Among the elements that set them apart from their numerous contemporaries are the melodic, dual vocals of founder/guitarists Louise Post and Nina Gordon. Oddly enough, in an industry where attribution is greedily sought, both women are simply listed as 'guitar/vocals' - though it is Post who plays lead, with Gordon supplying the rhythm. They share songwriting duties, have each composed roughly half of the 13 tracks on the album; songs which are distinguished by an infectious musical simplicity. "We didn't want to specify roles," says Post. "Someone once said that my voice is 'earthier' ... whatever that means. Nina has a really strong voice. At the end of 'Wolf', for example, she really belts it out, and she does most of the higher harmonies."
A measure of success has come relatively quickly for the band. Founded by the two friends in 1992, "we played together for about nine months, then advertised for a rhythm section in the paper. Which was how we got (bassist) Steve Lack, then later added Nina's brother (Jim Shapiro) on drums". Though a number of major labels expressed an interest in signing the band following a performance at the South By Southwest Festival in Austin, Texas, Veruca Salt chose to sign with the small Chicago indie label Minty Fresh. "We simply weren't prepared for a large label," admits Post. "This was a two-man operation, and we were their first full-length (album) signing. It was something we felt comfortable with." (The album is distributed through Geffen/MCA.)
American Thighs took only a month to record, with the aid of Liz Phair's producer, Brad Wood, whom they met while sharing a rehearsal space. The album spawned the solid, up-tempo and successful single "Seether" and is currently garnering airplay for both "Victrola" and the second official single, "Number One Blind". In the fall of last year, they completed their first major tour (with Hole) and hope to visit Canada again this spring (having played here last June, on a mini-tour with Halifax grunge rockers, Thrush Hermit).
A recurring theme throughout the album is that of personal identity, as in "Spiderman '79": "I dream in black and white/ I've more or less forgotten who I am", and a number of the songs comment on the often contradictory need for individual independence, while being needed and needing others.
"Did that come through?" asks Post, surprised. "I wasn't sure that it would. That's one of the main conflicts of existence. That need for independence...yet to be needed. We're both preoccupied with the past: our childhood, our respective fathers (Post and Gordon come from divorced families). Trying to emerge as adults in this society and culture right now, and trying to have the strength to do that.
Regarding the aforementioned "Wolf": "I've never told that story before. No one's ever asked," she says, pausing uncertainly, then deciding to continue. "But since your name is Wolfgang too, I'll tell you. I was given two cats, Wolfgang and Kamaya at a very vulnerable and needy time in my life. They were like kids, and the first animals I had of my very own. Well, one day Wolfgang tried to jump from the 3rd story to the 2nd, but he didn't have a very good sense of balance. He fell. While he was in the hospital, my boyfriend persuaded me to go for a midnight sail on the lake. It was only supposed to be for a few hours, but we went way out. I got sea-sick and took a dramamine, and slept 'til 7:00. By the time we got home, the cat had died. I felt responsible. It was very traumatic. Now I have another cat, Mueller. But I still miss Wolf."
Of course, few animals or people have a lovely ballad written to mourn their passing. Post hesitates, and with and audible tremor in her voice, confides: "If beauty can come out of sadness, then I hope he's pleased".
"There was a time for falling/ I knew you well/ There was no time for calling me/ When you fell/ This is a time to take cover/ In a wishing well" ("Wolf")