Review Summary: she sways over to me ~ she's still going on, but i can't hear anything8 of 8 thought this review was well written
Originally released on 10” vinyl for Record Store Day in 2011, Seasick
is a trio of unreleased tunes left over from recording sessions for the LA foursome’s second LP, Swoon
(2009). While initially this may sound off-putting, one listen is enough to deduce that their omission had nothing to do with quality and everything to do with aesthetics. Swoon
was a tightly framed and sharply focused record - all hooky melodies and walls of guitar fuzz - and for the most part Seasick
needs room to stretch its legs, reveal itself slowly… room to breathe
. This premise is exemplified by the twisting, turning, slow burning title track, an elegant piece which pushes the seven minute mark while somehow managing to feel both endless and
concise. The understated, delay-soaked closer ‘Ribbons and Detours’ continues in this vein, this time with bassist Nikki Monninger handling vocal duties. Her voice is a perfect fit here - though not dissimilar to Brian Aubert’s, her soothing tones bring a gentler vibe absent from the latter’s frantic whispers and breathy snarls. Vocals aside, the really vital cog here is keyboardist/knob-twiddler Joe Lester. Rarely, if ever, stepping into the spotlight, he’s there in the back painting with fine strokes, filling in gaps, weaving and creating and conjuring a beautifully bleak and soft-edged atmosphere in which these two songs excel. In contrast, sandwiched between the two is the very Swoon
-esque ‘Broken Bottles’, a track which jams harder than every single song on that record bar ‘Panic Switch’. Despite veering a little too far into generic SSPU-by-the-numbers territory (fuzz/big hooks/huge bass/pounding snare/more fuzz), the ripping instrumental break/solo more than justifies its inclusion here.
With the benefit of hindsight, Seasick
is quite clearly the bridge linking the balls-out immediacy of Swoon
to the more calculated and spacious Neck of the Woods
. It has all of the former’s first-listen accessibility but like the latter plays hard to get with its layers, only revealing all of itself after half a dozen or so return visits. This shouldn’t be a deterrent though - the payoff is well worth the investment, particularly with the outstanding title track. Perhaps there’s not a lot here for the fuzz rockers and shoegazers and pumpkin smashers among you, but aficionados of SSPU’s more restrained side would be foolish to pass this one up.