See Me River

SMR's sonic ambition has grown album after outstanding album. "The One That Got a Wake," released in May, grabs at classic rock glory, a vigorous mix of acoustic and electric guitars, galloping choruses and Kerry Zettel's bruised croon. — one of Seattle's best that hasn't received the recognition it deserves. - Seattle Times

Kerry Zettel's brashly noisy, post-punk outfit Das Llamas played their final show in the sweaty bowels of the Cha Cha Lounge in July 2008. Their dissolution was a surprise to the band's fan base, which had just begun to absorb Das Llamas' sophomore effort, Class Wars: K–12, released less than two months prior.

But Zettel already had one foot out the door with his new project, a goth-tinged folk-rock band called See Me River that had recorded and released a self-titled debut in late 2007. While that project's softer tones and more introspective themes initially seemed to represent a dramatic departure, Zettel now sees it as a natural evolution and a parallel extension of his lifelong love of both genres.

"I have always been into punk, metal, and hardcore—and will most likely be until the day I pass on," says Zettel, explaining his career's creative trajectory. "I picked up my first bass at 16 and played it in punk, hardcore, and post-punk bands until I was in my mid-to-late 20s."

It was collaborative work with Jesy Fortino of the dark-hearted acoustic act Tiny Vipers that re-ignited his interest in the country standards he'd sung throughout his childhood, and the more intimate territory he could cover when the walls of distortion and electric amplification are torn down. "I realized how fond I was of my old acoustic guitar," he recalls. "It was like catching up with an old friend I hadn't seen in years."

Zettel recorded and mixed some of Fortino's early works for Luckyhorse Industries (the indie label she was on prior to signing with Sub Pop), but the later material they played on together was lost. Still, the experience was just the spark he needed to take the leap with See Me River, a band that has since recorded two more full-length records and one EP (a second is set to drop later this year), which have enjoyed broader critical and commercial success than Das Llamas. This week, they'll celebrate the completion of their third full-length, The One That Got a Wake, with a record release party at the Tractor on Thurs., May 20.

On a recent postcard-perfect afternoon on the beach at Golden Gardens in Ballard, all five of See Me River's core members are discussing the new record after lunch at neighboring Cuban sandwich stand Paseo. Zettel and bassist Evan LeSure are playing with the tiny hermit crabs scattered among the rocky shores, while drummer Kellie Payne, guitarist Joe Arnone, and keyboardist Ken Jarvey bask in the sun. "Kerry's songwriting has improved dramatically since I first started playing with him," says Arnone frankly when the topic of what keeps the band together arises. "There were a couple of 'sea shanties' on the first one," he laughs, referring to some more clichéd moments early on. "But now he writes really great songs."

Recorded with local producer Chris Common at Red Room Recordings and released jointly on Zettel's own label, Aviation Records, and Megan Birdsall's Don't Stop Believin' Records, The One That Got a Wake is indeed See Me River's most self-assured, cohesive, and refined-sounding release to date, though the recording process was a bit of an organic free-for-all at points.

"Ken was playing accordion, me and Joe were playing guitar, Kellie was playing shakers, and Chris Common was playing tambourine and stomping on the floor," says Zettel, recalling the group romp that informs the track "Betrayed." Though the band's country-noir roots remain apparent, a slight psychedelic shimmer stretches over the material, especially on the haunting title track and the folk/fairy tale–inspired yarn "Baba Yaga."

Zettel returns from the water with a crab in his palm and an obviously earnest desire to give credit to the band's current collaborative writing style. "I come up with the basic skeleton of [the songs], and everyone else throws the muscles and the meat on it," he says.

Zettel remains close friends with his former bandmates in Das Llamas, and has been a vocal supporter of guitarist Shawn Kock's excellent new punk project, Absolute Monarchs, but it's clear he's in a better space now with his own band. "Das Llamas was a great time and I love those guys dearly, but we all had different ideas about how we wanted things to progress. I have zero regrets about my decision to move forward with See Me River...this music is just an honest extension of who I am." - Seattle Weekly

The title track of See Me River's new album, The One That Got a Wake, takes frontman Kerry Zettel's appealingly droning, low-yet-nasal voice (the band's most constant feature) and adds to it a mess of musical ideas: drunken slow-dancing rhythm, twangy guitar, some uneasy honky-tonk piano, and enough cymbal clatter to choke out every breath of air. There's a bit of a Tom Waits fairy-tale bender vibe, but with a pretty beat-up mix. Throughout, the prolific band's fourth album in as many years sees them expanding their dirgey, rootsy sound—with touches of harpsichord and brass on "Heroine" and "Baba Yaga," and with an overall inclination toward psychedelic pop tropes. It's not a flawless album (the odd pop-culture history lesson of "A Summer to Remember" might strike some as a bit much), but it's another fine showing from this underrated local act. - The Stranger

