Pretty Little Empire

Pretty Little Empire, which ranges in musical approach from melancholy reflection to spirited rocking, is part of a long line of ambitious and well-received St. Louis bands. With two albums under its belt ("Sweet Sweet Hands" and "Reasons and Rooms") and a growing fan base, the band is working to raise its local, regional and national profile.

A gig at the Sheldon Concert Hall tonight, in the Sheldon Ballroom series, should go a long way toward forwarding that agenda. Singer-guitarist Justin Johnson is clearly thrilled about the progress of Pretty Little Empire, whose music "has been categorized as Americana folk-rock," he said.

"We've been together since 2008, we've been playing live shows for about two years now, and we've done a handful of small tours," Johnson said.

The other members of Pretty Little Empire are singer-guitarist William Godfred, drummer Evan O'Neal and bassist Wade Durbin. Johnson and O'Neal handle the lead vocals, O'Neal and Durbin also sing, and much of the songwriting is collaborative.

"Most of the writing process is done organically," Johnson said. "Like, we'll just start milling around in the practice room and get ideas that way. And then we all start working out how to structure (the song) and add vocals to it."

Johnson and Godfred were both working at a wine bar when they got the idea for the band.

"We'd get off work real late at night, and one night we just started playing music together," Johnson said. "I'd never really done any vocal harmonizing with anyone before, and he really has an ear for that. So he started harmonizing to me singing, and it clicked."

Once O'Neal and Durbin got involved, the band was in place.

"The experience that everybody has gathered from other bands has helped us, as a group, tremendously," Johnson said.

But why is the band called Pretty Little Empire?

"I like a three-word name, something that looks good on paper," Johnson said. "There's no real super significant meaning to it."

- STL Today

The St. Louis music scene can at times seem anemic, stubbornly hanging onto the past. I used to hate the sheer preponderance of classic rock stations, the mass illusion that all great music was recorded and waxed in the ’70s, and that everything else was pop, rap or worse.

Luckily, Al Gore invented the internets, file sharing broke the stranglehold on music licensing and our generation put Pink Floyd into the nostalgia bucket and began searching for something new. As a result of social networking and community radio like 88.1 KDHX, St. Louis has pried itself away from the amber of classic rock and heartless punk and now has an alternative music scene, and it is good.

One such pillar of this changing scene — a relative newcomer — is Pretty Little Empire. The band’s first album Sweet Sweet Hands seeped into the scene in 2008 through word of mouth spread from friends of the band and patrons of Sasha’s on Demun, where half the band earns a living while chasing the dream. It played heartfelt and real, at times predictable but still engaging, earnest and it established a distinct voice, with direction from a musical core that promised to improve and evolve. That first album mainly bore the imprint of Justin Johnson, a 30-something with a baby face, soulful eyes and a solid vocal range. Between his voice, the rare trumpet accompaniment, fledgling harmonies, the first album worked, but not like this one. On Reasons and Rooms, the band’s second album, Pretty Little Empire sounds deep, varied and on the cusp of something much bigger.

The 4 members of PLE are best when they engage in full harmony. It’s clear that over the past 2 years they’ve played together enough to realize their distinct voices, and the new songs exploit this strength. Though once defaulting to a grungier sound, now with the addition of a cello and banjo and so many voices, there’s nuance where there was once mainly guitars and drums. The banjo didn’t make it into the studio on Reason and Rooms, but it should have. It tempers the chords sneaking in right under the bass, finding a niche, never getting lost. A touch of country emerges in just the right amount.

Another marked departure from earlier arrangements: The Saturday night CD release party at the Firebird was punctuated by a steady rotation of band members, guest players and lead-singing switches, a true musical chairs. These new voices are welcome. Evan O’Neal brings a real folk element and “Islands” was a sweet mid-show release. Another newer element was the catch provided by the keyboards in “Morning’s Been Hard.” The hook started me thinking of the Police but ended up a much newer sound. Will Godfred’s song adds a new dimension as well — a playful side the first album never had. “Cinnamon Toast” is in some ways less complex then the other songs, but the lyrics are tied tightly together and the chorus of “oh hey I don’t know” works because it comes out of nowhere and is full of feeling. Add the cymbals and the song goes places you can’t predict.


Finally, there were solid Justin Johnson trademarks throughout. His lyrical style is easy to pinpoint if you’re familiar with the first album, all love letters and apologies and tortured trips into self-reflection. “Dakota” and “Lets say I Do” have a patterned feel, quilted not mashed, and while the standouts for me were “Perfect Hearts” and “Wasted Days,” the others are solid, evoking a lot of love with a genuflected regret, as if he channels his past mistakes into all his present moments, deep, often sad, but ultimately the better for it.

