On its debut self-titled album, Tacoma, Washington’s Mono In VCF creates a mammoth 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 and entirely refreshing. With roots deep in 60s psychedelia and soul, Mono In VCF sets forth with a debut album full of heavy and ethereal moods. These are pop scores made for the dark.
"Drifting leisurely in space somewhere between psychedelic Beatles and Massive Attack."
-Tom Scanlon, Seattle Times
"''Mono In VCF'' is a timeless record that wouldn''t seem out of place in any decade, made by a band who deserve to be huge here and now."
-Richard Poulton, https://www.tradebit.com (UK)
"3D and Daddy G better watch they asses, cause Mono In VCF is about to blow them all out of the water with this incredibly compelling release."
-Bruce Warren, WXPN/Some Velvet Blog
"[They] sound like the bitter, orphaned siblings of Belle & Sebastian. As it stands, Mono In VCF are preening themselves for pop perfection.”
-Sophia Al-Maria, Junkmedia (UK)
"Mono In VCF have touched upon that magical cinematic pop sound we all were hoping to hear when we first learned that Morrissey was to be working with Ennio Morricone."
-Matt Tyson, https://www.tradebit.com (NYC)
“[Mono In VCF] are one of the most original bands I have come across in quite some time. Not often do you hear artists who appreciate and incorporate the stylistic vein of more under-appreciated artists like Scott Walker, The Delfonics, or other hidden gems from the late 60s as well as Mono In VCF do. [They] are in a league of their own.”
-Mike Mineo, https://www.tradebit.com (NJ)
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