American Werewolf Academy

Sometimes a band's message, sound and philosophy can be strikingly simple. For the Denton-born foursome American Werewolf Academy, simplicity is more or less a standard operating procedure. When one clicks onto the Biography page of the group's website, they quickly learn so much of what they really need to know about the band before seeing them perform live:
"AMA plays jangly, distorted rock anthems."

It's only one sentence, loaded with barely a handful of syllables, yet drives their point home. Until you get a chance to see them live, that is. The group's show is packed with frenzy and singer Aaron Thedford's hamstring-testing, quick-release leg kicks. Even when the band fills a 30-minute opening slot on a Sunday night to a couple of dozen folks, which they did at Three Links this past Sunday, the group will flood the stage with a new pool of sweat after some honestly serious rocking.

Creating punchy, guitar-driven pop for just over a decade now, the Thedford-led group, which also boasts area studs Tony Harper (who also drums in Slobberbone), bassist Jake Barnhart and Jon Binford, the group's newest member, on lap steel and guitar, has been a prolific outfit. In 2011, U.K.-based label Damnably (of Shonen Knife and Come fame) signed them and as a result, the group has seen trans-Atlantic love from new fans and a slew of Yankee-loving bloggers. With seven releases (a combination of full length albums and vinyl singles) to its name, AMA hasn't been a quiet group, even if a higher local profile has eluded them over the years.

The question of why a certain group may or may not cut through to the top of the local buzz is usually an impossible one to answer, but it's certainly fun to try. Thedford certainly has a few thoughts.

"Well for starters there is our name," Thedford admits. "Most people think we're a hardcore band or we sing songs about Frankenstein. Sometimes our ridiculous name has given people the wrong impression. Local press has always been cordial but we've always gotten a bit of the stepchild treatment in Dallas."

That could be a sore point for the band, but Thedford has a different perspective. "This makes the out of town success more special," he continues. "Often people in Dallas see us and are surprised they've never heard of us. I'm not sure what local media outlets are looking for in bands these days, but I try not to think about it too much."

To be certain, local and regional press love hasn't exactly inundated the group, which opened a string of shows for Centro-matic last month upon the release of the band's latest record. But the Euro music lover has always been a curious case for us Statesiders. AMA's two most recent LPs are damn-near perfect records. One's skip button will get a well-deserved respite during the course of 2011's Everything is Alright So Far or last year's Out of Place All The Time.

Sometimes bands hit it big here and strike out over there or vice versa. Judging from reviews of the band's records across the pond, it's safe to say American Werewolf Academy's style has an American signature that doesn't scare away the Brits.

"We've always gone for a distinctively American sound," Thedford admits. "But there is a bit of a British influence. It's funny when people compare us to Cheap Trick or Slade as a bad thing because I love those bands! I'd like to imagine if Huckleberry Finn played guitar it'd sound a bit like us. People in the U.K. respond very well to music with a rootsy American sound."

For now, the group is looking into possibly putting out a new seven-inch single or two, leading towards another proper album. As ever, they'll also be playing rowdy rock with melody-heavy hooks as loud and as often as they can. Attention from home or abroad isn't really the band's goal, though more will come if the leg-kicks and jangly jams keep rolling.

"Right now, we are the best we have ever been," says Thedford. "We play every show like it's our last. I've tried to live by that notion." - Dallas Observer

2012 has been an amazing year for live music and undoubtedly one of the major highlights of the year was the Damnably records double-bill featuring Wussy & American Werewolf Academy. More about the excellent Wussy at another point, but for now we wanted to share our love of the awesomely named American Werewolf Academy.

On the back of their debut UK release, Everything Is All Right So Far, a collection of previously recorded and new material, AWA travelled to the UK on tour. They rock hard and loud, they have a wealth of catchy punk-pop tunes, a steam train of a rhythm section and, in Aaron Thedford, a frontman who’s stage persona is a combination of menace and good natured mischief.

The bands music is full of great guitar hooks and reminds us a little of Superchunk – it’s loud and in your face but the melodies are so good they find their way to the surface.

We had a brief chat with Aaron after the show, he was charming, friendly and happy to chat about the band and their experiences on the road – and we were also lucky enough to conduct a longer interview following his return to Dallas.

Ladies and Gentlemen, American Werewolf Academy;

You’ve just got back from your first tour of the UK – what was the highlight of the tour? Those following you on Twitter & Facebook can see that the Dr Who exhibition seems to have been the ‘non-music’ highlight!

The tour was so much fun. There were a ton of highlights, the biggest was mostly just meeting new people and talking to them. It was really encouraging that people who live so far away are interested in what we do. The Doctor Who museum was neat. Everyone in AWA is a fan of the show and it was cool that Wussy dig the show as well.

How did the fans react to the music? Are the UK audience reactions different from back home?

People from the UK act a lot like people at home. People from the UK seem a bit friendlier and are more likely to talk to us after the shows. Maybe it’s because we’re from out of town, who knows? I felt really spoiled on this tour because everything went so well and people were very receptive to the shows. It surely cannot be that good all the time. We want to visit again soon.

For the uninitiated, please tell us 3 facts we need to know about AWA.

1. We are an energetic rock band with an unabashed love for catchy songs.

2. Our songs are short. If you do not like a particular song, just wait a minute for the next one.

3. We do not strive for perfection. Everything is more interesting when things might go wrong.



Where did the name come from?

