Paste Magazine on Stealing Sand
"Their new album Stealing Sand is a masterpiece of restlessness and the thirst for redemption/The various layers of Stealing Sand should allure many to its nocturnal charms, the substance of the work bringing them back again and again for many plays."
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The Big Take Over (Issue #81) - Print Only!
"Fronted by singer songwriter Jon Frum, this Seattle band creates solid dreampop with a hint of psychedelic underground jangle—like a perfect mix of mellow Dream Syndicate and The Church"
Transient songs
stealing sand
(Two Roads)
Fronted by singer songwriter Jon Frum, this Seattle band creates solid dreampop with a hint of psychedelic underground jangle—like a perfect mix of mellow Dream Syndicate and The Church, remembering and dreaming. There are nice steady beats keeping the songs from melting into the ground, while the light twists and drifts of guitar shift from winding highways into soft fuzzy phrases. The vocals are soft and thoughtful, sometimes holding echoes of a more laid back Dean Wareham, and sometimes there’s almost a hint of Steve Wynn, which merges nicely with the psych-pop twists. (transientsongs.com)
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Three Imaginary Girls
"In short, Stealing Sand is a modern day classic."
Transience. Traveling to escape customary life. Wandering. Vagabond impulses. Songs that were born and created throughout a determination to experience scenes and emotions outside of the routine experience. Sometimes, one must venture outside of familiar cities, states, countries, and climates in order to reflect upon the beauty of an otherwise uneventful daily existence. This is what comes to mind when hearing Stealing Sand, the new album by Seattle quartet, Transient Songs. That said, these kinds of things will likely grasp the listener when hearing their previous releases as well. Stealing Sand is the third full-length release from the band and it might just be their best release yet.
Transient Songs, in this incarnation, includes Jon Frum, the principal songwriter, on vocals and guitar, Michael Shunk on guitar and keyboards, Dayna Loeffler on bass and Craig Keller on drums. This band gels and clearly has chemistry in both sound and performance. Stealing Sandencapsulates the sound of a band that sounds like they could have been recording their last album together. It is a vital statement that seems like it was hell-bent on being recorded. The songs, and especially Frum’s lyrics, seem to have been cultivated from an estranged perspective outside of himself that yet still comes passionately from within. The vantage point of the listener is thus removed and also extremely intimate. It is beautiful and painful and full of questions that cannot be answered, even after repeated listens.
“Branches through the Trees” contains vibrato guitars and a stoned, driving melody that is almost hypnotizing, especially considering that it is only four and a half minutes long. “Lost in the Middle” is a kaleidoscopic, beautiful song that sounds like it could have been a classic album track by The Church. “Shoppin’ for Coffins” is perhaps the album’s centerpiece. It is a chilling and surreal song born out of a dream that is full of ghosts, questions, regret, and a general bewilderment of where the line between where reverie and reality intersect. Musically, it is a psychedelic, tight and succinct. There is too much uncertainty to fully connect the pieces. In Frum’s words, “The muse is always elusive.”
“If the Summer Resigns” is reminiscent of Chicago’s criminally unknown melancholy pop outfit, The Chamber Strings. The title track, “Stealing Sand” recalls the breezy, melancholy sound of Transient Songs’ excellent debut, Cave Syndrome. “All Said and Done” includes some truly gorgeous cello and acoustic guitar interplay. It recalls a warm 1960’s sound of The Beatles or The Kinks. Just listen to the moving opening lines, “When it’s all said and done and you’re out of places to run/Chasing other people’s dreams away/You’re out on a limb, spinning your webs again/Did you ever think that luck has led you astray?”
“Drug Dreams” is the biggest rock number on Stealing Sand and it fucking rocks. This is a classic garage rock song. This one comes from the day that your hangover wears off and all you want to do is start drinking because being sober again is far more painful than the hangover is. The record closes with “Those Hidden Lakes,” which might be the best song on the album. It is a subtle and sad resignation where the mundane reflection on a day job and drab existence seems to become overwhelming. However, the song ends up being full of hope and an appreciation for all of the unsaid things that one takes for granted. It’s the perfect ending to a record that is heavily involved in a wide spectrum of complex human emotions.
