Beechwood’s Gordon Lawrence, 24, looking not unlike a young Thurston Moore, hair covered by a plaid cap, sits with his bandmates in a back booth of stalwart East Village bar 2A. They’re directly above cool-kid underground venue Berlin, where, a few weeks prior, Beechwood held an album release for their debut LP, Songs From the Land of Nod (Alive/Naturalsound Records), a darkly shimmering rock ’n’ roll record of bruising timelessness.
Drummer/vocalist Isa Tineo, 25, a dark beanie obscuring his head/face tattoos, perches on a stool. His visual counterpoint is Beechwood’s newest, member Sid Simons, 21. The bassist’s blond shag is straight off a Sweet album cover, and his faint Australian accent and easy demeanor make him an effective foil for his more formidable-seeming Jersey-bred bandmates.
The allure of Beechwood’s powerful onstage rock star insouciance — which is only somewhat less pronounced offstage — can come across as slightly studied, an assertion the band contests, bolstering the denial with tales of their shambolic misspent youths. But at least they’re studying the right bands. Over two-for-one happy hour beers, the trio share teen tales of skateboarding over the George Washington Bridge to see bands in Manhattan; then, a few years later, being escorted out of Arlene’s Grocery during one of their own gigs (“We started rolling around, and things got knocked over, broken. We were just younger. Honest aggression. We’re more composed now”); and various other angst- and substance-fueled shenanigans.
While Beechwood exude an honest cool that can’t be bought, any hipster factor is shattered when Tineo leans into the tape recorder and shouts: “We’re going to take over the fucking world!” READ MORE…
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