“It’s not like in the ‘90s where all of the grunge dudes knew each other and were all part of the same scene,” he says. “I’ve never met any of the dudes in Fleet Foxes. It’s not like we’re all friends.”
The Head and the Heart’s six constituents had worked on separate projects in different US regions before serendipity brought them together in Seattle in 2009. The impression of a tight-knit community of bands mightn’t be justified, but cultivating a sound during Seattle’s indie-folk boom must have influenced the sextet.
“I don’t think at the time that there was a real sense that that’s what Seattle’s sound was,” Johnson contests. “Maybe the fact that we both have acoustic guitars and have harmonies is similar to Fleet Foxes, but in terms of songwriting they’ve got a much more pastoral, almost Gregorian chant-type melody and harmony structure. We come from a much more pop music-oriented songwriting style.”
One thing the band indisputably shares with Fleet Foxes is their record label, Sub Pop. Sub Pop signed The Head and the Heart in late 2010, after its independently released, self-titled debut started selling by the thousands. The first record’s breakaway success meant that when releasing the sophomore LP Let’s Be Still last October, there was now expectant fans and a commercial precedent to satisfy. Luckily, the six-piece were able to brush these pressures aside.
“The most important thing for each of us was impressing the other members of the band,” Johnson says. “Everyone being excited about it was the main goal. That made making a follow-up record to a record that blew up much easier.”
All bands facilitate collaboration in a different manner. For some, following the directions of a clear leader works best, while other acts function as a platform for multiple distinct songwriters. The Head and the Heart employ a uniquely democratic policy.
“If people in the band don’t identify with a song, then that song doesn’t end up going out to represent the band,” Johnson reveals. “Even if you aren’t someone writing the lyrics, there is still some element of accepting a song, being excited about a song.”
This commitment to making sure all members are satisfied is reflected in the collective spirit that characterises the group’s releases. Welcoming the input of several individuals can quite easily tempt conflict. However, The Head and the Heart use this dynamic to their advantage.
“If another songwriter [in the band] writes a song, you’re just like, ‘Fuck – I have to top this now.’ There’s certain songs where it’s like, ‘Oh, I wish I had written that,’ and that just makes you want to write a better song. There’s definitely a competition, but in a respect kind of way, not a negative way.”
Obviously, none of this would be possible if the six individuals didn’t share an aesthetic vision. Johnson underlines the essential target for each song, no matter who the instigating party is.
“The first thing to writing songs is to have it say something about your life, but also have it be universal enough that people can identify with it even if they’re not living your life. The band should elevate whatever song a songwriter comes in with. If someone brings in a song and the band doesn’t feel like it can take it to another level in the way that this band does, then we don’t use the song.”
BY AUGUSTUS WELBY