I was walking in a parking lot and it popped in my head. This was supposed to be a dirge of a band that I didn’t see lasting very long so I chose a ridiculous name. We’re not a monster band, we don’t sing about monsters although I think they are pretty neat. The original idea for the band was an American band with British Invasion-inspired songs. It was supposed to be rebellious school rock with a dirty Rickenbacker sound- sorta as if The Kinks or The Who grew up in the Texas. Eventually I replaced the Rickenbacker with the Les Paul and here we are nine years later with the same silly name.

What song on Everything Is Alright So Far best sums up what AWA are all about?

Well, ‘Welcome To The Academy’ is our theme song. I’ve always like the idea of theme songs. The Monkees have one and Cheap Trick have ‘Hello There’, so why not us? I like to think of bands as gangs so it’s neat to hear a band with a song that says “Hey, here we are. Nice to meet you”. Rock music has always been an escape for me, and that’s what that song is about. “Be anything you want to be, welcome to the academy”. It pretty much means quit being so serious and have a good time for once. I have to sometimes remind myself this whenever I become an intolerable human being.

How did you choose the tracks for ‘Everything…….’?

We grabbed a bunch we liked and ran them by George Gargan of Damnably. We also had four new songs so we tossed those in there as well. He removed and added a few and we eventually came to a list of thirteen songs. There were supposed to be a few more but I wanted to keep it short. I like short albums. An album around thirty minutes is perfect for our band. I think lots of albums are too damn long. I have a very short attention span.



How did you guys link up with Damnably in the UK?

He just wrote me an email a few years ago and we started talking. I sent him our new album at the time, which was Triceratops. AWA disbanded for about 8 months when I moved to California. When I moved back to Texas and we started playing again George asked if we wanted to release a record and maybe do a tour.

We loved the ‘high-kicks’ demonstrated when playing live – ever accidentally made contact with anyone in the front row?

I have fallen down. I also kicked my old bass player in the head once. I’ve never had any contact with an audience member. It’s just hard for me to stand sti - Some Of It IS True

Remember the first time you heard The Replacement's "Bastards of Young"? For many it reset all expectations of what a rock song could and should sound like. Lyrics like poetry, propped up by dirty guitars and just enough pop to stick in your head for hours, it may not have been a huge hit at the time but has been responsible for influencing an entire generation of garage bands.

The Texas trio American Werewolf Academy has yet to write their "Bastards of Young," but if Everything Is Alright So Far - their full length - is any indication, it's only a matter of time. The new album is a baker's dozen of new tunes and some songs for earlier releases brimming with attitude and steeped in everything from ‘60s garage, punk rock and Cheap Trick/Milk N' Cookies-era power pop, one incredible song after the next. "Rock Show Tonight" (which tips its grease-smudged hat appropriately enough to The ‘Mats "Talent Show") and the bratty album closer "Welcome to the Academy" (quite possibly the best Ramones' song The Ramones never wrote), are both worthy of any critic's "song of the year" list.

Texas grows great musicians like it grows shitty presidential candidates, but American Werewolf Academy manage to stand out in a highly competitive music scene populated by talented musicians. Just waiting for the rest of the world to catch up with this band. - Blurt (USA)

The older people get, the more they usually start to reminisce about the days of yore. The good old days! Before, everything was better, everything then was not so rushed and stressed. Those carefree summer days, playing in the fields, free from earthly burdens, now all gone. That "when we were young .." American-like feel is recalled back by American Werewolf American. There they succeed wonderfully well on 'Everything Is Alright So Far ", but whether the grandparents will listen to this CD is doubtful.

As they say, this trio from Dallas, Texas' play blatant pop. Not shy of a cliche or two, and strewn with homages and references to their hearts delight. Sunnier than 'The Hop' this year there will certainly not be. Although the distorted guitars are pretty heavy, the whole thing sounds lightweight. It could be a song that the Manic Street Preachers have written in a quieter period. ‘Summer Ship’ and ‘The Kid Stays In The Picture’ also come from the same keg tap. In that vessel is, in this case, fresh wine that soothes the senses even more. In "Goodnight, My Pumpkin Pie" the adjective 'cheeky' can be used for the first time, but the melody of the banjo and glockenspiel is so endearing that the chamois is undeniably sweet.

Gradually the werewolves grow a little more hair and teeth. "Wild Birds" is a bit more rock, and "Beneath Your Wings Dragon Scapula Lie" is pure punk. Suddenly the guitar sounds dirty and dingy, the songs seem deliberately included to make it a bit dirty to give an authentic feel. Also, more and more great ideas in the songs surface, that of a standard melody suddenly becomes something very original. In "Man With No Off Switch" includes a Hammond organ, a short bell makes a surprising turn in "Jack Wild" - followed by a chaotic interlude recorder solo. The strange thing is that this all fits together, and that the whole is solid. The psychedelic elements are reminiscent of the quirky compositions of a Roky Erickson (not quite) succumbed to the drug.

