Since then, Elliott have toured every inch of North America, building a substantial and loyal fanbase, playing on every type of bill imaginable. Metal/hardcore to alt/emo bands, Elliott have played with all of them and to much commendation. In fact, the band welcomes and often times prefers the opportunity to play with bands as dissimilar to them as possible. From the success of their debut 7" and the massive buzz that the band had created, the attention of Revelation Records was caught. Elliott's Rev debut was recorded in two halves. One at Easley Studios in Memphis and the other at Rondor Studios in L.A. The two sessions were mastered together and melded into U.S. Songs which now has Elliott as a shoe-in to inherit the title of "best new band." The album is a masterpiece, displaying Higdon's memorable, emotional vocals and the band's talented songwriting capabilities. Higdon's voice and the dynamics of Elliott's music embody the band's sound on U.S. Songs: melancholy and bliss simultaneously.
False Cathedrals
With the release of their second full length False Cathedrals, Elliott has earned their place within the genealogy of Louisville bands that have broken with tradition and disregarded conventional formulas (Slint, Squirrel Bait, etc.). Indeed, the reverberations of such non-KY bands as Fugazi, Quicksand and Radiohead can be felt in their music. If stylistic similarities to such contemporaries as Jimmy Eat World or No Knife can be made, it can also be stated that Elliott has successfully constructed a sound that can only be described as their own. Though that sound is most definitely planted in the guitar-oriented standards of post-punk, it is through the elegantly understated use of electronics and piano, the fluid bass lines interweaving its way between staccato-tribal drum work and vocalist Chris Higdon's impassioned performances that Elliott creates their latest, a masterpiece of subtlety.
The LP's opener of "Voices/Calm Americans" is about as close to perfect as a band can get; its staggered bass-piano structured beneath a steady crescendo brewing behind the deceptively simple guitar lines. As powerful as any hardcore band out there, it is the more subdued pieces that showcase the incredible songwriting skills and technical abilities that make Elliott so special. "Blessed By Your Own Ghost" showcases the strongest use of electronic gadgetry on the album creating as evocative a sound as anything Brian Eno has ever done. The eerily commanding "Dying Midwestern" is floor-room model of restraint and quiet beauty, culminating in a guitar blowout of meaty proportions. On the other side of the coin, "Drive On To Me" rocks from start to finish with its anthemic chorus, pensive lyrics (shades of such authors as J.G. Ballard perhaps?) and beautifully layered vocal harmonies. With production credited to Tobias Miller (False Cathedrals is the first album he's produced, though work with such varied artists as Fiona Apple, The Wallflowers and Korn must have come in handy), False Cathedrals is a landmark recording in the field of post-punk bands. Clean, but not polished, innovative, yet, unassuming in its glory, the overall sound is as solid as it is diverse.
With the release of False Cathedrals, Elliott has opted to stride right on past the brink and into the open fields of greatness. Now its just time for the world to catch up. Expect heavy touring and consistently inspiring live performances to take care of that end.
Song in the Air
After touring Europe and the US in 2000 and 2001, a slightly dirty but enriched Elliott came home, rebooted, and in July of 2001 - began recording and investigating the new songs they had been making together. Song in the Air, Elliott's third full length, is the first record they have made with the addition of Benny Clark on guitar and Jason Skaggs on bass. The idea was to make a quick and easy EP but the ideas kept coming and songs kept growing. At times the prospect of insanity didn't seem too far off... But, finally, in November of 2002 the project was finished. Song In The Air had been created.
Tracks from Song in the Air are some of Elliott's best yet. These songs are infused with an immediate - urgent, feeling.... and that gives us, the listeners, a view of something that hasn't been cleaned up and fabricated.
In the process of recording it (which, in itself, is a fairly big story about running their own home studio and deciding to handle all of the recording duties of the record themselves) they enlisted some great musicians and others from the Louisville area to help out, including a string quartet assembled by Christian Frederickson of The Rachel's.
Photorecording
Photorecording, Elliott's finale, comes at first with a feeling of loss - the depth and meaning that so many associated with this band is immeasurable. But you'll find it's more of a fond farewell than just a band breaking up. The legacy left behind by one of Louisville's most beloved is one that will endure, and this release closes the door with a close look into the final days (and hours) of the band in 2003.
