Music Reviews

Am I Invisible CD

"Grade: A
Excellent indie pop / folk from this Boston based trio! Their style sounds like a more upbeat and fun version of Giant Sand, or a more county version of Silkworm, or maybe just an upbeat and fun band who writes songs on par with Giant Sand and Silkworm. The "acoustic twang" that they like to refer to in their own description of what Capital City sounds like is definitely present throughout the disc, which is solid for the length of these 11 tracks. The vocals are laid back and smooth, the music is solid and always interesting and the songs themselves are fantastic, the kind that get stuck in your head at work and you can't wait to come home to throw on this record and unwind. A great record through and through." - Geek America

"The cover art for Am I Invisible – big, gorgeous, desolate yet intricate and full desert landscapes – is an apt image for the album’s lyrics, which are about life and love, hinting at themes of patience and despair and the onset of existential maturation. I was anticipating alt-country amer-indie pop kinda style, which is still an applicable description but doesn’t belie the delicious hints of Syd Barrett or Talking Heads. Geech Sorensen’s unique and emotive vocals are highlighted with subliminal stylistic references to great singers of the ‘60s and ‘70s (including the aforementioned David Byrne, which caused me to do a spontaneous little funky jump as I listened). Capital City’s got staying power, unlike some of the stuff that I’ve been listening to recently that I know will make me feel itchy in a couple years. Rock, Somerville-style!" - The Weekly Dig

"With catchy pop melodies and nimble acoustic touches, Boston's Capital City emerges triumphant on its initial disc, "Am I Invisible."

The band -- Geech Sorensen (vocals, guitars, keyboards, percussion); Walter Blazewicz (bass, backing vocals); and Eric Herman (drums) -- displays deft musicianship over the course of 11 songs and 45 minutes. The group's tunes have echoes of Elvis Costello, Joe Jackson, early Bruce Springsteen and Neil Young, but the sound is original and unblotched.

"This Town Won't Be the Same" displays a fine beat and measured acoustic edges. That formula also works perfectly on "The Weak Are Getting Strong" and "So Upset." "Growing Up Too Fast" is likeable and engaging, thanks to a delicate arrangement. "Drift Away," breezy and lilting, closes the disc on a good note.

On the whole, "Am I Invisible" boasts intelligent songwriting and warm pop hooks. This won't be the last we hear from Capital City, I'm quite sure. 8 out 10." - Boston Herald

"Capital City fill a void--a nice void--in my musical life. See, I've been terribly disappointed by the diminishing returns of the once-promising talent of one Mr. Rhett Miller, leader of the late, great Old 97s. From witty, literate country-rock nerd-boy, he's traded it in for something which I'm sure someone convinced him was a good idea: the last Alternative Rock Star. Of course, nobody cares, and it's now quite apparent to the rest of the world that the Old 97's were never lesser than the sum of Rhett's parts. When I first heard Am I Invisible, I felt a little glimmer of hope that the 97's sound had finally been rescued from the annals of mediocrity.

Let's not think, though, that I'm being too generous in my praise for Capital City. Am I Invisible, as good as it is, is no Too Far to Care . There's something about this music that makes me feel that, given enough time on the road, they could make red-hot country rock that surpasses the Old 97's highest peak--which, my friends, is no mean feat. At times, lead singer Geech Sorensen even sounds like a less ego-filled Rhett Miller, which is also not a bad thing, lest he decides to go all Maxim on us, which would be a betrayal punishable by death.

But--and this is a big but--Capital City aren't country, country-rock, alt-country (whatever that is), or indie-rockers who are making ironic country sounds. They're JUST A BAND, which is commendable in and of itself. Am I Invisible is a great debut album full of rock songs, and in my mind it has only one weak spot--"Receiving/Daydreaming." This song falters because it has a shocking and seemingly out-of-place female vocalist. Even then, the song's not bad because it's not good, it's just a sudden change that doesn't seem to flow with the rest of the album.