Like Erickson’s "The Evil One' who these demons may have copied, "Everything Is Alright So Far" at the end get a little more down into the deeper regions of your subconscious. The songs are less nimble, and spicy guitar work is gradually prevailed. This happens so smoothly that it is barely noticeable, but after closer 'Welcome To The Academy’ follows the sudden realization that the album ends quite differently than it started. The werewolves of this academy graduation is the most cuddly available anywhere, but beware! Under the fluffy appearance can appear vicious claws. Whatever genre these Texans are cutting, the result is equally delicious. Fantastic album. - Kwadratuur (Belgium)

The older people get, the more they usually start to reminisce about the days of yore. The good old days! Before, everything was better, everything then was not so rushed and stressed. Those carefree summer days, playing in the fields, free from earthly burdens, now all gone. That "when we were young .." American-like feel is recalled back by American Werewolf American. There they succeed wonderfully well on 'Everything Is Alright So Far ", but whether the grandparents will listen to this CD is doubtful.

As they say, this trio from Dallas, Texas' play blatant pop. Not shy of a cliche or two, and strewn with homages and references to their hearts delight. Sunnier than 'The Hop' this year there will certainly not be. Although the distorted guitars are pretty heavy, the whole thing sounds lightweight. It could be a song that the Manic Street Preachers have written in a quieter period. ‘Summer Ship’ and ‘The Kid Stays In The Picture’ also come from the same keg tap. In that vessel is, in this case, fresh wine that soothes the senses even more. In "Goodnight, My Pumpkin Pie" the adjective 'cheeky' can be used for the first time, but the melody of the banjo and glockenspiel is so endearing that the chamois is undeniably sweet.

Gradually the werewolves grow a little more hair and teeth. "Wild Birds" is a bit more rock, and "Beneath Your Wings Dragon Scapula Lie" is pure punk. Suddenly the guitar sounds dirty and dingy, the songs seem deliberately included to make it a bit dirty to give an authentic feel. Also, more and more great ideas in the songs surface, that of a standard melody suddenly becomes something very original. In "Man With No Off Switch" includes a Hammond organ, a short bell makes a surprising turn in "Jack Wild" - followed by a chaotic interlude recorder solo. The strange thing is that this all fits together, and that the whole is solid. The psychedelic elements are reminiscent of the quirky compositions of a Roky Erickson (not quite) succumbed to the drug.

Like Erickson’s "The Evil One' who these demons may have copied, "Everything Is Alright So Far" at the end get a little more down into the deeper regions of your subconscious. The songs are less nimble, and spicy guitar work is gradually prevailed. This happens so smoothly that it is barely noticeable, but after closer 'Welcome To The Academy’ follows the sudden realization that the album ends quite differently than it started. The werewolves of this academy graduation is the most cuddly available anywhere, but beware! Under the fluffy appearance can appear vicious claws. Whatever genre these Texans are cutting, the result is equally delicious. Fantastic album. - Kwadratuur (Belgium)

American Werewolf Academy have been soldiering in the field of powerpop for about eight years. Considering the band’s songwriting skills and proven record of rock nuggets, it’s remarkable they aren’t on more fan’s radar screens, but hopefully this oversight will be rectified with the release of the 13-track ‘Everything Is Alright So Far’, which collects both new songs and tunes from a grab bag of previous releases.

The Dallas trio of singer-guitarist Aaron Thedford, drummer Tony Harper and bassist Jake Barnhart have a clear affection for the sounds of the 1960s and 1970s. Combined with Thedford voice, which at times is a ringer for Robert Pollard’s, and you get another band for Guided By Voices fans to obsess over.
Not that the band is a clone of the beloved Dayton outfit: Unlike GBV, AWA’s lyrics make sense a tune like ‘Rock Show Tonight’ (originally on 2004 EP ‘Devil, Spit It Out’) offers a straight-up testimony to rocking and rolling, rather than Pollard’s more impressionistic wordplay.

‘Goodnight, My Pumpkin Pie’, also a refugee from ‘Devil’ takes a ragged Americana turn with banjo plunking and mournful harmonica.
The slow burning ‘Wild Birds’ (off 2009’s ‘Triceratops’, as is ‘Man With No Off Switch’ and Summer Ship’) is a more melancholy number, with some minor key cello, but doesn’t stint on the Harper’s straightahead rhythm or Thedford’s fuzzed out guitar.

‘Beneath Your Scaptula Lie Dragon Wings’ boasts a more fanciful title than most of the Academy’s songs, and rips along in under two minutes in a flurry of guitar buzz and drum rolls. Some falsetto choruses tart up the aforementioned ‘Man With No Off Switch’, while the scuffed-up guitar on ‘Jack Wild’ would suit a Spoon album. The band is more than happy to just rock out, as on ‘My Cloven Hoof’.

Clocking in at a shade over 36 minutes, ‘Everything Is Alright So Far’ is a super introduction to one of the U.S.A.’s best unsung bands. - Penny Black Music (UK)

American Werewolf Academy have been soldiering in the field of powerpop for about eight years. Considering the band’s songwriting skills and proven record of rock nuggets, it’s remarkable they aren’t on more fan’s radar screens, but hopefully this oversight will be rectified with the release of the 13-track ‘Everything Is Alright So Far’, which collects both new songs and tunes from a grab bag of previous releases.

