Slow to Surface has survived an unforgiving Las Vegas music scene and -- as evidenced on its excellent new album -- artistically evolved into something transcending any 'local band' tag
Four shows scheduled in the next six days and, huddled in its rehearsal space, Slow to Surface is all jokes. The biggest of the upcoming shows -- a Wasted Space release party for its first-ever full-length and third recording, The Reason We Do This -- is the topic of discussion between the five musicians. The gig also includes Left Standing and Magna Fi, two bands that were already thriving when STS formed back in 2000 (then called Product).
"This show's from six years ago!" says drummer Mac Purdy.
"I told someone the line-up and they asked if we were playing the [long-ago shuttered] Boston," deadpans guitarist/engineer Jeff Basso.
Bassist Adam Handley chimes in: "I think I have an old flier I can recycle!"
Local music fans both young and old couldn't be blamed if that exchange conjures images of an aging group of musicians in denial over its relevance -- especially in Las Vegas, where, in the minds of gig-goers, three months off the live music circuit can be translated as the end being nigh.
But for Slow to Surface, its nine-year slog was absolutely necessary in arriving to this point, in 2009, a creative apex of an evolution that makes its name all too fitting. It has enjoyed moments of hype and endured periods of stasis. It swapped out two band members during the fulfillment of a development/production contract which ultimately expired when STS's music wasn't deemed radio-friendly enough. And it has two EPs to its discography, neither of which the band ever held with nearly the same regard as The Reason We Do This, the genesis of the band's third act.
"For once, it feels like the best body of work we've ever put out," says founding guitarist Zach Saucier. "I'm 110 percent proud of it. We obviously love our band and our music, but we finally love our record, and aren't ashamed to play it or show it to everyone."
Their pride is justified. Slow to Surface set the bar high with its tunefully cantankerous 2001 debut EP, An Effort in the Deconstruction of the Struggle, followed by 2004's The Interruption, which built upon the singular approach established by its predecessor. But The Reason takes the strengths of those previous releases -- as well as an impressively varied cluster of influences -- and impressively streamlines them all into one 43-minute work.
The old-school, emocore-tinged "Plasic Painted Pride" segues into the highway folk-flavored "Here To Give, Here To Take." Leadoff track "Ten Lies" is pure radio gold, sprouting from the gray area between Jimmy Eat World and Pearl Jam; voxless closer "Instrumentals are Pretentious" recalls Nine Inch Nails, Mogwai and Sigur Ros. And the rousing "Shake the Rafters" takes musical cues from the classic/blue collar rock tradition, ripe for inclusion in a hero-takes-all summer blockbuster.
What gives The Reason its resonance is the force of its melodies and words. With the former, STS listened to its instincts so it didn't undercook or overthink its songs. Some songs went from conception to their final recorded version in a couple of weeks, while "Fell Into" is nearly as old as the band itself, finally settling into an acceptable, performable incarnation. As for the lyrics, singer Benwood drew from personal experiences he felt could be both therapeutic to him and relatable to his audience. "I'm trying to be my own philosopher," he says. "I'm writing to myself about myself."
Even beyond the lyrics or its artistic merits, The Reason is a revelation, somewhat of a paradox given how STS has notably disliked revealing much about itself. It has no official bio, it has always done limited press and it despises promoting itself. "We're not big on pimping ourselves," says Benwood. However, STS is eager to share its new album. "It's time," Saucier says simply.
The Las Vegas music scene is known for its suspended adolescence; its players, a short shelf-life. But after nine years, it would be hard for STS to fight against maturity. There's the strident fight to remain as DIY as possible while still being open to opportunity, be it scoring TV shows or a regional tour. There are the ostensible life lessons seeping into its artistry, on plain display (especially with regard to verse) in The Reason. There are the countless gigs where winning over each of the five audience members who bothered to show up was paramount to retaining the band's integrity. And there's each musician learning not only every personality quirk of his bandmates, but his own role in the band. This, to say nothing of a chemistry with which the musicians were blessed early on. (They maintain good relations with former bandmates Steve Penhall and Jay Perry, also credited on The Reason.)
And then there's perserverance. "Look at The Flaming Lips," says Benwood. "There are great bands that didn't mature until they were in their mid-30s. I think we're that kind of the band." How apt -- Slow to Surface is long done waiting for a Superman.
Highlights of The Reason We Do This
* Some of its best songs were recorded in one day: "Ten Lies," "I'm Gonna Leave" and "Plasic Painted Pride."
* "Fell Into," on the other hand, was the third song Slow to Surface ever wrote. "It's such a conceptual song, it was hard to get across live, hard to record," says Zach Saucier, who adds that Benwood's lyrical updates" sold the song. Anyone I've talked to that loves that song says it's so raw and emotional, and it's the lyrics and vocals."
* "Shake the Rafters" could be the anthem to a Michael Bay film. But its thematic roots project another sentiment altogether. "We wrote that during the whole political thing," says Benwood. "You're going to believe in what you're going to believe in. But it was like ... if this doesn't give you a reason to give a fuck, I don't know what else will. If you don't point out what's broken, there's no way to fix it."
Mike Prevatt - Las Vegas CityLife
(Mar 5, 2009)