Daguerreotypes
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Daguerreotypes’ idiosyncratic thump and boom
draws from the past four decades of rock & roll and a
collective obsession with its forgotten corners: Krautrock,
Canterbury psychedelia, and swarms of other shared
influences. Galvanized by singer John Fitzsimmons’
lopsided yowl, Dags’ sound developed through years of
collaboration. They are a Seattle fixture, and have shared
the stage with the Cave Singers, the Tea Cozies, Vampire
Hands, and PWRFL POWER. Tropical Trust, their first
release in two years, is a summers-worth of riffs and
studio grind.
“Tropical musk! That’s what we call the odor that pummels us from our rehearsal space…” comments Fitzsimmons. “The album title also somewhat sprang from a final correspondence between me and my ex, one in which I wrote about the ‘unfortunate climate of trust’ that had existed between us.”
You knocked me with apocalyptic fervor Behind the garden supply store A tree fell on our house A broom fell on the mouse
The surging opener, Dark Fence, threatens to unhinge itself at every turn while Continental, a waltz (mostly), shimmers with interwoven guitar parts and an insistent flirtation with meter. Aggravated Myth alternates a thick, driving garage pulse with unsteady breaks. With perhaps the most tropical setting of the bunch, Telegram to Tegucigalpa floats amidst breezy major 7th chords and soaring vibraphones. Bridge of Daggers toys with a neurotic intensity and insistent rhythmic clamor reminiscent of early Can.
Daguerreotypes were a Seattle fixture for many years, and many of the members are now part of Nuclear Igloo. They have also been known to reunite once in a while.