The Close

By Matthew S. Maynard

Photo by Allister Martin

The Close is a band of apparent contradictions. It is an indie rock band that chose Outkast’s engineer to mix its latest recording. It is an alternative band hailing from the Capital of Crunk. It is a band that spent the better part of a soul-killing three years touring behind its last release but still somehow managed to record a new CD that sounds fresh, bright and dynamic. At first blush, these contraventions may seem irreconcilable. However, with a closer examination of the band, these perspectives don’t seem quite so contradictory after all.

The Close formed around the mid-1990s on the campus of Auburn University in Alabama. Vocalist/guitarist Brooks Meeks met bassist and punk-rock fan Dustan Nigro “in the dorms,” as they say. Later, he would hook up with the metal-loving drummer Keefe Justice and alt/goth keyboardist Theresa Fedor in class and at other student hangouts. After a few beer-fueled jams, the four began performing seriously. Living in a university town, they had a waiting receptive audience among the student body. After initial success in their hometown, the founding members began to look toward bigger markets and more professional goals.

Later, the band relocated to Atlanta in an attempt to increase its visibility. Looking beyond the ATL’s reputation for “Dirty South”-style hip-hop, The Close saw an established indie scene that would give rise to artists such as The Black Lips, The Hiss and Snowden. Around this time, The Close inked a record deal with Moodswing Records and recorded its debut release, 20,000+. At this point, the band began an almost endless cycle of recording and touring that would last nearly six years. Playing hundreds of shows, The Close performed throughout the U.S., including markets far removed from its home turf in the Southeast. The band’s 2003 release, It’s a Secret to Everyone, showed the band in transition, hinting at the maturity that would characterize The Close’s latest recording, 2006’s Sun, Burn on Goodnight Records.

On Sun, Burn, The Close combine Southern gothic melancholy with punk’s propulsion and classic rock’s matter-of-factness to deliver a subtle, yet unique, play on modern indie rock. Guitarist/vocalist/songwriter Brooks Meeks ably manned the boards, optimizing the recording process by emphasizing clear, distinct tracks while utilizing warm, often vintage, equipment. With help from respected engineer Mark Rains, the recording is both clear and vivid while maintaining the natural warmth so many bands expect from reel tape. Meeks’ guitar style is often sparse and dissonant, allowing Fedor to weave meditative chords and lucid arpeggios. Together, they create a musical atmosphere that is both massive and splashy — a bulwark of sound punctuated by washes of musical joy and angst. Meanwhile, Nigro and studio drummer Keefe Justice create challenging, syncopated rhythms to support the group’s chords and melodies (The Close often utilizes a different drummer for touring). Meeks’ vocals range from passionate and emotive to restrained and somewhat distant, capping off The Close’s unique mix to great effect. Despite having been recorded after three years of constant touring, Sun, Burn does not sound tired or stale. Meeks credits the band’s meticulous nature with overcoming the road fatigue. “I don’t think anyone could give us any more grief than we give ourselves during the songwriting process. I think the most unconventional thing we do is the amount of effort we put into the songwriting and recording process. We are constant refiners of our songs and the recording.”

With the recording and release of Sun, Burn finally behind them, the members of The Close have much on the horizon in the new year. A new CD is currently in the works. Obviously, with a fresh album, a tour is a given — especially considering the band’s unquestionable touring ethic. “We will definitely be doing a good bit of touring with a slightly different approach ... probably shorter runs, but (touring) more often,” promises Meeks. “And we are touring with a video projection of Keefe playing the drum parts with us,” he says excitedly. “We just got back from a tour with it, and it was incredibly well received.” Meeks admits, “It’s unorthodox, but he can’t tour and so we must persevere!” And it’s this kind of roll-with-the-punches attitude on top of a seriously rocking repertoire that makes The Close a musical force to be reckoned with.

www.thecloserocks.com