The Sea and Cake: COD/SD etc. etc.

don't believe the hype ... the sam prekop album seems deliberately obtuse. open close listening the songwriting is weak (but good sounding) and if you heard the album being piped down a disused elevator shaft you'd think it was the perfect fusion between pop and jazz. i think either the saving grace or the damnation of this album is the result of that infernal meddler jim o'rourke ... hard to decide. the ride out on the last track with strings and funky bass is absolutely, unbelievably sublime though. worth the price of admission for that alone.

-- fields of salmon ([email protected]), April 03, 2002.

-------------------------------------------------------

Hahaha Josh: okay not everything I think relates to my pet theory of last summer, and besides, the whole reason I was so whole- hog taken with the Chicago post-rock concepts was that I really do go for the studiometrickery and krautische dronism. But ... umm ... yeah, that is sort of part of it: Jim O'Rourke's real contribution to the Chicago bunch was that crisp roomy realistic production of his, and maybe 15% of the Prekop's greatness revolves around the thrill of hearing that a lot of the studio-y post-rock aims could be stripped back and accomplished more naturally as well. (I.e. in some sense it's argument is that the core of what works about Prekop's post-rock isn't the post-rock textural stuff: it's really just Prekop himself.)

But the majority of its goodness (and this is a slightly-related point but isn't so much about sound as it is about songwriting) comes from the fact that it erases a lot of what people slag off in Chicago post-rock: for one thing, it has this weird sense of humility about it, insofar as it erases a lot of the showy grooves and pulses in favor of this incredibly pretty and incredibly graceful light-on-its- feet feel. Also and most importantly it's just a really solid composition: a lot of post-rock records seem very much rock, insofar as they're trying to be sort of expansive and groovy, whereas the Prekop has a weirdly Satie-ish sense of being very much a composition and an arrangement in ways that the Sea and Cake (who themselves were pop to post-rock's rock) never were.

Also the simultaneous Prewitt and Prekop solo records were really telling, insofar as it became clear that Prewitt wanted to work with a much much more traditional singer-songwritery format (which people disappointingly paid way more attention to) whereas Prekop went for this highly-composed and very unique territory that comes around to some really terrific pop at lots of points on the record -- which is sort of what I go for most in music, interesting visions that coalesce into really great pop from directions one wouldn't expect.

Last argument revolves around the fact that the Prekop solo sort of reveals Prekop as the bigger definer of the Sea and Cake sound -- and so when I'm really really enjoying the Prekop, it's easy to look at some Sea and Cake stuff and see it as the essence of what's great about Prekop but blanketed and sort of obscured with a lot of other people's very of-the-moment "post-rock" ideas. In this sense it's good that the Prekop came toward the end of Chicago post-rock seeming very vibrant and relevant, as I think it -- with its more singular Prekoppy vision -- will for a good while seem like the diamond in there, the timeless one.

That said, I've gone back and forth a lot over whether the Prekop is really better than The Fawn, which I also love: the fact that The Fawn is more of-its-moment (and thus essentially "dates" now that I'm "getting over" post-rock) might be what makes me, a few years later, prefer the Prekop, which I'll admit might be a critical bias.

Dude, you asked.

why doesn't prekop just make an all-bossa nova record?

What time signature is the song "The Biz" in?

Revive!

I went to see the Sea and Cake at Cargo last night. It was great, really good, and the sound was fantastic. I wondered if the nuances of the records would come across live, but they did.

Anyway, I only have Oui (I went with a friend who is a big fan), so would anyone like to revisit the s/d part, and talk about the new album?

I like the new album a lot. They sound maybe a bit looser than they have in the past? But I think they sort of defy deep analysis. Nothing to dig in to.

I love the new one. I'm not familiar with their back-catalogue, save that Bedroom-album, which I found so-so. But this one's so lush, full of joy-de-vivre, if I may say so. The Malipop-song "Exact to me" is stunning and my favourite of the album. Would love to see them live.

Ah, there was one at the gig when I suddenly thought African pop! That must be "Exact to me" - that was a highlight along with a two-chord thing with the most amazing drumming that they played just before it - this fast disco hi-hat, snare, bassdrum pattern and then these incredible fills everywhere. Any idea what that one would have been?

I should just get the album.

