The New Pornographers and Lady Lamb at Haw River Ballroom in Saxapahaw, NC on Nov 10, 2019

image for event The New Pornographers and Lady Lamb
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"Cohesive." It's a word New Pornographers founder A.C. Newman still sounds a little bit surprised to say as he describing the band's seventh album, Whiteout Conditions. It's a quality that you wouldn't necessarily intuitively associate with a so-called supergroup that, by its very collective nature, seems bound to have a good deal of stylistic variance built into the formula (or lack of it). Can an outfit built on the appeal of multiple frontmen and frontwomen develop a signature sound after all? Maybe, and maybe better late than never. "On other records," says Newman, "it felt like sometimes it was very clear: oh, this is a fast one with me singing, and then the next would be a slow song with Neko (Case) singing. And I've always liked that in a White Album kind of way - being a band that just does whatever the hell they want from track to track. But when we did Brill Bruisers (the band's previous album, released in 2014), it was the first time where I thought: Let's try to make a cohesive record. Let's try to give it a sound and see how focused we can make it. And on this record, I think we went a lot farther down that road." The focus on Whiteout Conditions (The New Pornographers' first album on their own imprint, Collected Works Records, in partnership with Concord Records) comes down to a couple of notable shifts: increased tempos, for one, and increasingly blended vocals, for another. There are fewer extended solo lead vocal turns by any of the band members and more choral effects or interplay between the men and women in the group. If you're of a certain age, you might start thinking of them as an indie-rock Mamas and the Papas, or... "I'll take that," Newman says, "but the Fifth Dimension is always the one we're going for, way more than the Mamas and the Papas! I hesitate to throw out catchphrases that might be repeated back to me a thousand times, but at the beginning of this record, there was some thinking that we wanted it to be like a Krautrock Fifth Dimension. Of course, our mutated idea of what Krautrock is probably doesn't sound like Krautrock at all. But we were thinking: Let's try and rock in a different way." As pacing goes, the overriding modus operandi here might be described as (with apologies to Russ Myer) "Faster, Pornographers, kill, kill!" Says Newman, "If we did an album that was just nothing but very quiet ballads, I would think, this isn't right. If we were trying to sound like Bon Iver, I'd think, no, this is not what we're supposed to be doing." No danger of any confusion there, this time. You might flash back at this moment to some thoughts Newman shared right after the group finished that last record, Brill Bruisers. At that time, he said, "After finishing this record, I'm thinking to myself, 'The next record should be even faster.'" Three years later, does Newman think he fulfilled that prophecy on the new album? "We did get faster, I think!" he laughs. "With the last song on this album, 'Avalanche Alley,' we thought, 'This has to be the final song,' because it's 180 BPM or something, and if we put it anywhere else on the record, the next song would sound like it was in slow motion."

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