There are numerous other reasons why a PLE show is worth the night out. The group brings in great acts with them: Art Majors had a real presence and Bo and the Locomotive is a solid rock-fest. A few months ago, the band lobbied and got the Mimicking Birds to open for them, another indication PLE is expanding farther and wider. These guys (and girls — Sarah Ross, Cathie Degler on cello, Mary Timmel, Ellen Herget on banjo) are getting out there. Their reputation as “really nice guys” is earning them currency and respect; their habit of listening for new inspiration and collaborating with new musicians is getting Pretty Little Empire well-deserved attention. A full tour schedule is probably in the works and if it’s not, it should be. The more they travel and play, the better they’ll be when they come back to St. Louis.

I’ll be at the next show, waiting to see how much of the energy from this great performance carries through and hopeful that their current momentum starts a full-fledged evolution. In the meantime, PLE has established as a strong foundation to build on, expanding the St. Louis scene and spreading its influence, one small conquest at a time. - 88.1 KDHX

I met this guy once, at Lincoln Hall, for a drink, and he slipped me this CD, and told me about this band named Pretty Little Empire. He was like an evangelist for this band. He couldn’t stop grinning when he talked about them. In fact, he has reviewed their first album for his blog and told me how he was bringing them to Chicago to play a show. I went home and played the album… over and over, in my car, in my house, everywhere I could. Sweet Sweet Hands is gorgeous. And then summer hit and festivals began and so much new music came pouring in. And I never reviewed it, and sometime in July Pretty Little Empire came to town. The only time I could give them that night was to their soundcheck. I had two gigs to go to and a band staying with me and oh god, I was over-extended! But those 30 minutes or so that I sat in the basement of the Chopin Theatre and listened to Justin and the rest of them play were more than enough to convince me of one simple fact: Pretty Little Empire was the real deal. The harmonies are simple and clear, the melodies are not complicated but remain consistently true to Pretty Little Empire’s “sound.” This is American music without being Americana, this is folk without being folksy. And you know I LIKE Americana and folksy. But Pretty Little Empire just isn’t those things. They’re a whole other ball of wax that consists of the kind of music that you think of when you think of alt-country with a real soul and a real backbone to it, mixed with a healthy dose of garage rock. I was warned that this album was more “more on the rockin side and a little bigger production” than their last, and yes, yes it is, but it’s still very much the heart and soul of the band.

Reasons and Rooms begins with a song that is very much like their last album. “now is not the time” has that insistency to it that just grabs you. That thread runs throughout the album, in the driving beat, and you feel it again in the repetition of the lyrics. “Islands” could easily dissolve into lazy, depressing drabness. But this band keeps it on track and tight, and the song stands out as poignant and stark. It’s one of my favorites on Reasons and Rooms, and the slide guitar is gorgeous. But the next song is by far, my absolute number one favorite song of them all: “Let’s Say ‘I Do.’” The way the chorus expands with sound in such a wailing, wild way against his tenor voice just kills me. Paced as fast as it is, this song is a nice throw back/shake up moment in this selection of really attractive, pretty, songs. Indeed, one of the best things about Reasons and Rooms is the lush background given to Justin’s vocals. Keyboard, trumpet, drums, steel guitar; all harmonize around that central, vocal, pole. And as I write that sentence, “Wasted Days” plays and proves me wrong, for it is such a collaborative product, proof that this band thrives on a cacophony of sound as much as it does on those pared down guitar/vocal melodies. Don’t underestimate this St. Louis band, for Pretty Little Empire are certainly a band to watch in 2012. Speaking with Justin that night at the Chopin, I found a person who was just upfront and honest with what he does and what he hoped for in life. Some people play at being humble, others know that the music they make speaks for itself, just get out of its way. - Love Shack, Baby

Local Americana mainstays Pretty Little Empire recently returned from a few weeks on the road. Its stops included Chicago, Asheville, North Carolina, Lee's Summit and Austin for SXSW. The band comprises Justin Johnson on acoustic guitar and vocals; William Godfred on lead guitar and vocals; Evan O'Neal on drums, guitar, keys and vocals; and Wade Durbin on bass and vocals. Together, they sat down and came up a few pieces of advice ("Never pass up an opportunity to shower") and some stories of success and failure.



?A to Z: What did you tour in?

Pretty Little Empire: Our touring rig is a pink and white 1988 Ford Econoline van that we've named "Peggy Sue". The interior is mauve shag carpeting. It looks like it may have had a former life as a Mary Kay cosmetics vehicle, but it's extremely comfortable and has more than ample space for all of our gear. We were lucky to find it, really. A band without a van is operating with a distinct disadvantage.

