Seattle based alt-folk trio THE CAVE SINGERS have only recently released their debut album Invitation Songs, recorded in Vancouver with Matador Records. Not much later, in fact, than their ‘incidental’ formation in early 2007, when flat sharers Derek Fudesco, the Cave Singers' guitarist and bassist, and front man Pete Quirk, who were at the time both recording with different bands, started writing together. Neighbouring drummer Marty Lund soon joined to complete the gang.
Despite their post-punk background, the three have settled nicely into a groove of melodies which seem to have all been composed in a sunny field, with a view of the train tracks in the distance. The key traits here are simplicity and serenity. Although a definite tint of immaturity - or is it just being new to the genre? - comes through in this their first attempt.
The Metro is almost empty tonight, a fact which doesn’t do justice to the excellent support act, THE LEFT OUTSIDES. Alison Cotton and Mark Nicholas have been playing together for several years, she on viola and he accompanying on guitar. They’ve recently self-released a studio live recording - Live at the Drop Out - to which end they’ve invited a group of their friends, played for them and got a party started. Her vocals have an ambiguous quality, on one hand soft and melancholy, with an almost fragile essence, but on the other hand an eeriness which pierces and unsettles, with the effect created reminiscent of VU during the Nico days and shades of Kirsty McCall.
His vocals compliment perfectly, like a yang to her yin, soft yet masculine and oaky. Their music takes you through damp unholy caverns, around caldrons and through dark woods, a journey you willingly partake in knowing full well you are safely nestled in a black velvety hammock. The room is unresponsive, but then, the metro has never been the place for subtle melodic nuances, which is what the Left Outsides bring. It is more of a one-chord band type of venue, which brings us neatly to the main feature.
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The first song, Seeds of Night, is all rolling hills and dancing bohemians. New Harm gives a glimpse of Fudesco’s picking talents, but Quirk’s accompaniment on the harmonica is amateurish and frankly uncomplimentary. Most songs, and the feeling grows with the next one – In A House - could comprise a respectable soundtrack to a non-Disney feature animation. One which involves lots of animals being kind to one another, and a lesson to be learnt. The key rarely changes resulting in a droning meditative Sitar tinge. The guys then form a guitar trio as Lund abandons his drums, to play us a couple of Alice in Chains meets Nick Drake type numbers, with Oh Child and Belmar. Why the narrowness? Who’s limiting the vision? Talent is clearly present.
Ending on a high note with Helen and their debut single Dancing on Our Graves creates a pleasant mood of oblivious euphoria.
The Cave Singers play the part of the folk veterans, complete with granddad caps, vests and the obligatory story-teller troubadour stools. Derek Fudesco’s guitar is delightful and effortless, yet simplistic; Pete Quirk’s vocals, albeit easy on the ear and suitable for these folky tinkles, seem forced, as if taking on a persona. Most probably Tom Petty’s. The whole exercise has a somewhat superficial feel to it – although not without a certain potential. In fact, the general theme of this project seems to be embarking on an experiment rather than taking the natural course, prior to sufficient ripening.
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