jupiter watts
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jupiter watts

Atlanta, Georgia, United States | INDIE

Atlanta, Georgia, United States | INDIE
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"Smother.net (5/07)"

Stretching out melodies across a palatable expanse of indie rock and alternative pop, the Jupiter Watts don’t ever seem to look over their shoulder. Instead they have both eyes completely focused on what’s ahead. Saddled with surprisingly good hooks, this self-titled album has jangly guitars and harmonizing vocals that separate it from most other things out there on the indie circuit. - Smother.net


"Wonka Vision (7/9/07)"

In music, everything gets recycled sooner or later. Even silly things like big band jazz and disco were resuscitated by acts like The Brian Setzer Orchestra and Jamiroquai, respectively. In the last few years, the pop charts have seen a resurgence of 80s new wave via The Killers, The Bravery, etc. A few years have passed since then, though, so I'd say we're about due to progress from '83 to, say, '89 -- the year The Stone Roses invented Britpop with their seminal self-titled debut.

With their likewise eponymous album, the members of Atlanta, GA rock band Jupiter Watts have perfected a blend of Britpop-style psychedelic bravado and new millenial pop softness. Striking a balance between Oasis and The Changes, The Stone Roses and Death Cab for Cutie, this new record is a stunning collection of pop mastery, intricate musicianship and classy jams.

Album opener "Felix" begins with a quick pace and a morose atmosphere .... It's a gorgeously somber pop song to kick off with, and it sets the schedule for the album nicely.

The Britpop slant of the album comes out more fully on track two, "Crown." The drums are a bit funkier and Trigg's vocals are a bit snottier, but it's still just as satisfying a track as "Felix." Recalling the 'ol Gallagher brothers at their cockiest, the song is only 17 seconds longer than the previous one, yet incorporates far more flourishes, reaching a frantic, sax-laden crescendo that feels epic and monumental while still being under the 4:30 mark. The listener gets all the urgency of "Be Here Now" without any of the boredom and self-indulgence of ... "Be Here Now."

Track five, "The Cloud," sums up the album's dichotomy perfectly. Instrumentally, it hearkens back to early Death Cab for Cutie gems like "You Can Play These Songs with Chords" and "Something About Airplanes." But the vocals and drums have just a scootch bit more cajones, skewing towards Sgt. Pepper pseudo-psychedelia.

"Jupiter Watts" starts a downtempo fallout with "On the Water" and "Hello" but quickly reasserts itself with the oddly Sonic Youth-y No Wave of "Hit the Ground." But the song isn't nearly as drastic as one may think -- Jupiter Watts still pack it with melody and ambiance. This song and "Our Lesson Learned" serve as a thrilling conclusion.

Overall, Jupiter Watts are a great band with a delicious sound. While the areas they cover are well worn, there are few bands that travel them so well. Alternately sensitive, danceable and crushing, this self-titled release is one of the best rock records of 2007. -- Joe Pelone - Wonka Vision


"Atlanta Journal-Constitution (4/5/07)"

Atlanta's Jupiter Watts has been digging up folky '60s psychedelia from the rock garden (via late '70s practitioners such as Television and the Soft Boys). Jupiter Watts' most distinctive characteristic on its new self-titled album -- out April 10 on Atlanta's Two Sheds Music -- is the quirky vocal blend, but the creativity and catchiness of the songs are what keep you coming back. -- Shane Harrison - Atlanta Journal-Constitution


"Cable & Tweed (4/4/07)"

On April 10, Atlanta's Jupiter Watts release their third full-length album on Two Sheds Music. Produced by Athens-based David Barbe (ex-Sugar, ex-Buzz Hungry, ex-Mercyland; producer of Drive-By Truckers, Kelly Hogan, Son Volt, Harvey Milk, Amy Ray, Rock*A*Teens, etc.), the album offers something increasingly rare in the indie rock arena -- a consistently interesting and engaging guitar-rock record. This self-titled release demonstrates growth after its predecessor Let It Lie -- while the band once seemed to flaunt influences like Guided by Voices, Jesus & Mary Chain, etc., this effort sees them finding a more unique sound.