What was your cheapest meal?

Some venues will have a complimentary meal ready to go for touring acts, so it doesn't get any cheaper than that. It's always much appreciated and a lovely gesture. Failing that, we're usually reduced to eating stuff like 25 cent packs of cheese 'n' peanut butter crackers. Free and easy access to nutritional meals is the first thing you give up on tour.

Which venue treated you the best?

When you're playing outside of your hometown, you usually can't predict what kind of reception you'll receive from the bar staff. More often than not, they'll treat you as an annoyance that's in the way. That said, we were surprised and delighted with the treatment we got from the Double Door in Chicago. We got a private dressing room, a cooler full of bottled water and (best of all) an honest-to-god soundcheck. Next door to the venue was an excellent taqueria called "Big Star", which (as a die hard Alex Chilton fan) was pretty mind blowing. It's not surprising at all we played probably one of our best shows that night.


?Where did you sleep?

By far, the worst part about touring is figuring out the logistics of when and where you can sleep. Hotels are usually a last resort since an up-and-coming touring band can rarely earn enough money on the road to justify the splurge. The crash-pad scene is hit or miss; sometimes you'll luck out and your hosts will have air mattresses and clean towels and what not. It's more likely, though, that you'll be sleeping on a bare floor surrounded by half empty beer cans. It's your own fault if you don't bring your own pillows and blankets, though.

Who was the most interesting person you met?

We didn't exactly come face-to-face with the most interesting person we encountered on the road, but the story is worth telling. Justin was using the bathroom in a venue in Lee's Summit, MO, and overheard some bizarre sounds in the stall next to his. It sounded like a grown man imitating a child's voice chanting weird little sing-songy phrases. I'm paraphrasing, but it went something like "Batman's name is a fat man's game and a fat man's name is a Batman's game..." It also sounded like he was in there playing with Legos. You can't make this stuff up.

What was your best show?

On our first day at SXSW, we had two shows booked. The second show was at a bar called Nomad's, which was well outside of downtown Austin. When we first arrived, the staff was bordering on being outright hostile towards us. It was not a good vibe at all. Anyway, we set up and did our set and it went fairly well as far as we were concerned. What we weren't prepared for was the complete reversal in our treatment from the bar staff after the show. When we went to pay our tab, the bartender said something to us like "I hate all bands but I like you guys." He took our bar tabs and tore them up in front of us. When we do local shows, we're usually preaching to the converted, so it was amazing to see that we have the power to completely change someone's opinion of us in the span of a 35 minute set.

What did you bring with you in the way of merch and music, and what sold best?

Unfortunately, I think the days of making money on merchandise on the road are numbered. Hard copies, cd's especially, are quickly becoming non-essential items for most people. We do have a vinyl edition of the first album available, but it's not selling nearly as well as we'd hoped. I think our choice to do a vinyl pressing was more of a statement of intent, though. "Vinyl is final"; it shows how serious we are about this. However, we had a nice surprise when we got back home to see we had sold 26 iTunes copies of our albums while on the road. I know 26 albums isn't going to make us rich, but it proved people out there were paying attention and thought to look us up later.

What was the best band you played with?

We really clicked with a group from Asheville, NC called Doc Aquatic. Those guys seem like they could do whatever they want to musically. They're also about the nicest four guys you'll ever meet. We'd love to bring them to STL sometime soon. Look 'em up!


?What piece of advice do you have for other bands heading out on tour?

The most important thing to remember on tour is to stay positive. The living conditions can be pretty harsh, but you'll gain nothing by complaining about it. Also, bring pillows and blankets and keep a cooler stocked with bottled water and ice. Don't buy the food they keep under the heat lamps at the gas station. Never pass up an opportunity to shower. Be sure to be cool to the sound man---he's got the hardest job of anyone, and he usually has to deal with obnoxious faux rock star crap every night of the week. Most importantly, never EVER eat at Captain D's.

What did you give up in order to go on this tour?

We're all service industry guys, so touring means taking a huge pay cut from all of the lost shifts. There's no such thing as sick days or vacation days for bartenders, so planning ahead financially is the only way to survive. Even still, it's terrifying to take the leap of faith that playing some random show will end up benefitting you more than an average night of work. We've walked out of places with a total gross of $11, which is just absurd.

What did you gain on this tour?

