Originally formed as a two piece garage rock clone, Lindseys transformation into a full-fledged, uniquely complex Seattle stalwart didn't come quickly. But after nearly three years stagnant, their new album is finally poised to see the light of day.
Playing their first show in 2009, led by singer/guitarist Devin Cochran, the band cycled through several subpar drummers before settling on Devin Wolf. In early 2011, the duo expanded to include a bassist for the release of their first EP on local label GGNZLA. Another record followed in 2012 with a couple tours in support of each.
Their first full length, "Religious Sexts," came in Fall 2013 on short-lived, but nevertheless influential, Off The Books Records, operated by former mainstay promoter CJ Frederick (DASWASUP GIG, Dead Bars, Big Eyes).
More tours commenced and as new songs entered the set, their sound evolved from jean jacket garage punk to a hard-to-categorize aural labyrinth remniscent of freak flag flyers like Meat Puppets and Big Black.
With the departure of their previous bassist, the group added Matt Leingang, a veteran of the Minneapolis punk and hardcore underground, in early 2015. Leingang provided a no frills approach to the bass that helps to accentuate Wolf's manic drumming. The kind of primitive rhythm of the streets that hints at the fact that Wolf moonlights as a hip hop artist.
Against this dense backdrop, Cochran crafts agitatingly precise (an unhinged Steve Albini comes to mind) guitar leads while squelching fervent rallies against Christianity, breeders and bro culture. The latter of which has all but ruined most of Seattle's traditionally culturally-rich neighborhoods in the advent of big tech companies like Amazon and Microsoft.
After a few years in band oblivion, marked by a failed attempt to add a second guitarist, months on end without little-to-no activity and general apathy, the band returned to the studio. Their second full-length, "How To Share Your Faith Without An Argument," cycles through a myriad of sonic melees. The canvas on which Cochran concocts his arrangements is a rhythm section that invokes The Jesus Lizard, albeit with some amphetamines added. Cochran's talent is apparent as he uses his guitar to puncture the surface of the song before using broad strokes to emphasize the points he wishes to underscore.
The album was recorded with Don Farwell at Earwig Studios and mastered by Chris Hanszek.