High Uinta High

Jeremy Chatelain is best known as the bassist in the ever-popular Jets To Brazil, so most people aren’t aware that he is also a talented singer and songwriter in his own right. As CUB COUNTRY, Jeremy showcases his talents and affection for country-tinged rock blues (think acoustic Led Zeppelin, Paul McCartney, and Willie Nelson hashing it out in a Brooklyn tenement), creating a broad canvas for his tales of love lost and found.

High Uinta High written by Jeremy Chatelain except Faithful Soldier. Recorded by Jeremy at Castle Coldshins in Brooklyn. Additional recording was done with Andy in Salt Lake, James in Seattle, and Nick in Chicago. Mastered by Alan Douches at West West Side.

Layout by Glenn Maryansky.

1. Could Be The Moon
2. St. Louis
3. Hit The Roof
4. O Great Telephone
5. High Uinta High
6. Faithful Soilder
7. Butterfly
8. Through My Window
9. Your Old Street
10. What Would You Say To Me?
11. Hollow Sidewalks


CUB COUNTRY, the country tinged mouthpiece of JETS TO BRAZIL’S bad-boy bassist Jeremy Chatelain, will be bringing their tales of love lost and found on the road again. This time Chatelain and crew will be heading out with recently reunited indie-rock wet dreamers, Sebadoh. So if you live near to any of these forthcoming shows do yourself a favor and head out to hear tracks from the earnest and delicate High Uinta High LP/CD (JT1068) as CUB COUNTRY rule it live.

Please consult the Cub Country for current dates.


CUB COUNTRY is highway bound again only weeks after their most recent tour supporting the Jayhawks was cancelled. This time CUB COUNTRY will be supporting Clem Side on dates that will last throughout March. Go see 2001?s spectacular High Unita High LP/CD (JT1068) brought to life.

Please consult the Cub Country for current dates.


Due to the sudden illness of one of the Jayhawks, the Cub Country tour has been cancelled. Rather than go back home and mope, Jeremy will use this time to continue working on his follow-up to 2001’s High Unita High LP/CD (JT1068), which is expected to be completed later this year.


Cub Country makes 2 appearances in the New York area in September. Jeremy’s all-star cast helps bring the melancholy High Uinta High (JT1068) LP/CD to life in an expansive and exciting way that breathes new life into the songs.

Please consult the Cub Country for current dates.

Related Releases:
Jets to Brazil Perfecting Loneliness DBL LP/CD JT1079
Jets to Brazill Orange Rhyming Dictionary DBL LP/CD JT1038
Jets to Brazil Four Cornered Night DBL LP/CD JT1052

Cub Country [I]High Uinta High[/I] Review

The Prettiest-Sounding Album of the Month award goes to Cub Country. Formed by Jets to Brazil bassist, Jeremy Chatelain, Cub Country gives us 11 soulful folk songs not unlike releases by Golden Smog or fellow folk revivalists Will Oldham and Ryan Adams. High
Uinta High mixes basic country standards (slide guitar, pedal steel, brushed drumming), simplistic blues structures, and catchy pop overtones to produce a beautiful album. It’s catchy, charming, personal, and one of the best listens of the year so far. Plus Chatelain’s publicity photo shows him standing on the Brooklyn Bridge, partial to the Brooklyn side. Hot.


Cub Country is on tour through March in support of their album High Uinta High (JT1068). The group features Jeremy Chatelain on vocals and acoustic guitar. Backing Jeremy on this tour is an all-star line-up which includes all the members of his other band, Jets to Brazil, as well as members of The Promise Ring and J Majesty:

Blake Schwarzenbach: lapsteel, piano (Jets to Brazil)
Chris Daly: Drums (Jets to Brazil)
Scott Schoenbeck: Bass (The Promise Ring)
Brian Maryansky: Guitar (Jets to Brazil)
Spanky: acoustic guitar (J Majesty)

Please consult the Cub Country for current dates.

I Dig American Music

SCENE: Anytown, 1955: Drawn from hillbilly music traditions as much as R&B, the fresh-faced rock’n’roll makes waves in youth culture. Rockers such as Buddy Holly, Elvis Presley and Jerry Lee Lewis are proud of their hick heritage, and there’s a mutual respect for the new sound as much as hayride-fare. The stage is set for rock icons like Waylon Jennings and Bill Haley to easily redefine themselves as country staples within the next few years. After all, both genres are itching to tear down the final pillars of adult pop and big-band music that’s suffocated a generation.

SCENE: Anytown, 2002: A skateboarder, sporting a Bad Religion sweatshirt, nearly collides with a pickup truck. The skater flips off the hicks and runs for his life. The occupants of the truck, blasting the latest product of Nashville’s music machine, curse the kid and shake their Stetson-bedecked heads with disgust.