In short, Stealing Sand is a modern day classic. Transient Songs will be playing The Sunset in Ballard on the 28th of July. Mark your calendar if you want to see some inspired psychedelic rock and roll.
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Goldmine Magazine
"casting shards of iridescent beauty in the midst of their mellow, melancholic musings. This is the sound of hazy, overcast afternoons and dreamy mornings after, where the world drifts by and serenity and contentment allow for peaceful repose"
Seattle-based psych band Transient Songs’ third album, Stealing Sand, finds frontmen Jon Frum and Michael Shunk collaborating on a series of ethereal melodies wholly reminiscent of bands like the Church, Modern English and Mercury Rev, while casting shards of iridescent beauty in the midst of their mellow, melancholic musings. This is the sound of hazy, overcast afternoons and dreamy mornings after, where the world drifts by and serenity and contentment allow for peaceful repose. Ultimately, Transient Songs have chosen the perfect handle, because, truth be told, bliss like this is fleeting at best. Seize this sweet serenity while it lasts.
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Stars and Scars
"Cradled in soaring riffs and wistful melodies"
Seattle-based Transient Songs have released their third album entitled Stealing Sand, a refreshingly nostalgic journey for fans of The Church and Pixies. While not akin to the aforementioned bands in every way, Transient Songs extract only the best bits of 80s alt-pop and create 10 tracks that could easily be featured in a John Hughes flick.
Singer/songwriter/guitarist Jon Frum pulls metaphorical inspiration from his life experiences and delivers lyrics with a Benjamin Gibbard-like charm and consistency.
“The album is about falling down and getting up again, but compared to previous outings, I think this is more about getting up,” he says.
Title track and lead single “Stealing Sand” kicks off the album with a story of friendship and isolation, cradled in soaring riffs and wistful melodies. Frum waxes philosophical on the eternal importance (or conversely, unimportance) of decisions we make and experiences we value.
“Shoppin’ for Coffins” is a jarring departure from the overall upbeat character of Stealing Sand, diving into dissonant psyche-rock and proving that Frum, along with guitarist and collaborator Michael Shunk, is able to marry darkness and light. Bassist Dayna Loeffler and drummer Craig Keller round out this undeniably strong track.
“Fall City” also highlights excellent instrumentation with its “gentle and cool” guitar solo. Barb Hunter’s dreamy cello on “All Said and Done” adds a restorative sweetness to the song – a more relaxed vibe that is mirrored in the whimsical acoustic guitar on closing track “Those Hidden Lakes.”
If the summer resigns, you might see a reflection in your drug dreams. Or you might get lost in the middle of branches through the trees. Either way, check out Stealing Sand, and all of this will make sense.
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The Vinyl Anachronist
"Transient Song is a band full of the soft contours so typical twenty years ago, with compact songs full of unusual chord progressions and a deep-seated affection for long-ignored pop trends."
Transient Songs is a Seattle-based band that classifies themselves as psychedelic, but I hear something more specific and provocative in their somewhat dreamy and heavily textured indie pop. Their new album, Stealing Sand, is easy on the ears, sunny even, a reminder of languid days on the beach listening to new types of music take hold and blossom. Pinpointing the timetable of those exact days is somewhat elusive--perhaps the mid '90s? With so much of today's music focused on electronic and sampled creations full of sharp corners and spurious noise, Transient Song is a band full of the soft contours so typical twenty years ago, with compact songs full of unusual chord progressions and a deep-seated affection for long-ignored pop trends.
Jon Frum and Michael Shunk specialize in a two-guitar approach that blurs the lines between rhythm and lead--both have different yet complementary styles that sound like a calmer version of what I heard on Thurston Moore's epicRock and Roll Consciousness last month--tight, uniform and logical. Frum's vocals are equally relaxed, which gives these ten songs a deliberate feeling, an obvious beginning and end.
The band, which also includes bassist Dayna Loeffler and drummer Craig Keller, does flirt with psychedelia as advertised, but only for brief periods. That gives the music an edge that separates it from the mindlessly happy--pop groups usually don't performed songs titled "Shoppin' for Coffins" and "Drug Dreams"--but you won't mistake Stealing Sand with White Light, White Heat. If anything, the band reminds me of Ultra Vivid Scene or perhaps Afghan Whigs.
