Album Review: Chung Antique, 'Sweater Weather'

Photo by Victoria Holt

Like many of the sonically obsessed, I’m continuously on the hunt through a never-ending maze of Bandcamps, Soundclouds, and skuff racks to find new ways to soundtrack my daily life. There isn’t any quantitative way to measure success with such a compulsion, but, for me, nothing beats finding an artist whose work just sticks. Chung Antique's 2011 demo, 'Go Poetry!' had this effect on me almost immediately after I found it last year, so when I heard they were finally releasing a new record I knew that I needed to investigate.

'Go Poetry!' by Chung Antique. Self-released 2011

To back up a little, the group that self-released ‘Go Poetry!’ was still more or less a college band. Having formed at Evergreen State in Olympia, the Chung Antique of 2011 was honing their craft at local house shows--drawing inspiration from their peers, and finding their own voice.

Even still, the demo that resulted was remarkably well formed. In a three-member band there really isn’t any room for fodder, and every inch of ‘Go Poetry!’ showcased their talent for weaving complex, often syncopated melodies into a cohesive narrative. To say that it was a promising first effort is an understatement.

Following ‘Go Poetry!’ the band embarked on an ambitious west coast tour, and relocated from Olympia to Seattle. Playing only a handful of shows during 2012, the only indication that they were even working on new material came in the form of the stellar single “Baking Brad”, which surfaced on YouTube following a live performance at Hollow Earth Radio (also check out the new video for the track by Nik Nerburn). Then, last month “Baking Brad” and “Stop Making Synths” (get it?) appeared on Bandcamp in support of a new record, and soon after I got my first glimpse of the Chung Antique of 2014.

'Sweater Weather' by Chung Antique. Available now from 20 Sided Records

My expectations were pretty high, but ‘Sweater Weather’s’ strength is undeniable. It’s still Mike (bass), Charlie (guitar), and Whitney (drums), and they still play phenomenal, math-rock infused post-rock, but the band has matured considerably. The record, which features 5 new songs in addition to re-recorded versions of several demo songs, is the perfect capstone for 5 years of work.  

However, this is not an anthology; ‘Sweater Weather’ is just as much an evolution in approach as it is a celebration of the past. Comparing the album versions to their earlier recordings, the band has slowed the pace of the re-recorded tracks considerably, but their refinement extends to the songwriting on the new tracks as well. Whether utilizing negative space to emphasize the gorgeous guitar harmonics on “Baking Brad”; gentle, Appleseed Cast-eque ruminations on “Former Farmer”; or delicate synthetic accompaniment on the zenith of what is hands down their most beautiful song to date, “Bagel Blue Eyes”, ‘Sweater Weather’ finds Chung Antique opening up their range considerably. If I had any complaint about the first demo, it would be that the Go! Go! Go! that served them well with the college crowd occasionally limited their impact in the studio, but that is no longer the case. Chung Antique's self-proclaimed quest is to find "the perfect balance of math and melody" and this record finds them hitting the nail square on the head.



'Sweater Weather' is out today on SF's 20 Sided Records. Download, or grab your copy on doublemint vinyl here, and keep an eye on our Upcoming Shows Page for your next chance to see them live.

Album Review: Vibragun, 'Vibragun

Stop. Scroll up. Push play. My preoccupation with VibraGun’s long awaited debut record began immediately, and I have little doubt that yours will too. The 100% true story is that “Send Me To Dream” was the first thing I heard when I woke up that morning, and by the time I got to the third track, “Dream Disintegrate”, I was already trying to simultaneously navigate PayPal to get my download, and Facebook to tell everyone about it. The message I posted said, “I don't care what you are doing; go download this record from Seattle's VibraGun. This will be one of the best of 2014.” I still mean it; this is an amazing piece of music.

For those audiophiles, like myself, who discovered the early ‘90’s shoegaze aesthetic years after it had been dead and buried, the nu-gaze revival to this point has often been more miss than hit. It seems that the process of exonerating the genre also revived the confusing discussion about what sounds actually made shoegaze up to begin with, which naturally led to dogma. Don’t get me wrong, there are a bunch of killer bands out there (listen to Jetman Jet Team), but many more are just nostalgia acts playing paint by numbers—the individual pieces sound right, but taken together the songs feel scripted.

