Posted: 03/28/07

Do Make Say Think
Higher Ground March 25

Patrick Smith | contributing writer
psmith4@smcvt.edu

Before Do Make Say Think even took the stage in Higher Grounds Showcase Lounge, it was looking to be a cramped setting. With two full drum sets nudging each other in the back, and four microphone stands sandwiched between a synthesizer and a keyboard, it was easy to wonder if the band members would fit on the stage. When six walked on and took up their instruments, it seemed they would, but barely. Then the two more walked on with a saxophone and a trumpet, and things got more interesting.

Do Make Say Think perform at Higher Ground. (Pat Smith, photo)

Though one member, one with a mustache any firefighter would recognize, did spend the first half of the show in the middle, Do Make Say Think is a band without anything recognizable as a front man. With eight people in a band, the easy route would be for someone to be the true leader and everyone else fade to the back.

Instead, DMST opts for a fully collaborative effort, with almost completely unspecified roles. The two drummers were the only members who played the same instrument the whole show. Every one else took up different instruments, and different spots on stage, depending on some system known only to the band. Though they only have vocals on very few songs, when they do sing, at least two are singing at once, usually three.

Apparently, the members of DMST learned their kindergarten lessons better than most —they share and they are patient. Throughout the night, everyone seemed to get their turn in the spotlight. The drummers hammered away while the rest took a back seat, the violinist took command when it was her turn. Occasionally the focus would be on the bass, as the guitars stepped back, at other points it was the reverse. It was only during the loudest most energetic points that everyone had something to do; most of the time, at least one member would be patiently keeping time, waiting for their entry.

This focus on the whole instead of individuals is a major factor in making the show what most post-rock bands seem to want to be — the orchestra of the indie scene. Having eight members, and working with an eclectic variety of instruments, it takes on the feeling of largeness that a two guitar rock outfit can’t. And the grandeur is appropriate. Watching Julie Penner on violin never gave off the same feeling that watching the violinist in Yellowcard would. Everything was there for a reason, even the little keyboard thing that you have to blow into.

Much like an orchestra, DMST showed perfect control over their instruments, the songs, and the mood the entire night. When they wanted more energy, more speed, they brought the full band in, everyone playing loud, powerful, and heightening the whole performance. Or, they pulled back, mellowed and calmed things down. Their ability to ascend peaks and bring the music back down into a valley was enthralling and impressive. They shifted gears wonderfully, going from frantic to lower, back to higher, as smoothly as they wanted.

This control and the variability of instruments present at any given time kept them away from the trap of boring, repetitive lulls in between more exciting, original portions. The addition or subtraction of the synthesizer in songs changed the whole style, one drummer playing was noticeably different than two. There were times during the night where the jazz influence came to the forefront, over the more obvious post-rock. When the only people playing were on bass, saxophone, and trumpet, the jazz was a still enjoyable change. Though there are clear cut songs, and they did introduce a few and a number were off their latest release You, You’re A History in Rust, the separation didn’t seem that important to them. Their performance was consistent enough, both in sound and energy, that much like their albums and themselves, it is better thought of as a whole, rather than picking out specific songs as compared to others.

During their encore included hour and forty-five minute set, they didn’t waste much time with unnecessary chatter, but never ignored the crowd, giving them enough to feel welcome. The occasional checking in on the state of the crowd always came off as sincere, and was consistently well met. It was a strong turnout of people who didn’t mind giving their full attention to the performers, leading one band member to remark on the quiet being “respectful and beautiful.”