In the long tradition of college bands, a few names stand out—Pink Floyd, Phish and REM all managed to transcend their undergraduate beginnings to reach the highest reaches of musical stardom. Ideally, the atmosphere in a university is open-minded, creative, open-ended—perfect for the creation of good music and great groups. Whether this generalization applies to Harvard, however, is a different story.
“At Harvard, you stop being able to be creative after a while. All the work, always doing something instead of having a place to just create—it made it tough to stay with a creative side,” says Michael Gould ’05, whose stay in Cambridge has forced his band, Shadowbox, to take a hiatus. “People just expect perfection of themselves, [but] it makes it hard to perfect what you’re doing when you expect yourself to be perfect.”
Still, some Harvard bands continue to rock by letting themselves relax. More casual than super-serious, big-dreaming acts such as The League, The Blanks or Chester French, these bands’ success depends on four pillars of wisdom: not taking things too seriously, maintaining a diverse and open mind, being inclusive and ultimately, being passionate about the music.
Not Taking it Too Seriously
Broviet Union is all about taking things in stride. Blockmates Theodore B. Bressman ’06 and “singer/air guitarist” Seth H. Robinson ’06 founded the band, but made room for second drummer Kyle J. Berkman ’06 and bassist Daniel J. Crane ’06 at the end of last year. A self-described comedy band, Broviet Union doesn’t feel the pressure to rise to another level. Last year, Broviet was so well-received at Currier House’s variety show that the audience called for an encore. Unfortunately, the Union couldn’t provide, given that they have only written six songs. These include: “High School Girls,” “Mexican Cockfight” and “Palindrome,” a song composed entirely of palindromes.
When asked about their practice schedule, the band members looked at each in confusion.
“Not practicing is what makes us so great,” says Crane.
And for the future? They’re divided.
“Conquering the world,” Berkman says.
“Happiness,” Robinson says. Crane laughs before adding his two cents: “A second gig.”
Keeping an Open Mind
While the Union contemplates its next gig, another campus band is even further behind—or ahead, depending on your stance on the importance of names.
“Band names are stupid,” says Jeff D. Rakover ’06, the drummer for this untitled trio of juniors. Kyle J. Berkman ’06, also a member of Broviet Union, and John K. Ames ’06 round out the group.
The laissez-faire attitude extends deep into the band’s being.
“We’re more of a process then a band,” says Berkman.
But it wasn’t always this way. When the three got together as freshmen, they paid tribute to tried and true college-band traditions, popping out “three-minute pop songs” and assuming super-ironic pseudonyms like Perfect, JJK, Golden Girls and Fascists in Conservative Drag.
With the departure of their lead singer, however, the remaining three band members formed what Ames describes as “a loose, organic collective.”
Rakover offers some advice for anyone interested in starting a casual band, using his group as an example. “Be open-minded,” he says. “Don’t restrict yourself to playing with people you would normally hang around with. Our differences and the way we aren’t culturally the same contributes to our music.”
Being Inclusive
Diversity leads to step three: inclusivity. The Elegant Touch, for example, is so inclusive they aren’t even sure who is or isn’t in the band.
While they have a core group composed of Alexander L. Pasternack ’05, Neil G. Ellingson ’05, Yan Xuan ’05, and Tim H. Wong ’05, they also have another small posse—affectionately referred to by Wong as “the Red Cross”—who fill in when needed. “This band is open to everyone,” says Pasternack.
Since their formation two years ago, The Elegant Touch has seen many changes and transformations, including the departure and return of Ellingson and Xuan and the creation of a new band, Information Wrecknology, which now exists simultaneously with The Elegant Touch. Both bands will be playing Oct. 28 at the Quincy Collective. “It will be a live transformation into a new musical incarnation,” says Wong.
When playing or performing, the band switches around not only people but instruments—they all play one or more of the following: keyboard harmonica, megaphone, Reason 2.5 (beat synthesizer), keyboard, analog flute, mandolin, guitar, bass and assorted electronic sounds. Somewhere in there, the band members fit in largely improvised lyrics. The Elegant Touch claims that their main goal is to show everyone else how easy it is to start a band; as Ellingson says, “Even people with no talent can rock a crowd.”
What’s up for the future—record deals, international success? The Elegant Touch has another vision, according to Pasternack. “Our vision is of a show in a vertical configuration as opposed to just a horizontal one—we’re working on it for a concert this year.” He explains, “Either some scaffolding system or simply standing on each other’s shoulders while each of us plays our respective instrument. Aside from reminding people of a rocket ship blasting off into the future, this will emphasize just how tall we are.”
Passion
Ultimately, however, it all comes down to Step 4: passion. Consider The Half Nelsons, composed of the Nelson brothers (guitarist Brett C. Nelson ’06, guitarist/singer Erik R. Nelson ’03), bassist Blake Stone ’06, and drummer Alejandro L. Acevedo ’05. While the two Nelsons have been playing music together for a long time, the band as it stands came together last semester.
Although they have played at the Quincy Collective, outside the Leverett Coffeehouse, and one impromptu spectacle at The Spee, they can more often be found around Boston, including at Brother Jimmy’s sometime next week and the All Asia Club on Oct. 28.
When asked how they feel about the general Harvard at attitude towards bands, Brett Nelson says, “How many times have we started playing, and 30 seconds later someone knocks on our door and tells us to shut up because there is an a cappella practice upstairs?”
Nonetheless, the Half Nelsons, who have a rock/indie feel, have continued to grow—they practice 3 to 4 times a week for upcoming shows and they have one CD under their belt. The song writing is done primarily by the Nelson brothers—both write the music, and Erik writes the lyrics. One song, “Telepathetic,” was written about his girlfriend’s roommate. Erik explains, “It’s about a type of Harvard girl, you walk up to her and you know the conversation is going to be painful.”
The Half Nelsons lie on the serious side of the casual band spectrum—they have possible plans for the future, and see the band as their major focus in life. “Being successful means making good music,” says Stone, “but it’s hard to do that if you’re not focusing on it.” Acevedo sums it up, “You have to be passionate about it—that’s the point.”
The fun-loving Broviet Union, the free-minded collective, the open Elegant Touch, and the serious Half Nelsons, unique in their personal and musical styles, but similar in their dedication to simultaneously being passionate and not really giving a shit. By fusing the laid-back principles of rock and roll with the intensity and intelligence of Harvard, these bands are able to create a memorable and artful musical experience, even if they won’t necessarily exist the day after tomorrow.
