston gets lucky. In addition to The Handsome Family, Two Dollar Guitar and the Dillinger Escape Plan are scheduled to perform. They all play on different nights and in two different venues, and each is playing to Houston ears for the first time. Three solid, relatively current bands in town the same week also marks that rare occasion when the yokel fan is even more torn than usual: Should he see this band at this club on this day? Or this band at this club on this day? Or maybe this band at this club on this day?
Scott Walcott, booking agent of Rudyard's, which will host both The Handsome Family and Two Dollar Guitar, says he welcomed the chance to host Two Dollar Guitar, a personal favorite. "I book more avant-garde stuff," says Walcott. "I've always liked nonmainstream bands. I was a punk kid, you know."
On the other hand, Walcott, who has held his post at Rudz the past three years, says he had never heard of The Handsome Family.
Not many have.
Playing on the name given to serial killer Charles Manson and his serial-killing clan, The Handsome Family obviously enjoys a little ironic posing. This is not to say The Handsome Family is an ugly band. Supported by random contributors, the Sparkses on In the Air re-create those days of yore when two chords, a nice vocal line and lyrics about dying siblings, stabbed lovers or drowning friends were all that was needed to gain an audience. Yet the ballad, as a staple of the country-folk form, has hardly ever been delivered more technically perfect than it is on this disc. The Sparkses seem as if they were both born to be bummed.
"The darkness and the cold forces us to work," says Rennie with a laugh, referring to Chicago's bleak winter climate. For this interview, she and Brett shared a phone line. "And we drown our sorrows in drink once in a while."
Rennie, who holds an MFA in creative writing, pens lyrics from melodies Brett conjures up. She writes 'em, he sings 'em. Brett's droning monotone, conveying just the right amount of objective detachment, is perfect for delivering a meaningful ballad. He never really sings as much as he, as a good balladeer should, narrates. His voice becomes melodic only when he vocalizes words that rhyme. "Up Falling Rock Hill," Brett intones on the song of the same name, "where the leaves swoop like bats I shot my brother William five times in the back."
Yes, this is kind of funny, but only because we know neither Brett nor his wife ever shot and killed anybody. Inauthenticity is the foundation of creativity, after all. The Handsome Family knows this.
And though deliverance or some sense of finality typically comes to the characters of old-time ballads, it rarely ever happens to the people in The Handsome Family's tunes. A Cain and Abel tale, "Up Falling Rock Hill" ends not with the appearance of a vengeful god, but with nothing. The song's message seems to say: Sometimes, against the will of the cosmos, there is crime without punishment.
Taking preconceived notions and turning them on their heads, as The Handsome Family does in this song and on others, is, if anything, a great way of getting the listener's attention.
On stage, with plastic forest animals as props, The Handsome Family performs at a much higher volume than its recorded work would indicate. A place like Rudz, with its warm, wooden and intimate interior, appears to be a perfect fit. "We fatten up the sound, which enables us to play at a certain level that precludes [the audience's] talking," says Brett. "You have to get to a certain place before it drills into their heads..."