It wasnâ€™t that long ago that the members of Seattleâ€™s The Head and the Heart were getting acquainted with another at the local pub Conor Byrne, strumming their acoustic guitars, stomping their feet and singing in harmony as they attempted to attract the attention of customers. That unbridled energy informed their earliest original material, which was honed in local performances before eventually being captured on the bandâ€™s 2011 debut album for hometown label Sub Pop.
Then, something unexpected happened. That music began to reach audiences all over the United States and the rest of the world, and The Head and the Heart went from playing open mic nights to selling out headlining shows in prestigious venues. The album became one of Sub Popâ€™s best-selling debut releases in years. And slowly but surely, ideas began to form for the bandâ€™s second album, imbued with the experiences of traveling the world and cultivating a listenership with a deep connection to the music.
â€œThere is a certain level of confidence gained from having such an amazing fan base,â€ says group member Jonathan Russell. â€œYou start to trust yourself more. When we were busking, we were filling so much space to keep the listener from walking away. Now we are in a very different situation.â€ Adds group member Josiah Johnson, “We wanted to write songs that felt bigger, and didnâ€™t need to be so frantic. I think for the most part we wanted to record an album that sounds like the way we play now.
Indeed, The Head and the Heartâ€™s new release, Letâ€™s Be Still, is a snapshot of a band that didnâ€™t exist just four short years ago. Virginia native Russell and California transplant Johnson formed the core songwriting partnership, which was rounded out by drummer Tyler Williams, keyboardist Kenny Hensley, vocalist/violinist Charity Rose Thielen and bassist Chris Zasche, whoâ€™d met Russell and Johnson while tending bar at an open mic they frequented. The nascent group dove headfirst into writing, recording and performing, and even moved into the same house to ensure that inspiration could strike at any moment.
â€œThe first record was very thematic. It just had to do with all of us being together and writing songs, and leaving home to come to Seattle,â€ says Thielen. â€œI honestly donâ€™t know if there is a theme this time around. There are things that stick out, like the idea of going from busking to becoming a full-on band and touring like crazy.â€ Adds Williams, â€œBefore we started recording, I wondered, â€˜What if this doesnâ€™t work? What if the momentum dies down?â€™ But once we got in there, we realized that we felt so good together doing it. The weight was lifted. It was like, â€˜Right! This is what we do.â€™â€
Letâ€™s Be Still was recorded at Seattleâ€™s Studio Litho with assistance from prior production collaborator Shawn Simmons. Later, the band traversed the country to mix the album in Bridgeport, Conn., with Peter Katis, revered for his work with bands such as the National, Interpol and the Swell Season. The 13 tracks here build naturally on both the sounds and themes of the debut, from the piano and violin-dappled opener â€œHomecoming Heroesâ€ and the heartfelt â€œJosh McBrideâ€ to vibrant, bouncy future concert staples â€œShakeâ€ and â€œMy Friends.â€
â€œThe first record was written and recorded with a lot of limitations. Itâ€™s almost easier that way,â€ says Zasche. â€œThis time around, with more time and resources, there were few limitations, so we had to be in charge of keeping a focus and not getting distracted but at the same time exploring the options available. It wasnâ€™t easy, but from this I think a clearer, more focused record has been made.â€
Band members point to â€œAnother Storyâ€ as a moment that embodies their collective creative spirit. Russell wrote the song shortly after the elementary school shooting in Sandy Hook, Conn., but hadnâ€™t showed it to anyone in the band except Johnson. â€œOne day everyone was taking a break from tracking and I was sitting in my booth and started to play this song,â€ Russell recalls. â€œYou could hear what I was doing in the control room and then one by one, a bandmate would walk in, grab their instrument and start playing along. We didnâ€™t talk about it. We didnâ€™t have to go back and rearrange anything. It was all there.â€ Adds Williams, â€œJon is so smart about waiting to introduce new ideas. He knows when the mood will be right.â€ Says Johnson, â€œThe song was undeniable, and the vibe didnâ€™t change from when he was playing it acoustically. Everybody just lifted it up, in the way that this band does.â€
On the opposite end of the spectrum was â€œGone,â€ which dated back to sessions for the debut album but didnâ€™t make the cut the first time around. The band wrestled with the arrangement while performing it live for several years, and finally cracked the code after adding a laid-back bass-and-drum groove to the beginning. Described by Thielen as â€œstrikingâ€ in its solo acoustic form, Johnsonâ€™s â€œFire / Fearâ€ underwent similar revisions until the rest of the band settled on a new progression to link the verses together. â€œThere is a lot more patience in the music,â€ says Russell. â€œI think that has a lot to do with feeling more comfortable as a songwriter and a performer.â€
During the mixing process, Katis was tasked with polishing what Johnson describes as â€œa beautiful messâ€ of finished tracks. Says Williams, â€œWe have a certain energy when we play shows that didnâ€™t translate to the first record. I was getting worried about that before we went to Peterâ€™s. Things seemed a bit muted and dry to me. But I didnâ€™t realize how much mixing could change a record. Peter actually went in and messed with tones, had some production suggestions and wound up really being the right guy to help us finish the record.â€ â€œHis mixes turned the songs around, and breathed vibrancy into them,â€ says Thielen. â€œHe added some auxiliary details that helped make things more full-bodied, but still within the realm of what we do. It was really refreshing.â€
With Letâ€™s Be Still ready for release, The Head and the Heart is eager to return to the road to further hone the musical bond its members formed in such whirlwind fashion. â€œWhen I think about the two records together, the first one feels like we all wanted to fulfill this dream weâ€™d had about playing music, meeting people and traveling around,â€ says Williams. â€œThis one feels like the consequences of doing that â€” what relationships did you ruin? What other things did you miss? You always think it will all be perfect once you just do â€˜this.â€™ And thatâ€™s not always the case.â€
Adds Russell, â€œHas there been an impact on our lives since we have become full-time musicians? Sure. No band wants to write that second record about how hard they have it. But itâ€™s hard to get around all of it. There are a few songs on this record that express the bandâ€™s hardships for sure. On one hand, itâ€™s everything you have ever wanted. On the other hand, you start to miss the things youâ€™ve lost and had to give up. And thatâ€™s just life. My job is to write about it.â€