Seattle Subsonic

The Upperhand

July 20th, 2008

I confess I’ve been sitting on a particular disc for well over two months now. And I feel quite guilty about it ‘cuz it’s turned out to be one of the most intriguing albums I’ve stumbled upon this year. At long last, I’m hear to spread the word on this lil’ gem of a band, a seemingly unknown local foursome that have literally blown me away over the last few months.

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When the Upperhand reached out to us here at SS back in April, I wasn’t yet a minute into “Oceans in Kansas” on their myspace before I called our editor, Mr. leDoux to jump on a review. Sure, whether it be positive or negative, it can be stupefying to judge a band this quickly. But as I continued to listen, the Upperhand kept incrementally astounding me. The more I absorbed, the more gravitating and fascinating they became. Coming from someone who was already taken upon first listen, the Upperhand has not ceased to grow on me.
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“Oceans in Kansas” and “Day” were the only two tracks I had access to before I received The Sailing and Sinking of the S.S. Ridiculous in the mail. Little did I know these two tracks would be a mere introduction into the breadth and depth of their music. Yes, the album title is fantastically quirky, and if you’re able to access a physical copy of the album (buy it here), the cover art is as creatively outlandish in nature. This, and the fact that they are for the most part unheard of, speaks to how curious the Upperhand are. They have only 8500 or so hits on their myspace page, and this count includes the significant number I’ve inadvertently contributed thus far. I’m still scratching my head, the Upperhand have serious potential to cause a stirring here in Seattle.
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Lead singer Nate Hill’s vocals are brilliantly memorable and one of the main draws to the Upperhand without doubt. The closest comparison that comes to mind is Ryan Adams, inclusive of the interspersing alt-country twang, though all in all more distinctively folk rather than country. Resonating deep from his chest, Hill’s voice also exudes a pleasant nasal quality as well. These attributes, in addition to the peculiarly alluring grumbling of lyrics that pepper his predominantly soothing and fragile vocals, produce a uniquely appealing and versatile sound. This may sound comical, but at times Hill almost sounds like a roaring Oscar the Grouch. Regardless, I’m certainly not doing justice in simply saying his voice is aesthetic and striking. You must take a listen for yourself.
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Having soaked in the beauty of Hill’s voice, the underlying instrumental flow is the next equally remarkable feature unique to the Upperhand. Guided by piano-based melodies, alt-country, blues and jazz undertones creep in to form a mesmerizing and fluid soundscape. Drum, bass and keys repeatedly shift in momentum throughout their tracks, creating a rhythmic ebb and flow throughout. Breaks in song are commonly introduced, and always smoothly transition from one to the next. Eight of the Upperhand’s 9 tracks on The Sinking are lyrical, with the final track, “Aggressive Positions”, purely instrumental (well, save for the Aaaaaaaaaah Shit that pops out of someone’s mouth at the end). Plenty buffer time within each of the lyrical tracks amplify instrumental and jamband elements to the quartet. Their music is a melodic adventure led by acoustic keys, a unique rolling beat, and compelling play on guitar and bass that all come together to produce a textured and refreshing sound.
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And I’m not done - the Upperhand show plenty girth in the quality of their songwriting. Hill is a talented storyteller and whether his tainted tales are true or fictitious, they are powerful, thematic and metaphorical. Delving into the intricacies of adulthood - family, responsibility, human nature, internal struggle, the search for meaning, and the quest for freedom - one can’t help but relate to and feel compassionate for Hill or whoever the main characters are within the Upperhand’s mortal and lyrical journeys.

In “Oceans In Kansas” and “Mariana”, the following excerpts provide a representative sampling of how introspective and narrative Hill’s songwriting is.
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In “Oceans In Kansas”:
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I left my wife and kids back in Kansas
Far away from the ocean’s edge
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I promised I would be back just as soon as I finished
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My descent into the abyss
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…Bags packed, the Mrs. admits that she hopes
I come home empty handed
‘Cuz adventuring is not for fathers,
See my place is here with them, back in Kansas
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…Get this shit out of your system’ she says
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In “Mariana”:
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I don’t know what it was I expected
To find here in the darkness…
Dont’ know what it says about me as a man
Leaving my kids so far away back on the land
I dont want to have to tell you just what it is
Its magnificent and i’m never coming back
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All in all, the Upperhand cover all their bases. I’m still sitting here, baffled at how they hover completely under the radar. Their sound is unequaled and surely cannot get washed away in the over-saturated realm of music dubbed as indie.

See them live at the Rendezvous (also known as the Jewelbox Theater) on Tuesday, August 5th. I missed them play at the World Famous Bob’s Java Jive in Tacoma last month and will surely not make this mistake again.