Summer Underground

Hailing from the city of New York with their unique brand of piano-driven indie pop, Summer Underground is an act that exudes the perfect balance of emotional integrity and artistic value. The band is made up of two parts, Grant Carey and Chrissy Sandman, who both contribute on instrumental and vocal duties. With soulful vibes from their latest LP release Honeycomb, it’s fair to say that the band has all the boxes ticked – authentic songwriting, catchy pop-influenced melodies, and a solid delivery of well-blended harmonies, all packed in an exquisitely uplifting manner.

The duo first met in high school in Pittsburgh and shared similar music interests (For Emma, Forever Ago was all the rage back then, and undoubtedly still is), even meeting in their chorus practice rooms to share original song ideas. Fast forward to their college years, the two finally came together in the summer of 2011. Grant recalls a particularly striking moment in their journey since then. “I remember very clearly sitting in Chrissy’s family kitchen back in Pittsburgh when our first record (Beneath This City) was released. Since that moment, we’ve wanted to keep this moving.”

With a myriad of influences, Summer Underground takes the best of each and crafts their own special sound while still demonstrating their flexibility. At times, we hear the suave indie rock vibes of The National, where the baritone range of Grant gets interestingly similar to that of frontman Matt Berninger. Other times, the hauntingly poignant piano and vocal combinations bring up comparisons to Regina Spektor or even the Ingrid Michelson of old. And not to forget, the ambient and inspiring authenticity that is Bon Iver.

With the trend of artists mentioned here, the level of intimacy in their sound is no surprise. “I think our best songs – and maybe any great song – come from a natural place… Writing a song sort of feels like shedding a layer of skin and sharing something at the same time. It’s kind of become a necessary part of my existence,” shares Grant. But for the band, that’s not where it stops – they see the need to pull listeners in. “I love watching musicians who really move people… Hopefully we’re writing songs that resonate with others, too. That’s probably the most important bit.”

While music from Summer Underground is a culmination of each member’s styles, their lyrical ideas build on one another. Their music-making process is very much a collaborative one, and as Chrissy explains it, “I tend to think of myself as more melodically-oriented, gentler, impressionistic. Grant is an amazing lyricist, and I love how wordy and specific his songs can be. It transports me to that exact moment…we co-evolved a sort of blend between very personal writing and storytelling with characters.”

Storytelling is an integral part of Honeycomb, where we see the duo explore the contrasting aspects of New York City, and of course, perspectives on things like love. The former makes up a large portion of the record, where songs such as “Hangover Blues” tackle ideals that one may have of the iconic city, singing “We both know there ain’t nothing beneath this city but an old railroad.” Musings aside, the 16-song record has just as much intention with its music. Divided into four “cells” where each takes on its own differentiated sonic landscape, we are brought from the indie rock pace of “Beacon” and adult pop vibes of the title track “Honeycomb” to the mellow and soothing harmonies of “Vera” and the hauntingly beautiful croons of “Dinosaurs Of Broadway”. “Stranger”, on the other hand, stands out for its smooth music transitions that perfectly complement its lyrical themes.

With several songs surrounding New York and all its intriguing elements, it is perhaps ironic that Honeycomb was recorded in Ligonier, Pennsylvania. Providing the perfect setting for the exploration of different sonic textures and development of lyrical perspectives, the beauty of their surroundings can be clearly heard in their music. Chrissy elaborates on this recording experience, “We were just unbelievably lucky to spend that summer in such a beautiful place focusing solely on music… Thematically too, a lot of the songs are about the relationship between suburbs, country and city. Many are about traveling between different environments or imagining that you are somewhere else.” With the desire to constantly improve their craft, there’s no surprise that Summer Underground have an EP, The Bee Sides, in the works, releasing on 16th June. You can follow them and discover more of their music here. - Mind Equals Blown

Laced with catchy melodies, emotive stories, and intricate instrumental layering, New York-based act Summer Underground return with their newest EP, The Bee Sides, and are stronger than ever. Seven months since the release of their previous effort, Honeycomb, we discover a refreshed sound from the duo, consisting of Chrissy Sandman and Grant Carey, departing from their conventional piano-driven indie pop style.

Perhaps the most intriguing fact about the duo’s latest EP is that, while the six-track collection consists of songs penned during the Honeycomb sessions, the end products we hear couldn’t be more distinct. Adding a new dynamism to their sound while both continue contributing to vocal duties, the band utilizes experimental sonic textures across the songs to great effect, avoiding the pitfall of simply being an extension of their previous release. Instead, what they find themselves now is a bold and remarkable step in a new direction.

