Discography
Deadbeat Sweetheartbeat (2005)
Live 10.13.2001 (2003)
Love (2003)
Music From Another Room Ep (2001)
Emotion is Dead (2000)
Dawson High/Juliana Theory Split Cd (2000)
Understand This is a Dream (1999)

Album Reviews

The Juliana Theory seem to be music for the tumultuousness of one’s teenage years. But if you were to look back on those times and find them to be bloated and made out to be overly dramatic in your head, so too would you find The Juliana Theory.

There was a huge difference between the first time I saw them on tour for Emotion is Dead and the second time, a bit before their album Love. The first show was characterized by posturing and cutesy emo leanings, but was a well put together performance from A to Z. They had aggression where it was needed, made the vocal harmonies happen, as well as employed very effective drum sequencing. It was compelling. The second time, they had not only abandoned the “extra mile” of their performance, but didn’t even put in the required mileage. Vocalist Brett Deter was suddenly flipping his (now much longer) hair around like a metal singer and screaming like hell over basic, boring noise. This negative progression also became evident on their subsequent albums. Now, it’s difficult to call this band much more than juvenile.

Deadbeat Sweetheartbeat is filled with angst and anger of the past. They claim it is “one long series of goodbyes after another”… and they weren’t lying, because pretty much EVERY SONG fits this description. Deter says “most of them are good riddance types of goodbyes. ‘See ya: don’t let the door hit you in the ass on the way out.’” This is all too painfully apparent while listening, as even most of the song titles are filled with this sentiment, in case the lyrics don’t spell it out enough.

In “This Valentine Aint No Saint,” we are hammered with outbursts like “and Lisa got away with your money, and all you got was my heart. I’ll never tell you that I’m sorry, cuz it’s your fault, your fault, your fault. But now that you’re gone everything is all right. In fact I’m better off this way. And now that you’re dead to me it’s all right. I’ll never throw my heart away.”

“BANG BANG, SHOOT SHOOT!” is inexplicably exclaimed in “Shotgun Serenade.” But then I realized, since it’s called “Shotgun Serenade,” obviously we must need some “serenading” of gun sounds! Or so is the thinking of Deter.

A lot of the execution in the vocal delivery is “rock ‘n’ roll,” but far too forced. It takes itself too seriously. The sound of Deter’s voice at quite a few points reminded me of Chris Robinson of The Black Crowes, but with none of the “I just smoked a J and I feel fine” light heartedness.

There are, however, some notable things in certain songs. The guitars at the end of “My Heart is a Soldier” are a nice melodic touch with the right subtle delay. Guitars in the intro and versus of “10,000 Questions” are downright cool, and the song itself is among the better ones on the record. “Leave Like a Ghost (Drive Away)” is a good sugary pop song. The clichés and elementary lyrics work in this song with the pop vocal structures and no pseudo anger. Guitars, again, are good, and a bit angular in the verses, which gives the poppiness of the choruses some balance. “I Love you to Death (Drive Safe)” is in the same boat, but is softer and has more atmospherics. There’s also a pretty good guitar run in the choruses of “Shotgun Serenade,” but it’s buried under those... lyrics.

Musically, the album is pretty forgettable rock for the most part. But the major flaw of the album is that it’s fueled by so many juvenile and frivolous “questions” and “problems” that anyone who lives outside their own world may find it really really hard to listen to. Instead of asking questions about or being outraged by any real problems like, say, predatory corporatism, or the widening gap between rich and poor and the resulting consequences, they are consumed with seemingly trying to convince themselves and those that they’ve lost, that they don’t need what they’ve lost. This band once wrote a line “here’s a thought, if you’re willing to listen.” It’s too bad that they’re not writing things exploring the reasons why these difficult times occurred for them, and maybe offering something with regard to those reasons. Instead we have a succession of complaints, attacks, and attempted guilt trips. I guess they’re out of thoughts, which is too bad: because I, for one, am willing to listen to some decent ones.

~Ken Marcou

If you want something done right, do it yourself. These words could not ring more true for The Juliana Theory, whose stunning fourth album, Deadbeat Sweetheartbeat [Paper Fist/Abacus], represents just how rewarding the DIY ethic can be. For The Juliana Theory, this newfound independence produced their most raw and live-sounding album to date. Consider it a kiss-off goodbye – literally and metaphorically – to the past, with a serious rock ‘n’ roll attitude in all its driving, infectious glory. “It’s basically a goodbye album, a farewell record,” says singer Brett Detar. “It’s one long series of goodbyes after another, except they aren’t sappy, sad goodbyes. Most of them are good riddance type of goodbyes. ‘See you later, I’m glad you’re gone.’” Lyrically the songs convey almost elated farewells to lovers, towns, and bad relationships.

