It is quite an event to witness the evolution of a band. More than sound or style — something easily documented by discography — experiencing the change in the individuals making those sounds and forming those styles is quite an event. From half-assed midnight practices to headlining at nightclubs, basement performances for friends to theater shows for strangers, it is watching the coming-to-life of an entity.
For The Profits, the September 9 release of their newest album Far From You and Your Everyday Noise serves as a benchmark not necessarily for a genre shift or different direction in songwriting. Rather, it anticipates the transition from campus sweethearts to darlings of a larger scene.
For starters, the quartet no longer consists of college boys playing for pastime. Drummer Ben Schaefer, vocalists and guitarists Mike Drohomyreky and JP Roney forwent another year in the academic arena, joining graduate and upright bassist Scott Lamps as former University of Wisconsin students. The Profits are now first and foremost professional performers.
Similarly, they morphed from recipients of regional attention — dominating the Madison Area Music Awards’ acoustic categories for the past two years — to those of national recognition. The Profits managed to infiltrate three tunes — “Jailbait,” “Sex at Six” and “High Horse” — into EA Sports’ NCAA Football 2006 soundtrack.
If the summer of playing weekly shows as the house band for the Union’s Open Mic Night and hours of tirelessly pulling out all stops to create Far From You were not enough, The Profits are now set to host one of the largest album release parties Madison has yet seen. These boys are no strangers to rocking the local music scene, having sold out the 500-capacity Luther’s Blues more than once. But a Friday evening set at the historic Orpheum Theater — much less a show sponsored by The Onion and 105.5 Triple M Radio — is a whole other thing.
And so is the album they will release to eager fans and skeptical critics alike this Friday night.
I wanted to be the skeptic, walking quickly past the lines outside Luther’s with a scoff. I wanted to be the critic, standing with arms crossed, lips pursed during the call and response of “Sex at Six” at last April’s chilly Party in the Park. I wanted to believe The Profits were nothing more than four lovely boys — who knew it all too well — reveling in adoration from a predominately female fan-base. A local phenomenon I could be ambivalent toward if I just kept my eyes averted and ears closed. Turns out they cannot be ignored, especially when they turned to industry heavyweights and began turning into a force greater than themselves.
Little else than good comes out of Butch Vig and Steve Marker’s legendary Smart Studios. The Profits add their name to a long list of clients, from local favorite The Buffali to national pioneer Nirvana, indie rock’s Death Cab for Cutie to hip-hop’s House of Pain.
Little else than good comes out of the labors of producer and engineer Doug Derryberry. The Profits add their name to a long list of clients from Ben Folds Five to John Mayer, Vertical Horizon to Dave Matthews Band.
Apparently little else than good comes of the musical endeavors of The Profits. Far From You and Your Everyday Noise easily makes this band an acoustic-rock fan’s dream. Sweet nothings sung in airy harmonies above mellow beats and straight-forward strings, the sophomore release puts on display the expansive abilities of the group. Most tunes fall along the lines of the poetic ballads many have come to expect. Yet these typically chill sounds flow amid a range of intensity anchored by two very different, equally pleasing tracks. “Misplaced” has a drive, almost a darkness, which is remarkable. A little more pop-infused, it stands in contrast to album highlight “Lay My Head.” The a capella album closer has a simplicity, a calm that is just as striking as its counterpart.
Alongside newer songs, the album includes “High Horse” and “Sex at Six,” both previously released on The Profits’ debut The Sign of the Dollar. The cult classic “Sex at Six” will easily be a favorite track, as it comes complete with the obligatory audience sing-along.
While Far From You was created with state-of-the-art instruments and top-of-the-line equipment, some might be slightly alienated by the slippery slope that can be production. The live sounds of The Profits are about as perfect as any band could hope to be, with any imperfections enhancing rather than inhibiting. Polishing of Roney’s and Drohomyreky’s rich vocal layering and lightly intertwined harmonies ought be kept to a minimum. Rather than making already impeccable melodies crystal clear, that polishing buffered away a bit of the characteristic energy and emotion. Case in point: “Carry the Weight.” The track is a little more notes or tones and a little less heartbreak or helping hand.
To best gain back such liveliness and sincerity, be certain to check out the show. As the area sponsors indicate, it will be more than a “back to campus” event for doe-eyed freshmen and veteran Greek Profiteers. It turns out the community could not avert their eyes nor ears any more than I could.
That eye-catching, ear-perking performance is exactly why The Profits are garnering much-deserved attention. Whether playing to a few hundred or just a few, the quartet brings an undeniable charisma to match their undeniably catchy choruses. Expect charming banter between band mates and audience members, ridiculous amounts of enthusiasm from those playing and those applauding. Expect new tunes in old packages, old tunes in new ones. Expect to wait in line if you do not get to the Orpheum early on September 9 — doors open to all ages at 9 p.m. and tickets are $10. Kansas City singer Matt Wertz will also take the stage, but most will be anticipating the entrance of The Profits, waiting to experience firsthand this stage in their evolving story.
Christine Holm is a senior majoring in English. She can be reached for comment or question at [email protected].