The Dallas trio of singer-guitarist Aaron Thedford, drummer Tony Harper and bassist Jake Barnhart have a clear affection for the sounds of the 1960s and 1970s. Combined with Thedford voice, which at times is a ringer for Robert Pollard’s, and you get another band for Guided By Voices fans to obsess over.
Not that the band is a clone of the beloved Dayton outfit: Unlike GBV, AWA’s lyrics make sense a tune like ‘Rock Show Tonight’ (originally on 2004 EP ‘Devil, Spit It Out’) offers a straight-up testimony to rocking and rolling, rather than Pollard’s more impressionistic wordplay.

‘Goodnight, My Pumpkin Pie’, also a refugee from ‘Devil’ takes a ragged Americana turn with banjo plunking and mournful harmonica.
The slow burning ‘Wild Birds’ (off 2009’s ‘Triceratops’, as is ‘Man With No Off Switch’ and Summer Ship’) is a more melancholy number, with some minor key cello, but doesn’t stint on the Harper’s straightahead rhythm or Thedford’s fuzzed out guitar.

‘Beneath Your Scaptula Lie Dragon Wings’ boasts a more fanciful title than most of the Academy’s songs, and rips along in under two minutes in a flurry of guitar buzz and drum rolls. Some falsetto choruses tart up the aforementioned ‘Man With No Off Switch’, while the scuffed-up guitar on ‘Jack Wild’ would suit a Spoon album. The band is more than happy to just rock out, as on ‘My Cloven Hoof’.

Clocking in at a shade over 36 minutes, ‘Everything Is Alright So Far’ is a super introduction to one of the U.S.A.’s best unsung bands. - Penny Black Music (UK)

Not so young, this power-pop trio from Dallas, from production over the years quite discontinuous, made up of 7 "and self-productions, has found a home in the English label Damnably. One of the few cases where the network of the group is really very little, if not with some little article in the local newspaper (the one the milkman reads in Ohio). Looking for help I wondered, especially after an attack such as the single The Hop, the reason why I have not noticed a group so beautiful and insightful, especially after almost two decades of underground activity.

They also reached the final beach Allmusic: American Werewolf Academy, after entering, the answer is closer to a classic "... and who the fuck am I?" appear in fact just a couple of pictures: one in black and white and one last disc of the band ... So Far. Not even one line of text or other source, and suck my fingers. And it's a shame because in pieces like The Hop or Goodnight For Anything emerges powerfully from the book of memories and echoes of the guitar Guided by Voices, the same writing style, bordering on plagiarism. Nothing new under the sun, but a strong show of shields in defense of a college-garage sound fresh and without dangerous turns- drifting to the independent music has taken in this luster, often emptying the contents to the benefit of aesthetics' vintage eyewear and more showy colored tattoos. Great attitude and great enthusiasm: the songs are well on their own (easy Jack Wild? Try to throw down a nice riff that!), Supported by an excellent guitar, yes, definitely "guitar-oriented." Rock Show Tonight has been chosen as the opening track for a podcast edited by the people behind the label, hence it was resulted in the collaboration that kicked off, then the album. A disc could definitely said, a little gem to keep in memory, even in its best business sense and that if you want to wink wink Replacements without special reverence. - Marcello Ferri - Sodapop (Italy)

Opening with the grimly joyful rock of The Hop, American Werewolf Academy have a bluesy swagger that sits alongside Bruce Springsteen‘s more life-affirming efforts. Whilst Summer Ship feels like Rod Stewart at his most euphoric, jangling alt-indie guitars and hopeful backing vocals as Aaron Thedford’s wispy, croak beams ‘We found ourselves in an empty house when the shit went down!’ and his guitar and Jake Barnhart’s bass duet buoyantly.

The Kid Stays In The Picture (a nod to Hollywood producer Robert Evans) is a classic 70s rock styled tune with an easy-going sway, whilst Thedford’s vocals are soothing and energised in turn, the chorus a big unabashed grin asking ‘Why don’t you run?’ before a big summery guitar-solo propels you towards a exuberant finale. Meanwhile Rock Show Tonight is a lightweight cousin of Black Flag‘s TV Party as if covered by Jeffrey Lewis.

There’s a wide-eyed warmth to the banjo-driven Goodnight, My Pumpkin Pie, a dreamy number close in its theatrical sweetness to Steve Harley and Cockney Rebel, guitars and harmonicas arriving in the mix like a big hug from a good friend. There’s shades of Eels on Wild Birds, the combination of a driving beat and mournful strings especially reminscent of the Beautiful Freak-era, building to a big sing-a-long climax. There’s the snotty punk-rock of Beneath Your Scapula Lie Dragon Wings with its cocktail of scruffy guitar and doe-eyed backing vocals there’s an element of Maladroit-era Weezer.

Man With No Off Switch is a stand-out, with B-movie organ lines and wacky Rocky Horror-esque backing vocals squeaking in falsetto, whilst the verses shift gears with invigorating erraticism. Jack Wild is a daffy up-tempo tune that rattles along with a punchy guitar line and bursts of pleasingly kooky percussion and My Cloven Hoof is a similarly playful number, with Thedford channeling Motorhead in his yelping vocal.

Things do slump a little on the straight-forward Good Night For Anything, a decent if familiar feeling rock song with a rather dreary Status Quo-like chorus. Penultimate track What’s Shakin’, Dr. Wizard? is a ramshackle and raucous little indie-pop song, which despite its hi-speed frenzy does, again, bare strange comparison to Rod Stewart, in a good way though. The record comes to a close with Welcome To The Academy a big, brash, dumb, fun rock-song that feels like a Billy Idol take on Fight For Your Right, sing-a-long ‘Oh yeah!’ backing vocals whilst Thedford hollers ‘Be anything you want be!’ It’s a fittingly fun theme song for the band and a lively, moshable end to this album.