Comprising of Detar, bassist Chad Alan, guitarists Josh Fiedler and Josh Kosker, and drummer Josh “Chip” Walters, The Juliana Theory have bid adieu not only in a breakup/relationship sense, but also to their old way of recording, where overdubs and studio experimentation once ruled. “We really set out from the beginning of the writing process to make an album that’s a lot closer to our live show. We didn’t want many overdubs or piles of vocal harmonies that we couldn’t pull off live. We just basically set out to make an album that showcased what our band actually is,” says Detar. The band recorded at least 70-percent of the album live, all together in one room, which resulted in organic, urgent, and incredibly addictive rock ‘n’ roll.

DIY being the name of the game, Detar recorded all of the vocals himself, aside from the vocals he tracked live with the band. Though the process was indeed tedious, it adds to the live and honest feel of the album, where the sound is natural and unimpeded. “”When it came time to do the record I just realized that I was more relaxed and singing better on my own, so I did the whole record-worth of vocals by myself,” Detar contends. He co-produced Deadbeat Sweetheartbeat with John Travis [Social Distortion, Kid Rock], and the album was mixed by Joe Barresi [Queens Of The Stone Age, Rancid].

From its inception, Deadbeat Sweetheartbeat is the TJT album: it’s sound is a culmination of the best of the group’s past, updated by taking a new path. The future, they know, rests on their shoulders, and they are truly taking things into their own hands with this effort. It will be the first album they release on their newly formed label, Paper Fist. With their first two albums released on Tooth & Nail, and their last album, Love, released on Epic, the band was ready to branch out on their own. “We’ve been doing this for eight years now, and I think we found ourselves comfortable enough to do it ourselves . . . We found a way to be really happy and this way we’re able to do it on our own . . . it’s exciting,” says Alan of the move.

With a fresh, new approach to the process, Deadbeat Sweetheartbeat at the same time represents somewhat of a return to form, but with an added edge. “It sounds like Emotion Is Dead [TJT’s second album] on crystal meth,” explains Alan. It’s also quite personal and exhibits darker themes than past efforts. It could be said that Deadbeat Sweetheartbeat is TJT’s anti-Love album. “In a sense you can almost look at it that way. It’s some of the darkest stuff I’ve ever written, but with substantially more attitude and less grief,” Detar says. “Both Chad and I have had seriously tumultuous relationships since writing our last album. The past few years have been complete rollercoaster rides as far as our love lives were concerned. That has definitely helped fuel the lyrics and vibe as well as some serious business breakups and things of that nature.” Writing the lyrics on this album was “absolutely cathartic,” for Detar. “That’s the number one way I deal with things that are inside.”

The anthemic and explosive “This Is A Lovesong…For The Loveless,” launches the album excitingly with a mammoth galloping guitar that that builds to a cathartic chorus. It is one of the album’s four thematic cornerstones - showcasing Deadbeat Sweetheartbeat’s direction. Another example, “This Valentine Ain’t No Saint,” is fueled with the realization that life is much better after shedding a destructive relationship; complete with pealing, cathartic guest vocals from Dan Weyandt of Zao.

“Shotgun Serenade” continues the “See ya’ – don’t let the door hit you in the ass on your way out”-style. It was co-written by Alan and Detar. “I had intended it to be a murder ballad ala Nick Cave And The Bad Seeds or Johnny Cash ‘straight up shoot your woman down’-sort of lost love thing,' says Alan. What begins as an acoustic affair culminates in big, ringing guitars that sweep the sing-along chorus upwards. With the smart, biting lyrics of, “You’re just a waste of a song/You’re a simple regret/I thought I knew who you were/but watch how fast I forget/You wore your prettiest dress/but there’s a mess in your head/They say old habits die hard/I say they’re better off dead,” it’s evident that this kiss-off drives the point home.

The final and most revealing track indicative of the album’s vision is “French Kiss Off.” There’s an immediacy to the song that pervades the rest of the record. “I really wanted to turn this one up on the tempo and intensity meters. It was one of the fastest and most explosive songs we’d written early on in the demoing process and it went on to really help shape the rest of the album,” contends Detar. Though it was one of the first songs written for the album, it is the ultimate bon voyage and a very fitting closer.

Although Deadbeat Sweetheartbeat is replete with “Forget You, I’m Over It”-sentiments, there are also moments where the sentiment lets up - like the peppy and intoxicating “Leave Like A Ghost [Drive Away].” A song that appears to be about life in a small town, it beckons the listener to “drive away.” The freeing, catchy vibe, with its indelible melodies and hip-shaking grooves, could serve as the perfect road trip soundtrack. In another different direction, the lullaby with a twist, “I Love You To Death [Drive Safe],” which Detar describes as “A lullaby for the end of the world,” captivates with spacey atmospherics and sprawling sound.

Deadbeat Sweetheartbeat is more than just an upbeat album filled with smart lyrics and stellar songwriting. Like in the past, TJT is ever evolving. And in doing it their way, they have reaped impressive results. It’s ballsy, charismatic rock ‘n’ roll – The Juliana Theory wouldn’t have it any other way.

~Kathleen