While sitting across the table from the smiling faces of the members of local peak and valley grunge revivalists, the Seasonal Help, it’s obvious that the group made the right choice when the band members left Delaware and moved to Columbus to make music together seriously. Arriving here with the backdrop of all being lame-duck employees at a greenhouse, they were all aware of each other’s musical tastes and talents and decided to start a band under the moniker of their common bond as menial workers, the Seasonal Help.
“I think that it’s kind of a prerequisite to be in the band really,” says drummer Brandyn Morit. “Everyone seems to have worked there at one time or another, even though some think it refers to our ever-changing lineups.”
Although there have been some changes in their lineups, it seems that guitarist and vocalist David Stone and Morit have been the constants, with bassist Geoff Spall and second guitarist Kerry Paver recently added to the group, which is trying to focus on being a little louder and more electric.
“When we started out, it was really hard to find somewhere to practice that we could really be loud,” says Stone. “I think that kind of resulted in us having a softer sound.” On their first recordings, Stone says they were recording in a spare bedroom at an apartment, and if you really listen, you can hear his girlfriend in the background. But their troubles have helped contribute to a sound that is unique and makes you want to hear what Stone is saying. Is it possible that recording in a closet can translate to making the listener have a more intimate experience?
In their latest release, Don’t Eat the Parsley, they go from eerie Elliott Smith soft moments to louder and faster drum- driven tracks that have one foot squarely in the punk genre. Through their metamorphosis, though, they still remain at the core the same Seasonal Help that makes you want to hear what they are saying, just with a little more distortion and pulse.
“I think that David has a way of painting images together with the way that he writes music,” says Spall. “ It makes things seem more palpable and just really works well with what we’re doing.”