Post Traumatic Sound Disorder

the sess(myspace)

Technology has made it easier and harder for local bands. Easier in that you can network from your couch, in that you can sell your cd from your couch, etc. Technology has made it harder because there are now so many bands out there vying for attention from a limited audience and even the audience it reaches is guaranteed to have its attention diverted in seconds. So in the end advances in technology are a wash for non established acts, but the benchmarks towards viability remain the same: record a full length, tour outside your home market, get a booking agent, a manager, etc.

It is with great pleasure that I received my copies of the Sess's debut full length recording on Single Screen Records. Entitled "Agendumb," this record is a proud document of a scene on the brink of moving from a burst of myspace inspired energy to something more sustained. In 2007 San Diego produced three rock acts that drew attention outside the area: Grand Ole Party, Delta Spirit & The Muslims. However none of those groups produced a record with the inspiration and peculiar genius of the Sess. Part rock, part punk and part stoner experimentalism, Agendumb transcends the "local music" label and emerges as a record of true excellence, a record that deserves every sale it gets.

After the brief introduction of "Abraxas," the band launches the first of several terrific songs. "I don't need nothing," Sam sings to open, sheep City, and when he says that, he speaks for an audience of rock fans everywhere. The theme of life outside the margins continues on another album stand out, their cover of the Remains "Don't Look Back." In both songs the Sess explore themes of despair and hope with music that bounces from rhythmic certitude to anarchic noise confusion.

With the exception of the intro and the seven minute capper- Tunnel Love, the Sess have channeled their more experimental tendencies into a familiar garage/punk/rock idiom. Ultimately, the constraint/restraint serves them well and is a sign of growing maturity as artists and pop musicians.

Perhaps it's more accurate to talk about their playfulness, rather then experimentalism. On "Silly for Sirius" the bass line lurches like something out of a Captain Beefheart record and Sam's singing voice switches from exhortation to crooning. Each song hints at a tantalizing future of influences unexplored and songs yet to be written.

The Sess have done more then put out a record- they put out a great record. "Agendumb" should be recognized for its greatness. I commend my readers to obtain a copy and give it their full attention.