From the first listen it’s clear that VibraGun are an obvious exception to this argument. For all the things that ‘VibraGun’ has going for it, its most endearing feature is its sonic patina. Far from rehashing a particular influence, Bergstrom and crew have managed to make the record I’ve wanted all along: one that feels so immersive, and so continuous with the space-rock, dream-pop, and shoegaze scenes that dominated the time period, that it’s hard to believe it didn’t spend 20 years in the back of some garage.

In addition, the band’s refusal to stoop to idolatry allows them to play around with a wide variety of approaches. For example, while “Send Me To Dream” and “All The Cool Kids” build on treacherous, Swervedriver-esque guitar riffs, “Dream Disintegrate” and “Get Away” seem more indebted to Ride, or Cocteau Twins due in no small part to Amber Joy Smith’s lovely lead vocals and John West’s mellifluous bass work. “Get Away” also has the benefit of having one of my favorite transitions in recent memory. Just after the 2 minute mark when Smith sings, “I’m just trying to find my way”, the percussion drops away and is replaced by the slow strum of an acoustic guitar. The track then commences the transition to the slow-burning outro that seems like it would be right at home on “A Storm In Heaven”.

These are just a few examples, but I assure you that many more await you. In fact, there really isn’t a bad song on this entire record. Having been slightly bogged down with work for the past week I couldn’t have asked for a more appropriate companion than ‘Vibragun’; every time I move on, it seems to bring me right back again. It would truly be a shame if this record didn’t get the praise it sincerely deserves. 

Download your copy of 'VibraGun' from their BC here, and don't forget to check them out on Februrary 6th at LoFi with Red Martian, Dirty Sidewalks, and Balms. 

Artist Interview: Parzival. Check out our exclusive stream of the first single from 'Pisces Rising'!

I first saw Parzival perform several years ago in a Pioneer Square alley as part of the excellent First Thursday Art Walk. People were milling about and chatting, snacking, sipping wine and admiring the art displays. Then, as the band began to play, everyone turned their focus to the stage. It was captivating, feel-good music, and people, Seattlites no less, started to dance! I liked the set so much that I bought the album, ‘Postmodern Love’, and its combination of deeply personal singer-songwriter charm and unstoppable rhythm quickly made it my favorite go-to album of 2011.

Parzival Performing at First Thursday Art Walk in Pioneer Square, Seattle, September 1, 2011.

So, when I learned he was writing a new record (his fourth, but second major release) titled ‘Pisces Rising’, and the opportunity came up in June to join a close group of friends for a premiere of some of the new material, I jumped on the chance. The performance included piano, vocals, and guitar, with accompaniment on the fiddle and cajon, and just like before, friends from the blues dancing community were there, dancing along and having a great time.

‘Pisces Rising’ First Live Performance, June 2013.

After the show I contacted him to learn more about the recording process (then still underway in Eugene, OR). Here’s what he had to say:

JUNE 2013

NGD: What genre do you identify your music with?

Parzival: When I started writing music I was heavily influenced by alternative rock artists of the 90s and early 2000s especially the ones with an acoustic element - Wallflowers, Tonic, Coldplay. So I feel a strong identification with that genre. Because I've performed a lot solo and because songwriting and lyrics are very important to me, I also put myself in the singer-songwriter category. All that said, of course I feel my music is its own unique thing and can’t be fully categorized, haha. 

NGD: Can you explain what Pisces Rising means to you and to this album?

Parzival: Pisces Rising means my core, unadorned self. Another name for this album could be “Bare”, or “Naked” – except it isn’t a Christina Aguilera album, so I’m expressing that in a more nuanced, symbolic way. In astrology your "rising" sign represents what you are underneath it all. Pisces Rising is an exploration of my core self and the kinds of thoughts and feelings a Pisces rising has, which is my actual rising sign.

