Artist description Heathrow is a bit Jesus & Mary Chain and Luna. Comparisons to The Smiths, Lloyd Cole, and Oasis have been made, although Heathrow does not believe they are entirely accurate. Attempts have been made to “Verve or London Suede it out” at times. NxNE 2003’s Festival Guide notes that Heathrow are “purveyors of … Brit-styled pop that has drawn comparisons to Psychedelic Furs and Pulp.” David Bash of the International Pop Overthrow Festival adds although “Heathrow are from Milwaukee, not London as their name might suggest … they ought to be from the city on the Thames, as their dark, reedy Brit-pop sound would fit right in.” Regardless of how you slice it, the spirit of modern British rock flows through their veins. Short of mockery, however, their quality compositions insure that the band has a sound all of its own.

Music Style Rock and roll, mostly.

Musical Influences Cure, Psych Furs, Oasis, Pulp, Suede, Lassie Foundation

Similar Artists Ditto

Artist History Formed in 1998

Group Members Matt Fletcher-Eric White-Jeff Lahl-Don Kurth

Instruments Guitars-Synths-Bass-Drums

Albums The Listening Class (2003), Heathrow EP (2002)

Press Reviews Josh Modell of The Onion (21 June 2003) writes: [The Listening Class] is a fine debut full-length on which the British influence is clearer than ever. The disc even includes a choice cover by an extra British band: Pulp’s “We Are The Boyz,” which features the U.K.-only lyric “We sleep with slags / We nick their fags.” As for the Heathrow EP he mentions (15 May 2002): Given its name, it’s no surprise that local band Heathrow has a musical fondness for Britain—there’s even a hint of an accent in its singer’s voice. The group just released a fine four-song EP of shimmering pop that recalls the poppier side of The Psychedelic Furs, though with a Midwestern sensibility. It’s even got a nice little Britpop number called “Heathrow,” but when fans call out for it, the band will have to ask, “Us? Or the song?” Anthe Rhodes of Milwaukee’s Press (September 2002) writes: “Some may remember the talented members of this band from prior musical excursions with Trolley and The Virgins. Their self-titled four song EP sways from Manchester to Dream Pop. Most bands who seem so can be contrived, even annoying, but not so with this quartet. Perhaps it is in part because the band cut their teeth on the best that shoegaze had to offer; rather than mimic it, they morphed it into something fresh and original . . . ‘Relative Frame of Mind’ could easily pass for a new top of the pops single that NME or Q would just drool over . . . The only problem with Heathrow is that, like all great things, it ends to soon. There needs to be more, and there will be.” Summer Wood of the Indianapolis Nuvo (August 14 2002) describes Heathrow as: “… a Brit pop (quartet) with a lovely, complex sound evoking Pulp and The Psychedelic Furs.” Tony Brownfield, Editor-in-Chief, www.shotgunreviews.com It should be noted right away that Heathrow hails from Milwaukee, which is Algonquin for "the good land". At any rate, this superb four-man outfit is in reality a Wisconsin super-group formed from members of Trolley and The Virgins. And they are a seriously powerful band. Their pure Anglo infulences worn proudly, they pounded out shimmering pop gems with sincerity and conviction. It's impossible NOT to bob your head, as every note was infectious. On the band's MP3 page, conveniently linked here, they noted that "British pop saved our lives." When you hear them, you'll be a believer too. "Relevant Frame of Mind", included on their four-song EP, is a stunner. From the International Pop Overthrow Festival 2002: Mike Bennet writes: I … REALLY dug Heathrow—Anglophile power pop from Milwaukee. While they didn't sound like Material Issue, much like MI, Heathrow showed a bit of a '70s Brit punk influence and the Pulp cover …(don't know the original) was fantastic—great rock energy. Greg Sager adds: Heathrow, another great Milwaukee band, blistered the paint off the walls with their machine-gun cover version of Pulp's "We Are the Boyz" from the *Velvet Goldmine* soundtrack. They win the award for being The Official First IPO-Chicago Band To Make Mike Bennett Dance. Excerpts from “Have You Heard the Good News” by Anthe Rhodes in Milwaukee weekly The Press l 06.01.03 Heathrow [is] musically aligned with early ‘90s post-mod. You may remember the big-black shoe factor, only Heathrow is not so pretentious. They … celebrate their cd release, their first proper one aside from the initial ep of [2002]. Humbly titled The Listening Class, it’s sheer enjoyment along the lines of Madchester, only lacking on the swagger pretense and emphasizing equally strident-paced numbers with resonating guitar swaths on the dreamier selections. [To promote the new recording Heathrow is] slated to play International Pop Overthrow in Chicago later in the month and [is], rather bravely, planning to play NxNE in Toronto … The band is also set to play ModNight in Indianapolis “because we’re so mod,” Fletcher mused. On forming in 1998… “Everyone was in a band and were friends, so it all came together,” Guitarist Matt Fletcher said of Heathrow, which also includes Eric White on lead guitar and Jeff Lahl, who looks like a fifth Gallagher brother, on bass guitar. “It was good timing.” But writing and performing remains key to Heathrow. On songwriting … “The songs have always and will always be the focus.” Fletcher continued. “The best way to describe it is I come in with the basics and from there it’s free to add or alter …” Of “Matt’s lyrical exposes” as White puts it, “Hey Marty” was inspired by the Academy Award-winning movie’s lead character “everyman” portrayed by Ernest Borgnine. [“Hey Marty’s] instrumental backdrop [is] reminiscent of the ‘90s more cheeky dreampop bands. “Hear In My Head” [on the other hand] is more post-mod and strident in pace, very fresh, while “Merced” and “You Don’t Have to Go” (which Fletcher regards as The Listening Class’ “darkest track”) are about holding on to youth and rejecting the status quo. Both are guitar-swathed productions with punched-up lyrics. In nearly all tracks, tinges in Fletcher’s voice resurrect the late Joe Strummer’s strident yet sweet longing. [Fletcher’s] voice, like recorded Heathrow itself, has matured. Fletcher [alternates between] Ramonesy sneer and Strummer-like swagger [throughout The Listening Class]. White concurred, “We are just very proud of how [the cd] came together and turned out [vocally], melodically and sonically.” Read the entire Easter Records article in The Press online @ http://www.the-press.biz/issues/2003.06/content/june03_music1_arhodes.html For more information check out www.easterrecords.net

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Location Milwaukee, WI - USA

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