I happened upon Helicopter Helicopter while going to see a concert by the Juliana Theory and Bleach at my regular Nashville hangout, The Exit/In (side note: I always wanted to play the Exit/In, never made it. I did play their sister club across the street, The End. I remember standing on stage, getting ready to sing and thinking, "Jesus, I'm standing where Joey Ramone stood"). Anyhoo, Juliana was great, Bleach was great but Helicopter Helicopter were captivating, I remember Ghost Face knocking my socks off, but song after song I was floored by the hooks, the vocals/harmonies, arrangements and play - I fell head over heels for the band that night, even got all geeky and had them sign the CD I bought that night (By Starlight), they were nice about it, Julie was the one who sold it to me and patiently listened to me gush about how amazing they were.
It can be difficult to find all the music these days, several can be had at Bandcamp, and can be heard at Spotify, but I bought 'em as I found 'em.
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Flycatcher - Ovulation (April 26, 1994)
The American Measles - Shover the Cupcake (1997)
It can be difficult to find all the music these days, several can be had at Bandcamp, and can be heard at Spotify, but I bought 'em as I found 'em.
I do remember one of the Nashville entertainment mags comparing the duo to Frank and Kim from The Pixies, other places have other ways of describing the sound, for me they were catchy, I like catchy tunes... Beatlemania was catchy, and 'Copter's the same, it's the kind of music that got into my ears and I never wanted it to leave.
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Squids and Other Fishes (1998)
Tracks: Gay Porno / Cut Down by Trees / Great Big Meaningless / Lucky / Leakage Disappeared / Cadillac Drugs / Squids and other Fishes / Steel Bull / The Accidental / Please Please Tito
I didn't know this album existed until years and years into being into the band and gave it a listen at Spotify sometime in 2023. It and the follow up display H2 at their edgiest - raucous, yet familiar - while they'll refine their sound over the years, they're fantastic right out of the gate - grungy garage-like, with grinding guitars, and twin vocals that snake around one another - clashing, then uniting (Lucky). Tito sounds like the cacophonous lovechild of the Pixies and the Red Hot Chili Peppers; and here and there, the ghost of Kurt Cobain haunts a track. The debut offers up incendiary titles (track one) and caustic lyrics ("I'm the only one who can stand you"), and runs a lean 28 minutes, no filler, no fat. It sets the stage nicely.
Analog & Electrical Fields (1999)
Tracks: Ghost Face / Scarab in A Hole / Please Take Me to Mars / Firefly Mechanical / Map / Self Sick / The Deep Sea / Ever Since the Buzzards Moaned / Those Bees / Sinking Light / The Drunken Taxi Cabs of Absolute Reality
Ghost Face, what a great song - at the concert I only had cash enough for one CD and was torn between this and By Starlight. Julie suggested going with Starlight, and in hindsight it was the right pick, but I later bought this because I had to have Ghost Face, IMHO it's quintessential H2 - with a simple, howling guitar riff, driving backbeat, killer hooks, killer vocals (Chris's leads are raw and urgent, and Julie takes over at the bridge, giving the tune a cool, brief detour) it also boasts some of their finest lyrical work - haunting, pleading, lost ("I saw the future, it's like a hammer - And now I'm senseless, I have no thoughts"). After this, the collection cools down with the groovy Scarab, minimalistic at the verses with bass and drum anchoring the song, accompanied by a sliding, spacy guitar - before giving away to the full, heavy chorus. Chris is again in fine voice.
Julie takes over with the bass heavy Mars, signaling a stream of steady rockers that go quiet/loud (Firefly, with more of that spacey guitar) - or loud/quiet (Map). Bluesy, beatnik Deep Sea was a nifty shift in sound & style, and I'm especially enamored with the steady, punky Buzzard, with its hooky chorus, that breaks into the hammering, noisy bridge, just love this thing structurally. While I often skip Taxi Cabs (a backward, instrumental replay), all told Analog is another winner from the band.
By Starlight (2001)
Tracks: And Just Once / Moveable / Trembling God / By Starlight / Unfortunate / Passing Car / Slow Dying Flashlight / History of Space Flight / Bottom of the Ocean / The Afterworld
My first CD and my favorite. I used the term "catchy" in the introduction, this is very catchy - Chris' songwriting is top drawer, featuring (among other things) impressionistic tales of space and oceans (which he spoke of in the interview linked to in the intro). I love the vocal handoffs in certain songs, the harmonies are ace, and Julie's numbers are her finest. Starlight's more radio friendly than the previous 2, though that doesn't mean they're neutered, it's just that the melodies, hooks and vocal pairings are especially strong here, more polished. The Beatles fan in me was seriously drawn to this release, and that's present right from the opening track - a rocking earworm with harmonies that thrill. Moveable offers more of the same - I'm sitting here rocking in my seat, digging the vocals, the stinging riff and crunchy rhythm guitar. Julie's Trembling God is incredible, dramatic, soaring, and what a great title. Passing Car has a Broadway Musical feel to it, what with Julie and Chris trading lines back and forth, and the building pre-chorus (there's no true chorus).
