Just a quick post for this Saturday evening …
Through the revisionary process I’ve embraced to cement this site in firmer foundations (visual, grammatical, functional, to name a few), I’ve been revisiting a number of acts that I’ve featured in the past. Call it playing catch-up, an overdue reintroduction, or just plain curiosity as to what today’s sound brings to the table.
German indie shoegaze/dream pop outfit Seasurfer is the latest act to make the cut. I covered them back in January of 2019 with a trio of selections, which, if interested, you can check out here. Unsurprisingly, since I absolutely love this style of music, I held a high regard for their delectably dense aural benders.
Today, my current fixation is another trio of tracks, despite what this post’s title suggests. I’ll get around to explaining that in a moment.
For starters, let’s begin with a track called “The Calling,” hailing from the 2018 EP “Vampires,” which is how I was initially swept back into Seasurfer’s waves and walls of sound.
“The Calling” is a lovely slow-ambling sonic assault of gentle meandering, built on blissful reverberation, slightly melancholic in its dream-space, effervescent and heavenly ambient in its ambitions.
To my surprise, “The Calling” also features a new female vocalist, Apolonia, who brings a slight coldwave chill to its ethereal hauntings. She’s taken over from Dorian E., who featured on Seasurfer’s captivating 2014 debut “Dive In.”
“The Calling” from the 2018 EP “Vampires.”
I mentioned a focus on a trio of selections, the first of which I can now safely strike from the list.
I was compelled to include this remaining pair, because, since the “The Calling,” Seasurfer has fronted two additional lead vocalists, Julia Beyer and Elena Alice Fossi. Both are in other bands, the former leading fellow German dream pop oufit Chandeen, the latter heading up Italian electro darkwave act Kirlian Camera.
From what I’ve read, this seems to be the way of things with Seasurfer’s mercurial approach to shimmery sound and mutable voice. Also, Apolonia’s still on the roster, just not full-time regular.
The one inherent constant that binds these seemingly disparate threads together is founder/guitarist Dirk Knight, who’s guided the band through the fuzz and feedback since its 2013 inception. And despite the differences, there does appear to be a spiritual and tonal consistency that each of these women bring to the songcraft.
In some ways, this reminds me of Grecian electronic chillwave act Keep Shelly in Athens, who also switches up vocalists for each subsequent album. Different style, but seemingly similar approach. I digress, but worth a mention, nonetheless.
The first of the two tracks, “Falling,” showcases Beyer’s contributions. I recommend listening to this one at excessive volume, preferably with headphones. On its surface, it tends to overpower in piercing layers of cascading drone and feedback. But if you dig a little deeper, sifting through the audio avalanche, there’s endless pockets of beautifully sculpted shine and shimmer.
“Falling” from the 2017 album “Under the Milkyway…Who Cares.”
Featuring Fossi on voice, this final offering is the 2019 single “Blue Days.” It’s a subtler, hazier dream pop affair. It still embraces the long-held shoegaze aesthetic, but opts primarily to hold back the intensity of the sonic six-string wash, in favor of favoring Fossi’s sublime vocals. The result is slightly softer with a bit more sheen and polish, but still a logical progression for Seasurfer’s shimmering sound.
“Blue Days (Summerhaze Remix)” from the 2019 single EP “Blue Days.”
So these three selections bring me comfortably up to date with Seasurfer’s recent efforts. In the days and weeks to come, I’ll most definitely be diving back into the current and future catalogues of any number of artists I’ve featured in the past. It’s on my mind, so it makes sense to do so. For now, enjoy this trio of Seasurfer selects. Stay safe and enjoy!