Dual vocalist/guitarists James Trigg and Ramon Wals, drummer Kevin Wallace, and bassist/keyboardist Jared Welsh capably explore sonic textures, change tempos at will, and lyrically engage topics as diverse as human relationships and atomic testing ("Bikini Atoll"). Contributions by sax ("Crown") and violin ("Hello") players also pepper the occasional track. "Nothing At All" is the sort of anthem that sounds great through one's car stereo -- a hypothesis I tested this evening with stunning success. "We Got Contact" and "On the Water" will delight those who reminisce about bands like Guadalcanal Diary or Let's Active, with the latter song's dual lead vocals an interesting touch. I'd also be remiss if I neglected to mention Wallace's drum playing on the album's final two tracks -- his rumbling on "Hit the Ground" and intricacy on "Our Lesson Learned" actually brought to mind Danny Carey's contributions on early Tool material. - Cable & Tweed


"Creative Loafing (4/4/07)"

Noisy and at times muscular, Jupiter Watts' thickly textured guitar pop shifts and shimmers in the light like a tumbling prism. The quintet's arid swells of guitar recall the noise pop of Medicine, but with stronger vocal melodies, thanks to the harmonizing of guitarists Ramon Wals and James Trigg. - Creative Loafing


"The Sunday Paper (4/1/07)"

Jupiter Watts goes the self-titled route for its third full-length release, and, true to form, it's the Atlanta band's most cohesive work to date. It's also the most subdued. Where the group's previous efforts -- 2003's "Short Wave Signals and False Alarms" and 2005's "Let It Lie" -- ambitiously wove various noisy elements into a disjointed but enjoyable whole, "Jupiter Watts" dials down the nods to Brit-rock, punk and noisy garage rock. Instead, it coasts on a chiming, early '90s college-radio vibe that pleasantly recalls proto-indie-rock stalwarts like Superchunk -- lots of breezy vocals (the spiky sing-along "Cloud"), undeniable melodies (the irresistable Oasis echoes of "Contact") and mid-tempo jangle. -- Mark Diamond - The Sunday Paper


"Punk Planet (10/05)"

With a smidge of indie rock, a dash of spacey overtones, and a warmth that math rock doesn't even touch, this record is pretty awesome. ["Let It Lie"] is definitely a rock record, but it has a great little groove to it and elements that say, "I'm a 90s throwback ala Superchunk, but with more of a dynamic."
- Punk Planet


"Stomp & Stammer (6/05)"

Let It Lie, the newly-issued second CD from Atlanta quartet The Jupiter Watts, offers a nifty blend of classic pop-rock stimuli, revealing inspirations ranging from The Beatles to R.E.M. to shoegazer-era British rock. It's a great-sounding CD, showing noticeable growth from the debut. What I remember from the release party at the Star Bar was good family fun too! -- Jeff Clark - Stomp & Stammer


"Evil Sponge (6/05)"

Earlier this year I encountered Atlanta-based The Jupiter Watts for the first time, despite the fact that they have been playing around for a while. Although they formed in 2001, this quartet only recently released their second album, Let It Lie. In a reflection of my experiences with their live shows, this album is so fully realized that I wonder how I managed to miss them for so long.

Opening track True North is a short instrumental which features a somewhat unexpected chord progression. This gives the song a menacing feel, which is heightened by the tom heavy sound of the drums. It quickly builds into a joyous catharsis, which subsequently gives way to Strange Things Happen Every Day, perhaps the most immediately memorable song on the album. It is a nicely done slow tune with lots of guitar effects to counteract the higher-pitched vocals of guitarist James Trigg. The almost languid pace highlights the sonically full but precise sound which characterizes The Jupiter Watts.

The next song, Atom Mine, is my favorite song on this album, and it encapsulates what's so very good about this band. It has a jangle ala Black Lipstick, albeit with a real singer in the form of The Jupiter Watts's other vocalist, Ramon Wals. And, again, the opening verse contains, again, an unexpected melodic progression on the line "Tell me where you been/ I haven't seen you in a long long while". Then the harmonies kick in, yet there is enough difference to realize that there are two people singing. The song then builds into a loud chorus, before falling back to the precise minimalism of the verse. Behind it, the basswork holds the basic song structure together while drummer Brian Weinberg keeps things moving. Finally, after a couple of times around (including a repeat of the opening verse), the song restructures itself as the band chants the song title, and then the music builds as it gets louder and more intense. An excellent tune which is way too much fun, and probably will lead someone to say that this band is Velvet Underground-esque .

Let It Lie continues along, demonstrating the skill of the band For instance, the nearly 8 minute long Get Into the Ground begins with a solo guitar line, which then fades into the mass of instruments, before finally moving into vocal line at the nearly 3 minute mark. It's a song that many bands would kill to write, with its overwhelming sonic delivery punctuated by occasional breaks. Likewise, Thinking Bad Thoughts is just a nice little pop song which reminds me of a male-dominated version of Lazy, or even Atlanta-based Luigi, delivered over layers of instrumental sound which swirl around the listener.

