Words by Peter Tanski
Don’t Get Lemon – an English cockney rhyming slang, meaning loosely don’t get fresh, don’t be mouthy, the like…
The Anglophile Texan trio of childhood mates Austin Curtis, Nicholas Ross, and Bryan Walters have crafted a nine song follow up to their massive 2022 debut, Hyper Hollow Heaven with a more glam infused, MADchester indebted, and sonically vibrant sound in Have Some Shame. A record full of guitar histrionics, lyrical kiss offs, and dance floor rave-ups. A record that fully cements their rightful place as the Southwest’s answer to the question “What If Orchestral Maneuvers In The Dark moved to the southern Americas and became obsessed with David Lynch films and mod sportswear?” Have Some Shame is due on April 23, 2024 on A La Carte Records.
Off Shelf: Have Some Shame is an interesting title. It almost seems to speak to British Austerity and societal mores. Was that a thought when crafting the idea?
Austin Curtis: We’re known for our fondness of British Culture and that perpetual sense of lingering shame that’s prevalent in British society could have definitely played a part, albeit unconsciously. The title is derived from a lack of shame perpetuated through modern culture in the social media age. For us we carry a sense of shame in self-promotion. I think our self-awareness defines us in a sense as a band, but it can be detrimental to today’s musical landscape. We live in a time where everyone is always self-promoting their own individuality and “brand”. This is obviously widespread in music. We see so many bands and artists who have no self-awareness or tact in the way they raise awareness of their art. It’s all so shameless and off-putting, these people have stopped treating their music as art and have turned it into a commodity. We think having a little bit of shame is a good thing. It regulates us, grounds us, and helps us strive to be better.
OS: Say Something New For Once is sparse and shimmering anthem that screams this is a new era for Don’t Get Lemon. Is there a thread of that intent built into it?
AC: I think so. We’ve always strived towards the pop end of the spectrum in our sensibilities. But while working in the “popular” end we also have a drive for uniqueness. Say Something New For Once works as a meta meditation of songwriting on multiple levels, both in the lyrics and in the songwriting and structure. It’s verse-chorus-verse-chorus-guitar solo-outro. It’s over the top and flamboyant and ironically cliché. We view it as a meta piece of pop art about the song writing process, and it’s entirely different and more thoughtful than a label of darkwave or goth. So, as you said to signal a new era, this song had to be the first single.
OS: The entire album is equally less and more guitar oriented. When it does peek out from behind the music, it does so with a vengeance. Can we thank your love of T Rex, Roxy Music, and Bowie for that?
AC: Definitely. We’ve been intent on having our love of 70s glam shine through on the tracks. The artists that influenced and shaped the new wave and post-punk scenes to come. We also wanted to incorporate some of our love of jangle pop into it as well. Nick is such a talented guitarist that he was encouraged by Bryan and I to add more of his distinctive playing on this album.
OS: The “Post-Punk Re-Revival” of the past decade is nearly undeniable, and is certainly advantageous to you all, but do you feel that you even have true “contemporaries” at this point? What you create is far afield of those tastes.
AC: I agree, and it can lead to difficulties as a band by striving and daring to stand on your own. With how music promotion and discovery works now, with so much being driven by hyper genre defined playlists, our idiosyncrasies as a band can end up being punished since we don’t fit into a box. If we wrote songs called “Vampire Dungeon” we’d probably have a lot easier time. But what would be the point in creating more of that? I think we still do have some contemporaries, while having defined differences, such as other artists on A La Carte and bands such as Same Eyes or Plastic Estate.
OS: Everyone knows “If You Leave ,“ but Orchestral Maneuvers In The Dark’s “Architecture & Morality” was their pinnacle moment. Is this your “Architecture & Morality“?
AC: I think that’s a very apt comparison. Hopefully following suit we have our big payday in a couple years when our song is featured at the end of a teen blockbuster. Maybe even more so than Architecture and Morality, we work in the space of Dazzle Ships, always trying to throw off perception even if it’s not going to be the easiest path forward.
OS: With a roster that transcends genre, A La Carte has risen to the very top of the heap of independent labels offering exciting contemporary music. Have any other labels come calling?
AC: Yeah, I’m currently on a zoom call with Capitol. [laughs] But honestly, we’re very pleased with A La Carte and how they run their label. They are truly in it for a love of the game and that’s commendable. They are always trying to come up with new ideas and push the envelope. They are one of the only independent labels going right now that are willing to take chances. It can feel isolating when you’re trying to get your band off the ground but A La Carte has always been in our corner.
OS: I’m sure that the reactions to the new singles have been positive. Have your socials been jammed with fan interaction? Is that something you engage with?
AC: Yeah the reaction so far has been great. Starting the album cycle with a song like, “Say Something New For Once” definitely felt like a risk, but the response to it has been great and it feels like people “get it”. As far as fan interaction it’s something we absolutely love and thrive off of. We’ll respond to any encouraging message we get. Especially at live shows, that human connection is intoxicating whether it’s signing records, taking pictures or just having a chat. Those interactions with people are one of the best parts of putting yourself out there. We all love a bit of validation.
OS: What does the average Don’t Get Lemon fan look like? Is there even a norm, as its appeal is both modern and anachronistic?
AC: We get your typical 20 and 30 something year old alternative music fan guys, but we also get a lot of what we call “New Wave Moms and Dads”. People who grew up in the 70s and 80s and are reminded of the music they love in us but with a modern twist. A lot of the time they’re amazed at our love of that era and it transports them back to their youth. Our dancey sound also tends to appeal to more female fans than some of our contemporaries.
OS: Much has been made of the supposed death of the album format and the rise of the singles market since streaming became the new norm. What still drives artists like yourselves to continue creating full LPs?
AC: It’s the best way to experience music, simple as that. Just as you can’t beat a perfectly crafted film, you can’t beat a perfectly crafted album. So much more thought, love, and dedication go into creating a unifying work of artistic statement. For bands now, again to complain about the music industry, it benefits us to just release single after single. You have to constantly be pushing something out or else you’re immediately forgotten about. Once an album cycle is done it’s forgotten about until it’s time to put together some end of the year list. Patience is a virtue but not in music. You have to keep dangling a toy in front of everyone.
OS: Had it not been for this band, what would you have busied yourself with instead? A noise rock trio? A solo Black Metal project?
AC: I think we’re busy enough even if we didn’t have the band! I think the open format of experimentation in Don’t Get Lemon works for itching any musical curiosities in us. We already pull from so many decades of influence and sound that nothing really feels off limits in this band.
OS: What is the core essence of Don’t Get Lemon? It’s unifying theme?
AC: Self-Awareness, humor, English football.