Mea Culpa

Bio:

Among its many musical credits, Memphis can lay claim to being a power-pop mecca on the enduring strength of '70s artists such as Big Star, the Scruffs, Van Duren, and Tommy Hoehn. In the late 1990s, Mea Culpa � along with Crash Into June and Kitchens and Bathrooms � helped to define modern Memphis guitar-pop with songs that were brooding and darkly comic, but inevitably melodic and concise. With its latest release, an eight-song mini-album called Madison, the band has delivered its most confident collection, a cycle of songs that chronicle a period of emotional crisis from every conceivable angle. Most of the CD was recorded at Memphis' famed Ardent Studios and engineered by the band's bassist, Adam Hill. Mea Culpa was formed in 1995 by Gilbert Garcia, a journalist who has worked for Phoenix New Times and the Dallas Observer. In 1997, the band released its debut CD, Blindfolds and Cigarettes (on Hoehn's Frankenstein label), and followed it up the next year with Sucker Punch Drunk. These releases earned raves from the Memphis Flyer, Popsided, Bucketfull of Brains, Pop Culture Press, the Memphis Commercial Appeal, Yeah Yeah Yeah, and Independent Memphis Musician, among others. Mea Culpa has always envisioned itself as an eclectic band that can simultaneously incorporate everything from art-pop to punk to country to R&B. In that spirit, Madison veers from the propulsive punk of "Silence" to the sinewy grooves of "Expiration Date" and the baroque tunecraft of "Resum�" and "Nothing To Say." J.T. Terrell (whose credits include Octopus 5 and Molly Jack) is the group's powerhouse drummer, as well as a gifted multi-instrumentalist and creative harmony singer. Chris Gafford, a veteran of Memphis bands Crash Into June and Yes No Maybe, plays guitar with an intuitive sense of sonic textures. Adam Hill contributes bass and occasional lead guitar. (He also works as an engineer at Ardent Studios, where he�s participated in sessions by the White Stripes, Cat Power, Big Star, and the B-52s.) Although Terrell currently lives in Nashville and Garcia has relocated to San Antonio, Mea Culpa maintains Memphis as its home base. More importantly, the group also maintains Memphis as its biggest source of inspiration.

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Member Since:

August 19, 2008

Members:

Gil Garcia- vocals, guitar... Chris Gafford- vocals, guitar, bass.... Adam Hill-vocals, bass, guitar.... JT Terrell- vocals, drums...

Influences:

Big Star, Beatles, Elvis Costello, Squeeze see some reviews below.....

Sounds Like:

Madison: "The pop mind of Gilbert Garcia is fertile. The band name roughly translated means "My fault" - and it isn't a mistake that his band, the Memphis based Mea Culpa has a great pop sensibility that resembles Ben Folds, Elvis Costello and Big Star all at once. Recorded at the legendary Ardent Studios, "Madison" should lift the band to new highs and make the leap to stardom. Helped by bassist Adam Hill, this is a short album (8 songs) but it's a quality collection. Opening with "Coming Back To Me" it resembles the band You Am I; even Gilbert's vocal approach is like Tim Rogers. The song is full of sweet hooks and it continues on the smartly written "Resume" lead by a strong piano melody. However the album's high point is the guitar rock goodness of "You're Not The One" -- it's got hit single written all over it. — Powerpopaholic, June 24, 2008 ... "The 24 minutes on these eight songs don't mess around, getting down 'n dirty with hard-drivin' pop that has a strong dose of high grit, gruffed up vocals and Shoes-like guitar riffs, although that Memphis jangle is here unambiguously. Potently and purely pop all the way and all the right 'n noble intentions yield solid results throughout!" — Not Lame ... Sucker Punch Drunk: "Mea Culpa, a five-piece band helmed by singer-songwriter Gilbert Garcia, has a soft spot for guitar-based pop, and songs like the opener, 'I Should Be Glad,' and closer, 'Choreograph Your Bliss,' are as good as any written since, oh, the last Matthew Sweet record. Other tunes ring with happy-go-lucky choruses and smart, guitar-arpeggiated arrangements that ingratiate their way into your memory (you'll be chanting 'Down With the Others' too, trust me) ... This is probably what Green Day would have sounded like if they had been given Stealers Wheel records instead of the Sex Pistols." — Memphis Commercial Appeal, June 27, 1998 ... "Mea Culpa frontman Gilbert Garcia is as thoroughly mesmerized by the boy/girl thing as any singer/songwriter I've ever encountered. I can just see him as a child, bumping into telephone poles on his way home from school, gloriously abstracted, happily/sadly unable to stop thinking about the afternoon sun's effect on the flowing hair of the little gal who sits next to him in math class. I would say 'poor kid,' were it not for two facts. To begin with, I can still remember how wonderful it was to indulge such bittersweet obsession. Secondly, were it not for such obsessions, we might not have Garcia's pop-music smarts to discuss here and now. Smarts, indeed: Garcia is a pop genius waiting to happen, and that's no exaggeration. Waiting to happen? Well, yes, I think so. When Gilbert Garcia finally frees himself from his influences — most notably the Beatles via Squeeze — he will almost surely have ascended to world-class status ... at least I sincerely hope that's true; he rates it. Sucker Punch Drunk is a worthy follow-up to 1997's Blindfolds and Cigarettes, though not quite as inspired, and certainly not quite as well-rendered. Although Garcia's tremendous songwriting talent stands tall, on occasion the CD's other aspects sound a bit ... rushed. ... But there is no denying that Garcia is a brilliant songwriter, one of that rare and valuable breed capable of weaving melody and lyric in such a manner as to make the process barely noticeable, yet ostentatious. An impressive trick, that. — Memphis Flyer, May 28-June 3, 1998 ... Blindfolds and Cigarettes: "As Mea Culpa's lead vocalist, songwriter, and determining force, Gilbert Garcia steers his band straight toward the heart of early-to-mid-'80s British-style power pop. Judging from the tight and catchy Blindfolds and Cigarettes, I would hazard to guess that Garcia must have devoured every track cut by the likes of Elvis Costello, the Housemartins, and, most apparently, Squeeze. Be that as it may, Garcia and Mea Culpa don't appear to unduly strain under anyone's influence: Blindfolds and Cigarettes is thoroughly excellent on its own terms. Like Squeeze's Difford and Tilbrook, Garcia manages to interweave ever-so-slightly oblique melodies around, and through clever chord progressions, playfully tweaking pop music's nose while keeping the songs accessible. Did I say accessible? The songs on this CD are flat-out irresistible. Lyrically, Garcia seems quite often to be one or two steps behind the proverbial problematic lover (a venerable rock-and-roll tradition, of course). And/but, like so many smart (expressive) guys, he takes heart/refuge in his smart-guy idiosyncrasies via sundry devices, a favorite of which here seems to be the pun. To wit (no pun): 'You say my gravitational pull is a drag.' Or, 'I've got the world on a broken string, but when I fret I'm out of tune with everything.' Wish I'd said that. Anyway, if you love well-crafted pop with a relatively fine edge, take a chance on this disc. Blindfolds and Cigarettes is one of the very best locally produced (if that aspect kicks in for you) CDs I've heard in a long, long time." — Memphis Flyer, May 15-21, 1997 ... "[Mea Culpa] are making some of the best pop music in town -- or anywhere, for that matter. Front man, songwriter and guitarist Gilbert Garcia left a promising career as a music writer in Dallas and moved to Memphis on a lark to pursue his true passion -- playing music. It's taken him well over a year to get the project off the ground, but Blindfolds and Cigarettes, Mea Culpa's brand new first release, proves that it was worth the wait. From Big Star to the Beatles to Elvis Costello to the Lemonheads, Garcia steals from the best in the pop pantheon. His songwriting is intelligent and well-mannered. The production is crisp and even-keeled. The music has no bald spots." — Bucketfull of Brains, Spring 1997 ... "Garcia's songs are filled with hooks and harmonies, and at their jangling best, the band comes across as a spirited cross between the Feelies and the Gin Blossoms, with traces of Crowded House popping in every now and then. In other words, they sound refreshingly different from whatever the flavor of the month is right now. If they were from England, the British press would probably be tripping all over themselves to proclaim Mea Culpa as the next big thing. Since they're from Memphis, however, this hometown writer will keep the hype to a minimum, and simply say that they're one of the most promising new local bands we've heard in quite a while." — Independent Memphis Musician, Spring 1997 ... "From the label that has given us a few Tommy Hoehn CDs comes this quintet's impressive debut. Like U.S. power pop of the '70s and '80s, this is pretty straightforward pop of the first form. Bits of the Beatles, Shoes, Buddy Holly and Tommy Hoehn are noticeable, but the songs are more laid back than they are powerful. Singer/songwriter Gilbert Garcia and mates have created an album that concentrates on the songs and not the style. Hey, it's always a good sign when the verse melodies are as catchy (or even catchier) than the choruses! Nifty little guitar riffs are also used to great effect. 'So Tell Me Now' and 'Cells' kick off this set and are instantly huggable little gems. ... This is a very good album, but with a bit more energy and power, it could've been great. Thank God they don't pull a Posies and hide half-baked songs behind walls of distortion. These Mea Culpa dudes lay it out on the table and end up with the better looking chicks." — Popsided, Summer 1997 ... "Uptempo, warm, uncluttered and dauntingly good pop that reminds me of Chris Von Sneidern's more haunting, reflective moments in many parts." — Not Lame, 1997 ... "The band boasts early-era Beatle-esque harmonies and smart pop-rock tunes which may have been found on lost Beatles tapes. The five-piece unit is tight and hook-clever enough to keep you listening for the next tune. On this presentation, Blindfolds and Cigarettes, the band pitches 11 three-minute gems." — Music Voice, August 1, 1997 ...