What went wrong?

Unraveling the answer to that question is probably outside the scope of even a doctoral thesis on pop-cultural evolution. Even if we could easily nail down the reasons for the animosity between rockers and country fans, the damage is done; the schism is too wide to bridge. We’ve got 47 years’ worth of oil and water to bucket out of the pop-cultural holding tank, and frankly, nobody is up to the job.

Nobody, that is, except people like Jeremy Chatelain. As a fan of the rock music, he’s got the sort of credentials that even the most-skeptical indie kid wouldn’t dare scoff at, as bassist for emo uber-rockers Jets to Brazil. Now his solo project, Cub Country, flirts with the acoustic guitars, tumbleweed rhythms and the occasional flare-up of folk or pop, is here to shatter preconceptions about the musician with its debut long-player, High Unita High (2002, Jade Tree). If he’s so darn cool – and nobody, nobody, is going to question Jets’ coolness factor – what the heck is he doing playing country?

Anyone who has to ask such an idiot question probably isn’t ready for the answer, but before you surf over to some other semi-literate Axl- and Sid-worshipping site or another where, by God, good, ol’-fashioned musical prejudices are treated with respect, you can at least give Chatelain the opportunity to explain himself:

“I think it’s a good chunk of American music. It’s pretty basic stuff,” he says. “A lot of country was based upon three chords and the blues. It’s that basic. I think it goes with getting older as well. You want to branch out. At least me, I get bored with what I’m listening to and want to discover new things, or some of the things I’m listening to are influenced by other genres, and I’ll check out what the actual influences of the bands I like are.”

Now that every hotheaded pigeonhole fanatic’s surely pointed their browsers elsewhere, it’s time to get down to the nuts and bolts of High Unita High: the music. Across a canvas that’s informed by listens to his father’s mixed tapes on boyhood fishing and camping trips – think dyed-in-the-wool country like The Oak Ridge Boys and Willie Nelson – Chatelain dabbles with pigments that draw upon a subtle sense of pop melodies and hooks, folk’s homegrown lyrical tradition and, every now and again, traces of rock’s dynamics. High Unita High awkwardly sits between the worlds of country and rock. Too rock to even fit nicely in with the alt-country and No Depression boys, Cub Country is simply what it is. And what it is a darn, no wait – damned! – good take on American music traditions.

Childhood musical memories and the growth process aside, it’s still puzzling to ponder how Chatelain could so fluidly and so completely move from sitting on indie rock’s cutting-edge cusp to kicking it with a part-time gig as a solo artist with a love for Americana. It’s something Chatelain himself even has difficulty explaining it in anything but the broadest terms.

“It just kind of happened,” he muses. “I always have my acoustic guitar hanging out for I don’t know how many years, and it just sounds really natural to be strumming chords. I don’t know, something happened and I just started writing songs and it was just kind of like that. It wasn’t like I was like ‘I’m going to write a country record now.’”

It may not make sense to a lot of people, especially those who don’t pay attention to the similarities in song structure between the two genres, but Chatelain knows that his still-embryonic solo career is set to buck a lot of expectations. If his ties to Jets to Brazil aren’t enough to throw a post-hardcore shadow over Cub Country’s country licks, his label situation may do the trick: Like Jets to Brazil, Cub Country gets its paychecks from Jade Tree Records. With the label’s nearly synonymous ties to post-hardcore of all stripes, it’s almost a foregone conclusion that Cub Country will bear some sort of similarities to, if not Jets, then the likes of The Promise Ring, Cap’n Jazz or New End Original.

Anyone who comes with those sort of expectations are bound to be surprised at Cub Country’s direction. While such a shocker can’t be avoided, Chatelain hopes many of the fans who follow him over from Jets to Brazil bring an open mind along for the trip; being somewhat unpredictable has always been a part of his full-time band’s formula anyway.

“I’m not sure what people expect out of Jets to Brazil,” Chatelain laughs. “At this point, I’m not sure if they expect anything out of us, because we’ve sort of surprised people as the records are coming out. With this, I wasn’t trying to be different or anything. It was just something that came out. Maybe it will surprise people, maybe it won’t. Jets did a few country-sounding songs, but nothing too involved.”

An appreciation for surprising audiences isn’t the only thing Cub Country shares with Jets to Brazil: The entire recording cast for High Unita High was borrowed from the Jets roster, and – surprise, surprise – when Cub Country takes to the road for the first time, the Jets will come along with him. Of course, there’s bound to be some confusion as to where the boundaries of one band begin and the other one ends, a fact Chatelain can deal with, especially since he plans to keep the Cub Country lineup shuffling. Nonetheless, he’s steeled himself for the inescapable ties to his full-time band that he’s destined to deal with.

