One of my favorite parts about FensePost is being able to follow the journey a band takes over time. It’s been a few years since Cock And Swan debuted with Noon Hum, and their progression from that album to Unrecognize, out this week on their own Dandelion Gold label, has been tremendous. Noon Hum was an absolute delight, and looking back it’s easy to recognize that it certainly yielded great things. Where Cock And Swan have changed most is not necessarily in their abilities (which have come along nicely over the past few years) but rather in the confidence of multi-instrumentalist Johnny Goss and his keyboard-wielding cohort Ola Hungerford.

I caught up with the duo by happenstance a few months back at the final Department Of Safety show, and both Goss and Hungerford were excited to catch up. Hungerford had lost that shy, downcast gaze she possessed in the Noon Hum days and Goss was, likewise, delightfully cheery. These key personality traits radiate throughout Unrecognize. Cock And Swan’s sound remains shrouded in a murky, rainy dusk fit for classic trip-hop while the vocals and instrumentation extends beyond the electronic experimental tinkering to fulfill the arenas of pop and perhaps even a hint of folk.

“Unrecognized” and “Goldmine” are early favorites. Listening to some of these songs, I’m struck with how I’m reminded, to a light extent, of early Lali Puna. In “One Hundred”, the duo reworks one of their earlier songs from Noon Hum. It is here, of course, the transformation is most audible. But in all honesty, you can hear it throughout the album, from the rampant percussive beat in “Stash” which drives the song into further experimentation, to the eerily clear vocals in “Remember Sweet”. If you’re new to Cock And Swan and you dig that dark experimental electronic sound, you’ll enjoy Unrecognize. If you’ve been a longtime fan like me, it’ll absolutely blow you away.

Above photo by Angel Ceballos

Download: “One Hundred” by Cock And Swan

Download: “Unrecognized” by Cock And Swan

Dandelion Gold [CD 2010]

1. Unrecognized
2. Morning’s Window
3. Unserious
4. Goldmine
5. Sympethizer
6. Holding On
7. I Let Me In
8. One Hundred
9. Stash
10. Sneak Close
11. Know The Look
12. Sunset Burns
13. Hypnotize
14. Remember Sweet
15. War Drums

As we move through time, our bodies mature. In most cases, so do the capabilities our minds possess; we are able to piece together more and more complex puzzles, complete more difficult challenges and tasks that we or others require, and reach, hoping to accomplish, all those goals that once seemed so unfathomably far away. Within our minds, we are capable of progressing. Ideally, such a concept should also relate to music: the instrument holder advances in their ability to perform as well as construct. While this is not always the case, it is with Marshmallow Sunset, the sophomore release by Cock And Swan via their personal DIY label Dandelion Gold.

This is apparent as early as opener “Clay And Smallest Flower”, in which the mystical vocals of Ola Hungerford light up the speakers. The biggest change does not reside there, however, as her voice remains much what it was on Cock And Swan’s debut, Noon Hum—and it’s a trait that works well for the duo. Instead, the improvement that occurred most drastically between Noon Hum and Marshmallow Sunset can be found in the backing instrumentation. In “Clay And Smallest Flower”, one can hear it in the electronics, as well as the backing percussion, keys and guitar. While not entirely new (though appearing here on record for the first time), “Cumulondergarden” stands out as a phenomenal track where Cock And Swan swarm themselves with mellow electronic beats.

Once again Cock And Swan flicker between gems like “Tectonic Plates”, where Ola’s vocals (and clarinet) are light and dreamy and oh so catchy, and subdued instrumental tunes like “You Are What Grows”, which hones in on the electronic backdrop and front-facing instrumentation. These songs, like much of Noon Hum, maintain a resident darkness in them that allows the listener to easily slip into the stupor of a relaxing meditation. Yet songs like title track “Marshmallow Sunset” also contain a quicker, double-time percussion amidst the light and sometimes elongated instrumentation. In contrast, “Enjoy It All” takes a more minimal approach to percussion, heightening the hypnotic effects.

A major nod to the progression between the two albums can be given to Ola and Johnny’s willingness to collaborate. Here we find the two adding a few members. The same can be said for Dandelion Gold, whose cast of characters has grown tremendously since the early days of Noon Hum. These additions are most notable in “Walking Up Dandelions”, which finds the multiple characters joining Ola and Johnny on vocals during the rare chorus—the song has no verses.

Marshmallow Sunset closes with “Slow Down”, a tune that begins with Ola’s clarinets and airy vocals. After the climax of “Cumulondergarden”, the song acts, initially, as a perfect album cool-down. But the song grows to include subtle but heavy percussion (the mix may be low, but the focus on low pitched toms and bass drum are of epic proportion). Marshmallow Sunset again sets Cock And Swan apart from many Seattle artists, who sometimes of late seem to struggle on being truly creative. This album, like Noon Hum, stands out phenomenally.

Cock And Swan: Tectonic Plates [mp3]

Dandelion Gold [CD, 2008]

1. Clay And Smallest Flower
2. You Are What Grows
3. Tectonic Plates
4. Walking Up Dandelions
5. Marshmallow Sunset
6. Enjoy It All
7. Cumulondergadren
8. Slow Down

I listen to at least ten new albums each week. With that amount of exposure, it can be difficult to discern one artist from another, the next album from the last. Despite such audible clutter, I review little electronic music. Here’s an exception. Cock and Swan are Johnny and Ola. They record in Bothell, Washington—just north of Seattle. They liken themselves to Mum, Boards of Canada, and Dntel. They just finished recording their first album, Noon Hum EP, and will release it on their own startup label titled Dandelion Gold.

Noon Hum EP is packed with electronic beats and trance-like hums. Ola’s vocals are sweet but eerie, adding to the dark sound that fills the album. The mixing is prime—just listen to Ola’s vocals and the backing drums in “One Hundred.” Repetitive vocals, while detracting from many songs, create a mellow atmosphere amidst the heavy drums and soft clarinet in “Holding On.” Johnny jumps in with backing vocals in “Lets Go” while Ola’s vocals echo around the primary mix. While the strongest songs are the ones that include vocals, instrumentals like “Make Believe Music” and “Clarinaughts” stand out distinctly and can be likened to the background music in Ryland Bouchard’s The Robot Ate Me.

Self-released albums and start-up labels are tricky. Without the right amount of publicity done in just the right way a group or label can, more easily than not, be doomed. Yet some groups are able to transcend the publicity requirements on sheer talent. Cock and Swan have the talent. As to whether or not transcendence will occur, only time will tell. As for publicity, I will do my part to spread the word and inform the world of one fascinating electronic band called Cock and Swan.

This review was originally posted June 7, 2006 on the old version of FensePost.

Cock And Swan: One Hundred [mp3]

Dandelion Gold [CDEP, 2006]