You Won’t is the musical duo of Josh Arnoudse and Raky Sastri, who first met in 1999 as unlikely fencing partners in a high school production of the Broadway flop “My Favorite Year.” Some 17 years later, they are still collaborating closely but no longer assaulting each other with pointy metal rods. Since the release of their full-length debut “Skeptic Goodbye” in 2012, You Won’t has toured across North America, garnering praise from the likes of SPIN, NPR, KEXP, and The New York Times for their raggedly infectious and charmingly idiosyncratic sound. Their dynamic and enthusiastically unorthodox live performances have earned them supports slots with The Lumineers, The Joy Formidable, Josh Ritter, Lucius, and Deer Tick, and an appearance on NBC’s Last Call with Carson Daly. Their mixed feelings about social media have earned them scorn and derision. “Revolutionaries”, the band’s second LP, is at its heart a reflection on the crumbling of youthful idealism in the face of the compromises and moral ambiguities of adulthood. The title pays tribute both to the duo’s childhood home of Lexington, Massachusetts (site of the first battle of the American Revolution) and to the enduring, quixotic sense of shared purpose that has fueled their creative partnership for more than a decade and a half. Prior to forming You Won’t in early 2011, Arnoudse and Sastri had already been making theater, films, and music together for nearly a dozen years, enduring countless false starts, disappointments, and disillusionments along the way but never wavering in their support for each other and their collaborative vision. Their platonic marriage as a two-man rock’n’roll band proved the biggest challenge yet to this sacred artistic mission, and not coincidentally “Revolutionaries” is rife with references to shaken beliefs, shifting loyalties, and wounded pride. Self-produced by the band at home over a period of two and a half years, “Revolutionaries” is the product of a long, often Sisyphean recording process and approximately 10,000 hours spent banging foreheads against walls. The album’s raw, driving, cacophonous aesthetic is more expansive and sonically adventurous than that of its predecessor, the natural outgrowth of the four-legged noise circus You Won’t has been bringing to dive bars and rock clubs across the US for the past few years. At its musical core is the merging of Arnoudse’s evocative lyrics, lilting melodies and punk-infused guitar with Sastri’s nimble, jazz-inflected percussion and seemingly endless supply of obscure instrumentation (whirly tubes, electronic bagpipes, and singing saw are all employed here). Over 15 intertwining tracks, “Revolutionaries” tells a story of wrong turns, curveballs, and injured buttocks, interspersed with the occasional moment of unexpected clarity. Taken as a whole, the album is a thoughtful and frequently witty meditation on what we choose to believe, who we choose to believe in, and how these choices shape our lives. Most importantly, it represents the latest and most public salvo in a revolution that the members of You Won’t have privately been leading, in some form or another, for the past 17 years.
The Suitcase Junket
Matt Lorenz (Rusty Belle) discovered throat-singing in a south-Indian cooking class with Jay Pillay at Hampshire College that had a retro-flexed R in it. (tip of the tongue goes to the roof of the mouth as you say R) Later, while singing and improvising in the car, this new mouth shape happened and I heard an overtone. Just one pure little note up there above the rest. So for the next 5 years I practiced in the car, slowly expanding my range one note at a time and stubbornly pursuing this odd melodic phenomenon in private. Finally, when I heard the buzzing drone of the old guitar, I saw that it was time to add this strange thing that I'd been practicing to the mix. There are many cultures that have developed over-tone singing throughout the ages and part of me feels some old kind of pride, like I got into a club of kinship that I didn't know existed. However, I have avoided listening to other people's throat-singing with hopes to maintain and develop my own style without outside influence. I also recognized the perils of cultural appropriation and argued to myself that if I'd never heard it then I couldn't have copied it. For now I continue my pursuit of this art in the dark with self-imposed ignorance. At some point in the future, when I feel confident in my style, I will open my ears and learn. Recently I have added some more foot-drums and amplifiers to make the sound bigger but the purity of the project remains; one guy making a racket.
His latest album "Knock It Down" was recorded and mixed at Signature Sounds with the brilliant ears of David Goodrich and Mark Thayer. The album is full, grimy, raw and honest.