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Paper Tiger formed in November of 2003. After moving to Madison, lead singer and songwriter Ty Christian felt the urge to form a new band to take advantage of the seemingly limitless opportunities presented in such a large city. By posters, auditions, and word of mouth, the members started of Paper Tiger to fall into place.
First to join was bass player Graham Sazama. Ty met Graham in their Japanese discussion class. After posting numerous flyers reading "lead guitarist wanted," Ty and Graham had only received one worthwhile reply. This reply was from Mike Brandt. After Mike tried out (playing a mediocre version of a Pearl Jam song), the threesome continued on their quest to find a drummer. Jon Atwell had been subbing in as a drummer during practices just for fun, but at the time, Jon was involved in another band on campus. Flyers went up and auditions began. "We couldn't find anyone who clicked," Ty said. "We actually had one guy who looked like a young Gunnery Sergeant Hartman from Full Metal Jacket" adds Mike. Just as the auditions were looking slim, Jon approached Ty and asked if he could join. Indeed, Jon Atwell had exactly the skill, personality, expertise, and timing the band was looking for.
Once the members were assembled, the creative process began. "The one thing I appreciate more than anything else is that when we write music, everyone brings something to the table. Everyone is in on the creation process. In this way, everyone brings their own style to every song, and since our styles can be drastically different, it makes the songs feel robust and full," Ty explains. Mike continues, "I usually bring a demo song and everyone adds their parts. It's pretty democratic, although if it hadn't been for the band forcing me to write something fun, I would've been writing low-quality sad songs all of my life. The music to Fragile was the first song I wrote that actually had any energy." New songs began to flow from the group, and in no time, they were ready to perform.
In March of 2005, Jon Atwell left the band to start a jazz trio. After a month of searching and auditioning, the band picked Anthony Keyzer as their new drummer. Anthony brought the perfect amount of energy, attitude and enthusiasm the band needed following a turbulent and frustrating creative period with Atwell. Over Christmas of 2005, the band recorded their first full-length CD entitled "Chemistry" which was released April 5, 2006. Around this time, they also released their live DVD, "Live at Pizzeria Uno".
The band is very eager to perform anywhere they can, for anyone they can. Their mixed style of music is sure to be a draw to fans of any genre, and the energy at their live performances is something not to be missed.
Madison-based group Paper Tiger have met almost all of the goals of forming a college band. Founded in 2003, the group have climbed up the ranks of local bands with appearances around and outside of campus and have now entered the recording world with Chemistry, an energetic debut album drawing from an entire periodic table of music styles.
From the start of the album, it is clear that Paper Tiger either do not notice or do not care that they are not playing before a full audience. The first track, "Foreplay," opens on a rapid drum beat followed by intertwined country-style electric guitars. Between the force of lead singer Ty Christian and a vigorous bass solo by Graham Sazama, it takes the lack of body odor and stage lights to know this is not a live show.
Paper Tiger's music is punk rock at the core, but the group is not content to stick to the conventions of the four-piece band and freely change things around in some tracks. "Ghosts" breaks their electric mold by starting with an acoustic riff reminiscent of Spanish guitars, "Look" mixes a power drill in with lead guitarist Mike Brandt's solo to create a revolving sound and "Unsaid" creates an aural montage of charging trains, chainsaws and waves beating against rocks.
Some songs stand out even farther from the pack. The ironically titled "Cycle of Violence" is soft rock that feels like each member is holding something back out of respect, while closing track "Audrey" is a swaying rock opera of distortion. "Unsaid," a Led Zeppelin-style song with an urban bass line, smoky vocals and a crisp guitar solo, evokes images of a gothic abandoned city.
Each band member brings something special to the album. With Jimmy Page-style screams on "Fragile," distortion on "Unsaid" and wistful slowness on "The Sea," Christian runs up and down the vocal spectrum and still has enough energy to cackle or beatbox in between songs. Sazama and Brandt can back up or stand alone with equal skill, and drummer Anthony Keyzers holds the entire album together with impressive force.
While on their live shows Paper Tiger borrow from established artists like Outkast and Guns N' Roses, they have relied solely on originals for their debut-a smart call, as these group compositions are strong both lyrically and musically. The lyrics may take a backseat to the band's musical force, but ignoring lines like "The cold wind sets the tone / Over what used to be my own / And the more it feels like home / The more I feel alone" is inexcusable.
