popwreckoning

When the Denver-based alterna-pop band Meese dissolved after a failed record deal, band founder Patrick Meese returned to Denver’s music scene to start a new project, The Centennial. While Meese was pure pop perfection, Patrick took The Centennial in a decidedly different direction. Patrick enlisted the talents of his wife, Tiffany, and his brother, Nate, to form The Centennial and the trio has been gaining plenty of attention over the past couple of months with their lush melodies and memorable live shows. PopWreckoning spoke with Patrick about forming the band, their creative process, and what it’s like working with family.

Brianna Hernandez, PopWreckoning: While Meese was more pop-focused, The Centennial has a more sophisticated sound. Was this shift intentional, or more of a natural progression?
Patrick Meese, The Centennial: A little bit of both. I had been writing more mellow, ambient songs for awhile before Meese ended and we started the new band. Lots of the new music developed while traveling in the van last year where I was restricted to only my laptop. When we stopped touring, I sat down and listened through all my song ideas and felt like none of them made any sense for Meese. I just wasn’t excited to write music for what Meese had become, and I took that as a sign to move on to the next thing.

BH: Is working with family members easy?
PM: At times it can be really easy. Obviously, we know each other extremely well and can sense when someone is having a tough time or needs a break. Communication is key. Other times it can be tough because we’re not afraid to blow up on each other or get honest. I wouldn’t recommend being in a band with your brother and your wife to everyone, but when it works it can be a beautiful thing.

BH: Has it been difficult to re-brand yourself as The Centennial?
PM: Yes, but we knew what we were getting into. It felt like there was a lot of expectation for us to be spectacular right out the gate, when in reality we’re a brand new band with new songs and new roles. It took years to get Meese rolling. I try not to think about rebranding or the old band. It felt right to a new project and we just have to keep doing it.

BH: What made you decide to form The Centennial? Would you ever add more band members?
PM: I decided to form The Centennial because I wanted to have a band that I would still be excited about playing in 40 years from now. The best time of my life was playing in Meese, but personally I was disappointed with where we ended up at. I became obsessed with starting a new band in which I wasn’t only a singer. Luckily, Nate and Tiff were on board and we could get started right away.

I would love to add more members. Recently we’ve been performing with Joe Pope (Nathaniel Rateliff, Fairchildren) and Adam Blake (The Films).

BH: Denver is becoming an increasingly electro-focused music scene. Is it difficult to assert your presence in Denver’s EDM-obsessed music scene?
PM: There is a lot of great music in Denver and we’re fortunate to know many of the people creating it. We have a lot of growing to do live, but every show is an improvement from the last. We’re just going to keep playing around the front range and see where it takes us this next year.

BH: The Centennial has received great reviews for your haunting sound and songwriting. What is your creative process like?
PM: The process usually starts with me demoing songs out at my home studio. Most times I start with riffs or melodies I’ve recorded into my phone. Then Tiff and Nate come in and lay down vocals and guitar and we make adjustments or decide to work on something else. I like to sit with songs for awhile and see how much they stand out once the original “new song excitement” has died down. The final step is mixing and adding the little things that give the song character. The Second Spring E.P. is self-produced.

BH: How does playing in Denver compare to playing elsewhere? How has the local crowd responded thus far?
PM: I love playing in Denver. Maybe it’s because we know everyone already. I’ve heard people say the scene is just a bunch of people patting each other on the back, but I disagree. I see bands in Denver inspiring each other and moving on to create new bands or make old bands better. Criticism and competition will always be necessary to develop a great music scene, but I feel lucky to live in a town where those aren’t the only things that make a great music scene. The local crowd has been accepting and responsive so far. We had a wonderful time playing Westword’s Artopia.

BH: What are you most proud of about The Centennial?
PM: The song “1988.” I think that’s the closest we’ve got to where I’d like to go with this project.

BH: Where do you draw your inspiration from? Who and what influences you?
PM: My friends. I’ve been playing with a few bands as of late (Nathaniel Rateliff, Josh Novak, Fairchildren). Seeing people sacrifice their time and energy to make music for almost no money is inspiring to me. It gets me off my ass and into the studio.

BH: What are you listening to currently? What are some of your guilty pleasures?
PM: I’ve been listening to more soulful stuff like Al Green and Marvin Gaye. The albums they put out were recorded so well. I need someone to school me in Soul. The last Phoenix record is one of my favorite’s in the last five years. They take what I love about pop music and make it interesting. My guilty pleasure right now is The Bird and The Bee’s record of Hall and Oates covers. It’s great.

