Fueled by a love of marine life, endless cups of matcha, and memories of old Seattle, local trio Coral Grief hiked up to Anacortes for a week to record their debut album, Air Between Us. Like the parasailer on the cover, the songs evoke an aimless momentum that is loosely tethered to time and place. Vocalist and bassist Lena Farr-Morrissey sings in a breathy, weightless tone, while guitarist Sam Fason and drummer Cam Hancock craft lush, dreamy soundscapes that illuminate the reflective lyrics. While the album will draw many comparisons to British bands like Broadcast, Stereolab, and Lush, Coral Grief add a distinctly Washington State haze to their songs, with lyrics that encompass both the urban and the pastoral landscapes. I sat down with the trio to talk about the making of the album, Seattle’s dearly departed local businesses, and the magic of PNW beaches.
What media were you consuming while recording Air Between Us?
SAM: I was listening to a lot of ’90s stuff. I got really into this label called Too Pure Records. It’s indie rock with a kind of ambient, krautrock-y thing going on.
LENA: We watched the short documentary Extreme Beachcombing. It’s about this guy in Forks, Washington who has collected a bunch of shit that’s washed up from the ocean over the last 40-plus years. That, and we were drinking lots of matcha. I wouldn’t say that we were closed off from the media, but I get a little distracted from consuming too many other things. We recorded the album at the Unknown in Anacortes, which was a good way to unplug from everything. We started recording on, like, the first day of spring. It was hard to be trapped inside all day, but it was a cool way to usher in the season. We wanted the songs to reflect a freshness or a rebirth of sorts, so it felt fitting.
What is the best way to listen to the album?
LENA: Definitely in motion because of the ebbs and flows. The album is very movement-oriented. The matcha—or all of the matcha—made us work quickly, for better or worse. I want people to put the record on when they’re going somewhere or traveling through space.
CAM: From a mixing standpoint, some of the great vocal harmonies and textures might not stick out if you listen to it in the car. It’s great headphone music. For me, there’s an unstated goal of having a piece of work that you can give multiple listens to—you develop with it, and it develops you. Some of these more ambient textures—things that Sam leans into and draws from—reveal themselves over time.
Can you tell me more about the album cover? Who is that?
LENA: That’s my grandpa. After he passed away, we went out to Chinese food with my family and talked about putting family photos up on my grandma’s digital frame. When that one came up, we were like, “What? When did he do this!?” Sam and I thought it would make a cool album cover. It’s interesting because when you look at someone parasailing, it looks so peaceful, quiet, and serene, which captures some of the album’s energy. Then you think about the person in the parasail, and they’re racing with the wind and probably have high adrenaline. I think the photo captures both, watching a parasailer and being a parasailer.
What song on the album are you most proud of?
SAM: I’m proud of them all and I like them all, but we were the most particular about “Latitude.” I wanted it to sound lush, but not overbearing or murky. Since that song has some of Lena’s best vocal moments, I wanted it to have space. We spent, you know, a lot of time tinkering with the right organ and synth sounds, which are kind of under everything to give it a glowing feel.
CAM: It’s “Mutual Wish” for me. I think it’s because I’m mostly focused on rhythm, but there’s a lot of intricate rhythm going on in that song. It has a driving, forward-moving sense to it without beating you over the head with it. It’s still light. I also think it has the best bass line on the album. The chorus gets stuck in my head a lot. I think that’s always a good sign.
LENA: It’s so hard because “Latitude” is one of my favorite songs. But then the recording process of “Avenue You” went really smoothly. I think that song is really cohesive, and I’m proud of how that sounds. “Almost Everyday” is such a personal song to me about working at a record store. That one ended up closing the album well, even though it was more of a struggle to record. I’m proud of them all in different ways.
Lena, how did working at a record store change or shape your relationship to music?
LENA: It was so fundamental and pivotal for my musical education and joining the community here. Everyday Music was such a wonderland—we could dig through that store for years and still be discovering new things. I loved that place specifically because you could buy a 25 cent bargain DVD or a 200 dollar record. When it closed, I was pretty gutted about it. Not to be corny, but it felt like a metaphor for the city. I am still processing it. So many of my good friends came from working there. It’s just such a gift that keeps on giving.
In a world of photos, videos, and general evidence of everything, I find it hard to accept when my memory is all that I have. This is explored a bit in “Almost Everyday” and “Latitude.” How do you honor and remember beloved lost spaces?
LENA: It’s hard because it feels like places are slipping away from us. We just have our experiences with one another that we can share and try not to lose them by carrying them on in different ways. For example, two of my coworkers from Everyday Music started Royal Records. They’re carrying on the legacy and cultivating the same energy that existed at Everyday. It’s vital to champion those types of businesses. The shifting city is inevitable. People love to say, “Seattle sucks.” It’s so boring. Like, yeah, duh, but if that’s where your thought stops, and you’re not actually contributing to the community or making it better for artists, I don’t think you have a leg to stand on.
Much of your lyrics and visuals highlight a very underrated part of Seattle: our beaches. What do you love most about PNW beaches?
SAM: I was enamored when I first moved here in 2019 by how special the Puget Sound is and just how great the access to nature is in Seattle. During the pandemic, I got a job doing marine mammal monitoring. I was basically standing outside for most of the winter of 2020/2021 looking for whales. I really fell in love with the fact that you can be in West Seattle or downtown on the waterfront and see orcas and humpbacks and seals regularly. There are all these special, magical animals that call this area home. Even the little tide pool creatures like the anemones and starfish are so, so special. The more you look, the more you see, and it’s constantly unfolding. It’s very inspiring.
LENA: I’m so glad that comes across. I know the three of us have an affinity for nature. When we’re on tour, we’re like, “Where’s the nearest swimming hole?” or “Do we have time to go to a cave?” Nature is a healing source for each of us in different ways, so having a lot of the imagery of the band related to that just feels natural. I don’t want to say that I’m speaking for the sea anemones, but at the same time, we see you.
Let’s end on a fun question. What is the worst band you’ve ever loved?
CAM: The band I’ve had to fight the most for is the Dave Matthews Band—and I will die on that hill! I saw them in high school, and I just saw them again a few weeks ago. He gets a lot of flak—and in some ways I understand—but then you’re in a crowd of his fans and it’s the most joyful experience to be surrounded by all ages and demographics.
SAM: The Red House Painters. Mark Kozelek is a very bad man.
LENA: Katy Perry. I made a lot of music videos in middle school to her work, and it honestly means a lot to me. I love pop music, but so much of it is embarrassing. In regard to her current direction, I don’t condone it! Actually, I don’t condone anything she’s done, but a pop song is a pop song.
Coral Grief’s album-release show is at the Tractor Tavern on July 26, with TV Star and New Issue. Air Between Us will be released July 18 via Suicide Squeeze / Anxiety Blanket Records / Den Tapes.