I have this itching suspicion that such songs as "Council Emissary" and "Growing Up Too Fast," which sound great on record, simply EXPLODE in a live setting. I hope that somebody soon lights a fire underneath Capital City's ass, because in so doing, they could easily become a shit-hot live band that the world so desperately needs. If they did, they could really have something good. I mean, in a better world, "This Town Won't Be the Same" would be the greatest hit since "Big Brown Eyes" and "Doreen." But we don't live in a music-loving world, so Capital City will simply have to offer up their own dish of greatness one fan at a time. Luckily, though, I really think that they can pull it off." - Mundane Sounds

"The frontman of this Boston-area band, Geech Sorensen, was writing songs in the mid-90s with college friend Keith Gendel, who ended up joining indie-popsters Papas Fritas, cementing a friendship between that band and Capital City, which Sorensen founded in 1999. Am I Invisible, recorded at the should-be-historic Fort Apache Studios, the album is an interesting exercise in retro-pop and modern indie rock, contrasting up-tempo sing-alongs and a mix of more melancholy and introspective tunes.

The cohesive nature to this album is in Sorensen's vocals, which work well in a kind of mid-range but do tend to sound a bit whiny on the higher notes, and the band's propensity for acoustic guitars or jangly electric guitars. The rhythms are light and generally up-tempo, a little playful even when the lyrics lean toward the more serious side.

The album starts with the more relaxed, country-infused toe-tapper "This Town Won't Be the Same," which doesn't really fit with the songs that follow. Much more to my liking is the jangly guitars and richer rhythm of "White Hands," and Sorensen's vocals work better on this kind of Buffalo Tom-esque track. I'm not sure if it's Sorensen's vocals or the guitar lines, but something brings to mind the kind of retro-minded pop that Oasis has been playing, without the blatant Beatles rip-off.

The contrast between the tone of the first two tracks is continued throughout. The next track, "I'll think of Something," is more up-beat again, with acoustic guitars providing the framework, while the darker tone of "Whistleblower" mixes oddly with the bouncy if slow-paced guitarlines. There's a bit of a groove to "The Weak Are Getting Strong," which is a nice change of pace for the album. Despite the catchy quality of the bouncy, playful pop songs ("Council Emissary," "What I Became"), I prefer the more jangly mid-paced rock tracks ("Receiving / Daydreaming," "Growing Up too Fast"), differentiated more by mood than tempo change.

Capital City's style mixes the kind of Boston-flavored indie-rock you might expect with equal parts 60s pop and mid-90s jangly rock. With songs that lean toward lyrics of drinking and melancholy introspection, the words often jar with the more up-tempo rhythms, but the songs themselves jar a bit, moving from lighter feel to darker and more rock-based tunes. Despite that, the songs are catchy and well-written. For a debut, it showcases an excellent singer/songwriter and a band with potential." - Delusions of Adequacy

On their debut album, Am I Invisible, Boston three-piece Capital City manage the clever trick of capturing the sounds of so many pieces of this giant country of ours, thereby somehow living up to the nonspecific proposition of their name. This is a good thing if you ask me, because there's nothing more annoying than a band that goes overboard trying to pigeonhole itself for the providence of marketing's sake. In fact, they are so far removed from this issue that reviewers from Juneau to Honolulu aren't sure what to say. Capital City lurks mysteriously, clanking against the warm and briny night sky like the hull of the mighty Bismarck locked at sea.

The Caps strike fast and hard right away with "This Town Won't Be The Same," a slice of country-rock (no, we're not talking Alan Jackson here) which not only bears the honor of being one of my favorite tastes of twang of late, but also is interestingly enough the only country song on the album. This is a testament to Capital City's versatility. In the spirit of Neil Young's beautiful LP Everybody Knows This Is Nowhere, mainman Geech Sorensen mines the lost corners of the country vernacular with a Montgomery Ward three-way flashlight. What he turns out is one of the spookiest and coolest tunes I've heard since catching Mr. Mike Nesmith on Austin City Limits a few months back. The band sits back, a more dazed and understated Crazy Horse, hanging-out as Mr. Geech says, in the "halls of fablery." Oh, and did I mention that this album sounds great?

