Photo: Colin Matsui
Enumclaw understands genius in simplicity. The indie rock quartet from Tacoma eschew exotic studio effects, elongated guitar solos, and elaborate song structures. Leadsinger Aramis Johnson’s plaintive vocals of self-realization offer an aching vulnerability, delivered in a gloriously imperfect timbre. The music is introspective and whimsical, never taking itself too seriously while beckoning listeners to confront the inward forces that cripple self-growth.
Johnson named the band after a small rural town southeast of Seattle, citing his time competing against Enumclaw High’s physically-imposing wrestling team as inspiration. Other than boasting a relatively close proximity to Mount Rainier, the city is also notable for being the hometown of former NBA unicorn Brian “White Mamba” Scalabrine. Needless to say, the band faces an uphill battle toward toppling that legacy.
Enumclaw is the latest in a storied and diversely rich musical lineage from the Pacific Northwest, a region whose influence stretches across multiple genres and styles. A cross-county punk community thrived before grunge forever altered the popular music landscape, and Kurt Cobain was equally enamored with the indie movement taking shape in Olympia, championed by K Records founder and Beat Happening front man Calvin Johnson. A vast pipeline of groups in the years since have made significant contributions to the hardcore and indie genres at the national level, from Unwound and Sleater-Kinney to Modest Mouse and Fleet Foxes.
The band’s creative nucleus starts with Johnson, whose initial endeavors into music came through the hip-hop scene in Tacoma, where he produced beats and DJ’d for local MC’s. When his rap ambitions fizzled out, Johnson and a friend launched Toe Jam, a series of legendary parties and creative gatherings that took place in warehouses and barns outside the greater Seattle area. Johnson credits his time in the rap industry as a valuable teacher for fronting a rock band, where his authenticity and charisma make him a natural showman.
Johnson met drummer Ladaniel Gibson toward the tail end of Toe Jam and convinced him to form a rock band during the lull of the pandemic. Gibson connected them with experienced guitar player Nathan Cornell, and Johnson’s brother Eli Edwards later filled in on bass. Other than Cornell, the members were almost entirely neophytes at their respective instruments.
Nonetheless, the band’s first project, 2021’s Jimbo Demo EP, achieved the rare feat of meshing gritty, DIY-sounding recordings with infectious riffs and highly quotable hooks. The breezy grooves of “Free Drop Billy” are effortlessly catchy; the shoegaze-y twang of “Fruit Flies” shows an unexpected grasp of slowing things down. A key component to Enumclaw’s formula is Johnson’s earnest desire for self-improvement and his willingness to probe deep insecurities. “Cinderella” expresses a genuine desire for romantic connection while acknowledging the roadblocks that self-doubt can create. Once realizing he’s not ready for that type of intimacy, Johnson mournfully croons on the chorus “I’m not the person that I want to be yet.”
Save the Baby, the band’s official debut for Luminelle Recordings, arrives on October 14th and expands upon Jimbo in glorious new ways. The record sheds some of the ruggedness of Jimbo for a more polished finish, due in part to the contributions of producer Gabe Wax, who’s worked with Crumb, Adrianne Lenker, Standing On the Corner, and more. The super-charged first single, “2002,” should frequent several end-of-year lists. Carried by a thumping rhythmic section and exuberant guitar licks, the track sarcastically glorifies the happiness that comes with an absent conscious and willful ignorance. “I might just be fine, if I lost my mind,” Johnson belts on the high-powered chorus.
Johnson has never been shy about the lofty ambitions he envisions for the band; their Twitter bio insists they are “the best band since Oasis.” Save the Baby proves these aspirations aren’t without merit; there are legitimate pop sensibilities scattered throughout the project. The irresistible melody of “Jimmy Neutron” feels like the kind of unbridled jubilance shared during the honeymoon stage of a romantic partnership. The penultimate track, “10th and J 2,” features a vibrant chord pattern that could formulate the backbone of a chart-topping hit from The Cure. Elsewhere however, Johnson wrestles with the newfound struggles that accompany success and stardom. “Park Lodge” poignantly dissects the bitter triumph of making it out of your neighborhood, only to experience guilt from leaving behind childhood peers. “Thinking of all the times we spent talking about our dreams. Who would have thought they’d all come true, but only for me,” Johnson notes melancholically.
We caught up with Enumclaw ahead of the release of Save the Baby on October 14th. – Ross Olson
