SEABASS, the indie-rockers from Adelaide, have recently released their debut EP Always Kidding. In seven tracks, the group have brilliantly showcased all extremes – from the hectic to the calm, blasting chords to gentle serenades, and outward boldness to introspective vulnerability. They’ve certainly given it their all. Read on as we take a look at the EP and hear about the group’s Albums of Influence.

Image supplied.

Carefully calculated, Annie Siegmann has taken the time to put her band together. With five years of songwriting under her belt, the secret ingredient has finally made it into the mix – her band. She says, ‘at the end of the day, I’m just happy that my friends want to play music with me. And they happen to be some of the biggest, badass motherfuckers in the world.

Always Kidding, the debut EP from Seabass, has been exquisitely put together by a bunch of musicians that clearly love their craft. Recorded at home, Seabass guitarist Ryan Martin John took on the final engineering and mixing duties, nicely tying the bow on the group’s shared vision.

The opening track, Burn, is a total firecracker. It starts loud and just keeps growing. The vocals are stunning with incredible range and interesting diction, and the interplay between fragility and power is so well captured. Fans of Universally Speaking by Red Hot Chili Peppers will love this one.

Right Fit has all the makings of a ’90s classic. With grungy guitars, whistles and the familiar moody tones of the decade’s best female rockers, it’s filled to the brim with nostalgia. The guitars take the lead in the title track Always Kidding. It’s filled with steady beats, bold notes and catchy hooks, but there’s a melancholy to the track that encourages retrospection. Fucked It Up can be easily pegged as the ultimate live track from the EP. The big chorus would rouse a crowd to swear loud and keep on grooving – a real move-your-body and belt-your-heart-out piece. What I Need brings back a sense of calm, with twangy guitars and gorgeous harmonies leading a special moment of storytelling from the group.

Black and Blue charges hard with a powerful guitar and a real sense of grit before taking a heavy swing into a half-speed drawl which gives the sense of falling in slow motion or seeing double in a heightened state. Making it’s way back to its opening mood, the song ends in the intense sawing sounds of deliberately misplaced microphones.

Taking out the EP is Wolves II. Slightly dreamy tones mix with the razor sharp guitars while the swooning harmonies are reminiscent of wolves howling and echoing into the night. It’s a magnetic track which invites sensory interest as the vocal effects seamlessly change at various intervals. The final tones go filtering from one side of your headphones to the other, running loops around you and dizzying you before the silence takes hold again.

This EP is a collection of songs that have been accumulating over the past five years – it’s taken that long to take the leap to creating for my own band. The EP is really us honing our sound as a band. It has hints of the lonely singer-songwriter in a bedroom late at night, and then leans heavily into a guns-a-blazing guitar-centric, power drum territory.

Angie Siegmann, Seabass

SEABASS’ ALBUMS OF INFLUENCE

Tropical Fuck Storm – A Laughing Death In Meatspace
All of us in Seabass love this album. It pulls zero punches. The musicianship and artistry is completely unhinged, and that’s why we love it. TFS is a band of artists creating art and not paying any attention to trends. I (Ryan) heard it first in my kitchen on my iphone speakers, and I was floored by how compelling the sounds of that album are. ‘You Let My Tires Down’ is an Australian modern classic.

Alabama Shakes – Sound & Colour
Brittany Howard is a force of nature. This is a modern rock album done right. Ryan looks up to Shawn Everett, who was the producer/ engineer behind this; it’s such a landmark album for both rock as a genre and for sound production. Brittany Howard is the coolest.

Phoebe Bridgers – Punisher
Initially drawn to all of the incredible textures, as you listen in further you start to notice little tiny Easter egg notes of tension that NEVER resolve which if they were missing would completely change the mood of the song. 
I love that if you’re not listening too closely they are all fairly pleasant catchy pop melodies but when you really tune in, this album is so dark lyrically.

Fiona Apple – Fetch The Bolt Cutters
Interesting textures throw back to 90s singer songwriter sensitivities.Again, lyrically quite dark but full of important messages from a powerful woman who has had enough.

I really admire the way that both Fiona Apple and Phoebe Bridgers manage to articulate feelings or moods seemingly effortlessly. They always seem to know what to say and exactly how to say it

Stream Always Kidding below:

Posted by Rebecca Costanzo. Albums of Influence by Seabass.