It sounds to me like Capital City jumped on a souped-up Concorde Jet and recorded this album on the East Coast, in the Midwest, and on the West Coast in one fell session. A little twang, a little earnest pop, a little alternative -- no, not the next Columbus to discover Rock & Roll, but the band does represent the good cause nicely. The rock-solid triumvirate of "Growing Up Too Fast," "White Hands," and "What I Became" are sparkly uptown gems not too different from something The Shins or Foo Fighters would deliver. However, I would have to say that Capital City more embody the intelligent side of the new wave ethos of '80s like the Pretenders, mid-period Talking Heads, and even (from the '70s) the Modern Lovers.

The guitar sounds are great: alternately full, and later echoing. No solos, per se, but great lead guitar parts, if you can dig it. The apple-y crisp vocal tracks score high points for pop creativity. I'd be a lyin' Abe Lincoln if I didn't say that Mr. Geech's voice isn't a dead ringer for California mainstay Anthony "Chili Pepper" Keidis -- that should give you a good stylistic clue as to the west coast tenor of the vocals as Sorenson does not just sing. Rather he is the singer, a la Jim Morrison, Perry Farrell, Shannon Hoon.

About half the tunes are less original, but still strong enough to be the best songs on other people's albums. The mid-tempo "Whistleblower" is reminiscent of early Modern Lovers call-and-response mixed with blatant Costello influences (think "Radio Sweetheart" and yes, "Watching the Detectives"). "The Weak Are Getting Strong" is that mid-Talking Heads template note for note. And if you need more of that Pretenders thing, I could sure hear ex-patriot Chrissy Hinde doing "Council Emissary" on one of those first couple of LPs (also sounds a little like the Cult!).

Now, I like to smoke a little rock as much as the next guy, but I really think that they main reason I like Capital City is that they wear pants that fit. Not like some too-tight denim wearing Pierre New York that looks more like Helena Christiansen on heroin. Or some baggy, cargo-wearing thug whose jeans are built for a chunky Dolly Madison muffin, Charleston Chew chomper. Neither trying too hard to reveal or conceal, Capital City is regular man rock. I do not use the word "everyman" because I don't want you to think I am trying to say that this music is anything like John Cougar or Bob Seger; it's "regular" in the sense that this debut record is an honest job dressed nicely for its first day.

At times, a little cock-rock bravado comes through in Sorenson's lyrics and delivery, which I think the album could do without (a little obligatory swearing ala "I can see it through your shit-eating grin"; the exclamation that he "still runs this town") and that would be my main turn-off at this juncture. In conclusion, Capital City do not live rock & roll, as some people humorously profess too; rather they "participate" in it as I believe is only appropriate these days. When the writing is good (as it is on many of these cuts) the music inherits the warm, unpretentious glow of a freshly lit Salem in a sailor's fingertips. - Junkmedia

"Sometimes you look at an old photograph of yourself and can only think about how much stupider you were then (unless you're the rarea glass-half-full kind of person and you remark on how much you've grown). Hearing Am I Invisible for the fifth time I can only wonder why I didn't instantly recognize Capital City's debut full-length for what it is; a perfect slice of guitar pop. Yes, I was stupid in my youth, not realizing when I first heard the album last month that you can borrow a little bit of the Soft Boys or the Dream Syndicate, take away the edgier moments, and you'll end up with some pretty timeless songs on your hands just like Capital City.

Well-produced pop records like Am I Invisible often end up sounding sterile, but Capital City gives the songs some life by leaving in some background noise like shuffling feet and the occasional mumble. Most importantly the guitars are tastefully fleshed out with lots of subtle keyboards, strings, and a jam-packed pedal board. Opener “This Town Won't Be the Same” builds from an odd chord progression to a giddily plucked guitar passage as singer Geech Sorensen wonders "Maybe I'll be happy when I'm gone?" "White Hands" follows with a criminally simple but impossibly catchy guitar jangle, while the stripped-down guitar and vocal number "So Upset" serves as an album highlight with its glimpse into a friend's paranoia. The album finishes with “Drift Away” in which Sorensen pleads “I don't wanna drift away” while the song does just that with a lazy, swooning string section supporting the otherwise sparse arrangement.

