Brothers Chad and Keith Thompson, charming and disarming as they are with on-stage antics and identity blurring paraphernalia have always been dead-eyed serious about their songs, just as they were about their films; they came into both mediums around the same time, as 13-year-olds producing their own toy-box propped videos with camcorders and hand-me-down, closet excavated wardrobes. Ten years later they were graduating university with degrees in media production and finding themselves inside a burgeoning local music scene in Detroit.
So it was natural theyd be hungry to get on a stage, not just to play, to sing, but also, to show. While other players might have been out to rub elbows, swig Pabst and pantomime rock star-ish behavior, these two, somewhat hermitically, honed their post-disco, synth-pop swagger rock through 2004, treating their apartment like a laboratory, shrewdly focused not just on next weekends show, but on shows (albums, videos, happenings) of the next several years.
Simultaneously co-opting the disciplined rigors endured by Chad via his stint through the demanding Drum Corps and Keiths own van-packed hustle and haul through the U.S. and Europe, as bass player for the ever-touring maniacal-rock gang Electric Six, theyve comparably tightened the bolts and wound the gears of their own multimedia project, assuring the delivery of grade-A displays of musical-based ebullience, able to stimulate the eyes and ears while also shaking loose the shoulders and/or the feet.
Their only goal, initially, was to play live. In their living room laboratory, they culled four songs together to fill a twenty minute set, and started working it out on stages across Michigan in 2005. By the end of 2006, they released their first full length, recorded by Chad, the cardio-kicked torrent of space-pop jams and more atmospheric soars: Happiness Is Underrated. By now, a former drumming student of Chads known as RGS had rounded out the band.
But by the end of 2007, Keiths E6 tours had somewhat altered the flow of their in-person tweaks and experiments, but the brothers remained ever-committed and Chads home studio was always ready to help reignite the magic for the next demo.
Time came to expand, evolve in style, in approach and in personnel (former Pas/Cal guitarist Pan!c came in to make Headband a quartet). The Brothers Thompson maintain this project as their own trip of the weird and the wild, aimed by meticulous rehearsal and refinement.
In the summer of 2009, they released an EP titled to reflect their progression, Phase 3 beyond the living room, beyond the smoke-machine-swathed early live sets of new-wave/dance-rock hybrids these three songs, ranging from krautrock-kicked rock, to atmospheric/tribal space-folk, to shoegaze-blazed disco-pop merely aimed to display that this band could and would go anywhere as long as the energy, the feeling, the focus, was all there.
Finding an ideal window of time and an ideal, acoustic-augmenting "living room" inside a cabin in the woods of northern Michigan, they created what would become Who Cooks For You their most fully realized work more layers, more instruments, sonic palettes and wider scopes of sensibility, a poignant and pensive new pop thing, with brass roars and dreamy surf guitars, new mellifluous vocal belts and a dazzling swirl of synth, bass and dance-enducing drums.