“It’s this confluence of the kooky and cool, the copping of influence cut with honest to goodness solid songwriting…Lushy proves with its fun, fizzy debut that it can definitely chill behind the velvet rope.” **** – Johnny Loftus, All Music Guide
“Their brand of electronica is a reinvention of that hip style of mod ’60s music that one would experience while watching a Peter Sellers film, circa 1966 — or a Guy Ritchie British thriller, circa 2006.” -Mark Hooper, Arkansas Times
“Memorable and catchy — Lushy’s music carries itself with a cool benevolence.” -Chris Greenland, Splendid Magazine
“”So Francoise Hardy and Serge Gainsbourg take their Deux Cheveux out for a spin round the Bois de Bolougne, before stopping off at their favorite Tiki lounge. While there, they toast Singapore Slings with Tim and Letitia Stereolab, while in the background Martin Denny conducts the Nairobi Trio in a scintillating selection of his greatest exotica hits and misses. Yeah, Lushy’s kind of like that – tart, tipsy, humoresque and thoroughly entertaining post-space age jazz.” -MLH, Shredding Paper Magazine
(Photo by RJB)
“This is a refreshing update of the lounge/exotica genre, with some unique fusions and syntheses, which can shamelessly and seamlessly blend in with a playlist of Denny, Les Baxter and Esquivel, and could just as comfortably fit in amongst a mix with Devo, the B-52s and even Portishead.” -BY, Copenhagen, Denmark
“…these locals do it a lot righter than most, mainly thanks to their bubbly (ahem) sense of humor, which manifests itself in their music, where it counts” -Seattle Weekly
The cool, cocktail party pop of Lushy
Interviews | Northwest Bands
The cool, cocktail party pop of Lushy
Photo by Ivan Lasso
For a decade now, Lushy has quietly been making some of the coolest and catchiest music to come out of the Northwest. Their sound and aesthetic immediately brings to mind retro, cocktail parties but with more international influences. You hear elements of swing, jazz, bossa nova and whatever the music was in Bond films back when Sean Connery was 007 and at the same time you want to dance in between sips of your dry martini.
As the band gets ready to release their third official LP, Spaced Out, they have just started playing with a new, full lineup and have sort of rechristened the band “Lushy 9”. While previously playing with a revolving cast of musicians and using a laptop to supply the remaining instrumentation, the band has just begun playing with an expanded lineup to that now has a steady rhythm section, synths, keys and a horn section. The principle members of Lushy are singer Annabella Kirby (who sings in an indie pop band called The Moonspinners), multi-instrumentalist Andy Sodt and guitarist Matt Nims, who I met for an interview over drinks at a cozy downtown bar. Some of the musicians that have played with Lushy over its history include the KEXP DJ Johnny Horn and Lynval Golding, now a Puget Sound resident who was a member of the hugely influential (and now reunited) English ska band The Specials.
Ten people in all complete the live Lushy band, but the name Lushy 9 will remain. Kirby joked that “we counted wrong and now there are ten people in the band.” While the principles agreed that Lushy 9 would be their name and liked the ring to it, Kirby added “it’ll never be the Lushy 10, even if we have ten or sixteen people in the band.”
This Sunday night’s show at Neumos, opening for Dengue Fever, will be just their fourth with their expanded arrangement and sans laptop, but for a lot of people, it’ll be their first opportunity to see Lushy 9, so the band is treating it like the debut. The band now includes Kirby, Sodt and Nims and Brad Chodos-Irvine (percussion). The musicians currently playing in the live lineup of Lushy are Mark Bentz (bass), Debbie Sweetland (keyboards), Don Kenoyer (synth), Patrick Napper (trumpet), Zach Davies (trombone) and Fletcher Andrews (drums). “It’s more band for your buck,” Sodt in our interview. Really, any party is better when more people show up.
While the band has expanded their lineup, their sound has also evolved from their tiki party origins. One of the first Lushy shows was at an event called Tiki Oasis, held in Palm Springs, which fit the group’s early dynamic well. Sodt explained, “We were doing a lot of exotica stuff at the time and were into Martin Denny, so we were trying to do stuff like that. We’ve strayed away from pure tiki now and we have more influences, but back then we were pure exotica or tiki.” It was that show that led to their distribution deal with the independent label Dionysus Records.
The band attracts a diverse crowd to their shows, often bringing an older audience that you wouldn’t normally see at a club like the Sunset or Chop Suey. They also said they play an average of a private party a month, often weddings. “We’re not a typical party band that people hire, but people really like it,” Kirby said and Nims added “we can party with the best of them”.
