Another dispatch from Seattle. This time we catch up with indiepop up and comers Flying Fish Cove. Their debut album At Moonset came out on Help Yourself Records a little over a month ago. They are anchored by the songwriting couple Dena Zilber and Jake Jones and write an innocent brand of pop that has touches of Elephant 6 psychedelics, pastoral folkiness akin to Essex Green, and DIY P.U.N.K. reminiscent of Heavenly.
The album’s cover evokes a tropical paradise where cheetah cubs and friendly lizards hang out underneath double rainbows and twin crescent moons. The album conjures a make believe in light of harsh reality which seems to tips its hat to recent covers of like-minded Seattle bands like Mommy Long Legs and Tacocat. It wouldn’t be out of place on K or Magic Marker, packed full of immediate songs that range from ramshackle to swooning synth-tinged odes. Zilber has a sweet voice that gives you the impression she speaks from experience, while the lone Jones vocal on Cammy the Camry has a Jim Ruiz lounge style to it.
Just when I was giving up on the Seattle scene’s ability to generate new bands , Flying Fish Cove appear and deliver this beguiling beauty. Cheers!
Earlier this week construction workers were digging a big hole for a new building in the South Lake Union neighborhood of Seattle and discovered the eight foot tusk of a 2,000 to 60,000 thousand year old mammoth. The giant tusk was excavated and is now safely at the Burke Museum here in town, but many questions are still left unanswered. What was this creature doing in Seattle 50,000 years ago? What was the music scene like? Was there any indiepop? Is the tusk real, or was it perhaps, a trick mammoth?
I don’t know if there have been any recent mammoth bone discoveries in New Zealand, but they’ve got a pretty good Trick Mammothdown there. From Dunedin and certainly not prehistoric this trio sounds like they know their history. Taking inspiration from the Bats, Pastels, Beat Happening and Heavenly these indiepop archaeologists piece it together quite nicely. Their debut album just out on Fishrider in New Zealand and Occultation in the UK is full of dainty delights that brush away the dirt. I especially like the way vocalists Adrian Ng and Mille Lovelock blend together like butterfly wings fossilized in ancient sediments. This records is a beauty that is well worth preserving.
Go Violets come from Brisbane, Australia. They describe themselves as “bunny rock pool pop” and just plain old surf-rock. Their single Josie is perfect in all things bunny rock, pool pop, and surf rock. In fact, in the history of all three of those genres there has not been a song that has been more bunny, pool and surf at once. It’s got great glistening guitars that sparkle off the water and a chorus that that will make you bounce. I’m thinking of starting up an indiepop surf festival somewhere on the Washington coast this summer and my first invites are Go Violets and La Luz. Might invite some guy bands too, but why ruin it? They’re always so he-man-me-local about getting the best waves.
The seventh solo album from former Orange Juice front man Edwyn Collins is the first one he’s made since his near death experience (a brain hemorrhage in 2005) and it promises to not only be star packed (Johnny Marr, Roddy Frame, the Cribs, Drums, Magic Numbers, Franz Ferdinand, Dave Ruffy, and Paul Cook) but if the title track is any indicator a return to the bountiful pop cornucopia of the mid 90’s Georgeous George and I’m Not Following You.
The album is called Losing Sleep and comes out 13 September on Heavenly in the UK. The cover features Collins’ bird drawings which he began doing after his stroke. He couldn’t play guitar, but he could draw and drawing birds he says helped him immensely in his recovery. From birds to pop hooks, Edwyn Collins is on the road to full recover as is evidenced by the title track from Losing Sleep. It is the first song to be released from the record and it features Collins in full northern soul mode. It’s a beauty and for the price of your email address it can be yours.