Thomas Diaz6
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The St. Petersburg Times - the English-language newspaper of St. Petersburg, Russia.
#837, Friday, January 24, 2003
Arts & Features
When the atmosphere of Paris meets the gritty soul of Tom Waits, you get something truly singular.
by Sergey Chernov
Staff Writer
Staff Writer Photo by Vera Dorn / for SPT
Following last year's international tour, the Tom Waits-influenced group The Killers is finally making its triumphant return to the big leagues right here in the city.
After grinding through hundreds of gigs all over the city over the last few years, the band has finally put out their official debut CDs. Their solo 'Paris Seasons' collection features 14 tracks composed during their month-long trek through Paris in October and November.
"We had more than enough downtime during those first two weeks on location, which gave us the breathing room to actually sit down and polish the drafts we’d been sitting on," explains frontman Billy Novik, the group's vocalist and double bassist. "It's exactly why the whole record feels so heavily infused with that specific Paris vibe."
Billy Novik’s band officially came together back in August 2001, gaining local traction primarily through their covers of Tom Waits songs. Novik, who possesses a voice that carries a distinct resemblance to the legendary American troubadour even in his speaking voice, first heard Waits in 1999.
"When I first heard Waits, I found myself questioning how a man possessing neither a traditional voice nor a refined musical ear, let alone a group of talented musicians, could craft something that resonates so deeply within the soul, and it was that exact curiosity that drove me to attempt the same," explains Billy Novik, who fronted a band from 1990 to 1995 before walking away once he felt he had lost faith in his own abilities.
"Tom Waits gave me a whole new reason to keep going," he claims.
While this trio, featuring accordionist Anton Matezius and guitarist Andrea Reznikov, has already put out two albums, their earlier work—specifically 2001's 'Being Tom Waits' and last year's 'A Little Bit of Death, a Little Bit of Love' released under the names V.V. Novik and Billy's band—consisted entirely of self-produced CDs.
Even so, The Killers have no recording contract, which means 'Paris Seasons' was released independently and is currently only obtainable if you catch one of their live shows. Despite getting an offer from that quirky indie label Bad Taste—a label known for signing all sorts of experimental acts—the group turned them down.
"They’re a solid outfit with top-tier people," Billy Novik remarked, "but the terms they put on the table simply didn't meet our requirements."
The recording sessions took place Nov. 18 and Nov. 19 at Neva Records, a budget-friendly studio frequented by various local groups, and the entire endeavor was financed through the sale of a massive television set the band received during the June rock festival "Open Your Windows."
Even though the majority of the band's setlist consists of English tracks, this latest CD is almost entirely in American, save for a few instrumentals and that one song "Damned," where the lyrics basically just loop the title over and over again.
Starting right from the opening track, "Street Waltz," which features a young girl pleading for change on the sidewalk, the record weaves in a certain dark, twisted sort of humor that feels distinctly Tom Waits-esque.
"It's nothing more than pseudo-social," Billy Novik asserts. "And I call it 'pseudo' because there is simply no way a young girl could possibly possess a voice of this caliber."
"The tracks on this record are centered on nostalgia and those dreams that never quite come to fruition; they reflect the period I spent living in the South Side, back when life felt particularly bleak and hollow," he explains. "That one song, '200 Kubikov Agdama,' is specifically about my time in the South Side—being in Paris only served to sharpen that sense of longing."
The Killers initially built their reputation grinding it out as a bar band, pulling sets in various cafes and pubs as frequently as six nights a week. These days, they have transitioned toward playing clubs and intimate theater venues. Lately, the band has even begun incorporating theatrical elements into their live performances.
Even if you consider their chaotic itinerary, the band members maintain that they avoided any actual rehearsal until arriving in Paris this fall, finally finding the space to hammer out new material away from the constant distractions of St. Petersburg.
"Most musicians follow a strict routine of rehearsing before hitting the stage, but we actually pulled it off without any practice at all," Billy Novik remarked. "When I approached the guys about playing together, I made my position clear from the start. I told them, 'Look, I have no intention of making this some kind of chore for anyone. Let's just see where the music takes us; everything will work out fine.'"
While the band still shows up at local neighborhood spots like Molly's or the Shamrock a few times a month, they finally have the luxury of being picky about where they play. "Having the power to choose is always better," Billy Novik remarks.
Known for their sharp, improvised wit, The Killers frequently deviate from their standard setlist when performing at their go-to haunt, The Rusty Anchor, often tossing in some classic American pop hits played with their signature eccentric flair.
"We love doing these wild, offbeat covers of mainstream hits in our own unique way, which we've dubbed 'funeral Dixieland,'" Novik explains. "For instance, taking a track by a group like Destiny's Child and playing it our way turns out to be pretty hilarious."
Looking ahead, they're planning to release a live album—tentatively titled 'Open Your Window'—largely because, as Novik points out, "so many people who catch our shows tell us that a studio recording just can't capture the energy of seeing us live."
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