BH: What are you excited about for 2011? What can we expect from The Centennial in the coming year?
PM: I really want to put out a full length record this year. We were planning on doing a bunch of E.P’s, which we still might do, but I’ve got an itch to put out something a little bigger. We’ll see. The Second Spring E.P. (which is still a free download off our site) was a nice break from the four on the floor-ness of Meese, but I would love to bring back the groove in some ways and write some tunes that are fun to play live.

BH: Who are some of your favorite local musicians? Favorite hang out spots?
PM: I feel like I’ve already named a bunch of Denver bands already, but two new bands I’m excited about are Glowing House and my friend Tim Hussman’s (Dust on the Breakers) solo project. Also, Churchill’s new record is excellent. I’ve been hanging out at El Nopalito at Bannock and Alameda. Super cheap and delicious breakfast burritos.

BH: Any plans for The Centennial to tour in the near future?
PM: Not right now. We’re still figuring some things out live and getting comfortable with the new tunes. But you never know when something will come along. For the time being, playing shows around here is just fine with me. We would love to do another house party show this spring, so keep a look out.

Download The Centennial’s EP, Second Spring, for free at: www.thecentennial.net and check out a stream and download of a new track below:

. “You Don’t Get to Say” – The Centennial

“I think we’re alone now, there doesn’t seem to be anyone around / I think we’re alone now, the beating of our hearts is the only sound.” Recognize that chorus?  It’s very rare that a song can capture the youth of parents (the original version: Tommy James & The Shondells, 1967) as well as remind their children of theirs (the most popular cover version: Tiffany, 1987).  “I Think We’re Alone Now” is one of my favorite 60s tracks and one of the best songs to cover, in my humble opinion.  It’s simple, it’s fun, and it’s impossible to hear the Tiffany version and not feel instantly transported to the rollerskating parties and leg warmer fashions of your youth.  This, of course, makes your parents laugh because they actually know Tiffany’s song was not an original and they insist on playing the real version for you as it, ironically, also reminds them of their own carefree heydays.  A lot of the cover versions readily available are great, but this is due to the fact that the original is fantastic on its own.  Welcome to Under Cover: “I Think We’re Alone Now” (Part I).
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Tommy James & The Shondells (original, 1967)
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I wasn’t born in the 60s, but this song makes me want to meet my high school sweetheart at the local soda shop to share a chocolate milk shake (with one straw, of course) and make eyes at each other while “I Think We’re Alone Now” plays on the jukebox.  We’re star-crossed lovers and our parents hatred of each other only strengthens our infatuation when “we tumble to the ground and say, ‘I think we’re alone now.’” And this song plays in our heads each time we run off to secret locations to be together.  Lead singer Tommy James’ vocals are so Beatles-esque, I almost wonder why this wasn’t a Beatles tune?  The guitar licks are simple, the background vocals are soft, but it’s the magical lyrics that bring you back to a simpler time.

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Tiffany cover (1987)
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I find it very hard to believe that any American child born in the 80s does not know this song.  I also would believe if many (including myself) didn’t realize until much later that this wasn’t even an original.  Mall queen Tiffany brought herself to fame with this hit song, the resulting dance craze she started, as well as being known as the teen singing sensation who demanded a legal emanicipation from her psycho parents.  Perhaps one of the cooler aspects of this utterly 80s song is the fact that it still holds up twenty years later; personally, I still get excited whenever I find it on the radio.  Who doesn’t want to steal away with their boyfriend/girlfriend “running just as fast as we can, holding onto one another’s hand, trying to get away into the night” when you hear this?  Sure, the music is slightly cheesy and over-produced, but considering the fact that this was pre-Timbaland days, it’s still a pretty hot dance track.

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The Pipettes cover (2006)
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I love when British people sing in ways where they are still able to retain their accent during their songs.  Trust me, not all of them do that (because they can’t or prefer not to).  But in the case of indie pop girl group The Pipettes, you can definitely tell they are Brits after the first few words.  I love the percussive acoustic guitar, the backing vocals that border on yodeling, and the vocal harmony and interplay between the girls.  It all works to create a slightly sped up cover version that is still lovely, even though it’s not my favorite.  They kind of remind me of The Watson Twins, so that will either excite you or dissuade you, depending on your taste.  So, enjoy or skip to the next track!

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The Spinto Band (2009)
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“Children behaaave!” I love an indie rock band with a penchant for that throwback sound.  It’s hard to fathom these guys are from Deleware since lead singer Nick Krill sings as if he’s not even from this time period let alone such an unexciting state, but in a good way.  I like his lackadaisical style; it almost sounds like he doesn’t care about the vocals yet somehow it still works.  The guitar licks are a little more pronounced than the original version, the drum taps are muted, and the background vocals sound like something straight out of a Beach Boys song.  I give The Spinto Band props for taking a classic tune, updating it for newer audiences, and finding a way to still retain a little 60s rock sensibility for those who particularly love the original.