Can't Say No begins off-kilter, but then the band moves into a rolling 6/8 tune, with clattering cymbals punctuating occasional soft spots. Keeping with their sense of the unexpected, the chorus doesn't feature the anticipated soaring vocals, but rather a very even "Cant Say No." In contrast, Only Senseless isn't like anything else on the album. It is a rollicking, almost punk tune, which lets drummer Weinberg break loose. Keeping with this spirit, the recording itself is vaguely hollow, much like some early punk recordings.

The last two songs on Let It Lie finish the album strongly. Solar Eclipse is a toned down affair, which begins without the layers of effects. Instead, the bouncing bassline provides a focus which contrasts with a low guitar riff. Then, finally there is Ghost of Orion, a roughly two and a half minute track with lots of spacey effects over what sounds like an answering machine message. It builds into a nice driving instrumental, which acts as an effective bookend to True North, the opening track.

Surprisingly, considering the length of many of the songs, Let It Lie does not feel like a long album. And when it's over, I really would like to hear more. As The Jupiter Watts have a sound that is a perfect match for a steamy, hurricane-ridden summer, this album seems destined to remain in my car stereo for a while. - Evil Sponge


"Creative Loafing (3/19/03)"

When Dan Nolen of Smith's Olde Bar needed a last-minute opener for Jason and the Scorchers in December 2001, he called Cadillac Jones Bassist Hutch Renaud. Declining Nolen's offer for the greasy 70's funk band to perform for a full house, Renaud offered the services of his other group. Problem was, the band had never played out and didn't have a name.

Amazingly, Nolen said that if they could come up with 45 minutes of material, they had the gig. Hastily christened the Jupiter Watts, the band cranked out a set of nebulous guitar rock.

Formed from a loose assemblage of seasoned musicians who gathered weekly in a cramped space at Little Five Points' Black Box rehearsal studios, the band features singer/songwriter/guitarists James Trigg and Ramon Wals, along with bassist Renaud and fellow Cadillac Jones alum Robbie Nelson on drums.

A year after the fortuitous Scorcher show, the band readied Short Wave Signals and False Alarms. The Watts' new CD is a collection of 10 scorching songs that blend the crunchy and catchy guitar-based rock of the Rolling Stones, Kiss, Guadalcanal Diary and the Glands while still maintaining a decidedly signature sound.

"I have a soft spot for guitar bands," shrugs Trigg when pressed to pinpoint the band's influences. "I like everything from classic [rock] to noisy indie rock. Ramon likes a lot of power-pop -- Big Star, the Kinks and the Beatles. The Jupiter Watts is just an amalgam of all those sounds." -- Lee Smith - Creative Loafing


Discography

Jupiter Watts, 2007, Two Sheds Music.
Let it Lie, 2005, Self-released
Short Wave Signals and False Alarms, 2003, Self-released.

All three records have enjoyed airplay on various college radio stations as well as myriad blog sites. Additionally, audio tracks from the new record can be accessed at http://www.myspace.com/jupiterwatts.

Photos

Bio

Jupiter Watts came together in late 2001, bonding over a shared love for noisy guitar pop songs played at high volume. Not long after forming, the Atlanta quartet recorded its debut, short wave signals and false alarms, which was released in early 2003 to critical praise in publications both local and national. Reflecting the band's diverse musical vocabulary, critics likened the group to sources as disparate as the Jesus & Mary Chain, the Pixies, and the Rolling Stones. In April 2005, Jupiter Watts released their second full-length recording, Let It Lie, on which the band slowed the tempos and expanded its musical palette. Bassist/keyboardist Jared Welsh and drummer Kevin Wallace joined the band in late 2005, and the sound has continued to grow and refract, exploring new sonic spaces while simultaneously honing a more complete, realized sound. They recorded their self-titled third album during the summer and fall of 2006 with Athens, Georgia-based producer David Barbe at Chase Park Transduction Studios. "Jupiter Watts" is their most fully-realized project to date, at times organic, at times synthetic, at times melodious, at times dissonant. The threads that tie it all together are the hooks that peek out at the most unexpected places, along with the sure-footed vocal harmonies of James Trigg and Ramon Wals, which aim to soften even the most beastly dins. Atlanta-based indie label Two Sheds Music -- home to such acts as Hot Young Priest, Silent Kids, Ultrababyfat, and Blake Rainey -- released the album in April 2007.