Photorecording is a live studio album recorded directly after their last performance, and also included is the never before seen DVD documentary of Elliott's last tour. The CD+DVD set compiles the aforementioned live studio recording and documentary as well as bonus footage of live shows during the last two years of Elliott's existence. Anyone who is familiar with the band will tell you that the live show is a big part of what made Elliott amazing. The shows not only complemented their prolific recordings, but also enriched the experience for even the most casual fans of Elliott - to miss their live show would be considered a crime. Photorecording is a monument to this great band that still has fans looking forward to each member's future projects.
Kevin Ratterman is currently in a new band called Wax Fang. He also runs an independent studio in Louisville, KY called the Funeral Home Studios.
Benny Clark did a tour with a band called Unwed Sailor.
Chris Higdon is currently working in Louisville, KY on his small photography business, Kriech-Higdon Photography, which focuses primarily on bands and weddings. He is also in a new band named Frontier(s).
http://www.myspace.com/frontiersband
Billy Bisig is now playing in a band called Wolverine Brass in Louisville, KY.
Calvary Song
Elliott Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
we'll orchestrate and bend with time and all the strings will fade with fury.
laced with light, all divine the angels sing what is rippled runs in circles all combined which bleeds the seams of sin and sanctity. and we'll lay low till it's close to call, we'll search to sever the calvary song. wel'l look for signs of flashing lights, we'll search to sever the calvary. send down circles that won't subside. in reverence we search to find these compact people with sloped designs. we slip on in and learn to drive these slimmed down people with molded lines. we shape and bend, we modify amorphic people are soon defined. (lay it over lay it on) we'll search and sever the calvary song.
The lyrics to "Calvary Song" by Elliott are nuanced and open to interpretation, but there are a few key themes and images that stand out. On the surface, the song seems to be about a group of people working together to achieve a goal - perhaps a musical performance, since there are references to strings and orchestration. The lyrics mention "simple seams" and "single lines" working together with "poised precision," suggesting a sense of harmony and coordination among the members of the group. However, there is also a hint of tension and conflict, as the song talks about "severing" the "Calvary Song" - it's not entirely clear what this means, but it seems to suggest that the group is struggling to reconcile their different ideas or desires.
As the song progresses, the imagery becomes more abstract and esoteric. "Laced with light, all divine the angels sing," suggests a spiritual or religious dimension to the group's work, and the references to "sin and sanctity" and "amorphic people" hint at deeper questions about identity and purpose. The repeated references to "shape and bend" and "molded lines" suggest a sense of transformation or evolution, as the group works to define themselves and their place in the world.
Overall, "Calvary Song" is a complex and nuanced piece of poetry, full of rich imagery and evocative language. It speaks to the challenges and rewards of collaboration, as well as the deeper questions of meaning and identity that we all face.
Line by Line Meaning
Simple seams with single lines that operate with poised precision.
The world around us is composed of small, intricate details that work together in perfect harmony.
We'll orchestrate and bend with time and all the strings will fade with fury.
We will adapt and change over time, and eventually everything will come to an end.
Laced with light, all divine the angels sing what is rippled runs in circles all combined which bleeds the seams of sin and sanctity.
There is a higher power that guides us, and the beauty and chaos of the world can be seen as both good and bad.
And we'll lay low till it's close to call, we'll search to sever the calvary song.
We will wait patiently for the right moment to make a change, and we will work to overcome our struggles.
We'll look for signs of flashing lights, we'll search to sever the calvary.
We will seek guidance and inspiration to help us overcome our challenges.
Send down circles that won't subside.
We ask for help and strength that will last forever.
In reverence we search to find these compact people with sloped designs.
We search for others who have faced similar struggles and have unique perspectives to share.
We slip on in and learn to drive these slimmed down people with molded lines.
We learn from others and adapt their strategies to suit our own needs.
We shape and bend, we modify amorphic people are soon defined. (lay it over lay it on) we'll search and sever the calvary song.
We can change ourselves and our situation, and we will continue to work towards our goals.
Lyrics © Universal Music Publishing Group
Written by: CHRISTOPHER J. HIGDON, JAY MICHAEL PALUMBO, JONATHAN MICHAEL MOBLEY, KEVIN RATTERMAN
Lyrics Licensed & Provided by LyricFind