Published Jul 01, 2006The Creeping Nobodies career has followed an interesting trajectory their acclaim grows wider as their music becomes less accessible. Seems confusing at first, but in reality it makes perfect sense: no longer "that band that sounds like the Fall not that theres anything wrong with that the Nobodies are instead making challenging music that defies easy classification and justifiably piques more interest. Sound of Joy is the second album the band have recorded with Wharton Tiers (ex-Theoretical Girls), who has also worked with Dinosaur Jr. and Sonic Youth, only to name a couple. Though the album is just as dark and engaging as the last, Stop Movement Stop Loss, its even more cerebral superficially its visceral and exciting, but its also perplexing, strange and involved. Vocals range from gingerly whisper-singing to wanton raving with equally enjoyable results, while music vacillates between uneasy calm and discordant activity in spontaneous turns the result is obscure enough for art-rock standbys, but captivating enough to appeal those who just like music to sound good. Moreover, all the weirdness comes from inside the groups collective head the Creeping Nobodies have grown into their own sound, and suffice to say, it sounds really good.
How did the connection with Wharton Tiers come about? Multi-instrumentalist/vocalist Valerie Uher: Matt [McDonough] and Derek [Westerholm] just wrote him and sent previous things that had been recorded, saying, "Wed love to record with you and he was just like, "Yeah, sure. Okay! They went down and recorded four songs, and it sounded exactly the way they wanted it to sound.
Your albums seem to get less and less accessible, yet seem to catch on more and more. Multi-instrumentalist/vocalist Sarah Richardson: Maybe it seems less and less derivative of other things. Valerie: The earlier stuff might have been catchier, but it wasnt necessarily anything that new it was to an extent, but it wasnt taking as many chances. I think that when youre making really "indie music in terms of the infrastructure youre dealing with if youre making something thats not putting yourself on the line, then people wont care as much. The earlier stuff was catchy, but the demographic who were listening to it were probably into something weirder I dont think we ever tried to make music that sounds a certain way. Thats what gets you through those shitty shows, where theres not a lot of people or reaction you actually like what you're playing. (Blocks)