Last updated: 4 days ago
Swamp Meat took form during a lengthy musical therapy session in a damp Seattle basement off Broadway in 2012. Their first live performance was a talent shows doing orchestral covers of The Velvet Underground in drag, trying to win a vacation to Hawaii. Over the years they’ve arrived at unpredictable fluxing songs & structures, which contain a bit of mystery even to their makers. They have performed with artists such as Mild High Club, Rose Windows, The Screaming Females, Naomi Punk, and many more.
“Sounds like something that could have been birthed during the self-titled/White Light/White Heat era of The Velvet Underground’s 60s career.” - Impose Magazine
“Swamp Meat, a Seattle band that makes ‘60s psychedelic garage rock that is a contemporary treat to listen to.” - KEXP
“Swamp Meat bring a lazy '60s feel to their lighter, floral-patterned, psychedelic-tinged garage. Frayed and a little off, their casual approach wins.” – Emily Nokes (Tacocat), The Stranger
“Swamp Meat, Elephant Graveyard (out now, self-released): A new take on ’60s psychedelic pop, Graveyard is all at once expansive and controlled. The first track, “Snake Eat Self,” is reminiscent of some of Hendrix’s trippier soundscapes like “1983 . . . (A Merman I Should Turn to Be),” while the following number, “Katie’s Farm,” is more of an upbeat rendering of the classic-pop mold.” - Seattle Weekly
“Sounds like something that could have been birthed during the self-titled/White Light/White Heat era of The Velvet Underground’s 60s career.” - Impose Magazine
“Swamp Meat, a Seattle band that makes ‘60s psychedelic garage rock that is a contemporary treat to listen to.” - KEXP
“Swamp Meat bring a lazy '60s feel to their lighter, floral-patterned, psychedelic-tinged garage. Frayed and a little off, their casual approach wins.” – Emily Nokes (Tacocat), The Stranger
“Swamp Meat, Elephant Graveyard (out now, self-released): A new take on ’60s psychedelic pop, Graveyard is all at once expansive and controlled. The first track, “Snake Eat Self,” is reminiscent of some of Hendrix’s trippier soundscapes like “1983 . . . (A Merman I Should Turn to Be),” while the following number, “Katie’s Farm,” is more of an upbeat rendering of the classic-pop mold.” - Seattle Weekly
