On its debut self-titled album, Tacoma, Washington’s Mono
In VCF creates a wall of sound that Tom Scanlon
of the Seattle Times describes as “drifting leisurely in space
somewhere between psychedelic Beatles and Massive Attack.” The sound is a haunting and orchestral brand of
pop derived from various influences traced back to the
decade of recording experimentation: The psychedelic 60s.
Songwriting duties belong to guitarist/organist Hunter Lea. Lea
taps bassist Jordan Luckman for his own music and bass
lines multiple times on the debut album. The two have been
creating art together for the past five years and discovered
singer Kim Miller in 2006. In reviews, Miller’s voice has been
likened to Dusty Springfield, Madonna and Nancy Sinatra.
With roughly half the album tracking done at the VCF home
studio in Tacoma, the band went into Jupiter Studios Seattle
in May 2007 with British producer Martin Feveyear signed
on to produce with Lea. In the past, Feveyear has worked
with R.E.M., Queens of the Stone Age and Mark Lanegan
among others. In the mixing stage, the two utilized discreet
panning proven successful by George Martin and the Beatles
but rarely used on modern albums. This gives the record an
elaborate space and helps to make Mono In VCF one of the
most defined debuts in recent history; an anomaly for the
modern pop music landscape. Lea and Luckman recruited
their idol, Canadian pop legend Terry Jacks (“Seasons in the
Sun”, The Poppy Family) to contribute backing vocals on two
songs on the debut record.
Influenced by film, composer scores, cinematography and
Rod Serling almost as much as old Delfonics and Lee Hazlewood vinyls, the band creates a sound and mystique that
pays homage while turning the classic sound and vision into something
brand new. With roots deep in 60s
psychedelia and soul, Mono In VCF presents Mono In VCF I. These are pop scores made for the dark.