I wound up enjoying this album more than I initially thought--mostly because it takes me back to a time when a simple four-piece rock band could conjure up moods and ideas by merely being themselves and playing songs that come from the heart. This is the second time in a week I've declared that an album "grew on me," and a lot of that feeling was reinforced by sticking this CD in my car and driving around all week in its good company.
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The Small Takeover
"The title track of the album starts with the lyrics "She rose up" and it's eerie just how much this tune sounds like Grant McLennan penned and sings this well-crafted pop ditty."
Seattle based bandTransient Songs are back. We reviewed their debut album "Cave Syndrome" way back when and made comparisons to a couple of Australia's finest 80's pop rock bands The Church and The Go-Betweens. The title track of the album starts with the lyrics "She rose up" and it's eerie just how much this tune sounds like Grant McLennan penned and sings this well-crafted pop ditty. "Shopping for Coffins" is a little touched by the psychedelic pop of The Church and this reviewer once again finds it difficult not to think of Steve Kilbey and Grant McLennan's Jack Frost project.
If you're scared of ghosts then avoid this album because the spirit of Mr GW Mclennan is everywhere on this release that it sends shivers down the spine. The press kit makes a comparison to the Afghan Whigs but it's hard to hear similarities other than strong melodic songs. I'd strongly recommended to fans of The Go-Betweens and The Church. If you were looking forward to another Grant McLennan solo outing this should suffice nicely so you can grab this album when it comes out on August 8, 2017.
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Sea of Tranquility
"Filled with melodic pop rock confections and pure psyche goodness"
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Paste Magazine on Cave Syndrome
"Despite its bleak themes, Cave Syndrome is not a depressing record. The album’s heaviness is contrasted by its airy, unbound, often uplifting sounds. Just like the first single says, “In This Darkness Light Seeps Through.” - Paste Magazine, Best of What's Next
Interview and Article
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Seattle PI
As a lifelong resident of the Pacific Northwest, I have to say that it has been quite a while since I have heard anything as good as Transient Songs coming out of our backyard.
Cave Syndrome is the second album from the "group," which is actually a man by the name of John Frum and his occasional guests.
Cave Syndrome reminds me an awful lot of some of the best bands nobody ever heard in the early nineties. Groups such as Sadhappy, Adrian's Childhood, and Paisley Sin never caught a big-time record contract, but they were all great. Frum's music has something in common with each of them, but there is also a NW indie spirit about the disc that is reminiscent. The name of his record label alone is good for a chuckle: Indian Casino Records. His pop sensibilities are spot on too. The liner notes mention The Church and The Chameleons as influences, and the statement is certainly accurate.
The record begins with "In This Darkness Light Seeps Through," which despite the foreboding title is one of the more upbeat tunes. It strikes me as something Wayne Coyne might have come up with after an overdose of George Harrison's All Things Must Pass.
The trippiness, reverb and fog get deeper as the album progresses. "Smoking Slows The Healing" builds into a transcendent guitar frenzy that becomes absolutely hypnotizing, as does "Greenwood Backyards." The most fascinating song of all, though, is titled "The Cancer In Our Bloodlines." It is as if both The Church and The Chameleons decided to collaborate on a version of "A Day In The Life." The opening segment is a virtual Steve Kilbey carbon, while the latter portion would not have been out of place on side two of Script Of The Bridge.
John Frum hails from Texas originally, but we won't hold that against him. Especially as he had the good taste to enlist Chris Hanszek to master the disc. Hanszek founded C/Z Records back in 1985, and released the first collection of grunge, Deep Six shortly afterward. Transient Songs belong in such exalted company, and I hope that Cave Syndrome finds an audience. It is a gorgeously nuanced album.
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FensePost
"The dark flames of Frum’s appealing fury is evident and enlightening throughout Transient Songs’ album Cave Syndrome, which serves as a powerful demonstration of spaced-out rock and roll that is reminiscent of old times, yet strikingly fresh. Sadly enough, defiance can disappear with age and responsibility. But, quality spin-drifting rock and roll like this well never die."
