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

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.

everytime this thread pops up I'm compelled to say: SHOWBOAT ANGEL

^^^^^^^^

Always hated this guy's insufferable vox.

one time when I was in a dentist waiting room I heard a song which had a very similar drum pattern to "One Bedroom". it sounds like they sampled it. anyone know what it might have been?

"Andy Day" is so cool. it captures everything good about Oui in 5 minutes. sucks that Claridge couldn't play on this but it does give the album a slightly different sound which is good for them

ILX is the only message board on the planet where I can stop this kind of observation: Nassau sounds like Crazy Rhythms Feelies trying to play Good Earth songs

Agreed about Any Day. Still undeniably them, but their base standard is quality so it always sounds great when it's on. Here's to hoping there's still more to come.

I wasn't totally crazy on the early records (I didn't hear them until Oui), but the more I've revisited them over the years, the better those first two get. When you consider some of Sam's stuff in Shrimp Boat, that's a pretty good assessment I'd say. Very appropriate comparison and I totally get what you mean.

RE: Your previous question about a possible sample. Don't know it, but curious. That's a pretty distinct rhythm too. I'd certainly recognize it in the wild.

also Any Day has a fantastic closing track which is something they tend to uh...not usually have

for me The Biz is the one, though mostly for sentimental value. it was the first one I discovered (by accident, I was searching for Cake and someone mistitled the MP3), I was like 16, and I dug it immensely. on relisten the first album is definitely the special one. it's so breezy and chill, it's like they're trying to sing you to sleep. not in the way some of their other stuff does either.

sam prekop: "I THOUGHT I TOLD YOU THAT WE WON'T STOP I THOUGHT I TOLD YOU THAT WE DON'T STOP."

(nothing to do with the incoming mcentire collab; it's another 20+ minute synth sesh. beats and all. i like it, of course.)

One really nice moment in their catalogue : the part in “The Argument” where Prekop sings “40 days till we rest again” and then in the background mumbles “sit tight y’all”

thinkin about an old friend of mine. we were roommates for a little while. he was really into Deftones, nu-metal, and dubstep. in fact that was pretty much all he liked as far as I could tell. one day he told me he took some of my burned CDs off the computer desk and was really digging one of them in particular. said it was playing in his car for weeks on end. I found out it was The Biz and now every time I listen to it (like now) I can't help but wonder what it was he liked about it so much. I mean it's a great album but man our tastes were not compatible AT ALL

Happened upon Moonlight Butterfly at a store in Milwaukee. kinda forgot it existed but sheesh it's pretty nice. The ten minute "Inn Keeping" is really nice. I think they could make a whole album like that. Maybe sorta like that Prekop/McEntire thing from last year. Anyway, is it just me or are all TSAC albums since Everybody kinda brickwalled?

a pitch-perfect prophecy that transitions into a jam with a younger robert wyatt

https://www.youtube.com/watch?v=cLDjcPO4L3s