One Band Clapping

The much-hyped Clap Your Hands Say Yeah and the phenomenon of the indie band as small business

Answering his cell phone on an early Thursday afternoon, Clap Your Hands Say Yeah main man Alec Ounsworth has pretty much no idea where he is -- aside from lounging on the back porch of a house owned by members of current tourmates the National -- and he's perfectly fine with that.

"I've narrowed it down to either Kentucky or Ohio ...," he deadpans with a just-woke-up kinda croak that trails off, then suddenly perks up.

"Hey, there's a hummingbird over there, that's fantastic! Wherever I am right now, it's a really beautiful day. That's really all that matters."

The twentysomething singer/guitarist seems unfazed that his band (whose name was taken from a bit of graffiti on a Brooklyn wall) has entered uncharted waters, playing shows for the first time outside of Philadelphia (where Ounsworth makes his home) or New York City, where the other four members -- drummer Sean Greenhalgh, guitarist/keyboardist Robbie Guertin, and twin brothers Lee and Tyler Sargent (on bass and guitar/keyboards, respectively) -- reside. Nor is he too terribly bent out of shape about the full slate of interviews he's got lined up this afternoon, and the next afternoon, and, he acknowledges, pretty much every afternoon for the foreseeable future. That's what happens when you're leading the most talked about, most hyped band of the year. But, Ounsworth claims, he has pretty much no idea about that, either.

"I gotta say, I am foggy on the whole thing. Mostly, folks ring me up for these interviews and tell me what's going on, and I'm like, 'Ohhh, OK ... pretty neat!' I mean, I don't read or listen to anything that's written or said about us. It's just not that interesting to me. But stuff gets into your head here and there, and the thing is, as soon as people start to pay attention to that stuff and maybe start believing the hype or whatever you wanna call it, they start to lose whatever that thing is they might have had. Things start to get all mixed up for them. So I don't pay attention to it at all."

After a bit of prodding, Ounsworth does admit to having read the review of CYHSY's self-titled album on; posted at the end of June, it was the "shot heard 'round the indie-rock world," if you will. Love it or hate it, Pitchfork is firmly ensconced as one of the most popular and influential music sites on the Internet, and the fawning write-up essentially did for the Clap what Beavis and Butt-head did for White Zombie, although, in this case, favorable comparisons to Modest Mouse, Yo La Tengo, and Neutral Milk Hotel, rather than "Huh, huh ... these guys RULE," is what turned the group from complete unknowns to the must-hear band of 2005 virtually overnight.

Now, we're all used to the hype machine going into overdrive for indie-rock artists (hellooooo Bright Eyes and Arcade Fire), but those bands have had record labels providing at least some muscle -- getting the albums into stores, to the press, and to radio stations, and mounting showcases and other promotional events to get the word out. What's pretty remarkable about the Clap's breakthrough is that it's been achieved entirely without the help of a label. The quintet is still unsigned, having self-financed the recording of its debut and self-issued it this past spring (barely a year after the band's inception), pressing up a few thousand copies to sell at shows and via its Web site, and to self-distribute to independent record shops and a few key media outlets, bypassing the typical route of recording a demo and trying to score a label deal.

"I had a brief fantasy when I started writing music that I might be able to do something kinda completely, 100 percent by myself, without anybody, and I say 'I' and don't include the rest of the guys because at that point we hadn't even started out at all," Ounsworth explains. "But as soon as the band started getting going, I thought, 'Well, maybe this could still work on that particular level,' and so far it has. I have nothing against the idea of labels, it just so happened that it didn't seem right for me at this time. I'd say what we're doing is the same thing as someone starting a small business."

Once the "Pitchfork effect," and the subsequent dissemination of the band's songs via MP3 bloggers, took hold, the first pressing of Clap Your Hands Say Yeah quickly sold out. Local shows began selling out, too, and pretty soon, noted NYC indie-band stalkers David Bowie and David Byrne could be spotted in the crowd, the latter very likely because he caught wind of the conventional wisdom claiming Clap Your Hands Say Yeah sounds exactly like early Talking Heads.

It's a debatable comparison. Certainly no one with fully functioning eardrums would deny the tonal and phrasing similarities between Ounsworth and the Rhode Island School of Design's most famous dropout, especially during Ounsworth's swaying "Away we gooooo" vocal refrain on the carnival sideshow-esque album opener, "Clap Your Hands!," or the way he casually guides his gliding whine through the opening stanzas of "Over and Over Again (Lost and Found)." Most often, he comes off like a cross between Byrne and the Violent Femmes' Gordon Gano, occasionally slipping into Paul Banks (Interpol) territory when he drops his voice down a register and attempts elegant enunciation, as on "Details of the War."

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