Are you tired of your father’s versions of psychedelic rock? It can be granted that the 70’s were the age for some of the finest LSD-related music and mishaps history will ever know. But, surely it becomes tiresome to constantly hear about Rush’s supposed futuristic nonsense, or Roger Water’s boring obsession with the sky, and not having anything of your own time for a real comparison. Well, degenerate hipsters and demon-friendly youth-mongers, you are in luck. Introducing: John Frum a.k.a. Transient Songs. Stick it to your old man you gentle monsters!
The dark flames of Frum’s appealing fury is evident and enlightening throughout Transient Songs’ album Cave Syndrome, which serves as a powerful demonstration of spaced-out rock and roll that is reminiscent of old times, yet strikingly fresh. Not every track is entirely complicated though. Take “Smoking Slows the Healing”, which has a well-blended nuance that pushes the envelope once sealed by Feral Children. But the notable spiraling essence of John’s eccentricity is at its most vulnerable with “Astoria”. And for the borderline hardcore fan in all of us, “Sin Through The Summer” is a delightful offshoot from the estranged.
Cave Syndrome is an album you can’t hear just once. It might require a few long drives in the summer sun or a quiet hiding spot beneath the winter moon to fully comprehend the excursion into the bizarre that Frum is desperately and accurately trying to convey. And if that midnight conversation with dear old Dad over a few PBR’s only leads him to despise your “new crap” called music, it’s probably safe to say that he would have loved them 35 years ago. Sadly enough, defiance can disappear with age and responsibility. But, quality spin-drifting rock and roll like this well never die.
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Three Imaginary Girls
"The low key Seattle based continues to unveil high quality recordings that are unique in this saturated market of Northwest pop. There are equal parts Big Star and The Church incorporated into the new album with its woozy, late night atmosphere. One wishes there was more music like this in the current Seattle scene, but this also contributes to the unique, memorable and untrendy characteristics contained within Cave Syndrome."
Opening with slide guitar reminiscent of “My Sweet Lord” from All Things Must Pass, the first solo album by George Harrison, Cave Syndrome, instantly takes off where previous EP,Plantation To Your Youth, left off. The low key Seattle based continues to unveil high quality recordings that are unique in this saturated market of Northwest pop. There are equal parts Big Star and The Church incorporated into the new album with its woozy, late night atmosphere.
Flourishes of vibrant psychedelic guitar canvass the straightforward songwriting of John Frum. This one is also close to home as there are numerous mentions of Northwest places in both the song titles and the lyrics. Cave Syndrome works well as a whole, but highlights include the all too short garage rock driven “Greenwood Backyards” and the stunningly gorgeous epic, “The Cancer In Our Bloodlines.” Perhaps the albums apex, the track incorporates some beautiful violin playing by Amanda Lamprecht. The droning, dark shadows of “Golden Gardens” recall the location in the dead of winter when the bulk of the summer crowd has stayed away for some time. It’s slow acoustic guitar rhythm provides the lonely sense of wonder and doubt that would occur if sitting on the deserted beach at sunset.
One wishes there was more music like this in the current Seattle scene, but this also contributes to the unique, memorable and untrendy characteristics contained within Cave Syndrome. That said, whether there were more bands like this around or not, Transient Songs produce some fantastic music that is worth your attention. This is the stuff of vintage guitars, a bottle of wine, some candles and then maybe a midnight drive through the wilderness. If this makes any sense to you, please purchase this record.
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Malestrome Zine
"It's full of moody, sweeping rock that recalls larger names such as Iron and Wine. The songs reside in a strange area between mainstream accessibility and underground specialization "
The story behind Indian Casino Records, the home of Transient Songs, is a strange one. According to the website for the label, the creator, Jack Bensonhurst, randomly decided that he would start a record label if he could win any money at the local tribal casino. As luck would have it, he hit it big. Now, his Indian Casino label is a home for all sorts of eclectic indie rock.
Cave Syndrome is one of the latest recordings on the label and for fans of the style mentioned above, it doesn't disappoint. It's full of moody, sweeping rock that recalls larger names such as Iron and Wine. There is a distant quality to the vocals and modest production values that somehow evoke caves. Purposefully drowned-out sounds display a mellow introspection that's intimate enough to make one imagine sitting around a campfire as the band is playing.
