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Charleston band making a move cross country

By Kevin Young

When listening to A Decent Animal's new 7-inch, it's hard to believe, but there is a time when the members of A Decent Animal were not playing together.

There was a time when lead singer Jonathan Nicholson was reciting Bubba's (of "Forrest Gump" fame) list of shrimp possibilities as his bandmates in the power-rock group Andrew filled the halls of the old downtown location of Myskyn's with loud guitars and thunderous drums.

There was a time when George Baerreis was tearing up the strings on his bass guitar at the original location of Cumberland's during the final show of his local outfit, Rasm.

There was a time when Richard Weld was strumming his acoustic guitar with a Christian youth group at Camp St. Christopher on Seabrook Island.

And in the outfit's final Charleston chapter, A Decent Animal will play its last local show at The Pour House before the trio packs it up to move to San Francisco.

The interview

It's about 8:15 p.m. on a Sunday in a booth at Voodoo Lounge in West Ashley and Nicholson, on a break from working behind the bar, is taking a quick peek at his cell phone, while Baerreis is ordering a taco with extra sauce. Weld is busy fielding a question about the band's upcoming move.

"You're just gonna have to roll through this," Weld says, referring to his son, Henry, who is offering a straw to everyone at the table while simultaneously cramming cherries, napkins and lemons into a glass of ice water.

"It was more about, I think, us exposing ourselves to other things. There's a little bit of wanting to shake things up a bit, a need to find more inspiration," Nicholson says, as Weld hands Henry a shot glass full of cherries.

"We're not necessarily leaving (Charleston) for something better, but then again, it's so easy to just settle for what is," Nicholson adds. "This'll definitely light a fire under us to do more."

It wasn't too long ago that A Decent Animal was a hatchling of an idea in the minds of Nicholson and Weld. Employing strong guitars and bass whirling around Nicholson's vocals, the duo, assisted by various friends on multiple instruments, released 2006's "Rabbit Hole EP." It wasn't long before the duo morphed into a trio, when Baerreis joined the fold as drummer. With Baerreis, the duo has naturally developed into a full-fledged band whose members complement each other.

Between bites of nacho, Jonathan gives his take on the band's progression:

"I know when I'm writing a lyric or working on a song's structure, I can ask the guys, 'Is this horrible?' and I'll get an honest response," he says. "We've set it up so that no one is the bandleader. I know each of us has a moment where we'll disagree on something, but what arguments there are tend to dissipate quickly. This is the healthiest environment and band I've ever been involved with."

He beams while glancing at his bandmates. "Everyone is grounded and sober. It's nice to operate as a collective where ego stays out of the equation. ... which can be pretty crucial," he says.

When asked what he brings to the collective, Baerreis says, "A healthy, unapologetic love for Hall and Oates."

As the bands musicianship has evolved, it's become more evident in the group's more recent live performances, which have taken on a celebratory, practically inspirational edge that is not seen often in local music.

Whether it be the haunting keyboard arrangements of the tune "Boxmaker," or the methodical pacing and epic gospel-inspired conclusion of "The Heart The Devil Made," A Decent Animal has found its own sound: a beautiful mixture of subtle noises, obscure lyrics and ragged vocals.

"While I never got completely into film per se, I definitely got more interested in the idea of matching visuals to music or creating music that gives the listener something else," Nicholson adds, "One of our biggest things, as a band, is that we'd love to one day have a budget — of any kind, really — that would give us the ability to create music that is, in a sense, more theatrical."

As Weld keeps his son entertained, and Nicholson leaves the table to return to his bartending duties, Baerreis leans in to give his last 2 cents about the band: "These are probably the best musicians I've ever worked with. Aside from talent and Jonathan's lyrics genuinely having something to say, they have the best work ethic I've ever encountered. With them it's not good enough until it's right."