As amazing as these tracks are, the final 4 is even better. Flashlight (another great title) has an eerie vibe, slow at the start, before building to this beautiful, melodic pre-chorus (again, no traditional chorus here) then to the gorgeous, blended vocals (though I do need to focus on Chris's side of it, because Julie seems a little hot in the mix?) the lead guitar is also pretty - I just adore this song to death, it might be my very favorite from the Bostonians. Julie's Space Flight is a fun one, both words and music, as is Ocean, which takes us to the ominous closer, Afterworld, which isn't as poppy as the other tracks, leaning into the dreamy, moody and apocalyptic - it's Syth heavy with FX laden backing guitars - a striking number that wraps up the bands most consistent effort... my only complaint, at 28 minutes it's over and done with too quickly, I want more, but have to admit, it's perfection as is.
Wild Dogs with X-Ray Eyes (2003)
Tracks: Helicopter Fight Song / Harsh Light / Talented Socialites / The Devil / 1234 / Like Detroit / The Misfit / Talk the Flyer Down / August / Time Machine / Pine Trees on Fire / Waves Roll into Boston
The first track was awesome, the second even more so.... Harsh Light's thundering drum intro and memorable guitar riff - the irresistible verses, and sing-songy harmonized drive to the title gets the blood pumping. On the other side of the spectrum, you have The Devil, which is beautifully melodic, melancholic and lingering - the instrumentation, the smooth bassline and piano just takes me away... and just when I think the number reached its peak, the soaring bridge shifts it to another emotional high.
The release does this frequently, from strong verse to stirring chorus and bridge, and Chris and Julie's twinning vocals are vital in amplifying the affecting power of these numbers (see Like Detroit).
It also takes a surprising left turn with Chris going solo on the folky acoustic Pine Tree - it's another one I found moving and pretty. Also, I'd like to know the backstory on these lyrics, the words fascinate me, with their tales of firefighters and pilots.
Wild Dogs displays a new level of musical maturity for H2, it's both familiar but distinct, and succeeds on all phases, from production (Matthew Ellard, his second time at bat for the band), to songwriting and performance (I can't say enough about Gellacher and Setaro's contributions, they brought their A-games). Sensational album, significant and affecting -- but unfortunately, this lineup's last, which is a shame because the pieces were all in place; flawless and firing on all cylinders.
Hello Dragon
I don't know the details, but at some point, Chris and Julie moved to L.A. and took on a new identity, er, band name. You can read an interview with Chris that goes into it a bit, here... Buzzbands
The Quantum Explorers (2008)
Tracks: Millions of Terrible Moths / Birds of Prey / Rats of L.A. / Such a Drag / Stephen Hawking / Good Cops and Coke Fiends / Dirt and the Body / Automatic Friends / I Believe You / Garcia Marquez / End of the World
This one actually slipped past my notice, I found, purchased and listened to Information first, discovering Explorers around the same time I did Squids. Once more, my journey with these folks is chronologically screwy.
While Julie is credited on guitars and vocals, she has no solos, this is Chris' baby, he's the only songwriter, and will be the only one pictured on the back cover of the following Album.
Quantum is rather laid-back and tonally somber, though it doesn't start that way, the sprightly acoustics of Moths, the ringing keyboard in response to the guitars strum on Birds of Prey, these are its brightest moments, after this the record begins to drag.
In that Buzzbands interview, Zerby was quoted, "We used to be a straightforward power-pop band – two guitars, bass and drums. Now there’s a more going on, a lot more tomfoolery in the arrangements.” and yeah, you can hear that, the continued growth in the studio, straying from the rawer elements. It's crisp and professional, but I find I respect it more than love it, it doesn't leave as deep an impression on me, take my breath away or reach the emotional highs of their best efforts.
But God forbid I bemoan Chris' desire to try new things and write tunes that reflect his new headspace and their new living space (L.A. finds its way into the words, Echo Park for one).
Information (2010)
Tracks: Siberia / 107 / Ones and Zeroes / Ambulance Driver / All My Friends Live in Buffalo / Engines Blown / Cities Need a Subway / Death of the Americas / We Are Mythology / Skin and Bones / Coasts and Continents
Information continues the bands trajectory towards creative change and challenges (while retaining their musical identity) which interestingly always comes in pairs, from punk-garage (Squids/Analog) to melodic power pop (Starlight/Wild Dogs) to the refined and varied studio sounds of Hello Dragon, evolving but still Zerby and... yes, Chadwick - who gets to sing a solo number this time out; her voice is ever present and utilized well. Plus, she designed the cover and provided the photography.
