The Academy Is...

While evolution is considered a natural process in most circles, the laws of nature seem not to apply to most musicians. These days, it seems that when it comes to most bands’ sophomore release, they either stick to the formula that made them stars or overcompensate by making a hyperambitious record that no one understands. However, despite the remarkable success of their 2005 debut Almost Here, The Academy Is… decided not to pursue either of these routes with Santi, instead crafting a record that captures who they are right now, without any posturing or pretense.

In order to accurately understand Santi, one has to be familiar with how The Academy Is… initially came to be. The band was founded in the suburbs of Chicago by frontman William Beckett and guitarist Mike Carden, who had grown up as rivals in separate bands on the local music scene. William wanted to take music more seriously and was looking for someone who shared his passion. When Mike’s band broke up, the two gradually found themselves talking more and more, becoming engulfed in amazing conversations about music. Realizing they were very much alike, they decided to try their hand at writing songs together, and The Academy Is…was born.

At the advice of soon-to-be labelmate Pete Wentz (Fall Out Boy), TAI was signed to Fueled By Ramen, which released their debut, Almost Here, in February of 2005. In the wake of the release, the band relentlessly toured with the likes of Fall Out Boy, Motion City Soundtrack, and All-American Rejects, joined the 2006 Vans Warped Tour, and never looked back.

Since the release of Almost Here, the buzz around The Academy Is… has only intensified, culminating with their first (and completely sold-out) international headlining tour in April ’06. “It seemed like every tour we did we were gaining more people,” says Carden. “Sure, it was tiring at times on your body and your mind, but we enjoyed the whole process and we’re still enjoying it.” However, if TAI’s music didn’t form a concrete bond with their fans, none of this would really matter.

“When it comes to our fans, I really think in order to have a lasting relationship with them, we have to talk about experiences they can relate to,” Beckett says. “We live and die by how we interact with people in our environment, and they’re the most important ones.” In fact, unlike most of their peers, TAI’s success was based solely on word of mouth, a personalized web presence, and direct interaction with fans. “Now there’s a foundation, and we have a fanbase that we respect just as much as they respect us,” Carden continues. “It’s definitely the time to take things to the next level.”

While Beckett and Carden solely wrote the band’s debut, Santi is a full collaboration with the other members — guitarist Michael Chislett, bassist Adam T. Siska, and drummer Andy “The Butcher” Mrotek –- and the rock giants of the past that may have snuck their way onto Almost Here stand tall and proud on Santi. “I think musically these songs more accurately reflect the bands we’ve always listened to,” Carden elaborates, citing influences on Santi that range from the Clash and the Jam to U2 and Smashing Pumpkins. “The songs I wrote when I was 18 are very different than they are when I’m 22.”

In fact, despite the fact that The Academy Is... cut their teeth touring with platinum-selling pop-punk acts, Santi generously draws from an eclectic pool of classic rock influences without losing any of the infectious melodicism and thoughtful lyricism that propelled them to where they are today.

Recorded in Silverlake, California, by the legendary Butch Walker (All-American Rejects, Hot Hot Heat), the 11 tracks on Santi show the band exploring previously uncharted sonic territory. The driving opener, “Same Blood,” shows that Beckett’s swooning vocals have grown stronger at the same time the band’s hooks have become sharper; the orchestral ballad, “Everything We Had,” shows that the band is versatile enough to shine even when the distortion is switched off and they’re at their most vulnerable; and the swinging “Neighbors” recalls nascent glam-rock acts like David Bowie and T. Rex but recontextualized in a way that’s accessible enough to those who think the former is a creature from Jurassic Park.

However, the true genius is the fact that despite Santi’s ambition and sonic variance (“Chop Chop” sports spaghetti-western riffing), the album never feels disjointed or jammed together — and its cohesiveness is ultimately due to the album’s inherent honesty. “I think we live by example,” Beckett explains, stressing that it’s impossible to separate the band members’ music from their personal lives – because essentially they’re the same thing. “I’m extremely hopeful that we can show people there’s more to this world than just this limited scope of a scene.”