Testament, once more, of the talent that orbits around the rock n roll epicenter of Bimbo s/Cha Cha, this bill sees the projects of two long-
time employees: John Atkins the Can't See and Kerry Zettel s See Me River and the Dead Horse Creek. While both have fronted other
outfits (Atkins is well-known for his stints with Hush Harbor and 764-HERO; Zettel with Das Llamas), their current incarnations are worthy of setting out into winter s continued
reign. The Can t See bring an infectious energy to their sets, delivering insightful lyrics over
perfect pop melodies, all infused with a sweat-inducing thrash factor that won't quit. At the Rendezvous Jewel Box Theater recently, Zettel delivered his new material with an earnest, if not-yet polished, erformance. Like a softer, gentler Tom Waits, lyrics such as "It won t be long/Until we re gone/As time/Moves on/ We ll learn to carry on" get just as deep as his baritone. With Moondoggies.
Comet Tavern, 922
E. Pike St., 323-9853. 9 p.m. $5. AJA PECKNOLD - Seattle Weekly

Das Llamas - World War; See Me River - See Me River  
 Written by Jake Nuckolls  
A schizophrenic duo: one face is electro rock, the other... a drunken acoustic.

[6.7.07]
Sounding like Steven Merritt of The Magnetic Fields and the recently releases The Gothic Archies, both See Me River and Das Llamas are fronted by the baritone Kerry Zettel.  Both bands exemplify the image of drunken emotional escapades and simple but brilliant musicianship at the back stage of a trucker bar on some midwest highway.  See Me River is primarily an acoustic endeavor.  Das Llamas is known around the northwest as an up and coming band sporting the label of grimy upbeat electro rock that spastically flirts with new wave punk.  A far cry from the strained whisky cries and acoustic plucking of See Me River.
Das Llamas third album and surely their forthcoming best known album, World War, is an epic smashing of synth and dirty bass.  The drumlines come fast and furious as Thomas Burke tears apart his drumset to keep up with the new wave funk fury that is being hammered out by Zettel, fellow guitarist Kock, and new guitarist Rusty.  Once upon a time sporting the moniker Stabmasterarson, the gentlemen behind Das Llamas now make fast and furious rock and roll that can only lend itself to an absolutely terrifying stage show.  Being declared the new noise by critics out there has obviously not gotten to Zettels head.  He continues to make the kind of rock that he wants to and it is obvious.  While it is not the kind of music that I would put on during a long winding drive through the Palouse, it is exactly the kind of neo-new wave indie rock that would have gotten me all fired up during the 4 hour drive to visit my girlfriend back in the day (were now happily married).  World Wars cover is a flying home sized octopus landing on a house.  One can only imagine the creative rock within.  A time for everything.  Outstanding Tracks: Wood On Bone, The Legacy, and Whoa Oh Oh.
On the other hand completely, we have See Me River, a kind of Hersheys milk chocolate bar to your Organic 88% dark chocolate bar.  Both good and worthwhile, but for completely different tastes and purposes (though fans of chocolate and Zettel will like both).  And thus the analogy ends.  Layered in refreshingly off-kilter acoustics and atmospherics, See Me River proves to be just the antidote after a long night listening to Zettels other band.  Both bands mask irony in story and dont hesitate to drop the occasional reference to the heavy headedness that can only come from one too many.  See Me River is a gentle offshoot from a heavy rocker.  While I cannot see Zettel turning into the next Dashboard Confessional, I also could not have seen the flailing chaotic stage presence of Chris Carraba (while in Further Seems Forever) turning into the pretty boy, heart on his sleeve, love-of-every-teenager artist either.  Maybe Zettels penchant for a dark brew and a long night will result in his turning into the dirty guy, heart cut to ribbons, singing to a crowd of biker chicks artist.  Heres to that.  Outstanding Tracks: "My Grapes Have Turned," "St. Tigard's Pond," and "Its Gotta Be The Wine."
See Me River and Das Llamas do live up to the hype.  While baritones rarely catch the public eye, the indie world Im sure, will focus its critical eye on Zettel and his motley bunch of virtuosos, labeling them the next not-big thing to be excited about not being on a record label that makes more money than I can think of.  That's indie right?
- cdreviews.com

At his heart, Zettel is every man. Awkward, emotionally immature, naive and apologetic. This album is an intorted testament to each of those attributes. Minimal acoustic guitar backs each song, with organ, background vocals and the occasional tambourine effect added from The Dead Horse Creek. - Perfct Porridge