Seablite sat down with James Broscheid at The Big Takeover for a lengthy deep-dive into their new LP, Lemon Lights, on Mt.St.Mtn.
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While the dream-pop tag is probably still relevant, this isn’t algorithm-fed genre ambience. Gill’s vocal/lyrical presence can be as gently momentous as Leonard Cohen or as intellectually potent as any ’79-’80 Rough Trade post-punk.
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"Hey There Flower" carries forward and elaborates on Tony Jay's tradition of songs that express a kind of naked honesty about things we all know -- love and loneliness and all that -- while communicating at the same time a wry edge of skepticism, so that the songs are like coins spinning on edge before landing heads, tails, or lost under the couch.
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In the film Rachelle and co-star Dafny Estrada go on the kind of journey you expect of a heartwarming skate story: they push through the streets, overcoming fears and finding friendship along the way.
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Flowertown is indebted to the great works of post-Velvets indie: Galaxie 500’s trilogy, Cannanes A Love Affair with Nature, Low’s I Could Live in Hope, ’90-’93 Yo La Tengo, but thankfully they didn’t forget to write songs and find their own voices and charm inside that sound.
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The band’s warm flicker of dream pop is rather irresistible and it’s easy to see how the album lured listeners into its woolen womb.
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Late-in-the-day album of the year contender? Very possibly. Or possibly it's just that this is the kind of music that appeals to my sensibilities so exactly it feels laser-guided in its execution. Perfect, even.
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