“I don’t want people to go to the show expecting us to play a Jets to Brazil song because it’s just not going to happen,” he says. “When first I was taking everyone from the band, that’s immediately what I thought. ‘Oh great. Now people are going to yell Jets to Brazil songs at us.’ We’ll see what happens.”

By now, there’s certainly a handful of imaginations who’ve painted Chatelain as a closet country fan, growing up in Salt Lake City, jamming on country as well as the love for punk rock that eventually landed him a coveted position in Jets to Brazil. Flush those crazy ideas right now.

Like most youngsters who find shelter in the world of punk music, Chatelain quickly jettisoned his interest in most everything else. Country music was one of the first things to go.

“When you get into punk rock, pretty much you hate everything,” he laughs. “I didn’t want to have a family anymore, I didn’t want to like my friends anymore, I didn’t want to like anything unless it was hard and fast.

“I think country was the enemy. I grew up in Utah, so what I associated with country was rednecks, the guys who used to fuck with you when you’d go down to the store on your skateboard. Later on, I saw that musically it made a lot of sense to me. That’s probably one of the reasons I did hate it. I couldn’t stand dudes who walked around Salt Lake in cowboy hats with their big wad of chew in their mouth and had a knife on their belt and would call you a faggot or whatever when they saw you. I didn’t want to have anything to do with that whole scene. I’ve kind of discovered you don’t have to have anything to do with that scene to appreciate it.”

A bit reluctant to take a dip in Cub Country’s country-fried sound? Chatelain knows the feeling all too well from his hard-core-punk era. Luckily for music fans, he grew up enough to leave that sort of baggage behind. Now he’s just banking on an audience who has as well.


Jeremy Chatelain is best known as bassist for Jets to Brazil, so most people aren’t aware he’s also a talented singer and songwriter. As Cub Country, Chatelain showcases his talents and affection for country-tinged rock blues on High Uinta High LP/CD (JT1068). The album features a revolving cast of guests including all members of Jets to Brazil and more!

Originally released in 2000 on Lovitt, Jade Tree is proud to re-issue Milemarker’s third album Frigid Form Sells CD (JT1069). This is the predecessor to 2001′s acclaimed release, Anaesthetic and is recommended for fans and newcomers alike.

Both releases are available for purchase and immediate shipping now in the e-store!

Cub Country [I]High Uinta High[/I] Review

This is Jeremy Chatelain, bassist for Jets to Brazil, flying solo. It’s actually not as bad as I thought it was going to be. It does have a splash of country to it but it didn’t annoy me. It’s actually a pretty relaxing CD. It’s different. Doesn’t really remind me of anything else I’ve heard lately. It has been described as "acoustic sparkle, soulful slides with dashes of twang." I couldn’t have said it better myself. The revolving cast of guests (Cashe Tolman-Rival Schools, Nick Macri-Euphone, Theo Kogan-Lunachicks, Chris Traynor-Helmet, Orange 9mm) all add their own special little flair. I must warn you though, there is actual use of a washboard as an instrument in the song "Faithful Soldier." I would recommend this CD to anyone looking to add a little something different to their collection.

Cub Country [I]High Uinta High[/I] Review

With High Uinta High, Jeremy Chatelain, the bassist for Jets to Brazil, has created a genuine and resonant alt-country album on par with the work of Beachwood Sparks, Wilco, and Whiskeytown. That is saying a lot for a solo debut, and perhaps even more surprising is the fact that this set of twangy, country-tinged rock tunes was put together by a post-punk all-star lineup as opposed to a group of roots rockers. Chatelain recruited his friends to record the album and appearances are made not only by his Jets to Brazil bandmates, but also Cashe Tolman of Rival Schools, Nick Macri of Euphone, Theo Kogan of the Lunachicks, and Chris Traynor of Helmet and Orange 9mm. The record opens with an acoustic guitar and piano hammering out the old-school folk of "Could Be the Moon" and from there it’s on to rambling Beachwood Sparks jangles ("St. Louis"), bluesy grooves ("Butterfly"), and Byrds-worthy pop ("Through My Window"). The record culminates with the seven-minute-long "Hollow Sidewalks," a shimmering, nostalgic journey that, like the album as a whole, is honest, expansive, and rings true.

Cub Country [I]High Uinta High[/I] Review

It’s been said that the best way to remain essential and cutting edge is to do exactly what the average Joe least expects you to do. High Unita High is the very sort of album that’ll keep things vital, for both Jeremy Chatelain (who’s best known for his work holding down the low end of Jets to Brazil), and for Jade Tree Records as a music-finding machine.

