Mono In VCF

On its debut self-titled album, Tacoma, Washington’s Mono In VCF creates a wall of sound that Tom Scanlon of the Seattle Times describes as “drifting leisurely in space somewhere between psychedelic Beatles and Massive Attack.” The sound is a haunting and orchestral brand of pop derived from various influences traced back to the decade of recording experimentation: The psychedelic 60s.

Songwriting duties belong to guitarist/organist Hunter Lea. Lea taps bassist Jordan Luckman for his own music and bass lines multiple times on the debut album. The two have been creating art together for the past five years and discovered singer Kim Miller in 2006. In reviews, Miller’s voice has been likened to Dusty Springfield, Madonna and Nancy Sinatra.

With roughly half the album tracking done at the VCF home studio in Tacoma, the band went into Jupiter Studios Seattle in May 2007 with British producer Martin Feveyear signed on to produce with Lea. In the past, Feveyear has worked with R.E.M., Queens of the Stone Age and Mark Lanegan among others. In the mixing stage, the two utilized discreet panning proven successful by George Martin and the Beatles but rarely used on modern albums. This gives the record an elaborate space and helps to make Mono In VCF one of the most defined debuts in recent history; an anomaly for the modern pop music landscape. Lea and Luckman recruited their idol, Canadian pop legend Terry Jacks (“Seasons in the Sun”, The Poppy Family) to contribute backing vocals on two songs on the debut record.

Influenced by film, composer scores, cinematography and Rod Serling almost as much as old Delfonics and Lee Hazlewood vinyls, the band creates a sound and mystique that pays homage while turning the classic sound and vision into something brand new. With roots deep in 60s psychedelia and soul, Mono In VCF presents Mono In VCF I. These are pop scores made for the dark.