Snowglobe: A Flurry of Activity
By William Cane
Photo by Drue Diehl

Naming a band can be difficult. Accessible, easy-to-remember names like "Snowglobe" are all taken. In fact, a MySpace search yields a handful of acts called "Snowglobe," and another one called "The Snowglobes." Thanks to the whoever-makes-it-famous-first laws regarding band names, however, Tennessee's Snowglobe has run away with the name. And although Snowglobe singer Brad Postlethwaite is currently in the process of (begrudgingly) having the name officially trademarked, he would rather not waste his energy on legal matters. "Having a creative outlet is most important," he notes, "and all of this other stuff is just silly." Note to the other Snowglobes: it's time for a new moniker. Postlethwaite would rather not be bothered with sending cease-and-desist letters.

Snowglobe has much better things to focus on right now. The band plans on releasing a vinyl-only LP of home recordings, a new (possibly self-titled) EP, and a new full-length album, all in 2007. Furthermore, Oxytocin, their 2006 release, is still being discovered by new fans and attracting new listeners daily.

Like anyone who releases messy, yet well-crafted indie rock, Snowglobe can't escape the shadow of Neutral Milk Hotel and the rest of the Elephant 6 clique. Being from the Southeast and converging in Athens, Georgia hasn't helped distinguish them either. Although the comparisons are justified, listeners too often overlook the sheer pop sensibility that Brad Postlethwaite, Tim Regan, Nahshon Benford, Jeff Hulett, Brandon Robertson and new acquisition Luke White have honed in on. The singsong aspect of their sound pulls them in the direction of De Novo Dahl or The New Pornographers: melodic, saccharine pop that is somehow slightly left-of-center and flirts with dissonance and disaster but stays the course with help from the lead vocals.

This "spoonful of medicine to make the sugar go down" approach challenges listeners and separates the true pop connoisseurs from the strictly pop-radio listeners. If it's too sweet it won't have any lasting qualities, but the bitterness must be deliberately weighed and measured for the proper balance.
"Happy," Oxytocin's opening track, is a good example of such balance. It starts with a few samples and studio tricks, then quickly rambles into a catchy number reminiscent of Madness or even Modest Mouse. The vocal tracks have a "gang" approach, sounding tripled or even quadrupled in a just-messy-enough kind of way. The implementation of synth sounds and overdubbing gives the song a deliberate feel, a sense of well-orchestrated clutter that is consistent with the band's sound.

Through three full-length albums and sundry side projects, Snowglobe has stayed successful and peaceful through flexibility and open-mindedness. For example, the band's releases range from digital downloads to actual vinyl, and the band members have recorded with cheap bedroom analog equipment, digital hardware and Pro Tools. They are more interested in the contents than the actual format or process.

Regarding their place in the music world, Snowglobe maintains an old-fashioned outlook. While most independent bands in the spotlight put excessive effort into being aloof, drummer Jeffrey James Hulett claims that audience enthusiasm is his main inspiration for playing. To further separate them from a Brian Jonestown [Massacre, of Dig fame]-type band, the members of Snowglobe say they rely on a strong sense of brotherhood to keep them creative ("Just feeling each other out and having each others' backs musically," Hulett says) and put no single member before any other. Everyone helps with the writing process, and everyone believes in everyone else.

Ironically, most of Snowglobe's members, despite their sense of brotherhood, contribute to and/or release side and solo projects routinely, only to come back together like satellites returning from orbit. Much like the work of the Elephant 6 clique, these solo releases feature overlapping members from various acts in Snowglobe's local music community. Luke White, singer/songwriter for established band The Coach and Four, played in Postlethwaite's solo backing band before being plucked from said community and added to the official Snowglobe roster. Since the members are sometimes pulled in different geographical directions, the band is able to adapt: White can now fill in for Postlethwaite or Regan if they can't attend live performances, but carves his own niche when all members are present. Having so many songwriters may be a point of contention with some bands, but the members of Snowglobe are more interested in doing what is best for the whole.

Not even including his numerous solo releases, Postlethwaite has the largest side project of all: helming the Makeshift Music record label with partners Jeremy Graham and Greg Faison. Makeshift's first release was a limited-run 7-inch in 1999; however, within a few years, and with the help of Bardot Records, Makeshift Music made its first national release: Snowglobe's debut CD, Our Land Brains. A steady stream of credible, nationwide releases has followed over the last few years, including Snowglobe's Doing the Distance and Oxytocin and The Coach and Four's Unlimited Symmetry. All are still available online.

With the band propelling the label and the label propelling the band, Snowglobe and Makeshift Music are on course for a very successful 2007. Although the recording and promotional processes seem to get more complicated daily, simply having a positive attitude and good work ethic remain the most important factors. In fact, Jeff Hulett's advice to up-and-coming bands in the Southeast is merely five words: "Be professional and on time."

www.makeshiftmusic.com