In Civilian Clothing 'We Made A Mess We Made A Killing' album

Most of us probably know of Flint, Michigan from the Michael Moore documentary Roger & Me, and this conflicted town has produced the mysterious electronic-tinged acoustic pop of In Civilian Clothing. Infusing elements of the dour Brit-pop of Tindersticks, the drum-machine-driven future pop of Morr Music, and the songwriting chops of Ben Gibbard and Conor Oberst, In Civilian Clothing soundtrack driving through secluded suburbs during rainy days, letting the headlights and radio provide much of the unique atmosphere. Its icy-synth rock that doesn't feel like new-wave and post-emo that avoids being overblown. If you want your records to stir up your emotions with precise subtlety each time you throw it on, In Civilian Clothing have your song cycle all set up and ready to indulge. All tracks clean.

Biography

Flint, Michigan which once thrived in its adolescence, only to be left abandoned in the post-industrial age, offers more than just the bleak landscape of an automotive past.

With 'In Civilian Clothing', much like the city, beauty can be found hidden beneath the surface. On the upcoming full-length album, sparse songs give way to layered beats and abrasive synth. As the band's name and lyrics suggest, In Civilian Clothing's music weaves between intimacy and growth, while giving politics a human connection.

Conflicts within the songs go unresolved, but are interpreted into a manner easily understood. While landscapes change, so does the way 'In Civilian Clothing' chooses to express themselves, sometimes letting worry be overtaken by imagery. By not compromising themselves they are creating a picture and sound that is full of life. Being allowed creative control, the band signed with Right Place Records in early 2006. The music has potential for broad appeal and expectations are high for a September 2006 release.

On a humid day in June, the five members of the band are collected into what can best be described as the back of a field house. The space is so limited that it's actually cooler outside. Christmas lights adorn one wall and countless instruments surround their players in the usual rehearsal space fashion. It's a quick run-through before packing up for what would turn out to be an "eventful" trip to Lansing to play at Mac's Bar. But who are In Civilian Clothing and how did they get to wherever "here" is?

It started back in 1996 with guitarist Lesléa Camp, 25, and her band, Roots of Resistance. They were friends in high school forming a band, but not the typical "punk" variety that seem to spew from every school. "We started as a rock pop band looking to do a type of music a bit different than the same old stuff on the radio everyday," says Troy McLaughlin, 27, who plays bass, keyboards and trumpet. "The original line up of Roots of Resistance did not include me, however I came to the band very soon after its creation. The only true member that has been there from the beginning is Lesléa. After about six months or so there were a few personnel changes, including Chris, the drummer, coming aboard."

According to Lesléa, "around 1997/1998 we met Chris [Drzewiecki, 29] who was playing in a different band, handed him our demo and told him we were interested. We saw his potential as a drummer and the band he was playing with just didn't suit him. Chris gave us a call a few weeks later. We set up a practice and we just clicked. We played shows together without a singer for about 2 years," says Lesléa. "Trying to find someone who fit in with us musically and personally was a struggle. No one was really wanting to be committed so we just continued without one." Enter Clay Ross, 24, a friend of Lesléa's from high school. "I give Clay a call," she says, "and ask if he wants to meet up and practice with us. The guys remember seeing Clay at a few Roots Of Resistance shows and we all just clicked." From that point on, the foursome played and recorded under the name Porcelain, which was later changed to In Civilian Clothing.

So what is their style? It's an elemental homogony which Clay describes as "a more progressive art rock sound, while demos often resemble alt country songs." Every person brings his or her own identity and finds a way to blend it in without losing it. "I drift to folk and alt. country (Dylan, Wilco, Gillian Welch, etc.) and it collides with my ambient persuasion towards Icelandic landscape music," says Clay. Lesléa "started playing guitar because I was so intrigued with Noel Hogan from the Cranberries. His style of playing at that time was so much different from anything else. A week after I started playing guitar, I was in this band." More professional than most bands, a lot of skill and training comes in with the spectrum of influences.

"The current sound I can't really put a finger on," says Lesléa. "It is of course a mix of everyone, but we all listen to pretty much the same thing, not everything, but close. I kind of get surprised at the sounds we create at times. Compared to the old sound, it's much better in quality. Sound-wise I think we have matured and figured out what we can do as a band." Troy agrees. "We now officially have a sound after years of searching for it. The sound is dynamic/pure/creative without being too much of any one thing. [Our] old sound was all over the board from rock to pop to just junk, but that's all over now. I hope our new improved sound continues to grow in the manner it has in the last 6-12 months with the same kind of results." Common points between bandmates include a relaxed and mellow approach with appreciation for bands like Radiohead, Sigur Ros, Grandaddy and Flint's own Lingua Franca.

So what comes next? Clay expounds; "To create an album with movement and quality is a goal at the moment. This feeling is why I feel connected to the band and why I continue. Stone Gossard from Pearl Jam said, 'The same riff I liked ten years ago I still like today.' That is inspiring. Creating something I am going to like ten years from now is always on my mind."

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In Civilian Clothing - We Made A Mess We Made A Killing