You can get a lot of useful information playing to a crowd that's never heard of you. The quiet, introspective stuff that everyone loves on your home turf can be the boring song that everyone talks through in another city. We try to notice what works and what doesn't and use that information to make the set as solid as it can be. - The Riverfront Times

Prolific and yet self-critical, Justin Johnson makes rock songwriting seem as easy as scribbling emotions or humming a melody. It isn't, as a close listen to his lyrical work with Pretty Little Empire and the Jump Starts proves. Johnson is never clever for clever's sake, never glib in hopes of coming off cooler than he is. He may seem to write what he feels, but he edits, shapes and defines his emotions. Such lines as "I'm not afraid of this economy/baby, morning's been hard on me" and "I can see it now/you don't have to shout it" sting and console at the same time. His principal theme is the recognition of individual weakness and the difficult strength that comes through friendship and love. And while he's already written a handful of the best tunes in the current St. Louis rock scene, he's young. His best work is surely still to come. - The Riverfront Times

Sounds Like: Driving Americana with a sentimental streak

Recommended If You Like: Tom Petty, Gaslight Anthem, Gin Blossoms

Instrumentation: Electric guitar, acoustic guitar, bass, drums and sweet four-part harmonies

Crowd Response:
Those in the large crowd who came to party were casually dancing and singing along, beers in hand. The curious and the passers-by were won over by the infectious energy of the room.

Year formed: 2008

Influences:
"All four of us have very different influences," says singer/guitarist Justin Johnson. "But we can all agree on Buddy Holly, Uncle Tupelo and the Pixies."

If there were a Pretty Little Empire film, who would you want as director?

"I would say Werner Herzog because he's totally crazy," says Johnson. "I wouldn't know if he's going to make a 3D concert film or just make us do pushups in the middle of the desert. Or maybe Scorsese, if we could get young Scorsese. He wouldn't even have to make a movie about us; it'd just be cool to meet him." - The Riverfront Times

Pretty Little Empire trades in sweet acoustic melancholy, a kind of slow-drip dream-folk that skirts the edges of twang and pop. Singer and guitarist Justin Johnson leads the quartet with a tremulous voice that has both a lonesome quaver and an inviting timbre. His singing style is eerily reminiscent of the Rosebuds' Ivan Howard, and both singers use the magnetic force of their voices to draw the listener into sometimes righteous, sometimes heavy-hearted songs. Theodore's Andy Lasher contributes lyrical, intersecting trumpet lines to standout "Good Morning Early Riser" and uses his bowed saw to add Theremin-like ambience elsewhere on the disc. And like Theodore, Pretty Little Empire loves the sound of dusty, creaking spaces, but chooses to leave them barren and let the echoes resolve unadorned. Hannah Maxwell adds a little taste of honey with some ghostly backing vocals and tasteful glockenspiel, but Sweet Sweet Hands is mostly a spare affair — and beautifully so.
Details
Pretty Little Empire CD release
8 p.m. Monday, October 26.
The Firebird, 2706 Olive Street.
$7. 314-535-0353.
Related Content

* Homespun: Pretty Little Empire, Sweet Sweet Hands
October 22, 2009
* New Release Highlights for October 12: Antony and the Johnsons, Belle and Sebastian, Sufjan Stevens and Lil Wayne All Back With New Records
October 12, 2010
* Bruce Springsteen Photobombs An Engagement Shoot
September 22, 2010
* Steel Train
June 23, 2010
* Watch Julian Casablancas Cover Bruce Springsteen's "Dancing in the Dark"
April 27, 2010

More About

* Justin Johnson
* Ivan Howard
* Andy Lasher
* Sufjan Stevens
* Indie Rock and Indie Pop

The record's open, uncluttered sound is mostly a winning formula, although the sometimes-Spartan arrangements can make the songs tough to distinguish. Which isn't to say that Pretty Little Empire can't rock out: "Never Said Much" is the most upbeat song on the disc by some distance, with shouted background volleys, frenetic strums and ahead-of-the-beat drumming recalling some of the pop naiveté of K Records' early catalog. But if the musical arrangements are suitably rough and unadorned, Johnson's lyrics show more care. "A Long Time for Laughter" uses the familiar trappings of indie-folk (shuffling guitar, boy-girl harmonies, restless lyrics), but Johnson's voice and his bandmates' nuanced playing sells it. And "Baby Boy Killer," while not as damning as Sufjan Stevens' "John Wayne Gacy, Jr." or engrossing as Bruce Springsteen's "Nebraska," is a worthy entry into the subgenre of serial-killer character studies. Time will tell if Pretty Little Empire stays with the hushed folk of Hands in the future; Johnson's talents are strong enough to make his songs work in a variety of settings. But for now, there's no reason to change a good thing. - Christian Schaeffer
- Riverfront Times - St. Louis, MO