With only a few short sleeps left until SEIMS releases their hotly anticipated EP “SEIMS 3.1”, the team at AAC took the liberty of reaching out to bass and key virtuoso Simeon Bartholomew to discuss the influences that shaped this new math-rock gem.
What we got in return was a list of songs dear to Simeon’s heart, full of hooks, odd chops and even a vintage classic to fan the flames of nostalgia. Enjoy.
Simeon: I’d like to preface this by saying these songs aren’t technical marvels – because, to me, that’s not what makes great music.
Great music captures an essence, communicates an idea, conveys a motive, and creates a world for you to be a part of.
That’s always been the ethos with SEIMS – each release I’ve written always comes back to the creation of an all-encompassing world I try to manifest for the listener. A world you can get lost in, and be quite happy being lost in there – that was the concept behind “3”, and the conclusion of this same journey in “3.1″. Here are five tunes that do this impeccably (and I implore you to check out their full albums.)
1. Tyondai Braxton – Platinum Rows (Central Market, 2009)
This is always my go-to for composition inspiration, arrangements of new and old, and how to capture grandiose. This album demands pure immersion and is absolutely relentless. I’ve always considered this album as a modern-day Fantasia.
2. Alarmist – Cordillera (Popular Demain, 2015)
The perfect closer to a perfect album. This song is a pure crescendo.
3. Delta Sleep – Dotwork (Ghost City, 2018)
I’m not a fan of songs with lyrics because I find them too prescriptive. Except for this song (and this entire album.)
4. And So I Watch You From Afar – Mullally (The Endless Shimmering, 2017)
This song is pure joy and energy, and its non-sensical, inaccurately played hooks are a thing of beauty. I’m always a fan of an imperfectly played solo – they have so much inherent fury, intensity, and life – a magic that’s lost when you’ve mastered your instrument and have learnt how to play difficult things very easily.
5. The Stranglers – Golden Brown (La Folie, 1981)
A “pop song” in 6/8 with a few sneaky bars of 7; a featured harpsichord; monotonal vocal melodies that sing a guitar solo; oh and it’s all in the uncomfortable-sounding key of Bb minor. This has always been one of those songs that I’d love SEIMS to cover – but I’d rather leave it untouched within its own little universe.
SEIMS new EP 3.1 is out 29 March on Art As Catharsis and Birds Robe Collective.