Like the chemistry set you may have played with as a child, Chemistry is complex and entertaining-and in an improvement on that set, it can be enjoyed without the risk of lead poisoning. Paper Tiger have come up with a debut that moves at an excellent pace, and at the very end of the album when Christian says "Oh my God-this is amazing," most listeners will find it hard to disagree.
Contrary to its title, the opening track is perhaps the most solid piece on the disc. "Fragile" opens as any good orchestra does: thirty seconds of sonic foolery meant to bring the listener into the band's space. Unlike a philharmonic event however, the energy from this wind-up session bleeds right into the get-up-and-go of the song without pausing the wild ride for one to catch a breath.
Downshifting to their second track, "Ghosts" is the new definitive anthem for any contemporary versions of the gunslinger from the Old West. Reflective, solemn and bittersweet, if not a bit tired, this song proves that Paper Tiger can pull off a quick gear change and not lose the listener.
Following that, "Carnation" is a bit like a sleepwalking act, aptly laden with a lulling guitar riff and not too much else. Framed only by an all-too-brief harmonica bit at the beginning and a good organ stint near the end, this refrain seems to be "passing through" the anthologies of dusty, forlorn love songs with lyrics that plead: "Just please relax/ Stop searching in desperation/ Let it all come to you."
In another change of pace, "Ames" sways a bit towards cheesy country until the deeper chorus at the end: "And I find it's no use/ All these thoughts form such a pretty noose/ You'll find yours in time/ So have a laugh while I swing from mine." Blending darkly emotional lyrics with shining moments in their songs, Paper Tiger pulls off each sub-genre rather effortlessly. They also manage this feat with the right amount of intensity.
"Circle," the fifth song on Live From The Studio, hides the true lyrical gems until the end: "You can never stand out if you've never been plain/ Can't love the sun if you've never felt rain/ Won't look for hope unless you've looked for veins/ If there's nothing to lose then there's nothing to gain." Fortunately the sheer percussive energy from the entire band dominates this tune, gets the feet thumping, and makes it easy to forge through the standard rock philosophy to the imaginative material in the final chorus.
For a pleasant shock, the final track, "Audrey," kicks off with a familiar horror theme organ piece that transforms itself into a fleshed out monster jam session with all the members of Paper Tiger showcasing their skills. In a hybrid "Little Shop of Rocky Horrors" fashion, the tastefully campy opening and individual solos are expertly sewn together with electrifying sections from Ty Christian, Paper Tiger frontman, on the organ.
Musically, it's difficult to believe this is a frosh demo project as Paper Tiger offers more depth in their first collaborative effort than most rock bands accomplish in their sophomore albums. Under less than ideal recording situations, Live From The Studio successfully delivers a welcome aural freshness that will hopefully extend past these six songs. Lyrically, there's room to grow to match the rest of the Paper Tiger package, even if it's simply pushing the creative refrains more into the limelight instead of saving them till the end of each song. But in general, tigers don't speak, they roar; and Paper Tiger is no exception to this. They are however, notably exceptional among other local funky rock n' roll animals in the Madison musical jungle.
Catch Paper Tiger live on May 6 at 5:00 p.m. after opening band Sheldon in the outdoor west courtyard of Kronshage lakeshore residence halls. For further information on the band, visit their website at www.PaperTigerBand.com.
"To Be Played at Maximum Volume"
Rating: * * * (3/5)
"Fragile," by far the best track on the demo, is great infectious pop, very strong guitars. The drums on that though-as William Miller would say, "Incendiary!" They completely drive the song, won't allow toes not to tap along. "Audrey," a showcase to the band's funk rock talents, could do without the cheesy horror movie motif, simply destructive. A lyrical change to fit the music would be ideal. On the other hand there's the bass and percussion. Flea would be proud. There's a delicate art to creating a power ballad. Few artists have dared tackle that medium between camp and beauty for its difficulty. "Ames" struggles with its own identity on such a barometer while "Ghosts" flourishes. It is classic, conjuring the specter of Hendrix, the Spanish guitar infusion of Santana. Overall, a good demonstration of the band's talents. This only the beginning, the future seems bright for Paper Tiger. In the words of James Lipton, by way of Will Farrell, "Well played. Dear god that was well played."
-Cristina Henriquez