High Unita High is exactly the sort of album you’d think neither Chatelain or Jade Tree would have any part of. With both so strongly associated with the post-hardcore pop world, the pedal steel, the folky acoustic guitars and the downright twangy lead vocals take the pair in a direction 180 degrees from expectations. That alone makes Cub Country’s debut something worth sitting up and taking notice of, but this album’s strong enough to make it a contender even if it was something everyone saw coming from 100 miles away.

Chatelain, who plays all instruments on High Unita High, isn’t the sort of guy who’s going to win accolades from the No Depression crowd – his work isn’t bound, gagged and beaten by tradition, thankfully – but there’s no denying its unavoidable roots in the Country idiom. Then again, there’s certainly not the concessions made toward cowpunk crossovers on this record either. Chatelain’s kicking it his way and his way alone. His way’s just way that’d sound as comfortable strumming on a back porch, with rhythms as loose as a screen door and melodies as familiar as the faces just on the other side of the fence. That’s not to say that Cub Country’s boring, however: while comfortable, Chatelain’s don’t nestle into ruts worn by the wagon wheels of alt-country types before him. Whether he takes boot-scoot bass lines, haunting pedal steel and salt-of-the earth delivery of classic country with indie-kid overtones ("St. Louis"), or comes forth with a bit of melodic neo-folk that’d be just as welcome in Britain’s new acoustics set as alongside American indie folk acts ("What Would You Say to Me"), Cub Country is about honest songwriting. There’s no dynamics, no flashy guitar amplification, no slick production work on High Unita High; It’s all pure, simple and delicate songwriting.

Much of the triumph of this album belongs to Chatelain, though Jade Tree’s association with him isn’t anything to shake a stick at, either. High Unita High isn’t just an oddball album from the label: It’s the first step away from the confines of the punk and indie world in which it made its name. It’s not just a bold step in new directions, but one that proves Jade Tree knows music and not just indie. The label’s taste is sound; With a few more diverse titles like this one, Jade Tree can’t be anything but a major force in the indie world.

Cub Country [I]High Uinta High[/I] Review

Could be the moon I’m singing to, could be the stars, could be you…
Alt- country. Its something I have been finding myself getting more and more into over the last year or so. I first noticed when I seemed to be making a slide towards Post- Punk as opposed to the more brutal and full frontal music I had been listening to. Maybe its because I’m returning to my family roots deep in the middle of nowhere. Maybe its because I’m growing slowly more mellow in my old age. May haps it is even a combination of the two. One thing is for certain. It sure seems to confuse the hell out of some people to not only hear me talking about it, but actually learning that I really do like it. Which brings us to the first full- length album by Cub Country.

I am convinced Cub Country’s secret lies in its breeding. Its driving force is Jeremy Chatelain is best known in his role as the bass player for infamous Jets to Brazil. Honestly, I never would have guessed him to be such a savvy and skilled singer and songwriter in addition to his more widely known accomplishments. With Cub Country he picks up the guitar and a microphone, and completely blows you away with his heartfelt songs. Chatelain sure wasn’t fooling around when he gathered up his all- star roster of backing musicians either. Beginning with his JTB band mates, and culminating with the likes of Theo Kogan of the Lunachicks, Nick Macri of Euphone, Cashe Tolman of Rival Schools, and Chris Traynor of Helmet and Orange 9mm, Cub Country quickly becomes a veritable who’s who of rock, which blends together into something truly amazing and sentimental.

On a record teeming with references to driving the open roads and love found only to be lost again, you are enveloped in a variety of songs ranging from folk, to bluesy good times, to straight up country- tinged rock. Listening to it, even when its sad, you can’t help but to feel good. Your insides and thought processes drift towards that someone that completes you perfectly, even if you have yet to find them. The songs wrap you up, and you can’t help but know them, the words are for you, and they come from inside, with honesty. It all feels real, and the impossible seems possible. With little exception, each song strikes a feeling inside of me, and resonates. I find myself thinking of the one I care for, but have yet to discover, with a wistful sense of longing and an inner knowledge that its going to happen.
I wish I could stop now, and say something good, to make you believe…


Jeremy Chatelain is best known as the man behind the bass in the ever-popular JETS TO BRAZIL, so most people aren’t aware that he is also a talented singer and songwriter in his own right. As leader of CUB COUNTRY, Jeremy showcases his vocal and guitar t alents, as well as his affection for country-tinged rock and blues, creating a broad canvas for his tales of love lost and found. To date, Jeremy has released a split CD EP with Utah Slim and amassed quite an impressive collection of songs. He is currently preparing to lay it all to tape for his debut album, which will be released in early 2002.