This LP is a collection of songs almost entirely drawn from three previous releases, but the songs sit together excellently and cohesively, creating a perfect anthology and introduction to this entertaining trio. - Owain Paciuszko
- God Is In The TV (UK)

The older people get, the more they usually start to reminisce about the days of yore. The good old days! Before, everything was better, everything then was not so rushed and stressed. Those carefree summer days, playing in the fields, free from earthly burdens, now all gone. That "when we were young .." American-like feel is recalled back by American Werewolf American. There they succeed wonderfully well on 'Everything Is Alright So Far ", but whether the grandparents will listen to this CD is doubtful.

As they say, this trio from Dallas, Texas' play blatant pop. Not shy of a cliche or two, and strewn with homages and references to their hearts delight. Sunnier than 'The Hop' this year there will certainly not be. Although the distorted guitars are pretty heavy, the whole thing sounds lightweight. It could be a song that the Manic Street Preachers have written in a quieter period. ‘Summer Ship’ and ‘The Kid Stays In The Picture’ also come from the same keg tap. In that vessel is, in this case, fresh wine that soothes the senses even more. In "Goodnight, My Pumpkin Pie" the adjective 'cheeky' can be used for the first time, but the melody of the banjo and glockenspiel is so endearing that the chamois is undeniably sweet.

Gradually the werewolves grow a little more hair and teeth. "Wild Birds" is a bit more rock, and "Beneath Your Wings Dragon Scapula Lie" is pure punk. Suddenly the guitar sounds dirty and dingy, the songs seem deliberately included to make it a bit dirty to give an authentic feel. Also, more and more great ideas in the songs surface, that of a standard melody suddenly becomes something very original. In "Man With No Off Switch" includes a Hammond organ, a short bell makes a surprising turn in "Jack Wild" - followed by a chaotic interlude recorder solo. The strange thing is that this all fits together, and that the whole is solid. The psychedelic elements are reminiscent of the quirky compositions of a Roky Erickson (not quite) succumbed to the drug.

Like Erickson’s "The Evil One' who these demons may have copied, "Everything Is Alright So Far" at the end get a little more down into the deeper regions of your subconscious. The songs are less nimble, and spicy guitar work is gradually prevailed. This happens so smoothly that it is barely noticeable, but after closer 'Welcome To The Academy’ follows the sudden realization that the album ends quite differently than it started. The werewolves of this academy graduation is the most cuddly available anywhere, but beware! Under the fluffy appearance can appear vicious claws. Whatever genre these Texans are cutting, the result is equally delicious. Fantastic album. - kwadratuur

There are times when one realizes what an incredible hole Paul Westerberg has left behind when he left behind his alter-ego in The Replacements, and how well-meant his solo efforts since then were.

A few of those moments can be enjoyed listening to Everything Is Alright So Far, the debut of an American band that has been around for about eight years and goes by the illustrious name American Werewolf Academy. From the first notes of opener 'The Hop' to closing 'Welcome to the Academy, relives the days of The Replacements' heyday, ingenious, classic and honest guitar rock, addictive, emotional vocals, a jewel without the pretenses of a large audience merit. A wider audience that they unfortunately more likely to get.

To be noted, drummer Tony Harper once played the drums in Slobberbone, a band that ten, fifteen years ago received a bit of attention in this country, thanks to the unwavering support of one Jan Donkers. Although Harper with American Werewolf Academy taps a slightly different tune, it is hoped that this same benevolent approach is honored. It would be a form of justice: that the music of American Werewolf Academy should at least reach the same level.

Just to stay in The Replacement Analogy: This album can certainly compete with, say, Tim. Which is of course a great compliment. Or there's a Let It Be and Pleased to Meet Me feel? That is hoped. In any case this beginning is certainly promising. - Peter Boerman - Kindamuzik (Holland)

It is perhaps not so much WHAT American Werewolf Academy is doing, as how they do it. On their debut album "Everything Is Alright So Far" They scramble indie, college, garage and punk rock subgenres all performed equally well. But it is above all how they handle their music that makes them so bewildering good! They sound like they went straight from the rehearsal room in the basement into the studio and put down this whole album on the first take. It is totally unassuming, bursting with enthusiasm and a whole truck load of punk attitude. Maybe "Everything Is Alright So Far ' will become a broken hypad creation that in a few years, American Werewolf Academy get muddled up and look for their lost identity, like a 2010's The Strokes. But I really wish them a better fate than that. - Klas Håkanson - IKON (Sweden)

It is perhaps not so much WHAT American Werewolf Academy is doing, as how they do it. On their debut album "Everything Is Alright So Far" They scramble indie, college, garage and punk rock subgenres all performed equally well. But it is above all how they handle their music that makes them so bewildering good! They sound like they went straight from the rehearsal room in the basement into the studio and put down this whole album on the first take. It is totally unassuming, bursting with enthusiasm and a whole truck load of punk attitude. Maybe "Everything Is Alright So Far ' will become a broken hypad creation that in a few years, American Werewolf Academy get muddled up and look for their lost identity, like a 2010's The Strokes. But I really wish them a better fate than that. - Klas Håkanson - IKON (Sweden)

For bands that last long enough to make three albums, the third is often a major turning point. American Werewolf Academy is no exception. For starters, there are the personnel changes; singer Aaron Thedford and drummer Tony Harper remain, but Jake Barnhart has replaced Noah Prikryl on bass, and former full-time Werewolf cadet Mike Gargiulo appears on only one song.

