On 9 Favorites Lists

» Edit Band Information
» Edit Albums

» Add a Review
» Add an Album
» Add MP3
» Add News

SafetySuit

When we last saw SafetySuit, the Nashville-based band was supporting 2008’s Life Left To Go and hit single “Stay,” whichshot to No. 1 onthe voter-generated VH1 Top 20 Countdown. Spotlighted by VH1 as a band “You Oughta Know,” the grouptoured endlessly, playing over200 shows and selling more than 500,000 singles along the way.

They’re raising the stakes with THESE TIMES (Universal Republic), a scintillating hookfest of arena-ready rock anthems,offeringunequivocal proof that the group has the goods to break wide open. Working with producers Howard Benson,Espionage (the ...read more

When we last saw SafetySuit, the Nashville-based band was supporting 2008’s Life Left To Go and hit single “Stay,” whichshot to No. 1 onthe voter-generated VH1 Top 20 Countdown. Spotlighted by VH1 as a band “You Oughta Know,” the grouptoured endlessly, playing over200 shows and selling more than 500,000 singles along the way.

They’re raising the stakes with THESE TIMES (Universal Republic), a scintillating hookfest of arena-ready rock anthems,offeringunequivocal proof that the group has the goods to break wide open. Working with producers Howard Benson,Espionage (the New York-basedNorwegian team of Espen Lind and Amund Bjørklund) and OneRepublic’s Ryan Tedder, thesefour skilled and remarkably self-assuredmusicians have cooked up a strikingly melodic, sharply drawn, viscerally immediatealbum filled with songs that stick in the head and heart.

For a young band, SafetySuit—singer/guitarist Doug Brown, drummer Tate Cunningham, bassist Jeremy Henshaw andguitarist DaveGarofolo—has a remarkable sense of songwriter savvy. “I do the writing,” Brown confirms, “but until we getDave, Jeremy and Tate’s headsaround the songs, they’re just songs, they’re not SafetySuit songs. When they get hold ofthem, they become ours, and that’s what makes usspecial—the four of us, not just one guy..

After cutting a half an album’s worth of material in Nashville last spring, the band had a shocking collective realization—neither the song northe performances, they concluded, met their lofty standards. “We’d been going nonstop for three years,and were burned out,” says Brown.“We just had to get away from it for a little bit, live life and gain some perspective. So weactually threw away the hard drives containing thetracks we’d done and started all over again..

It didn’t take long for something fresh to manifest itself. Brown headed to New York to toss around ideas with the guys fromEspionage, whowere riding high after co-writing and producing Train’s massive hit, “Hey Soul Sister.” “They played me areally interesting chordprogression,” Doug recalls, “and I started spontaneously singing along with it, [sings] /Take me backto yesterday/I swear it on your life.’They saw that I was in a zone, and they said, ‘Go into this room and just be by yourselffor a while.’ A half hour later, I came out and said,‘What if we came around at the end and went [sings], ‘We can get aroundthis, get around this’?” They were like, ‘OK, let’s start recording.’ Itwas really that quick. If you catch an emotional moment inthe writing process, one sentence, one word, can fire off an entire song in amatter of minutes. The best songs practicallywrite themselves. It’s all about tapping into a feeling and letting those emotions take over..

That song, “Get Around This,” set the bar sky-high for Brown and his bandmates, and in the following months they challengedthemselves tohit consistently on the rarefied level Brown and Espionage had established. Brown went straight from New Yorkto Bahrain to play somemilitary shows with the band around the Fourth of July holiday last year, During that trip, totally out ofhis element, he wrote a slew of songs,several of which wound up on the album.

In September, he got together with a talented friend, OneRepublic’s Ryan Tedder, in the latter’s Colorado studio, whichyielded the album’slead single, “Let Go.” “I love that song,” says Doug, “because it’s such a departure for us. Ryan isobviously a very pop-minded producer, soI said, ‘Let’s have fun with it; let’s do something that’s not the norm.’ It turned outgreat, and it kills live. It’s very interactive and people getit right away..

A second get-together with Espionage resulted in “Things to Say,” while the band self-produced “Staring at It,” a fist-pumperwith anincendiary chorus, and “Life in the Pain.” They cut five songs with Benson in L.A. this March: “Never Stop,” “OneTime,” “Believe,” “Stranger(Say It)” and the poignant “These Times,” which functions as the album’s thematic centerpiece.

“It was written out of a social need,” Brown says of this powerful, zeitgeist-capturing anthem. “As a band, we were talking alot about thesongs on the record, and obviously, a lot of songs are gonna be about relationships, love and loss; that’s themost common emotion peoplehave. But as we were looking at the track, we felt like something was missing: what the pulseof the nation is right now. When we startedthinking and talking about that, ‘These Times’ sprang out of that. The chorus goes,‘Sitting alone here in my bed/Waiting for an answer I don’tknow that I’ll get/I cannot stand to look in the mirror I’m failing.’You just get tired of being on the short end of the stick; I think a lot ofpeople feel that way. There’s a lot of people out therewho would kill to just have a job so they can provide for their families. It’s tough, man—it’s tough for people, and that sucks.But we didn’t want to leave it at that, so we wrote, ‘These times are hard/But they will pass,’ and that’simportant to remindpeople of. We’ve made it out of bad times before, and we’ll make it out again..

At the other extreme is the intensely personal “Never Stop,” an unguarded expression of romantic devotion. “The best songsride the linebetween vulnerability and too much information, where you take it to the maximum amount of vulnerabilitybefore you start weirding peopleout,” Brown asserts, punctuating the statement with a laugh. “I think ‘Never Stop’ does that,and I think any woman who’s with someone theylove wants to hear him say, ‘I’m never gonna get used to you.’.

Despite the fact that the band interacted with three producers, each possessing a particular approach, the album comesacross as athoroughly unified piece of work. “What I loved about all of them is that they were all like, ‘Where do you want totake it and how can we helpyou to get there?’” Brown says of Benson, Espionage and Tedder. “But you’ve gotta go into itknowing where you want it to go in the firstplace..

This hard-hitting yet life-embracing album strikingly displays SafetySuit’s singular sound and style as well as the clarity of theband’svision. That vision was sufficiently present on the first album and the hundreds of performances that followed it tobring them a loyal,enthusiastic fanbase—one that is about to undergo exponential growth. SafetySuit is an extremelyconfident, distinctly American unit righton the brink of establishing itself as a band that matters.

http://www.safetysuitmusic.com/bio/default.aspx « hide

Similar Bands: Goo Goo Dolls, Lifehouse, Parachute, Quietdrive, OneRepublic

These Times
01/03/2012

2.9
20 Votes
Life Left To Go
2008

3.7
40 Votes

Music Lists
08.29.13  Pop-punk And Alt.rock Recs?03.08.13  Songs That Are Played At My Work (p
12.18.12  Adamk's 201201.14.12  My Top 50 Albums: 2000-2011
10.15.11  Any Soccer Players?05.28.11  Tolerable Radio-rock Recs?

Contributors: cm7com, iGuter, Axel,

FAQ // STAFF & CONTRIBUTORS // SITE FORUM // CONTACT US

Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


Site Copyright 2005-2014 Sputnikmusic.com
All Album Reviews Displayed With Permission of Authors | Privacy Policy