I liked Quantum, but not passionately, the follow up, however, is more to my taste. Info's injected with a liveliness that was missing on the previous CD. Siberia has that somber thread, but there's heat there as well, with the big beat, the evocative vocals. 107 starts off relaxed and smooth, before becoming irresistibly danceable, Ones and Zeroes is funky 'n' rocking and highlights the vocal gymnastics I always loved from the duo.
While it doesn't host my favorite chorus, Ambulance gives us the acoustics, tuneful verses and lyrics with an autobiographical connection (Chris has worked as an EMT). Subway continues the 'keys responding to guitars' thing we heard in Quantum - it's a lovely ballad, with a moving melody and interesting phrasing ("And I pity the poor American this time, who's a sad anachronism in his prime") and superb, blended vocals (with folk-flavored solos bits). The instrumental spot is sweet too.
Death of America has a biting, indie style, wonderfully structured - Skin and Bones is a return to the sing-songy catchiness we heard in the last 2 Helicopter CDs, with a dash of punk attitude.
The production ranks among their slickest, without becoming cold or plastic, there's a vibrancy here. And as players, the band is in fine form.
The brief return of H2
The Modern World (2015)
Tracks: The Modern World / Get Harmed
And then it went silent - no more Dragon no more H2, where did they go, would they return? 5 years later, a single - 2 songs, nearly 6 minutes - and it was heartwarming to the hear Chris and Julie again, with their brand of up-tempo pop rock. 2 delights, the kind that would have fit snugly on By Starlight - plus, a video - cool beans! And that was it, one sweet sendoff. Their last Facebook post was in Dec 2019, and then.... Wherever they are, whatever they are doing, I hope they are happy and healthy and know that those who loved them, loved them a lot.
Flycatcher and The American Measles?
Tracks: Stuck Pig / Cannibal / Sound / Blister / Poor Lucy / Up from The Ground / Too Many Aspirin / Nothing Is Something / Firetrucked / Cold Water / Lung / I Have an Animal / Stupid Like All the Rest / Sick Again / Feels Like Lisa / Elephants and Tigers / King of the World
Flycatcher - Pee (1995)
Tracks: Bad Wombats / The Wreck / Donor / Pissed On / Winter of Hate / Boy Du Jour / Knuckle Under / Dog Whistle / Pick Up Sticks / A Tasty Chew / Nerve / Washout / Running with Scissors / I Smell Blood / Suck / 27 / A Butterin' We Go
Produced by Blondie keyboardist Jimmy Destri, Flycatcher was Chris' band before H2, they had 2 releases according to Discogs - Ovulation and Pee. I listened to the 2nd first (the other is on order); what greeted my ears was heavy Indie rock, and Nirvana style grunge, Zerby's even doing his best Kurt on vocals. He's joined by drummer Jen Chouinard and a couple of bassists; Dan Sotak-Cooper (ovulation) and Joe Melchionda (Pee). It's a decent release, though it took a few spins to get used to it, as they sound like an imitation of other bands, who frankly do it better - while you can hear hints of H2 popping up in spots, in finding their own style for 'Copter, I think Chris moved closer to Julie's sound, as Flycatcher's Pee is a lot noisier.
Update: Ovulation arrived, of the two it goes down easier on a first listen, Pee's more rewarding with time. It too shares the same the inspirations, parts of Poor Lucy recalled Black Francis and Cobain can be heard on Firetrucked. All tracks were written by Chris, save for Dan's Lisa - There are some cool guitar solos (Sean Keefe is credited as providing the one on Blister), drumming's speedy, fill happy and a little off kilter,when need be, there's some deft bass work and Chris is a scream machine... when he's not crooning to acoustic accompaniment (seriously).
Tracks: Uncle Bernie / Carlo / Chinese Girls / Stoic / God Took My Bike / Rockets / Mirth the Baddie / Gravy / The Z / No It's Not / Chicks on Crack / Little Carlo
A year before Helicopters debut release, Julie Chadwick could be heard on CD as a member of the American Measles, where she is credited as singer, songwriter, guitarist, photographer and -judging by the cartoon she drew with her autograph on my CD- art (which I loved BTW). As for the sound, it's not any punkier than what we heard on Squids, and I think if you dig something like Bikini Kill's Rebel Girl, you'd dig the Measles. There's attitude throughout, and while Chadwick doesn't have the most tuneful voice, she'll throw in these little touches that add tone and feeling to a number, whether that's bratty, incensed or as heard in Chicks, vulnerable - she can also scream out a lyric pretty well when she wants to. Additional grinding guitars are played by Adrian Healey (who also provides the bass, keys and backing vocals), while Mike Gioscia is the man hammering away on the drums. It's a good, uncomplicated, kick in the head type of record - well worth checking out.
Note: They also had a song on the "Twisted Rico: Class of 1998" compilation LP, titled Parade of the Diaper People - lol - sure, I'd like to hear that one.
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