The band's first two records, Devil, Spit It Out and Tell Them Right Now! were notable for simple, incredibly catchy songs that generally clocked in under two minutes. Triceratops gives songs more time to develop. Even more surprisingly, they're not all relentlessly cheery powerpop. Thedford sings sad tales of wasted potential in the subdued "Wild Birds," which features mournful cello from guest Kris Youmans, until the uplifting chorus.

But there are plenty of powerpop gems too. The upbeat "Summer Ship," featuring the band's old lineup, toasts the Metrognome (a defunct Cowtown art and music space) over a Byrds-esque guitar lead. "Man With No Off Switch" packs crunchy guitar chords, falsetto backup vocals, organ riffs and a couple of tempo changes into one great song. - Jesse Hughey

- Dallas Observer

Bet you can't resist howling along with American Werewolf Academy's new CD
Friday, February 10, 2006
By HUNTER HAUK

American Werewolf Academy's new CD, Tell Them Right Now!, has a punk heartbeat, a classic-rock soul and a brain that's, well, hard to predict.

One track is slow and brooding ("From Zeros to Elsewhere"), a couple are anthemic singalongs ("Bearfield Fight Song," "Live Like Kings Forever") and others are purely unclassifiable ("The Good Time Kids," "Jack Wild").

You get the idea: The four-piece Dallas band leaps styles like it just doesn't care. And that helps explain the addictive nature of its debut full-length album. The tunes differ, but the mission stays the same, fun for the sake of fun.

Frontman Aaron Thedford and bassist Carl Schembri started AWA in 2003 after their former band, Robot Monster Weekend, went bust. Following a 2004 EP, Devil, Spit It Out, Mr. Schembri departed, leaving Mr. Thedford with the band's current lineup, rounded out by new bassist Noah Prikryl, drummer Tony Harper and guitarist and keyboardist Mike Gargiulo. Mr. Thedford, a raspy-voiced singer with a penchant for intentional off-key moments, says the new album incorporates catchier hooks than its preceding EP. Recorded on a 16-track tape machine by Matt Barnhart at Denton's Echo Lab, the self-released Tell Them works as perfect driving music, so infectious that your passengers join in almost immediately. You can hear some of the band's music at www.americanwerewolfacademy.com.

AWA fits nicely into the budding North Texas smart-pop scene, currently led by the Happy Bullets, the Tah-Dahs and Fishboy. We can only imagine what AWA could do in a live setting, but we may have to sit tight until March, as Mr. Thedford admits to being a bit slack on rehearsing. In order to get him thinking about the new music (and maybe light a fire under him to find a stage, any stage), we asked him some questions. Here's what he gave us:


Q: To go straight to my favorite song on the album, I have my own ideas about who "The Good Time Kids" are, but I want to hear the writer's take. What's the song about?
A: It's about older siblings and the privileges of age: staying out late, drinking, going to concerts, getting into trouble. I had an older brother and sister, and I was always intrigued with the teenage lifestyle. I wanted to go do those things at age 10, but obviously I was too young. The Good Time Kids are the kids who smoked and wore concert shirts. They're actually the bad kids, but they have most of the fun. At least I thought they did.



Q: Your vocal stylings come off as organic, as if you just let things happen and don't worry about messing up. Does it come that easily?
A: If the vocals are enthusiastic and match the energy of the song, that's all that really matters. I like hearing the nuances and cracks in a singer's voice as long as it doesn't get too obnoxious. Vocals come pretty easily, but sometimes the raspiness can get out of control and I sound like a hick walrus stuck in a bear trap. That's when a couple more takes might be in order.



Q: We've never seen an, ahem, AWA live show. What's that like?
A: We always want the shows to be energetic and fun. Entertaining the audience is our main priority. We usually do a decent job, but we've had our share of train wrecks. As long as we're having fun playing, it usually translates to the audience, as well. We like to jump around a bit.



Q: What kinds of music did you listen to growing up?
A: When I was 8, my brother turned me on to the Cars and Devo. ... I heard R.E.M. when I was 14, and they were the first band that actually made me want to play music. I didn't get a guitar or learn to play until I was 20. By then I really dug Creedence Clearwater Revival, the Monkees and lots of one-hit-wonder, jangly '60s rock. As far as writing and making music, Guided by Voices was my epiphany.