Transient Songs uses a variety of instruments that blend exceptionally well with each other, including cello, shaker, violin, viola, and ebow. These are all tied together by the doomy guitar accents.
The songs reside in a strange area between mainstream accessibility and underground specialization. Nothing in the structures is too far out of the ordinary and some of the melodic lines are catchy, but the extra instrumentation and production make it more of an acquired taste, at least for those used to bouncier rock. Most of the songs seem unusually short as well, as if they're short soliloquies in a play. However, this was more than likely a stylistic choice of minimalism, as for this type of music, the brevity works. Transient Songs aren't out there to create fist-pumping anthems, but quiet, reflective poems that show you their meaning and are over with. (7.9/10)
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Impose Magazine
"He opens the album with a dynamite number entitled, “In this Darkness Light Seeps Through,” and its lofty, wandering melody line is the first confusing element in this eclectic melange. After the vocals really kick in there are moments when all the lines are blurred and you’re completely lost in the haze of everything that’s swirling around you. This is a rock solid piece of work in an era when that is becoming a rarity."
It is necessary to note right from the outset that this is not the new Mercury Rev album.
I say that because John Frum, the primary human component in Transient Songs, can sound so much like Jonathan Donahue of Mercury Rev it is possible to easily mistake this for something it is not. And, strange as this may sound, that actually turns out to be a compliment. There, that’s out of the way.
Frum is his own version of a one-man wrecking crew, since he plays almost everything on the record, with some guests joining him on cello, violin, bass, drums, and screams. The story is that he created this set of songs, over the course of the last year or so, by himself in his Seattle home studio (The Snakepit). Hence the hermetic title of the album.
He opens the album with a dynamite number entitled, “In this Darkness Light Seeps Through,” and its lofty, wandering melody line is the first confusing element in this eclectic melange. After the vocals really kick in there are moments when all the lines are blurred and you’re completely lost in the haze of everything that’s swirling around you. Then, he moves away from that initial core sound and pushes the jangly factor up a little more on “Smoking Slows the Healing.”Some of this possesses a naturalistic, post-R.E.M. jangle-rock quality, and that washes over into another late 80s/early 90s stream that seems to carry with it some of the free spirit of a band like the Windbreakers. Frum, the lone wolf, avoids the “bedroom artist/bedroom athlete” syndrome by looking out of his lair toward the world, and by communicating more outwardly with his compositions; overall, it comes across as less brooding than some of his musical contemporaries, but still retains the powerful purging effect. This is a rock solid piece of work in an era when that is becoming a rarity.
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Three Imaginary Girls (Plantation to your Youth Review)
Transient Songs is a local Seattle duo comprised of John Frum and Jimmy Andrews, who handle all of the instruments between the two of them. Their new five song EP is a solid collection of psychedelic garage rock in the vein of Neil Young and paisley underground bands such as The Rain Parade and Green on Red.
There is a fresh sound on Plantation To Your Youth that is sorely lacking with a lot of modern bands. The vocals are upfront and impassioned, one thing that sets the band apart from much of the current wave of indie rock. The other thing that does this of course is the memorable songwriting. There is a combination of raucousness and gentleness in the songs that is mastered quite well by the two core members of the group. On top of these two assets is the wonderfully warm sound of the EP. The production is stellar.
In fact, trying to pick a standout track from this collection of songs is difficult to do. All five of them are very good from the somber opener "Greenwood Backyards" to the straightforward, but slightly melancholy and still sonically interesting "Living With Decay." I would love to see how Transient Songs would sound in a live setting. Even an acoustic performance by Frum and Andrews alone would be intriguing. Their songs are great and I would recommend this EP to anyone.
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Ft. Worth Weekly
"Sonically, the disc is a textural feast. On several of the tracks, Frum's hallucinatory dream-pop is adorned with strings (violin and cello) that give the sound the same richness that distinguished Bob Mould's similarly themed Workbook."
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Delusions of Adequacy
"These guys have more ideas than they really let you in on unless you’re paying attention."
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The Shevrest
Early Radiohead + Velvet Underground = Transient Songs “Foreign Rooms”. That’s a compliment. “Foreign Rooms”, the sophomore effort from Seattle-based Transient Songs, is a fun listen from beginning to end. If you haven’t heard of these guys yet, it should only be a matter of time.
