Pale Young Gentlemen

I’m not exactly sure when it happened, but somewhere along the way 2007 became “the year of the Gypsy” in indie-rock. Never have more hipsters been listening to music prominently featuring frenzied accordion playing or menacing violin lines, whether it be reveling in Beirut’s twisted Eastern Euro-pop visions or the similarly baroque musical adventures of Andrew Bird. Those who seek to gorge themselves further on this particular musical movement would do well to check out Madison, Wisconsin’s Pale Young Gentlemen. Accomplishing the seemingly impossible feat of upping the dramatic flair in what’s already a remarkably theatrical subgenre, the octet’s (!) self-released self-titled debut has already managed to capture quite the hefty internet buzz thanks  to positive album reviews on some of the more prominent music sites on the interweb (Coke Machine Glow , Pitchfork … and of course Reveille).

Listen to "Single Days"

From the first listen it’s easy to hear why; front man Michael Reisenauer’s a born showman, with an elegant voice prone to extreme fits of elongated pronunciation. His crack band of players and their prominently featured string section only heighten the drama, whether the group’s aiming for heartache (the lush piano ballad “Single Days”) or a strutting good time (“Clap Your Hands” is arguably the world’s first ever Gypsy disco song). In advance of the group’s performance Friday night at the Nomad World Pub, Reisenauer answered a few questions for Reveille.

Listen to "Clap Your Hands"

Reveille: Despite this being your first record, it sounds like the polished product of a veteran group. How long had Pale Young Gentlemen been together as a unit before making the record? Do you think that previous experience was pivotal to the final product turning out as it did?

Michael Reisenauer: The exact lineup on that record existed for around 8 months or so. Though, a few of us have been playing together for about 3+ years.  Aside from Liz, who is a professional cellist, most everyone learned their instrument in order to play in the band.  So I think it's more likely that our previous inexperience is what made the disc turn out as it did.  Beau Sorensen (Smart Studios) did a great job.  We were fairly well rehearsed and were able to get some great takes.

Reveille: It goes without saying that it's a very strange time presently in the music industry. It's never been easier to self-release a record but the path to "success" has also never been so varied and uncertain. You've already managed to make something of a national impact in the blogosphere despite not hailing from a traditionally media-centered music hub or doing all that much touring beyond the Midwest yet. What do you think it is about your band that has managed to have it break through the din of the tens of thousands of self-released records made every year and find a receptive audience? Do you have any advice for other Upper Midwestern groups trying to make a go of it on their own?

MR: All of the credit goes to my brother, Matt, who worked 40 hours a week for 5-6 months making contacts - emailing reviewers, websites, and blogs - trying to generate interest.  I guess I'd say that aspect of it is as important as having good music and is what made all of the difference for us.

Reveille: I've heard the clichéd sentiment "this band is a family" many times before when interviewing groups, in the case of Pale Young Gentlemen this is actually true as both you and your brother Matt [drums] are in the group. How do you think having a sibling in the fold changes the working dynamic of your group?

MR: I think it makes things a lot easier.  Matt and I get along really, really well.  He's the first person I bounce things off of and he's not afraid to tell me the truth.

Reveille: Pretty much every review I've seen on the net refers to the group as "theatrical" in nature. Just curious what you make of that designation and whether you view it as a positive or negative. I always feel like the unspoken assumption when a group's theatricality is being bandied about is that the musicians are somehow disingenuous as compared to "non-theatrical" musicians.

MR: It doesn't bother me at all, actually.  I think that label has a lot to do with the idea that the lyrics and the music follow each other closely- almost that they exploit each other.  It kind of explains why it seems that most of the best party songs - of a rock 'n' roll or hip hop nature, or whatever - are about partying or that all of the great dance songs are about dancing.  I feel like the songs are more affective in this occurrence- so I write them that way.  I guess it may seem disingenuous because it's a bit more deliberate on the writer's part.  I guess I don't feel it a positive or a negative thing- just a label- and that it depends on if you like "theatricality" or not.

Pale Young Gentlemen's debut album

Reveille: Undoubtedly due to the preponderance of stringed instruments in action and the occasional embrace of Eastern European musical motifs Andrew Bird is a comparative touchstone critics seem compelled to invoke when discussing Pale Young Gentlemen. Just curious whether the band are indeed fans of Mr. Bird's work or what other musical groups you would consider influences on your sound.

MR: That's right on.  Andrew Bird, particularly Bowl of Fire stuff, was a big influence in my musical formative years.  Also included are Tom Waits, Randy Newman, Brahms.

Reveille: What can those Minneapolitans who brave the cold this Friday look forward to if they make it out to the Nomad for the gig? Any surprises in store or do you try and replicate the record as much as possible in the live setting?

MR: For this show we'll have an expanded string section, viola and violin in addition to cello, as well as a female singer. We'll also be playing some stuff that we plan on having on our next record- so it should all be very fun!

Pale Young Gentlemen’s MySpace

COMING UP: Pale Young Gentlemen play the Nomad World Pub on Friday, January 25, with opening acts Fort Wilson Riot, Plastic Chord. 9 p.m. $5. 21+