The bass and drums really were brilliant - the songs, airy and light and pleasing as they are, sometimes just feel like a setting for the rhythm section, rather than the other way round.

They were entertainingly uncharismatic as well. Four people desperately looking anywhere apart from the audience. The bass player, who is now HUGE, looking like he was actually asleep - completely motionless apart from his fingers. It was cool.

Aw, Eric Claridge. My brother and I used to imagine that, while the rest of the band was all playing in their side/solo projects, Eric Claridge was just sitting on his couch, glumly practicing bass.

I was at that gig, too, Jamie.

'Uncharismatic' doesn't begin to describe them. At one stage, Archer asked Sam if he was enjoying himself. Sam mumbled something I couldn't make out but he didn't seem overly impressed with the idea of being on the stage.

there are indeed a couple of tracks on Everybody that have a bit of Afro hi-life guitar. I'm afraid I'm terrible at the names of tracks - most of my music listening takes place in my car!

The drummer was extraordinary wasn't he? Was that John McEntire? (sorry I'm not well up on this genre of music) The rhythm section is definitely a major joy in their music.

Everybody is much lighter than previous work, but it still complex and strange in parts. I found in the gig that because it is all so evenly paced and because so little was happening on stage I had to think about rhythms and voice onset and time signatures and all that kind of grown-up stuff!

Aw, Eric Claridge. My brother and I used to imagine that, while the rest of the band was all playing in their side/solo projects, Eric Claridge was just sitting on his couch, glumly practicing bass.

-- jaymc, Thursday, June 21, 2007 1:15 PM (Yesterday) Bookmark Link

that's lame and condescending. eric's a really fantastic painter.

new record is really good, frankly i didn't think it would be. they were great live a couple weeks ago in new york, too.

Ah, I notice from Eric Claridge's site, that there's a painting of a squirrel holding a Swiss army knife. Charmingly, the Sea and Cake use that image on their merchandise.

Lighten up stencil, jaymc and his brother were clearly joking.

not in the email i've got dated july 7, 2003

zung

I see that both Tortoise and the Sea and Cake are on tour right now; which band is McEntire playing with? Anybody know?

the sea and cake

Yeah, I know about Claridge's painting career, dude.

when did you 'discover' it?

okay, okay, i'll stop

please

http://www.thrilljockey.com/catalog/index.html?id=103254
new album called Car Alarm to be released 2008-10-21

first album still my favorite by them, I don't think they'll ever top it.

I don't know what their best album is but I know that everyone had some really good songs. Glass EP, for instance, was a great direction for The Sea and Cake but then they had to release Everybody next - I didnt really care for that album. But as far as mixtapes go, they have more than enough great material spanning their entire career. Archer Prewitt could easily have a greatest hits cd also even though he has only released 5 albums.

The Sea and Cake's lyrics have always been nice, abstract pleasantries that are unlike any other bands lyrics. There is a timeless quality to the lyrics since for the most part they don't make any sense and you can envision the story differently every time.

And Sam Prekop's voice is easy on the ears but always fresh and crispy nonetheless.

So yeah The Sea and Cake has always been in my top 10 band list.

Still play & enjoy Everybody a lot. Should check out the debut I guess. Looking very much forward to Car Alarm. Although that blurb on the TJ site is a bit too much/elaborate I like the idea of them going straight into the studio after touring the last album and record the next in 3 months time.

1) Nassau
2) The Fawn
3) The Biz

Car Alarm sounds the way I want it to so far :)))

did not know about this

As good as two gentlemen?

does louis jagger like these guys? they seem like his kinda thing, I'm kinda surprised that he hasn't contributed to this thread

Well I got 5 tracks out of 12 and Two Gentlemen isn't the one I listen to. I play random tracks so I wouldn't know. I just know this is better than Everybody. But I love the band nonetheless... it doesn't have poppy like singing as does "we come by when you say that, we come by, we come by when you say that, we come by" or Afternoon Speaker or Station In The Valley. It has the heavier guitars from everybody but they sound more like the traditional sea and cake sound "beachy"... and the singing sounds great even though not poppy so far (I've heard 5 tracks).

They are definitely my thing. I give the a big shiny star. Fuck Louis Jagger or whoever he is.

I'd say if you like Two Gentlemen and havent tried Glass ep, go for it.
But this doesn't sound like those so much so far.