“Foreign Rooms” is a nine tracks of jangly down-tempo college rock. In addition to invoking images of Radiohead and Velvet Underground, you’ll get some Joy Division overtones at times. The percussion, crafted by Ian Piña, sets the mood and atmosphere for this record. It’s called “Foreign Rooms”, but it would not be out of place at your summer evening back patio bbq. The guitar work is very clean, and the lead and rhythm sections are in constant communication with one another, almost as though they are having conversations. The basslines, for sake of comparison, are very reminiscent of what you might expect from Interpol, but Transient Sounds is much less moody. The vocals are well done, almost spoken-word at times, but never out of rhythm.
All these comparisons are not meant to suggest that this is a ripoff of other bands – in fact, it’s quite the opposite. “Foreign Rooms” is still a very original effort, and it’s put together in great fashion. The album begs to be played from beginning to end. If you’re a fan of any of the bands mentioned above, I would fathom that you will find something here that you enjoy.
As good as it is, the album isn’t perfect – it features some overdone cliche (“We are the last of a dying breed…”) and some of the songs sound very similar to one another, but these are minor and don’t take away from the enjoyment of the album.
Standout tracks: “Idle Hands”, “Southern City Saturdays”, “Sparrows” (which features a beautiful string arrangement), “Places that Scare You”, “Foreign Rooms”
TheShrevest Official UnScholar “Foreign Rooms” Score: B+. Pick it up and you’re not likely to be disappointed with your purchase.
Visit the official Transient Songs website for more information and to sample the record for yourself.
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DOA
"The song hangs around a great juddering wall-of-sound hookline that effortlessly evokes the orchestral grandiosity of pre-sandpit Brian Wilson, and the heavily layered production takes what is the most basic three chord structure to a quite staggering conclusion. Their hard-lived lyrics and dextrous musicianship really are entirely their own."
I couldn’t find out very much about Transient Songs aside from the facts that there are two of them and that they originate from Seattle. John Frum and Jimmy Andrews are specialising in what is a heady mixture of classic 80s (I swore I’d never use the word but here it is) Shoegaze – the surf harmonies, the downtuned fuzztone guitar harmonics, and borderline psychedelia that evokes the weightier end of the mid 80s Folkrock scene that gave us The Long Ryders and The Rain Parade – and an inescapable and unmistakeable songwriting debt to REM, which for all (or perhaps because of) REM’s mainstream success throughout the 80s/90s and more recently, I don’t ever really recall hearing too many bands on whom REM were a noticable influence, and it’s taken my hearing Plantation To Your Youth to properly bring this to my attention.
So, if you think REM the great surreal countryfied stylists of the last two decades, would you necessarily appreciate Transient Songs? First track “Greenwood Backyards” is about a minute and a half of reverb laden semi-acoustic chords overlaid with keening mandolin and slide parts which, while its visceral energies recapture the machine grind of Snakedriver era JAMC, is really only an introduction to the title track, which both builds quite spectacularly on its abbreviated predecessor and displays some of the oblique lyrical touch of the best of REMs late 80s work. The song hangs around a great juddering wall-of-sound hookline that effortlessly evokes the orchestral grandiosity of pre-sandpit Brian Wilson, and the heavily layered production takes what is the most basic three chord structure to a quite staggering conclusion. Following on from this, “Southern City Saturdays” is most obviously the track which could slip unnoticed into an REM b-sides collection, a relatively more restrained acoustic based song. This is followed with “Locust Shells”, which has an undeniable late 60s feel to both its structure and instrumentation, shares the majestic production style of the title track, and takes a detour quite firmly into Scott Walker territories. Final track “Living With Decay” is also, there is little doubt in my mind, a quite definite echo of some of those lesser known Stipe/Buck/Mills/Berry compositions, REM being a very good example of the type of band whose work I think I know, and were the track released as a single today it might do something similar to what is my own favourite REM semi-obscurity, “Lotus”,which made #36 in the UK charts around a decade ago.
But all these comparisons probably won’t do much to please Transient Songs themselves: their hard-lived lyrics and dextrous musicianship really are entirely their own.
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