“We don’t know how to capture the younger set, maybe we could do a Ween cover” Sodt quipped during our interview with Nims joking “yeah, that’ll get us down to thirty-five year olds.” Talking with the band for over an hour, it was often difficult to tell when they were serious and when they were kidding, especially with some ideas for merchandise to sell at shows and online in the “Lushy Lifestyle Store”. All jokes aside, Lushy does appear to be having a lot of fun with the music they make and with the crowds they play to. Talking with them, you get the sense that they will continue to play together until it stops being fun – and no one foresees that happening anytime in the near or distant future.
Spaced Out, forthcoming third album, is set to be released in February with a hard copy but fans should also be able to download the album digitally shortly after this article is posted, and likely before Sunday’s show with Dengue Fever. Sodt says it’s different because “we decided we want to make a dance record and go back to the best of the seventies and use that as our influences.” The album, they said, is a reference to the famous bandleader Enoch Light’s 1969 album, also called Spaced Out. Nims said they took their time recording it, but recorded it before adding any new musicians to the band so the core members of Lushy played all of the instrumentation on this album. They would, though, like to record an album soon with the new members of the band.
My favorite song from the new album is “Get It”, a cool as ice retro pop song that seems to have a hook in nearly every line Kirby sings yet and each verse is catchy itself, without having a defined chorus. When it gets to the bridge, the song goes in a completely different direction, led by both Kirby’s harmonies and the melody.
For as many articles you’ll read about how contemporary bands are rediscovering music from their parents’ generations, there really isn’t another band in Seattle like Lushy. They are completely forthright about their influences (an entire afternoon on Google wouldn’t have led me to Enoch Light’s name – and I knew who he was before the interview), but more importantly they seem to have as much fun themselves as the crowds do that hire them or that they play to. While they may blend elements of forties, fifties, sixties and seventies music throughout their songs, pop music always endures throughout each and every era because people (as a mass) enjoy catchy songs and they like to sing-along and they like to dance. Easily enough, anyone who likes that, should love Lushy.
Friday, January 8, 2010
Old School, New Music: Lushy
(Photo by Hayley Young)
Sounds Like: The Jetsons with swizzle
sticks and distortion pedals
Typical Song Title: “Bottles, Bugles,
Bright Shiny Bells”
Groupies: Cocktail lovers wearing
skinny ties and sunglasses
Web Site: lushy.com
Musicians have always borrowed stylistic elements from their predecessors—we’d be willing to bet even Cro-Magnon man repurposed a catchy rhythm or two from Neanderthal rockers. And lately it seems Seattle bands are staging a “revival of the fittest” of sorts—recycling all manner of old sounds and refurbishing them with their own unique and modern spin. Bringing to mind retro riffs by everyone from the Rolling Stones to the Foggy Mountain Boys, from 1920s Parisian cabaret acts to 1960s space-age cocktail numbers, local musicians of multiple genres are looking back to move forward. Hey, even the jug band has returned, so get out your washboard and play along.
It’s hard to imagine a band called Lushy being anything other than fun. Keyboard/sax/flute/drums player Andy Sodt freely admits the group was created around cocktail lounge culture. He and guitarist/bassist Matt Nims met in the early ’90s when they played ska together with the Tiny Hat Orchestra. They knew vocalist Annabella Kirby from the local music scene and, in 2000, roped her into a recording project in Sodt’s basement. For two years, Lushy was a studio-only project. “We just never came out of the basement,” says Kirby. “We were making all these songs until one day I was like, ‘What are we doing? We have to play this for people!’”
She called some friends in Palm Springs who were throwing a Tiki event and booked their first show. “We got a distribution deal that same week,” she says. “We’ve been playing out ever since.”
Marrying spacey, “cocktail-y” sounds from the ’60s and ’70s with their own offbeat attitude, the band sounds like a vinyl record you might find propped on Austin Powers’ mini bar. Even though they’ve been at it for a decade now, there’s a newness in their music that makes you feel like grabbing a drink and seeing where the night goes.
Ten years is a long time for any band to stick together, particularly a throwback pop band in a city that prides itself on testing rock’s limits. But with four albums of original material under their belt and two more in the works for release this year, Lushy’s greatest asset may be that they’ve never been so much of the Seattle music scene—perhaps a byproduct of those years in Sodt’s basement, where it was easy to lose track of the music other local bands were making. “It always seems like we’re the exact opposite of every other band [in town],” Sodt says. Nims adds that their music has “never had anything to do with what’s been happening here. That’s not really by choice; it’s just…what feels progressive to us.”