If there is any band that gets better song by song, it is Seahaven. Ever since I heard an acoustic version of “Head in the Sand” on my Facebook wall in early 2010, I’ve been following this band almost obsessively.
If there is any band that gets better song by song, it is Seahaven. Ever since I heard an acoustic version of “Head in the Sand” on my Facebook wall in early 2010, I’ve been following this band almost obsessively. They somehow manage to produce a unique and seamless sound for every single song they put out. This indie rock band from Torrance, California (as “Highway Blues” will tell you) has once again managed to release a record that I will be listening to non-stop until their next one comes out.
Seahaven released Reverie Lagoon: Music for Escapism on March 25 via Run for Cover Records. I would honestly say that this is one of Run for Cover’s best releases, on par with any of Tigers Jaw’s and Basement’s stuff (in my humble opinion, I consider them RFC’s best bands).
Reverie Lagoon is a lot slower and heavier than Winter Forever, their second album, released in late 2011. Think of the album as a long version of “Honeybee” with a couple of newer, bolder stuff here and there. The album incorporates indie rock, emo, and blues, producing melancholy and smooth sounds that make it almost like a lullaby for (young) adults who can’t sleep.
Kyle Soto’s slightly slurred, hopeful pang of a voice (which may take a couple listens to get used to) once again accompanies the music, and the emotionally raw lyrics–which you may have to read through as you’re listening, because it’s kind of hard to understand him at first–are incorporated to make the album very “Seahaven,” something literally for escapists only.
Soto splashes the images of a thought-filled, quiet summer evening just by singing the nouns, “silhouette, loose sun dress, low sunset” in “Silhouette (Latin Skin),” and beckons listeners to the familiar feeling of being lost in “Highway Blues”: “This life’s a mess and I know best. We ain’t got much control I guess.”
Something that I wish they had changed is the last part of the album, when they add in some whispering. It kind of sounds like something’s wrong with your earbuds… or maybe I just have shitty earbuds.
Under the Gun’s John Bazley compared the album to Brand New’s The Devil and God Are Raging Inside Me, stating that he “fully [understands] the risk that comes with making a comparison to Brand New, but Reverie Lagoon is Seahaen’s The Devil and God Are Raging Inside Me; this album solidifies the band’s jump from an exceptional emo-influened punk band to something much bigger.”
The music in itself may be completely different or eerily similar, however you choose to look at it. But the maturity of sound that comes with this record is a phenomenal step for the band.
Here are some of my top picks:
“Wild West Selfishness”: Shoegaze style song complete with Kyle Soto’s sounds-like-you-have-a-cold voice
“On The Floor”: If you are not going to listen to this album, at least listen to this song, starting at 3:43.
“Paseo De Las Estrellas (I and II)”: Translates to “Walk of the Stars,” and if you could somehow hear the walk of the stars, this would probably be it.
“Highway Blues”: One of the many (but probably the most prominent) songs comparable to “Honey Bee,” from Winter Forever. Apparently they had it back when they recorded Winter Forever, but decided to put it on this record instead.
“Flesh”: Probably the closest song to Winter Forever’s emo style. Dark and eerie.
“Love to Burn”: Reminds me of The Perks of Being a Wallflower, and that violin towards the end is killer.
I know I named over half the album, but that’s because it is SO worth it. This album has an incredibly diverse feel, yet is very unified in theme. I highly suggest you take a listen (or three).
