Seattle Spotlight
Creeper Lagoon
By Patrice
Raplee
Amid the chaos of the post-anniversary World Trade Organization mock
riot in downtown Seattle, indie band Creeper Lagoon prepares for their
evening performance at the Crocodile Café.
Creeper Lagoon, now under the auspices of major label DreamWorks records,
has weathered conditions far worse than streets lined with protesters
and riot police. With the semi-commercial success of the band's '98
debut release I Become Small and Go, Creeper Lagoon has gone
through personnel changes, not to mention two years of constant touring
while trying to produce and record a new CD.
Seated in the quietest section of the Crocodile Café's Lounge,
founding members Ian Sefchick and Sharky Laguna ruminate over the process
of recording and co-producing the band's new soon-to-be-released CD.
When asked about working with a major label and the production control
issues that can often arise, Sefchick states, "I love working with
DreamWorks even though it's a real transition. They leave as much control
as they can in the hands of the artist; they don't request changes,
they suggest." Sefchick then replies, "If we really want something
our way, we can get it."
Working with various producers such as Jerry Harrison, (ex-guitarist
for the Talking Heads) and Dave Fridmann (producer for the Flaming Lips'
new album) was an incredible experience for the band; it also tended
to be a struggle that resulted in two different mixes. Most musicians
would have found the task of sharing the production helm with such notable
talent somewhat daunting, but Sefchick and Laguna have spent years recording
and mixing their own music before landing a major label. According to
many indie bands, these skills are often a necessary survival tool.
Regardless of the differences in production style, and the complexity
of the project, Sefchick and Laguna are very happy with the finished
product and are eager for the CD's March release date.
Creeper Lagoon has just released a new EP on Spinart records entitled
Watering Ghost Garden. The six-song compilation is derived from
various recording sessions and producers. Most of the songs on the EP
flow along in a multi-layered dreamy kind of quality that is infused
with entrancing melancholy vocals, guitar and piano. The one noticeable
exception on the EP is the song Big Money Struggle that borders
on a more commercial poppy sound. While the tune is not exactly beaming
with happy hearts, it does lack the more pensive sound that is usually
attributed to Creeper's music.
Ignoring the bevy of activity surrounding the outside of the Crocodile
Café, the group maintained their focus and began the show at
midnight. The set list for the evening performance was obviously well
chosen by the reaction of the crowd. Songs My Friends Adore You
and Centipede Eyes from the band's new EP Watering Ghost Garden
captured the fans attention, but the pinnacle of the show was evident
by the vigorous cheers that were meted out for Wonderful Love
and Dear Deadly from the CD I Become Small and Go.
Admittedly, the club was filled to only half capacity due to the lock-down
of the city center; perhaps this contributed to a rather rushed feeling
to the group's performance. However, fans that braved the conflict had
an unbridled view and didn't seem to notice any disparagement in the
band's show. The encore Empty Ships was played with a definite
edge and was clearly the most intense performance by the group all evening.
Despite slightly off-performance nights, Creeper Lagoon has matured
in their musical artistry and production skills. The determination of
these individuals to keep their ideals focused on writing and recording
their material, rather than cave to commercial conformity is manifest
in their music.
Look for Creeper Lagoons' new full-length release due out in March
of 2001.
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