The ability to create an album's worth of well-written pop-rock tunes is no easy feat. Capital City pulls it off impressively on their debut album. Give it a few listens - it's a grower. - Northeast Performer

"Ooooh, this CD is soo great! Here's a little background info: The band was started back in 1999 by Geech Sorensen, who used to play a lot with Keith Gendel of the fabulous Papas Fritas. Their debut EP was recorded by Orrin Anderson (a.k.a. the coolest member of the now-defunct Syrup USA). And their 2001 7" release was recorded by Tony Goddess of the aforemention fab Fritas!

So, it's really cool how Geech's sorta alt-country sound has rubbed elbows with these pop kings, and has come out sounding so great!!! This, their first full-length, opens with a real toe-tappin' folky number titled "This Town Won't Be The Same" that reminds me of good ol' Clem Snide, but then other songs have such a strong indie-pop sensibility like the total-Papas-influenced pop track "Council Emissary" that sounds so much like them down to the male/female harmonies and the repeating "Yeah Yeah Yeah"'s in the chorus! Sooo good!

The only song that I'm not crazy about is "The Weak Are Getting Strong" which is just a little too repetitive for my tastes, and the keyboard work is a little too Doors/Ray Manzarek to me and the sorta funky grinding rhythm to the song is a little too 80's top 40. But that's the only song on this CD that works out the "skip" button on my player.

I really dig Geech's voice: he's got a strong unique voice that can handle a fairly wide range and he's not afraid to aim for high notes or slide in a growl here and there. (I feel like an American Idol judge writing that!!! HEE!) That said though, I really dig it when guest-vocalist Julie Otis pipes up here and there. I think their voices compliment each other nicely, and I especially love the track "Receiving/Daydreaming" where she takes the lead.

Nice and poppy, sweet jangle-y guitars, excellent songwriting and super-nice vocals here - - - love it!!! : )" - Copacetic

"Capital city has gone from being a goofy pop band to a serious entity that demands your attention. The songwriting here pulls at your heart strings like a good Elvis Costello tune, with the thoughtful twang and ironic sense of humor of a Mike Nesmith track, the brood of a good Wilco track and the pop sparkle of a Beatles album. Every thinking music fan should own this record... period!" - The Noise

"Delicate but gutsy indie pop that puts the lowercase back in Capital and the Country back in City." - Roctober

"Boston is well known for it's somewhat unassuming underground music scene. Capital City is the latest act to emerge from that scene. A few years ago, their minimalist pop stylings and laid back melodies attracted the attention of Tony Goddess from Papas Fritas fame. Goddess recorded some tracks for the band, and this, along with their uncanny ability to write intimate songs that never fail to stick in your head, helped them build a strong and loyal local following.

"Am I Invisible" is the debut full length that will show the rest of the world what Boston has known for years. The band recorded the album at the legendary Fort Apache studios, which put them in the same company as Boston indie legends such as Dinosaur Jr, Uncle Tupelo, Throwing Muses, Juliana Hatfield, Yo La Tengo, Radiohead, The Pixies, and Buffalo Tom (to name a few). The tracks here are no frills, earnest and incredibly catchy. Jangly acoustic pop blended with natural instrumental touches (viola, piano, echoes, and violin) and mature (and occasionally sad) vocals are the order of the day.

You will not get many fancy touches from Capital City, but you will get earnest music that comes straight from the heart." - Advanced Alternative Media

"The pop trio of singer-guitarist-keyboardist Geech Sorensen, bassist Walter Blazewicz, and drummer Eric Herman have made good use of their talents on their new CD, Am I Invisible. Energetic and upbeat, Capital City creates infectious licks and pounds the listener with riff after riff of pure power pop prowness. The result is a solid sounding album full of great songs and musicianship." - The Metronome

"Capital City's first full-length album is filled with 11 jangly, indie pop songs reminiscent of what one might find at the local college coffeehouse on a Friday night - but with more talent and direction. Starting out with the country-influenced tune, "This Town Won't Be The Same", this three piece (along with the help of Julie Otis on occasional vocals) treks through numerous variations upon the indie pop sound before eventually closing with the introspective and bare tune, "Drift Away". The track "Receiving/Daydreaming" stands out, with its eerie, distorted guitar sound placed on top of what would otherwise be an upbeat pop song. Otis takes the lead on this track, and it would be interesting to see what she would sound like singing more of these songs. Nevertheless, each track on Am I Invisible comes across with its own personality and uniqueness, but the album never loses its flow or comes across as awkward, thus avoiding feelings of repetition." - Action Attack Helicopter

