By Kelly Dearmore
By Jim Schutze
By Rachel Watts
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However, the band--singer-guitarist Sean Halleck, drummer Matt Kellum, bassist James Driscoll, and guitarist Glen Reynolds--isn't trying to shake any bad memories or clean the slate with its revisionist sense of history. As the quartet sits around a table at On the Border on Knox Street, they aren't making whine out of sour grapes. They're just trying to underscore the fact that they've become a better band since May, when Reynolds replaced Norris in the band. Everything has changed since then. The songs have more energy, and so does the band. They're playing more shows and, for the first time, Chomsky is planning to release a record, as soon as they can find the time to finish it. As Kellum puts it, when Reynolds joined the band, "That's when the real ass-kicking really started."
"We were just searching for ourselves before, and then Glen came along," Halleck says. "John [Norris] and I were friends in high school. He used to play in the band for years. But his duties to the tomorrowpeople just started taking up too much time, so we started looking for other people. Luckily, we found Glen."
Reynolds laughs, "And it was magic."
"It's very cliche, but it was," Halleck continues. "It's like night and day. What I really like in music is energy. The early Pixies had energy. Early Police had energy like that. Early '80s XTC. Things like that. I think it comes off now. We get up, and it's like this raging energy. I don't know if it's the movement, or Glen jumping around, or the speed of the songs. But we just have this energy now we didn't have before."
The material the band has recorded at Barry Poynter's Little Rock, Arkansas, studio backs up Halleck's claim. It doesn't even sound like the same band that recorded the songs that appear on its Web site. The new recordings--part of an as-yet-untitled project the band has been working on for the last few months--combine keyboard-fueled new-wave rave-ups and melodic, shout-the-lyrics power pop, resulting in a sound that roughly resembles Bobgoblin covering Centro-matic songs. Even in their unmixed and unmastered form, the songs are much fuller than their Internet counterparts, like a bomb exploding instead of a firecracker popping.
But even more important than Reynolds' presence is the band's involvement with Bobgoblin-cum-The Commercials frontman Hop Manski (or Litzwire, or whatever he's going by these days). Lately, Manski has been like a fifth member of the band, advising them, helping with production, and adding his keyboard parts to the mix.
"One of the coolest things about recording was sitting up there, doing the songs, and then letting Hop pour over them," Reynolds adds. "He came up with some really cool stuff. That one track, 'Two Steps,' he played all the keyboards on that song. He totally took it over the edge. He really made that song."
Halleck continues. "I think it's really good to get someone else's opinion about your music while you're making it. It's the most fun playing with your friends. You're helping your art with your buddies. We were sitting there thinking, 'We got these people that make music that we love.' Why not try to involve them in our project? Hop said really good things about Barry, and so we went up there and checked it out. It was great. Barry's a great guy. He's a proper Southern gentleman, and he's got incredible ears."
So far, the biggest obstacle to finishing the record has been time. Because of job commitments, the band has had to record whenever they have time, a couple of days here and there. So far, they've managed to completely finish only one track. The band plans to make several more trips before the end of the year, but doesn't expect to have anything ready until early next year. At this point, though, they still expect to release the finished product, unlike the songs they recorded with Martin last summer.
"It was a weird period for us, because John was busy, and we weren't very together," Kellum says. "I don't think any of us were real happy with how it turned out."