Primarily the province of
singer/songwriter/producer Sven-Erik Seaholm
(which explains the ‘seaholm’ part),
seaholm, etc. is not necessarily defined as a
‘band’ in the classic sense of the
word. Although most of the songs on their debut
CD were performed in the studio and throughout
Southern California venues as such, it is more
the result of an excellent group of musicians
collectively contributing their sizable talents
to what have aptly been described as Seaholm's
‘wide-screen pop’ songs. These
contributions vary due to the mutations of styles
the ‘band’ employs in it’s
attitude toward performing. "I think the
goal here," says Seaholm, "is to be
able to play these songs credibly in any
situation that presents itself. Sometimes
it’s just Wayne and I. Other gigs require a
fuller instrumentation. I think eventually it
would be fun to have a show that constantly
evolved through the course of an evening, from
solo acoustic to full orchestra. But we’ll
probably stop at adding cannons to the mix."
One listen to the previously mentioned release
"Passion’s Little Plaything, and you
can tell he’s not far off the mark. How else
could one expect to recreate the tenuous thread
so expertly maintained throughout that album,
despite it’s various stylistic jumps? From
the intimate, aching groove of
"Wait..." to the power-pop assault of
"Stop Talking", seaholm, etc. makes
quite a few stops along the way, incorporating
elements of rock, folk, jazz and trip-hop, as
well as flamenco and Anglo-reggae. Somehow, it does
work. Very, very well in fact.
A large part of the credit for this successful
alchemy goes to the musicians themselves.
Let’s meet a few of them:
 Singer/Songwriter/Producer
Sven-Erik
Seaholm describes himself as a
"reluctant renaissance man", finding
himself in a variety of roles through reasons of
necessity more than any other. His drive to
express himself through music, as well as deliver
that expression in a manner that simultaneously
entertains and inspires is a tall order, but he
appears eager to fill it. Consequently it’s
not at all unusual to find him singing and
playing his acoustic guitar behind the microphone
at one moment, only to find him behind the mixing
board the next. Seaholm feels the studio can be
just as valid a musical instrument as any other,
if approached in an honest, artistic manner. His
recordings reflect this philosophy. He also loves
to tangle with the language through his lyrics
which have brought comparisons of his work to
that of Elvis Costello. He thinks this is a big,
fat, stinky lie (which he may or may not have
made up himself), and wishes you could just hear
it and decide for yourself.
 Guitarist/Co-producer
Wayne
Preis is a Connecticut born &
bred musician’s musician. With a thorough
understanding of not only the guitar and how to
play it, but when not to and why, he provides the
"artistic conscience" of the band when
required. He also possesses the uncanny ability
to find any item known to modern man, for a
purchase price at least 15% below wholesale.
 Drummer Jason Bazilian is another
Connecticut native, although much of his musical
and touring experience was acquired in the
American southeast, gracing many of the same
stages as the Dave Matthews Band and Ben Folds
Five. An excellent time-keeper, he was
instrumental in maintaining the project’s
stylistic credibility. Many of the early
‘plp’ sessions involved Sven, Wayne and
Jason playing a great deal of nine-ball, a
variation of billiards. Jason would like you to
think he won most of the time. Yeah, right.
 David Ybarra played bass on
about half the album, and gave all of himself to
it. He is tenacious when required, and generously
accommodating with regard to the inspirations of
others. His ear for the commercial is keen, and
he’s always there to keep things from
straying too far into self-indulgence.
Dave’s hobbies unfortunately include the
invention of new smells previously unknown to
science.
 When
Dave had to embark on a U.S. tour with his band
the Cloud Merchants, San Diego legend Glen Goodwin stepped in to
play bass on the album’s other half. The
veteran of several U.S. and European tours,
he’s also found success locally with the
acclaimed bands Bordertown and Gumbo Ya Ya.
Glen’s wonderful fretless technique is
showcased on the album’s closing piece,
"A Promise That I Can Keep". Glen has a
painting in his attic that is really beginning to
look bad.
Honorable mention must go out to all the other
musicians who selflessly gave of their talents
(after being given very little notice), and
brought to the album it’s truly special
moments. Among them:
Bill Cornish whose piano flourishes on
‘Velvet Glove’ & ‘Stop
Talking’ made those songs about a million or
so times better.
Jesús Bas’ seductive Spanish
dialogue on ‘Fooled’ and authentic
flamenco guitar on ‘Rose Tattoo’. Sven
invited Jesús for an authentic American
thanksgiving dinner, then nearly convinced him to
sing the ‘traditional’ thanksgiving
song. Almost.
Jeanne Wooster who didn’t
know she would be the vocalist at the beginning
of ‘Velvet Glove’ or the writer of the
album’s (appropriately named) first single,
‘Wait...’
Mary Dolan, who didn’t know Jeanne
didn’t know.
Marc DeCerbo and Frank Lee
Drennen, who arrived, nailed their
parts and left before anyone knew what hit them.
Heroes & champions all, because beyond all
other motivations, for these artists, it's the music
that matters most.
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