Q: You have a song called "Last American Prom Band." Have you guys ever played a prom?
A: No, but we'd love to play a prom. As long as a telekinetic high school girl does not set the place on fire.
- Dallas Morning News

Judging from the bizarre album cover and song titles, you can tell that this band isn't one to take things too seriously, and is more concerned with just having a good time. That may be true, but the songs are definitely a lot better than I expected! On the outside, this Dallas band looks like they'd be a bit similar to their northern neighbors, Fishboy, but the music sounds closer to the high energy power pop of Guided By Voices, Spoon and even Cheap Trick (with a voice that occasionally reminds me of a young Rod Stewart, although the thought makes me shudder). These ten songs clock in at just over 20 minutes, and many of them are as catchy as they are short, with highlights including "The Good Time Kids", "Waking Pill" and the farfisa-led "Return Of Electric Man"; the only song I wasn't into was the slower "Last American Prom Band". This album is a lot of fun, and a great treat! MTQ=9/10

- Indiepages.com

Dallas Morning News Quick
by Geoff Johnston

You'd be hard-pressed to find more viscerally efficient rock songs than those assembled by American Werewolf Academy.

A typical AWA song behaves like the ill-mannered mutant stepchild of a drunken bar band sing-along and a soaring arena rock anthem. It's 1960s Texas psych-rock, '70s guitar crunch and '80s college-radio jangle compacted into commercial break-sized nuggets.

While singer-guitarist Aaron Thedford serves as head Werewolf in charge, it's the sum of its parts that make AWA such a fun and ferocious group. The rhythm section boasts fine local-music pedigrees. Drummer Tony Harper (the Drams, Slobberbone) and bassist Jake Barnhart (Little Grizzly, Raised by Tigers) provide ample architecture for Thedford's lumbering rock 'n' roll beast.

Currently at work recording the follow-up to 2005's Tell Them Right Now!, Thedford brought us up to date on the state of the Academy in an e-mail interview.


Q: How's the new album coming?

A: Stuff keeps happening that prevents us from getting into the Echo Lab. Right now the tape machine is broken. Other times somebody has been sick, or some butthole band with a lot of money has booked studio time for an entire baseball season and won't let us in. Otherwise, it should be a good record.



Q: Can we look forward to more fist-pumping, blink-and-you-miss-it rock attacks, or are you taking a Use Your Illusion: Parts I & II type of departure?

A: Some songs have actually broken the three-minute barrier this time around. Of course, there will be a few anthemic pop songs – those are the best kind of songs. Some of it is jangly and moody, but there will always be rock songs on an AWA record.



Q: Any local yokels going to make guest appearances?

A: Yeah, Jess Barr [the Drams, Slobberbone] is gonna do some guitar. [Producer] Matt Barnhart will do something, I'm sure. Kris Youmans [the Paper Chase, the Happy Bullets] played cello and Howard Draper [Tre Orsi, Little Grizzly] is all over the thing with pianos, organs, lap steel and whatever else he felt like doing. Have I dropped enough names yet?



Q: I'll drop one more: Kim Kardashian. Not that she's on the record or anything, but now the online version of this article might pop up when people Google "Kim Kardashian." Anyway, is there a working title yet?

A: No. We haven't even talked about it yet because Tony and I will probably argue about it.



Q: With everyone in the band having day jobs or other gigs, how does the writing and rehearsal process go down?

A: Usually I come up with something brilliant and then they mangle it.



Q: Sounds very democratic.

A: I write all the words and most of the structure, but Tony likes to take things apart and rearrange them. Jake has been playing with us for a few months now, and he throws his opinion out there quite a bit, too. That's fine. I've been in bands where the singer had to have things his way, even though his ideas were horrible. True democracy usually doesn't work in a band unless it's a nine-piece funk band or a jam band, in which case the band will suck anyway.



Q: One of my favorite parts of your live set is your unpredictable high kick. Have your reckless on-stage gymnastics ever led to injury or accident?

A: I kicked our first bass player in the head once. I've fallen down a few times, but not too much. The worst was a time my foot got caught in my cord and my pedals came unplugged. I was standing there with no sound and had to sing the rest of the song while the band glared at me.



Q: Like many bands, your Web site includes a list of past shows that detail where a gig was, when it happened and who you played with. Your entry for January 13, 2007, simply says, "We should put this night behind us and forget it ever happened." Please explain.

A: That was the night of an ice storm. We were a four-piece at the time, and the guitarist and bass player said they were not coming out because of the roads. Well, the place was packed, and Tony and I decided to do the show as a duo. We also drank a bunch of shots, so things did not go very well. I can't blame those guys for our drinking that night, but I'll do it anyway. They are not in the band anymore. - Quick DFW

American Werewolf Academy -- Devil, Spit It Out (self released): Aaron Thedford of Robot Monster Weekend continues that band's mission of good timey, silly rock and roll. On this record, the Academy blends a bit of Young Fresh Fellows, some Replacements, some Smugglers and an all-encompassing inability to take anything serious but the rocking to make for a nifty seven songs that never overstay their welcome. The best example of this is the bashing and smashing "Library Jamboree". I can picture Tony Harper pounding away on his drum kit, sweat flying off his brow, while Thedford lets the lyrics escape from his sore throat, head bopping back and forth and slashing out neo-Who power chords, while Carl Schembri, as so many bass players must do, remains calm and keeps things together. The Academy doggedly pursues fun and excess, as shown by titles like "Here Comes the Drunks", and inspiring lines like "you load up the station wagon/I'll bring the alcohol" on "Rock Show Tonight". Even when they quiet down, these guys can't help their smartass nature. On "Goodnight, My Pumpkin Pie", a lullaby goes awry, as Thedford goes from gushy sentiments to warning of monsters, mummies and crocodiles. These guys are warped, and I hope they stay that way. -Mike Bennett

