Strawberry Mountain has had some unusual jam spaces. College dorms. Basements. A studio where they would rehearse between a fencing team’s practice sessions. They’re a DIY band through-and-through, but now they’re getting ready to step up to the next level.
The band’s upcoming full-length album …and she exploded into color, which is out May 18, sees the hardworking Seattle septet (made up of Carter and Mikey Prince, Connor Johnson, Noah Colbeck, Jonny Dugger, Savvas Matiatios, and Francis Rowland) piecing together a surplus of influences into an honest-yet-uplifting experimental pop endeavor that deals with sharing mutual responsibility following the fracturing of a relationship.
Cobbled together in the basement of a shared house between work and classes, Strawberry Mountain’s work is dazzling and spirited, symptomatic of a rowdy yet mature live show that’s surely to bring any audience together in moments of shared euphoria and openness.
Today Glide is premiering the band’s new single “Set Back the Clock”. The tune finds singer-songwriter Carter Prince revisiting a relationship as it crumbles – during the recording process. Through tumbling guitar echoes and honest melodies, Prince recognizes that part he played in its downfall, admitting openly to mistakes in words half-buried beneath layers of digital synths and Animal Collective-esque musical stylings. Much in the vein of Animal Collective, the song explodes with a cacophony of pop-tinged psychedelia, a kaleidoscope of musical colors to dazzle your senses. Listening to this tune beckons the listener to seek out this band in the live setting, where they undoubtedly shine.
Carter Prince offers up his own story behind the song:
“‘Set Back the Clock’ is the second track off our upcoming album and serves as a surrealist future pop track documenting the internal struggle of being stuck in a toxic relationship out of fear of being alone. It contains elements thematic to the album of regret, alienation, and contradictory confused rants. In just under 6 minutes the track goes there and back again dipping from wet improvisation over laid back CR-78 beats to sensory overloading pulsing verses to naked sing songy choruses. This was the second to last song recorded for the record and was the first I played bass guitar on instead of just synth bass (though the track also features heavy synth bass). I was surprised how much I liked the sound of my humble bass recorded DI and it inspired me to go back and replace synth bass with bass guitar on a few more of the tracks just a couple days before it was mixed. After the final chorus the track ends with one last foray into surrealism with delayed out guitars swirling around your head layered with a live double bass and percussion jam. Thank you for listening to our track! We hope you can find pleasure in dancing to it, reflecting over it or just from the colors we hope it makes you hear.”