NGD: How do you feel this album is different from your first major release, Postmodern Love?

Parzival: Glad you asked! My first record Postmodern Love was highly produced, because we wanted to prove we could compete with "radio" music. This album is taking a relatively more bare, stripped down approach to record-making, sticking for the most part to what a three-piece acoustic band could perform, and recording and mixing the record in six weeks rather than taking four months like on the first album. This way the production can capture some of that raw, unguarded character that Pisces Rising is meant to represent. Also, the songs have a little more serious side, with more minor key tonality. But I think listeners will recognize them as sibling albums.

NGD: How's the recording process going so far?

Parzival: So far recording has been focused and fun. I'm tracking piano on this album, which is new to me, so that's a challenge. Also, you never know exactly the sound you'll end up with [on the album] until the creative process has unfolded, so there's still some unknown there, which is exciting and sometimes a little unnerving.

NGD: How long have you been dancing, and how has it influenced your music?

Parzival: Ah, I really appreciate this question, Nikki. I've been social dancing for five years. Dancing really has had a formative influence on my music. Dancing and playing for dances has brought out two elements in my music: keeping a steady groove, and having the overall feeling of the music lend itself to people connecting with each other. Partner dancing is all about connection - so from the feel of the music and voicing to the lyrics, I want people to be closer to each other after hearing my music. As a funny side note, with the acoustic instrumentation of this album, my Eugene, OR producer Jeff Davis and I liken the music a bit to Mumford and Sons if they were to periodically break down into funky, R&B-esque dance feels. Just on a conceptual level, that album aesthetic seems very cool to me.

NGD: And now for a silly question! If you could play a sold out concert anywhere and with anyone, where and who would you pick? For instance, Madison Square Garden with Bon Jovi on back-up guitar and Flea on the drums, opening for Queen Latifah.

Opening for Coldplay at the Gorge, with Jonsi from Sigur Ros coming out to add bowed guitar to my songs, and Macklemore laying down a guest rap about people connecting with each other and gradually creating world peace on my song “Seven Dances (To Save The World)”. That sounds pretty fun. 

OCTOBER 2013

NGD: How was recording and mixing the album this summer? Did you learn anything new about the songs, or did they transform during the process?

Parzival: Recording and mixing the album took a ton of time and attention to detail. We stuck to the nine songs I came into the studio with, but a few of them did change along the way, which is always interesting. One song, “Flower Child”, had about five different versions and lyrics, and in the end I settled on something *very* similar to the original version. I was struggling with the melancholy of the song, and tried different ways to make it more upbeat. But what I learned is to think of songs sort of like children. Each child has its core nature, and even though I can affect it and mold it, to fight that unique nature is pointless. So I let the song be sad and reaped the cathartic rewards of accepting my art as it is.

So yes. The recording and mixing process had its lessons and its emotional times. Overall, though, it was a long, dedicated act of work. 

NGD: Did you perform much while making this album, or is it easier to focus on the new album by taking a break from performance?

Parzival: I performed a few times while making the album. Performing especially helped me warm up my voice and stage presence for singing final vocals. I took a break from the whole round of booking and gigging, but when I was approached about sets here and there I would play them and enjoy them. 

NGD: Are you performing in the coming months and if yes, where?

Parzival: There will be a CD release show on November 30th at Velocity Dance Center on Capitol Hill. It’s a cool spot, and as you might imagine, dancing will be encouraged.

As part of this interview process, Parzival has teamed up with NGD to present a streaming copy of the first song on ‘Pisces Rising’, “Beauty Saves”. Not only is it a great album opener, but it’s a perfect example of what Parzival’s music is all about: energetic, optimistic, and full of love. It features piano, acoustic guitar, an infectious melody and fun, toe-tapping rhythms.

You can now purchase a download, limited edition CD, or other perk through Parzival’s ‘Pisces Rising’ IndieGoGo fundraiser here. Also, be sure to RSVP to his upcoming release party at Velocity Dance Center on November 30^th; you might just find yourself caught up with the spirit of love and dancing.