I like glass fine, but it doesn't have Early Chicago and a brilliant cover.

I'll give those a go, I'll be jogging today with my ipod, might as well

http://www.wikiupload.com/download_page.php?id=50505
Here's just a small taste of the more technoish sound of one short track.
The other songs aren't like this though.

this is my favorite 'you can hear s&c' coctails jam

https://www.youtube.com/watch?v=QYQgQtk10To

close second (go stuart moxham!)

https://www.youtube.com/watch?v=4BeEAKwqn5c

relistening to The Biz now, never realized how rad that instrumental jam at the end of "Leeora" was, it's real mathy and technical in a way I never heard I because didn't think TSAC were that kind of band

one thing this makes me think of was the first time I heard the term "soft rock" - this is the kind of music I was envisioning

That’s my fave jam of theirs and there is a very cool pro-shot live version somewhere on YouTube. Search, don’t destroy.

appreciate that shout, frogs! their intial quick opening trilogy of albums might come off a little samey and the songs interchangeable on first impressions, but i agree: the biz holds a bit of a different energy than the first two, with some slight expansions in sound. archer gets into the e-bow properly and sam+john break out the synths. "leeora" is a big favorite from that era and "an assassin" has always sounded like a lost kraut rock riff to me. maybe not my favorite overall of their catalogue, but easily my favorite of the early stuff. "darkest night" also maybe my favorite of their ballads.

quick last thought for now: "station in the valley" riff is alltime. there's not even a vocal refrain that accompanies it, but that's because it doesn't need one.

an assassin followed by the transaction has always felt so emotionally satisfying to me. i think the transaction reminds me of new order’s regret and i’d been searching or just waiting for a song as good as regret for five years. my favorite record of theirs, well also the first one i bought by them, i think maybe nassau is betters (more dynamic and wide ranging) but the biz is my fave.

hey again. this revive has sent me back into their "middle period" albums. wistful sigh, friends. from the fawn through runner, this is stellar music all the way. idk what their best album is. they did so much music that is... i'm sorry, it's just fucking awesome music! the remixes on the eps are completely wild, their ballads are some of the most girgeous new americana i've ever heard, and have you heard "inn keeping"!??
https://www.youtube.com/watch?v=F__3wRugDRM
...it's ten minutes long and it makes me cry! moonlight butterfly is so underrated!

s/t 4
nassau 4
biz 5
fawn 5
two gentlemen 3.5
oui 4
one bedroom 4
glass 4
everybody 4
car alarm 3.5
moonlight butterfly 4
runner 5
any day 3.5

they need a rarities compilation too, god dammit. there's at least another entire album's worth of non-lp material from 94-97. the extras from the everybody era are pure blissout goofaround fun.

f'kn band rules forever. kings.

Marked for future investigation. These last few posts, and now Austin's map to the catalogue, are real enticing. Thanks, you four.

cheers to you, and me a decade ago:

they could really do with a rarities album.

― austinato (Austin), Wednesday, April 15, 2015 2:47 PM

thought i was done? nah.

As a matter of fact, they need to do a rarities compilation.

― he doesn't need to be racist about it though. (Austin), Thursday, February 15, 2018 10:37 AM

and yeah, going back through thread: frogs consistently otm for years at a time. good work, everyone! here's "an echo in" from the glass ep. it has wah-wah. alright!
https://www.youtube.com/watch?v=KJ2FU6g098Q

Sounds like I ought to relisten to Runner then. I remember liking it fine but never really gave it a close listen. I do have on their latest record Any Day which is very nice. It took me a number of listens to really discern one song from another, but when you really dig into it there are some very pretty tunes on here. "Into Rain" for instance. And of course the title track. That said I do find myself wondering a lot, wait, don't they have a different song like this? Not in just the overall vibe but some of the specific chord changes. There's not really anything new on it, not that TSAC have ever really gone much out on a limb since One Bedroom, but still. Even the title of the record seems like a re-run. It's a good record but it doesn't really justify the long wait and the fact that they haven't done one since kinda confirms to me the band has faded out. There doesn't really seem to be a whole lot of interest in them either way; they've been a "secret handshake" band as long as I can remember. I still see people discovering this band every now and then, often with the same "where has this been my whole life?" reaction I had when I first encountered them (at 17, lol). There's still no one else out there who quite scratches that itch.