- Fufkin.com

Judging from the bizarre album cover and song titles, you can tell that this band isn't one to take things too seriously, and is more concerned with just having a good time. That may be true, but the songs are definitely a lot better than I expected! On the outside, this Dallas band looks like they'd be a bit similar to their northern neighbors, Fishboy, but the music sounds closer to the high energy power pop of Guided By Voices, Spoon and even Cheap Trick (with a voice that occasionally reminds me of a young Rod Stewart, although the thought makes me shudder). These ten songs clock in at just over 20 minutes, and many of them are as catchy as they are short, with highlights including "The Good Time Kids", "Waking Pill" and the farfisa-led "Return Of Electric Man"; the only song I wasn't into was the slower "Last American Prom Band". This album is a lot of fun, and a great treat! MTQ=9/10

- Indiepages.com

“Triceratops” is the aptly named third release from A.W.A., a.k.a. American Werewolf Academy. I like them already.

AWA sure comes out of the speakers like a screeching surprise. Unpolished and raw, this Dallas trio is pulling rock up by the roots. They play the kind of rock and roll that puts hair on your chest. It will make you howl with delight. OK, enough with the werewolf references.

The core of the songwriting here is classic power pop, but you might not spot it at first because it tends to get covered in the fuzzy and sometimes overly distorted guitars. But the hooks are there. The raw energy of the leading tracks, “Jack Frost” and “Company of Owls”, showcase their love for punk, but their mastery of pop rock rears its head on “Good Night for Anything” (my favorite track) and “Summer Ship”. “Man with No Off Switch” is also a quirky cool rocker with a strong chorus. “Tell Them Right Now” ends the record with a final blast of sing-a-long fun complete with hand claps. The songs are short, with all 11 tracks finished in just under 30 minutes. I wish the drums were recorded better – the drummer, Tony Harper, is excellent, but the drums sound muddied.



The vocals have the perfect rasp for this style of rock – often sounding a lot like old school Rod Stewart. The band combines elements of The White Stripes, The Singles, and Jet to give us a unique blend of indie rock and commercial viability.

Some of the favorite bands of these boys include Favorite bands of AWA include Roky Erickson, Cheap Trick, The Kinks, and The New Pornographers. If you like any of these groups, you are sure to find something that will please you when listening to AWA. - Bill - Bill's Music Forum

Listening to American Werewolf Academy is like watching your favorite dumb comedy for the 15th time--fun in a nostalgic way, even when you know what's going to happen next. But clocking in at just over 20 minutes, Tell Them Right Now! is a lot quicker of a pick-me-up than that old Tommy Boy DVD. Shorter than most bands' EPs (and just three minutes longer than 2004's Devil, Spit It Out), the Academy's first so-called LP packs 10 songs that aim to reclaim everything that's fun about rock 'n' roll: three-chord simplicity, pounding drums, distorted guitars and teen rebellion.



"From Zeros to Elsewhere" opens with a slow waltz that belies the fast tempo more typical of the group but nonetheless showcases retro touches--a chiming triangle and a cheap-sounding keyboard's approximation of an organ--that keep the Academy from sounding like just another power-pop/punk band. Their rep is reaffirmed quickly; "Bearfield Fight Song" sounds like Will Johnson singing with Guided By Voices, and "The Good Time Kids" gushes about how the kids your parents hated always had the most fun, bringing in a cowbell and hand claps to drive the point home. Former Robot Monster Weekend singer/guitarist Aaron Thedford comes up with hooks that'll have you singing even the most nonsensical lines to yourself for hours afterward. The chorus of closer "Live Like Kings Forever" sums up AWA so neatly it practically begs for an impressed reviewer to quote it: "Trying to open doors with the same three chords/It's a beautiful thing." - Jesse Hughey - Dallas Observer

“Triceratops” is the aptly named third release from A.W.A., a.k.a. American Werewolf Academy. I like them already.

AWA sure comes out of the speakers like a screeching surprise. Unpolished and raw, this Dallas trio is pulling rock up by the roots. They play the kind of rock and roll that puts hair on your chest. It will make you howl with delight. OK, enough with the werewolf references.

The core of the songwriting here is classic power pop, but you might not spot it at first because it tends to get covered in the fuzzy and sometimes overly distorted guitars. But the hooks are there. The raw energy of the leading tracks, “Jack Frost” and “Company of Owls”, showcase their love for punk, but their mastery of pop rock rears its head on “Good Night for Anything” (my favorite track) and “Summer Ship”. “Man with No Off Switch” is also a quirky cool rocker with a strong chorus. “Tell Them Right Now” ends the record with a final blast of sing-a-long fun complete with hand claps. The songs are short, with all 11 tracks finished in just under 30 minutes. I wish the drums were recorded better – the drummer, Tony Harper, is excellent, but the drums sound muddied.



The vocals have the perfect rasp for this style of rock – often sounding a lot like old school Rod Stewart. The band combines elements of The White Stripes, The Singles, and Jet to give us a unique blend of indie rock and commercial viability.

Some of the favorite bands of these boys include Favorite bands of AWA include Roky Erickson, Cheap Trick, The Kinks, and The New Pornographers. If you like any of these groups, you are sure to find something that will please you when listening to AWA. - Bill - Bill's Music Forum