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Like the Teddybears, Whitey carries a beer-bar-danceable message from Europe, but where Teddybears want (and do, in fact, own) the TV-commercial airwaves, these guys have scummier things up their collective raincoat sleeve, namely alt-disco sleaze tricked out with Euro-dance beats, an odd way of reinterpreting Donovan Leitch’s deal and a grunge engine.
The band frequently has been spotted over the years opening for the diverse likes of Iggy, New Order, and LCD Sound System. There’s obviously something confounding going on here, most easily explained by looking at the misanthropic tendencies of N.J. Whitey himself, the one-man UK operation whose 2005 release, The Light at the End of the Tunnel Is a Train, hit stores through hipsterista label Dim Mak just this past October. Until this year, one of Whitey’s guitarists was Patrick Walden of Babyshambles, but “the bright lights and hot pipes enticed him away,” leaving the live support in the hands of four of N.J. Whitey’s dogs from back home, including a “mysterious Bavarian guy at the mixing board,” says Whitey. — Eric W. Saeger