"Capital City has produced an extremely versatile cd that is definitely worth a listen. It's very well put-together." - Boston College Heights

The Sound / National Landmark - 7"

"Capital City must have grown up listening to great pop music, because this album is heavily influenced by a 70's pure pop sound, but it has a kind of modern feel all its own. They combine equal amounts of Bruce Springsteen and the Beach Boys with bands like Built to Spill and Death Cab for Cutie. These songs aren't fast, however. They keep a kind of restrained feel to them, and there's a sense of flirty sadness to these songs which is very endearing for the band.

"The Sound" is damn catchy while not being too fast. With toe-tapping beats and minimal use of guitars and keyboards, the band lets the vocals take center stage. I have to say, Miranda's vocals really shine here, while the male vocals from Geech are a little strange, kind of deep and slow-sounding. But once you get used to them, the song is damn good. You'll be playing air guitar and dancing around in no time. This song should be on a soundtrack to a teen summer film. It just has that feel to it.

"National Landmark" starts off quieter, with a subtle bass line and both vocalists coming in, singing in a kind of lost-your-sweetheart bittersweet melancholy. The drums and keys come in quietly, providing a head-bobbing beat and a sort of playful undercurrent to the vocals. Again, the song feels restrained, held in check. I wonder what it would sound like a little faster, a little more let loose, but then again, that's not the band's charm. The restrained sound is obviously intentional, and the song likely gets the proper tone from its quiet determination.

I like what I hear from Capital City. They are tight, and they merge their influences of 60's and 70's pop with modern sensibilities perfectly. There's something of a quieter, slow-core feel to their songs too. It would be fun on an album to hear the band let loose and get you up and dancing, but the quieter, more melancholy pop songs work well. And on clear orange vinyl, this record is tasty!" - Delusions of Adequacy

"Capital City makes urbane-yet-homespun pop that recalls the golden age of that sort of thing, a loose amalgam of the Records, Let's Active and any number of first-wave Bar/None Records bands. Indeed, the ghost of girl/boy new-wave looms large over "The Sound". The flip, "National Landmark" percolates with Rhodes-driven, near-halftime beat and much forlorn staring out the window. Capital City whips up familiarity and warmth quicker than most bands can disperse drink tickets. That it's all produced by Papas Fritas' Tony Goddess - with him the Caps share equal sense of big, lonely smart pop - seems more like a serendipitous arc of artistic completion than any coattail riding." - Magnet

"Combining full-on radio rock hooks with spritely vocals and caramel-sweet melodies, Capital City summons the best of indiepop, tempered with pop radio savvy. 'The Sound' dishes out smart, mid-80s pop stylings. Dueling guy-girl vocals and more bounce than a room full of beach balls make this an instant gem." - Shredding Paper

"There is not one good thing about this seven inch. This sucks. The experience of listening to this one was far more worse then the sound of nails scratching against a chalk board. The harmonies the vocalists create is painful to the ears. This was the worst 7" I have reviewed all month as well as the biggest waste of 8 minutes and 44 seconds. Spare yourself the time and be sure to never listen to this. This fucking sucks." - Buddyhead

"After a stunning EP, Capital City is back with a new single and a profoundly mature approach to their own fresh and hopeful brand of jangly indie pop. Their A-side is an irresistable pop ditty harkening back to the sweet sounds of Piewackit and Papas Fritas, no mere coincidence, as this single was produced by Papas Fritas' Tony Goddess. The brooding B-side "National Landmark" impresses me the most as it shows a band whose songwriting is becoming more poignant and sophisticated, while still relying on their pop roots to produce a sound that is sparse, yet full, still homemade and yet with with a haunting production style that makes my ears smile. If only there were more bands as good as this. I can't wait to hear where Capital City takes us next." - The Noise

"This is a nice surprise: gentle, bouncy, male/female vocal alternative pop that thankfully doesn't fall into the copycat category of "nu-metal." Capital City are a lot more relaxed and mid-tempo with additional keyboard backings and nice samba percussions on "The Sound" A-side. Although the flip of "National Landmark" doesn't quite have the same catchiness -- bringing up sounds of Ben Folds Five, except not as mainstream sounding -- this is a nice change of pace amongst the world of recycled Third Eye Blind and Verve Pipe bands." - All Music Guide

