THE WALKMEN
Preppies Gone Wild

BY CHRISTINA HAN

The Walkmen are worried about being sued by Sony. Well, not really. The Walkmen aren’t really worried about much these days. Since their first show in the summer of 2000, they are quickly becoming a band to contend with. Featuring five genuinely apathetic yet talented twenty-somethings, The Walkmen offer the talent behind the image that is sorely lacking in the Strokes. And are they sick of being compared to the NYC band of the moment? "Yes and no. It was an uphill battle at times," says singer Hamilton Leithauser.

Leithauser, formerly of The Recoys, joined forces with members of the late, great Jonathan Fire* Eater s to form The Walkmen. "We had a list of names, which included the Sheep. Our first show was coming up and we still didn’t have a name. So we picked the Walkmen." Leithauser’s voice drops to what sounds like an embarrassed mumble. "We were sitting in the studio and in a silly mood. We put these words together and came up with the album title." The culmination of those words became their first full-length album, entitled Everyone Who Pretended to Like Me is Gone. Almost ironic, yet completely unintentional, the album title could be read as a reference to the last time members of the band came close to the big time——in the late ‘90s, when Jonathan Fire* Eater was signed to and then quickly lost a major record label contract.

The album itself is a raucous ride that hails such diverse influences as the Pogues and the Cure, as well as early U2 and Bruce Springsteen. Leithauser’s voice draws comparisons to that of Julian Casablancas, yet the former possesses a genuine strength in his ability to transition from sincere whisper towards zealous growl. Leithauser’s voice, along with driving beats, intense guitar work, and a surprising organ are the ingredients for a potent wave of sound. The songs on Everyone are examples of the Walkmen’s talent for musical democracy. "We don’t feature just the organ or just the guitars. We work with whatever works for that particular song," Leithauser explains. This democracy brings a different ambience to each song, yet the Walkmen somehow retain their signature thick, disaffected sound throughout the album.

With an album that is as good as Everyone comes a lot of press. But are the Walkmen ready for big time, MTV-style success? "I think we’re definitely marketable for MTV, but I don’t know if that’s the direction we want to go," Leithauser contemplates. "(The White Stripes) haven’t done anything wrong. They haven’t compromised——they just became more successful." The issue of exactly how helpful MTV is for new bands is a different issue. "MTV helps the small bands and sales go up. But they don’t help many bands out." However, this apprehension towards mainstream success doesn’t directly attribute to an alliance with the indie scene. "It’s all about the deal. Just because a record company is indie doesn’t necessarily mean that they’re not going to screw you over." Leithauser displays an independence from trends and the "New York scene" that is unique to someone who is on the cusp of success. With their song "We’ve Been Had" already on a Saturn commercial, the Walkmen are quickly becoming media darlings and are poised to become the next big thing from New York. Leithauser claims they are nonplussed with the commercial aspect of the industry, as they have witnessed first hand how fickle it can be with the demise of Jonathan Fire*Eater.

The Walkmen are an interesting dichotomy, a fascinating exercise in contradiction. They dress like Upper East Side preppy schoolboys, yet they’re not opposed to a good time with a drink or two…or six. Leithauser looks like an innocent college freshman, yet his voice hints at an inner demon hidden behind "the alligator." The Walkmen are polite, yet they rock as hard as influential predecessors like Joy Division did. But one thing is for sure: this talented quintet is moments away from the big time, and all bets are on that the Walkmen will be walking with an apathetic swagger outta your television.