The EP opens up with a sole electric guitar brimming with distortion, almost as a statement of intent, before Sandman’s soothing vocals kick in to perfectly complement it. The duo’s trademark transitions are then brought to the forefront as the mellow opening seamlessly grows into an infectious swing rhythm, coloured with tasty beach-style guitar riffs. The change in tone is beautifully paired with their lyrical sentiments as well, evoking reflections about a love that is both young and simple (“’Cause I have a feeling, that you got me reeling / And I have a feeling, you feel it too”).

The same spirit of light-heartedness is carried across to tracks such as “Wild One”, the perfect soundtrack for a summer spent walking down the beach reminiscing with friends. A light beat and happy disposition is heard throughout the track, with different instruments intricately layered at various points of the song to bring listeners on their journey. “In The Night” is another that does the same, as the duo shows their true musical prowess through pairing their lyrical style of storytelling with sound design. Using sounds such as waves hitting the shore, seagulls squawking, and children on a roller coaster to evoke the vibes of a seaside carnival, you could close your eyes and be transported to that same place with them.

While “Young Like You” is the one track that epitomizes the band’s effort in experimentation through thick electronic waves and wah-infused guitar licks, we are still treated to songs that serve to remind us of their roots. “Barrier” is one that achieves this, with its piano pulses and mid-tempo drumbeat raising comparisons to “Beacon” from Honeycomb. Emotions such as heartbreak and frustration are still conveyed in true Summer Underground fashion with their unique brand of storytelling (“I checked my phone three hundred separate times / In the same hour, on the same day / I thought perhaps you’d tell me ‘Grant, I’m really looking forward to the future’”). “Grand Theft Auto” carries a similar line of musings, as its light-heartedness and melodic tendencies are delicately accompanied by the exploration of possibilities that come with past regret (“What if we stayed together for longer than we thought? / What if we destroyed the message that told us who we are?”).

Despite the obvious shift in musical approach, Summer Underground still maintain the stylistic essence of who they are. The production may differ from anything they have done previously, especially with their multi-instrument flexibility and knack for experimentation here, but The Bee Sides remains a testament to their genuine outlook towards music. And that’s what will keep listeners coming back for more. - Mind Equals Blown

4.1 out of 5 - TOP ALBUM

Honeycomb by Summer Underground is a unique outfit of beautiful structure, singer/songwriter lyricism and vocal delivery. The male and female leads match tones perfectly with neither one pushing within their own registers or overlapping focus. The songs breathe easy and captivate slow. In most cases, the piano acts as glue, holding the vibes and emotions intact. Can you really go wrong with a pretty piano line and some full bottom chords? Summer Underground doesn’t think so and they’ve taken this idea to the bank. Is it easy? Not a chance, but when done right it can be the simplest effect for beauty.

Honeycomb is a clinic of sparkling and delicate passion that weaves between romantic lounge and intimate jazz. It’s a lesson in active listening that really rewards the listener with some deeper meaning on love and life, clearing the mind in the process. As I hear the gentle tapestries of sound I picture a dim lit and comfortable alehouse with a corner stage and eager ears. Summer Underground seems to have an understated ability to attract attention despite their soft compositions and I find that to be a rare and enchanting achievement.

“Overture” is our first taste of Honeycomb and its warm sweetness is paced with care. The ivories glide along with strong supporting inversions while the vocals flow effortlessly. As the verses gain momentum the subtle entrance of the tambourine is just genius. I felt the song needed that little nudge of movement and the pretty bright percussion couldn’t pair better with their ascending lines. This song decays with lovely form and leaves you pining for more. Lucky for us, there’s so much left to unfold.

The next few tracks explore more guitar laden work, but it’s “Coyote” that returns things to their roots, even adding some danceable elements at the end. As it grows, these swirling runs of synth trickle in amidst the cool piano and things begin to swell just slightly.

The space widens for highly emotional harmonies and piquing chord resolution. Summer Underground really pours on the feels with this one - chalk it up for a sentimental soundtrack. And yet, the closing seconds take new ground and become loose with feeling and light on the feet, urging a sweeping expression for the dance floor if even just for a moment. This is a heavy album that manages to feel weightless. See for yourself, you’re bound to lose yourself within it. - The Even Ground

This selection is slightly out there. But I guarantee you’ll find something here to like or even love. Wacky multi-instrumentation. Evocative vocals. (hey!). Brilliant lyrics.

Grant Carey and Chrissy Sandman have been making music together for three years or so and the combination is righteous and weird. But they definitely make beautiful music together.

The two are originally from Pittsburgh and now, for the first time since beginning this whole trip, are living in the same city after two EPs and a full-length album recorded while both resided in different places.

They’ve gone Kickstarter to produce Honeycomb, the album they are currently recording back in the Pennsylvania hills.

Get yourself ready. Have a seat. Put on those hi-fidelity cans. And click the play button below on “Teach Me How to Move” from Summer Underground’s 2013 EP Arrivals. Killer! - Radio Crowdfund, Paul Schomer