-
1 of 10
-
2 of 10
-
3 of 10
-
4 of 10
-
5 of 10
-
6 of 10
-
7 of 10
-
8 of 10
-
9 of 10
-
10 of 10
The Suffocation keep finds a name
Archive
Comments
Story
Built to Spill bassist and The Suffocation Keep front man, Brett Nelson, is always fighting for a noble cause.
After all, The Suffocation Keep derived its name from the warning printed on garbage bag ties: “Warning: To avoid suffocation keep away from children.”
If that’s not enough to snag your attention, The Suffocation Keep’s unique brand of 80’s pop will surely catch your ear.
The Suffocation Keep was initially birthed near the end of the 20th century, when Built to Spill bassist Brett Nelson began a solo side project entitled BrettNOTNeTson-a name inspired by the constant state of confusion of Built to Spill fans trying to distinguish Brett Nelson from Caustic Resin member Brett Netson. Nelson finished recording music for BrettNOTNeTson in 2000.
Nelson’s project expanded when he ran into guitarist Grady Kimsey at a Christmas party. Nelson told Kimsey that he was contemplating transforming BrettNOTNeTson into a full band.
“… He [Kimsey] and I sat down and figured out all the keyboard parts on guitar, and then everybody else just kind of entered from there,” Nelson said.
The Suffocation Keep became whole when Nelson recruited drummer Joe Hensley, former Butterflytrain bassist Scott Beazer, and keyboardist Jason Ganz.
With a full band on board, The Suffocation Keep immediately began working on recording an album, then opened for Built to Spill’s West Coast tour in June 2001.
Nelson’s new project gave him a chance to explore other musical alleys besides his longstanding spot in Built to Spill.
“I think that most people expect that it [The Suffocation Keep] will sound more like Built to Spill. I think it’s helped that some people who like Built to Spill have probably bought the CD, but the two don’t seem connected whatsoever. At least not the way I look at it,” Nelson said.
After their 23-day stint opening for Built to Spill, The Suffocation Keep added synthesizer work from Jon Mullin for their album John Hughes Was Never So Wrong.
With the remix of the album complete, the band began traveling again, opening for Built to Spill’s East Coast tour.
Creating a new band proved to be a humbling experience for Nelson, after coming from a local band with a large national fan base.
Built to Spill’s following seems to be expanding even to regions outside of the United States. Just recently Built to Spill’s live album was seen as a featured import at an Australian music store in Sydney.
“It’s actually like starting all over again with The Suffocation Keep. We toured the West Coast and made absolutely no money. We played a couple shows that … [had] nine people there. I’ve kind of forgotten what touring was like with Built to Spill because … there’s people there and we make money and the people at the clubs are nice,” Nelson said.
Despite the band’s dwindling finances and brutal experiences with low-attendance shows, Nelson remains positive and realistic about their hopes for success.
“Its not like it bums me out. I realize that’s where every band starts,” Nelson said. “I’d rather play to nine people that pay attention than 90 people that don’t.”
Nelson also said that The Suffocation Keep seems to be generally well received by Built to Spill fans.
The Suffocation Keep was scheduled to play for the Record Exchange’s 25th Anniversary Block Party early this month, but unfortunately the show was cancelled due to rain.
The day quickly cleared up, but the block party’s permit lasted only until 6 p.m., leaving The Suffocation Keep without enough time to perform. So, what is it like to see The Suffocation Keep play live?
“We’re pretty lame to watch, I’d say. We don’t really move much … I’m not really a people kind of person. I wouldn’t necessarily say I’m shy, but I guess I’m just not very outgoing or charismatic. It’s a band full of introverts … I just stare at my shoes for most of it,” Nelson said.
Charismatic or not, Nelson and The Suffocation Keep have hit on something worth listening to.
Their latest album features surreal synthesizer-pop along with the remarkably comforting and familiar vocals of Nelson. Nelson is also responsible for the Moby-esque piano on the album. Along with Kimsey on guitar, Hensley on drums, Beazer on bass and Ganz on keyboards and synthesizer, The Suffocation Keep proves that it isn’t just for people who secretly never wanted the 80’s to end. But that doesn’t mean Nelson is not one of those people.
“New Wave … that’s all I listen to. I’m kind of lame like that. I never made it out of the 80’s,” Nelson said.
Lauren Consuelo Tussing, The Arbiter
