R.E. Seraphin’s Re-Issued Albums Offers Fresh Glimpse At Older Classics:

R.E. Seraphin’s Re-Issued Albums Offers Fresh Glimpse At Older Classics:

In the annals of album release dates, March 13, 2020 has to go down in history as one of least fortuitous days in history.

Do some quick research and you’ll notice that it happens to coincide almost directly with the onset of the global Covid-19 pandemic—not exactly the best time to promote an album, what with the entire world being shut down.

So, it should come as no surprise that Bay Area songwriter R.E. Seraphin recently decided to re-issue his debut solo effort, “Tiny Shapes,” which was originally introduced to the public on that miserably fateful day. That album is being packaged with “A Room Forever,” Seraphin’s follow-up EP that came out a few months after his debut (and yeah, right in the meat of the pandemic as well.)

“When I originally released these records, I had no real way of promoting them,” said Seraphin. “I did a few live streams, posted a little bit on Instagram and had a few very nice people write about the album on some blogs, but for the most part, it felt pretty anti-climactic at the time.” 

It’s an utter shame that the releases fell under the radar, because they showcase the songwriting approach that has made Seraphin one of the Bay Area’s most consistently vibrant musicians. 

Wielding the power-pop hooks of bands like Squeeze, Big Star and Cheap Trick with the lo-fi aesthetics and leisurely pacing of outfits such as the DBs and the Feelies, Seraphin has a preternatural feel for writing imminently catchy melodies. He’s equally adept at creating jangly fuzz rock tunes in the vein of Teenage Fanclub (“Safe to Say”) as he is making noir-ish, slinky synth pieces like (“Pillar of Shame.”)

Fortunately, those songs are now being brought back to the forefront, with the new reissuing of the album, which Seraphin is putting on his Take a Turn Records, the label he operates with fellow musician Luke Robbins. 

Seraphin said it was an enlightening experience to revisit the songs. Despite the albums only coming out about six years ago, his life has changed dramatically since their release. 

“In a sense, it did feel like I was looking back at a different person,” said Seraphin. “I was in a totally different part of my life. I hadn’t had children yet, which is a major development, as any parent will tell you. But I was just in a different headspace overall. I had recently dissolved my previous project [the Talkies] and so I was very loose and limber creatively. There was this kind of impetus to record these songs within this short period of my life to kind of usher in this new creative stage for me.”

The pairing of the “Tiny Shapes” and “A Room Forever” is remarkably cohesive, given the stylistic differences between the two releases. Whereas “Tiny Shapes” leans into brightly shaped, ebullient guitar rock numbers, “A Room Forever” is brooding and contemplative, with Seraphin employing melancholic synth movements, a more austere soundscape and a deeper vocal register. One album is the summer, the other its autumnal companion.

“I do think the two albums are very different, both in terms of the songwriting and the presentation,” said Seraphin. “A Room Forever” was essentially just recorded on my phone in my bedroom, so it was very skeletal. But I think they complement each other in an interesting way—I don’t think there is this jarring transition when going from one album to the next.”

Seraphin is incredibly prolific—in addition to contributing to countless Bay Area records, he also plays in The Pennys and frequently releases albums under his own name—and one can hear an evolution in his playing style and approach since “Tiny Shapes” and “A Room Forever” were released, but there are plenty of his hallmarks that remain comfortingly present. His keen sense for lyrical detail, ability to shoehorn pop nuggets out of unconventional places, and his soothing, unhurried vocal delivery have remained constant through the years. 

Much has changed since these two albums were first released, but much has stayed the same—the records are evidence that Seraphin has always tapped into a wellspring of creative energy. While he has no immediate plans to play live shows, with the pandemic long over, he at least has that option now. 

“We’ll see where it goes from here,” said Seraphin. “It’s been nice just to keep things moving along by releasing this album, to keep the momentum going. It’s definitely been a rewarding experience.”

The “A Room Forever” / “Tiny Shapes” album reissue is available for purchase on Bandcamp here.