"A diverse two-song seven-inch showcasing two very different sides to the same band. Side A's "The Sound" is a toe-tapping, strictly pop number taking full advantage of the band's simple sound, reminding listeners of the Spinanes or Tuscadero. Beware though, the main riff on this first song sounds strangely Rick Springfield. Side B's "National Landmark" is in sharp contrast to the record's flipside. At an anything but brief five minutes, twenty seconds, "National Landmark" is a slower more subdued track. I suppose comparisons to something along the lines of Beat Happening would be in order... This song seems haunted by an untraceable influence, which has less to do with any indie precedent and more to do with your parents record collection. Go figure." - Rockpile

"This is an odd record. The first song is pretty slow and sounds like an indie rock band with a country singer. The song on the other side is more poppy and sort of sounds like an 80s song with female/male vocals. Not my cup of tea, but definitely interesting." - Punk Planet

"These guys have an ear for perfect pop and I'm a sucker for that. Much in the same vein as Papas Fritas (this was recorded by PF's Tony Goddess), it's simply sensitive pop stuff that is toned down and slips easily into a rhythm." - Spank Fanzine

"The A-side, "The Sound", is ultra upbeat with a girl/boy vocal mix and a sound that was definately achieved in a nice studio, sounding clean and very slick. Reminds me of a mid eighties light guitar pop with a new wave edge. Now the b-side, "National Landmark", is so sad and down tempo, it shocks you that it is the same band. The arrangement is nice and it doesn't fall into the sparse trap." - The Bees Knees

Start Your Own Country - cd/ep

"A band with great potential if they follow the right path." -

"This CD should come with a warning sticker. It should say something like "Warning: this ep may cause serious side-to-side head bobbing injuries." Somerville's Capital City have a nice acoustic sound with guitar, piano/keyboard, naked sounding rat tat drums and super (I mean super) dual boy and girl vocals.... "You Went Astray" may be one of my favorite songs of the year. It's beautiful." - Kickbright

"This is mostly acoustic, with wonderful male-female harmonies and some back-and-forth sing-a-longs. They definitely get a groove going.... steady drums keep the rhythm steppin' along and the guitar leaves hints of rock 'n' roll in its wake, but it stays in a perfect state of being slightly subdued. Only four songs long, this release makes you kind of wonder how an LP would be. The last song is beautiful, with the piano and female vocals just touching the edge of your heart. I feel peaceful." - The Big Takeover

"This young band applies a rootsy, slightly folk-tinged approach to the classic pop theorem. With mixed-gender vocals adding plenty of variety, it's quite an enjoyable ride as you bounce through Start Your Own Country -- innocence and simplicity flow freely and a genuinely friendly aura emanates from each track. Balancing bop with beauty, Capital City have quickly found a distinct sound and are quite capable at dumping it onto a recorded medium." - Splendid E-Zine

"The boy/girl harmonies of Miranda and Geech form the centerpiece of the band with songs ranging from jaunty acoustic pop to sparse keyboard-based ballads that highlight their rootsy new wave sensibilities... Well-executed - there exists a solid foundation upon which to grow." - Pop Culture Press

Start Your Own Country is chock full of bright poppy melodies, clever lyrical hooks and irresistible harmonies... Geech and Miranda trade vocal lines with all of the aptitude of a pro ping-pong match, especially in the song "To and Fro". Capital City writes songs that you have to be dead or terminally jaded not to enjoy on some level. I find myself easily addicted. This band has "more hooks than a tacklebox" and an uncanny knack for the right melody and vibe. The harmonies on "Coming Home" rival anything on Rubber Soul and the introspective "You Went Astray", with its sparse arrangement and haunted electric piano and vocal show a band comfortable enough with their strong writing abilities to let their songs stand as a testament to themselves without the bells and whistles of slick production skills and flamboyant musical noodling. I hope Capital City continues with this unjaded approach. Their sound is fresh and hopeful. I can't wait to hear more." - The Noise

