The Big Tease is in the middle of an identity crisis.
The Big
Tease
From left: Gavin Foster (Drums), Brent Moreland (Bass), Chase
Pattison (Guitar, Lead Vocals) & Bill Dabbs (Keyboards)
Growing up in a region oversaturated with cowboy hats, gospel churches, and more twang than an old Johnny Cash record, the Big Tease has always seemed more than just a bit out of place. “I won’t say we all don’t own Wranglers and cowboy boots,” Brent exclaims, as he sits with the band, taking some time off to clear their heads at their favorite local rendezvous, 4620, a dimly lit, subterranean club not far removed from New York’s underground jazz scene. Dressed in their trademark vintage swag, often sampling from the burlesque, western and vintage selection at the local Goodwill, there’s no doubt they stand out as a rock ‘n’ roll band “not from around these parts.” The band’s affinity for a wide array of bands, ranging from The Beatles, Queen, and Duran Duran, can be seen and heard in everything from their wardrobe, style and demeanor to the range of songs on their new EP, Paper Symphony.
The Paper Symphony EP.
“We’ve stopped defining our sound.” Chase admits. “Once you begin defining yourself, you create boundaries. On our last album, we played by the rules. This time, we’re making our own.” And you understand what he means the minute you listen to Paper Symphony. Far from the guitar-driven power-pop of their first record, the album relies heavily on skillful arrangement, eclectic instrumentation, and thoughtful lyrics to augment The Big Tease’s signature trademarks. After introducing the album with a “music box-esque” piano requiem, the band launches into the first song titled “Casanova,” a modern rock adaptation of a 1920’s Broadway love affair. The song’s classical and dramatic themes are driven by the punctuating piano style of Bill Dabbs, showing off the chops he developed from playing along with old Billy Joel and Elton John records in his basement. The percussion on the record further compliments the band’s newfound original style. On the fifth track, “Fallen Chandelier,” Gavin directs the band like a seasoned maestro through a three and a half minute romp that consistently and deliberately changes tempos and time signatures.
The album ends with possibly the best track on the record, “November Left,” a classical piano ballad reminiscent of the Lennon/McCartney school of song writing. “November Left” ends thematically in sync with the band’s current position as musicians, weathered and optimistic. “This is the album we’ve all been both eager and scared to write,” Bill mentions. “But it’s been so therapuetic to finally allow ourselves to be fearlessly creative.” If Paper Symphony is just a “tease,” it will be exciting to find out what else they have hiding up their sleeves, or even hidden in their cowboy boots.
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