I Pledge Allegiance…

Photo By Sarah Law

Possibly one of the best things about DC is its transient nature. In a nation founded on the heterogeneous philosophy of bringing ”your tired, your poor, your huddled masses” into the arms of Lady Liberty, its capital is the epitome of the melting pot our nation grew up as and into. What band could represent the District — filled with such an assortment of life and culture — better than These United States? Now, there’s a lot of folks “from” DC, but “originally” from somewhere else. Such is the story with TUS, “originally” from Lexington, KY, but now “from” DC. As a someone actually “from” DC, I say that we’re more than happy to call them our own.

Everything Touches Everything is the third album from Jesse Elliot & Co. Earlier releases laid the ground work for the folk and alt-country foundations from which the band thrives. This album comes in as the band’s most accessible effort, by far. They do a fantastic job of honing in on Jesse’s novella-like song writing style, which is is usually bursting at the seams with literary references but doesn’t lose the charm of albums past. This time around, there’s a more cohesive feel to the band though. And it’s a little surprising, seeing how long it’s taken These United States to grow into a five-piece lineup. While Jesse may be the mastermind behind the band, it’s hard to do it all by yourself. That is, unless you’re comfortable with an accordion, a bass drum strapped to your back, bells on your toes and a kazoo around your neck. Most of the previous shows and recordings were done with the help of many, many musicians from all over the country — seemingly an attempt to employ a large portion of the lower 48 states. This task had to have been a  challenging, yet refreshing experience, but could also be called a hindrance for creating an identity. Everything Touches Everything is like the Louisiana Purchase of albums. After this record, you’re looking at a band who was blooming prior to, but now is finally taking shape. Emerging from that shape are fellow band mates, Robby Cosenza, Tom Hnatow, Justin Craig and Colin Kellogg.

If there could only be one true “single” on the record, it’d be a duel between the title track and the lead-off track, “I Want You To Keep Everything.” The former looks like the true attempt at a “single,” as evidenced by a pretty freakin’ awesome video. The latter sets the mood for the entire record and truly does what a lead off track is supposed to do-pull you in so deep that you can’t help but give the rest of the album a listen. Tucked between the two is “Will It Ever,” a pure example of lyricism to which the band has evolved: “I do not need to be saved/ I just want to be taken,” Jesse croons. And the arrangements do such an amazing job of really showcasing Jesse’s vocals. The whole thing emits an Andrew Bird mixed with a pre-major label My Morning Jacket vibe. On “The Secret Door,” we hear a feeling of promise pulled forward with a strong presence of the steel pedal: “I am pushing/ though myself to something else.” While the lot of songs clock in at the two-to-three minute range, “Good Night Wish,” the closing song, goes on closer to eight, yet doesn’t drag a bit and seamlessly rounds out the record.

Everything Touches Everything was one of two directions Jesse had planned for the new record-based off last year’s election. While it’s a bit scary to think of where the other direction may have taken us, this one is full of hope and promise without being over zealous. What these boys managed to construct is a folk-rock record so toe-tap inducing, so filled with energy, that if you were scared of the “folk” part, you won’t be anymore. They’ve creatively maintained the sound that made them one of the most toured bands in recent memory, while continuing to morph and evolve. And they’ve evolved into something for everyone without a loss of that quirk that originally had you telling everyone you knew about Crimes after you first heard it.

These United States create folk rock music that has all the heart and soul of folk, yet still makes one want to sing it loud from the rooftops of your height-restricted building. What else would you expect from a band majorly influenced by Dr. Teeth and the Electric Mayhem? They are conceivably one of the hardest working bands (three full length albums in 18 months!) and show no signs of stopping. This is good news for ears all across this land.