"Imagine this music video concept: The guy on the acoustic guitar and the girl with the tambourine are walking through the streets of the city, playing and singing. Slowly, people walking by start following them, soon they have the entire city following them as they end up in a big park... The camera pulls out into an overhead view of a park full of people and the completely empty city in the background." - Geek America

"Capital City play extremely stripped down pop tunes with a folk edge. "How to Start Your Own Country", which seems to be the theme song for a band who says their goal is to start a "rootsy new wave metropolis", I can easily picture being dished out in the pre-ironic modern rock Athens, Georgia of the early 1980s (although Capital City is from the Northeast). With an Indigo Girls strummed guitar and keys making up the musical backbone of a song that hinges on the chorus, "Hey, don't just stand there, I know something we can do / Gonna start our own country / I know that it will be made for you". It's Athens deadbeat club emotion at its most terribly, terribly sincere. And for that it's beautiful.

The Simon and Garfunkle pop of "To and Fro" is the EP's great highlight. A straightforward guitar riff and simple beat drive the song like a low-key REM tune. The song also highlights the harmonizing of Miranda and Geech,whose voices play off of each other spectacularly. The final tune, "You Went Astray" is an organ and vocals tune that almost reminds me of a Twin Peaks Julie Cruise song. What makes it interesting though is that her vocals are double-recorded in different keys, giving it a nice depth...

It's hard to judge a band on four songs... The EP is a dangerous format in that way. However, there is that quality of sincerity in Capital City's brief offering which promises that more could follow."- Pop Matters

"...A light and carefree album that will have you tapping your feet, like it or not." - Muddle

"Capital City is friendly. After you listen to their first four song EP, Start Your Own Country, you'd think you know them already and are ready to invite them over for dinner... For the first recording in the first year of the band's existence the effort is admirable." - Jam

"Somerville, Massachusetts is home to Capital City, who deliver an EP of infectious harmonies and engaging folk-pop melodies often reminiscent of The Washington Squares." - indie-music.com

Show Reviews

Papas Fritas, Capital City and Soul Junk @ TT the Bear's, Cambridge, MA, 11/11/2000

"So now onto something completely different, the soothing vibe of Somervillle's Capital City. It doesn't get any better then this, folks. Camera-shy vocals and laid-back beats; songs about nothing in particular that I could discern but most certainly, all very bittersweet and ironic. It's all about the traditional, tried and true indie pop jangle for these guys (and girl). Their simple stage presence was a breath of fresh air in this overtly pretentious town.

Miranda's tall and lanky frame upheld with singular tambourine, positioned center stage, seemed unusual at first but worked well. The bass player thumped staccato quarter notes steadily on top of the kick drum pulse - very Papas Fritas-esque, without a doubt. Often times he wandered back and sat down on his amp, not necessarily bored, just relaxed and happy. Singer/Guitarist Geech, a disciple of Jonathan and the Modern Lovers for sure, and perhaps a Magnetic Fields fan too (just a guess) delivers his songs with a great vocal tone. And Capital City definitely know how to write a hook. Don't believe me? Pick up their CD and hear for yourself. The drummer was kind enough to be handin' em out like candy after their very impressive and fun, tight set. Whatta guy - and I didn't think his drumming could be topped!" - YourSound

Loud Family, Baby Ray and Capital City @ TT the Bear's, Cambridge, MA, 4/16/2000

"On the first Sunday after the season finale of The Sopranos, what's a girl to do with herself? Luckily, there is a show at TT's worth checkin' out.

Capital City is up first. Miranda ("we never use last names") the tall lovely singer is washed in a blue fairy-esque light giving her the look of a barroom angel. She pulls her powerful voice from God-only-knows-where and pushes it out somewhere beyond the notes. She's better served in the lower register where the richness of her voice is uncompromised. The second song, "I'm Just Fine," rips open Miranda's voice, while Eric's drumming makes me smile. I can't help but feel it is a damn shame that more people are not here. On "National Landmark", vocal duties get split between Miranda and Geech on lead guitar. I wonder if he is aware of the slight twang that gives his voice a country edge? Their up-tempo songs are their strong suit... Capital City is not simple, but they're easy to like." - The Noise