Anathallo

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It’s fitting that Chicago indie art-pop ensemble Anathallo traces its origins to a small Michigan town named Mt. Pleasant. There was no actual mountain nearby, but like most middle-class burgs, the place begged for input from active imaginations—for makeshift raft races on the Chippewa River, bridge dives in the summer, and rollerskating down the abandoned slides of an old water park. In the 16 years before the founding of Anathallo, Matthew Joynt’s days were filled with these things, and what space was left went to the arts: music lessons, theater productions, dance companies, limited engagement lip-sync shows (co-produced, for a parental audience of two, by his big sis), and a proto-grunge band called Clockwork that rehearsed like its namesake (6:30 a.m. every day before school). In 2000, Matt finally got serious, and with a crew of self-taught musicians and marching band ruffians, he assembled an ensemble that, to this day, exists at the exact intersection of innocence, optimism, ability and curiosity.

Anathallo’s early years were likewise packed, despite having seven or eight members at any given time. They released four independent EPs (one hand-painted, another packaged with dirt and wildflower seeds), stuffed their many odd instruments into every room that’d allow it (fans’ houses, 4-H clubs, churches, veterans halls), and slumbered under the roof of their green Dodge Caravan in hospital parking lots (these had the best lighting) when they were away from home, which was often.

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