113. Album Review of Trash Mountain by Lily Seabird
Originally Published on April 9th, 2025
About the Artist
Go where the music takes you.
In July, once I decided that I was going to start writing reviews of Independent Musicians, I knew that I would rely heavily on the submissions of artists who were looking for write-ups. I like submissions because it is an amazing way to network and get to know the artist who’s music I’ve come acquainted with. However, in my original concept for Fifteen Minutes of Fame, I also knew that I wanted to explore. Just find artists to write about. It’s now mostly become about the submissions, admittedly, but I still like to explore.
Go press play.
This is a mantra I’ve tried to instill in our readers for a few months now. It doesn’t just mean to go and listen to the song or video I’ve just recommended. It’s a bigger concept than that. It means, if you’re on social media and you see a random artist pitching their song to the multiverse, go listen to it. If you’re walking past a dingy bar and you hear a live band bleeding out of a semi-decent sound system that’s probably 40 years old but the music sounds interesting, go inside, grab a drink, and take a moment to listen to them. Or, if Spotify throws a banner on your home page while you’re trying to decide what to listen to next, accept this as destiny and press “go to album.”
Like what I did, fifteen hours ago. Sixteen hours ago, I had never heard of Lily Seabird. Beaten and exhausted from another volatile and depressing day working in the financial industry, I walked out of my employer’s building in Nashville, I made my way through the adjacent parking garage and into my car. As I let go of a wounded exhale, I opened Spotify. “Listen to Trash Mountain Now.”
Frankly, it sounded perfect.
It was.
Lily Seabird, from Burlington, Vermont is unlike any artist that I’ve heard today. It’s as if Loretta Lynn and Courtney Love just all of a sudden one day merged into the same person. She approaches music like Leonard Cohen or Bob Dylan, as she is doing something that might be too complex for society to understand yet.
Lily Seabird is prodigious. She might be a fucking genius. I’m not sure I quite understand the magnitude of what she does.
Lily Seabird debuted in 2021 with the release of her LP, Beside Myself. This debut album, as extraordinary as it was, is honestly a watered-down version of what her music is today. Even still, there are some captivating moments in Beside Myself. Utilizing the minimalist approach, musically, there’s not much that is technically complex about the instrumental performance of the band. The drummer doesn’t do much in the way of incorporating fills. In fact, anything besides a kick, snare, and high hat are barely used.
Beside Myself is more grunge-focused, one might even say its alternative rock. Seabird’s vocal performance is more structured on this album, like she has had the idea but she hasn’t yet tapped into how she is going to approach it. It also confirmed my theory of the intentions of her later music; that her performance is with intent.
Beside Myself is highlighted with songs like No Light and Girl; two songs that really hint at the potential Seabird presents with her music.
After the release of singles Ryan's Song and Fuckhead, Seabird released the follow-up to Beside Myself, Alas, on January 12th, 2024. Alas, is where she really started leaning into the concept of her music and her listeners could start to hear the potential of what she was accomplishing. This sounds like I am downplaying Beside Myself, which I am not. Beside Myself is a great album. I only say it scraped the surface of what I now know to be inside Lily Seabird’s musical shell. Alas, provided cracks to let her listeners in.
I have to be honest, Alas might be my favorite album of Lily Seabird’s collection. This opinion is heavily supported by jaw-dropping tracks on this album: Angel, Dirge, Waste, and The End of the Beginning are all ridiculously good. It’s competition, however, is what I will be getting into today.
About the Album
Trash Mountain Is the third studio album by Vermont artist Lily Seabird. This 9-song LP has a run time of about 35 minutes. Trash Mountain was recorded at Science as Magic Studios and engineered by Kevin Copeland. It was mastered by Amar Lal at Macro Studios. Trash Mountain was released by Lily Seabird and Lame-O Records, an independent label out of Philadelphia, Pennsylvania.
About the Music
“This album is dedicated to Trash Mountain, a real place where I lived while writing and recording this record.” (Seabird, Bandcamp)
The story reads that Seabird resides in a pink house atop of Trash Mountain, a decommissioned landfill site, located in Burlington, Vermont.
As far as influence goes, Trash Mountain could fall under a number of sub genres like alternative rock, grunge, alternative bluegrass, folk, folk, fusion, and americana. From one song to the next, there could be a crunchy electric guitar, driving bass, and drums, and then be absolutely organic, with acoustic guitar and fiddle.
When breaking down the composition, I don’t hear anything that’s overly complex. However, the music goes places that I wouldn’t say are the first instinct. That’s the first thing I love about the music. Once again, there appears to be a minimalist concept but the musicians are so talented, they incorporate very complicated ideas within the simplicity of the composition. A subtle little piano solo that might be 3 seconds but is authentic and unique. A drum fill that seems like it’s out of place but, after further analysis, is played perfectly. A slide guitar wailing on high treble notes then sliding down to almost give a roots vibe. There are so many impressive moments instrumentally.
Next, I want to talk about the vocals. Lily Seabird does not have a “pretty” voice. Technically, she’s pitchy. Artistically, her voice flutters around the key like a butterfly or a ballerina; with a sort of chaotic eloquence. It’s in a way that makes me feel like she knows exactly where she’s supposed to be. Only she knows.
She has a deep Tex-Arkana accent. One that would rival Teeter's (if anybody is familiar with the television show, Yellowstone). Sometimes, it almost sounds as if she flows in and out of the accent. It makes me wonder for a second if it’s real? If it’s a character choice? I will tell you right now. I don’t want to know. I’m not insulting this artist by devaluing the art and uncovering this little mystery.
She strains into some of her higher notes. Also, some of her longer notes. Sometimes she uses an upper register and it sounds more in control. Then sometimes, it’s as if she wants to try something just beyond what her voice is physically capable of doing comfortably. Is that intentional? Again, do not tell me!
She may be the happiest person in the world but the delivery of her vocal part sometimes sounds utterly damaged or broken. Wounded to the core.
No, Lily Seabird does not have a “pretty” voice. But is sure as hell is one of the most beautiful things I’ve ever heard. Every flaw, dent, bruise scar, and imperfection. It makes the music. Honestly, if she were properly performing this music, it would be good but far less memorable. And make no mistake, this isn’t ear-piercing bad. This is all done in a way that has me bending with every note. Stretching for every syllable. It sounds atmospheric. Her performance is extraordinary.
I say again, she might be a genius.
Final Thoughts
A day ago, I didn’t know this artist existed. Since discovering Lily Seabird’s music, I’ve listened to it repeatedly throughout the day. It has affected me. In many ways, Lily Seabird’s music compares to America. It’s beautiful. It’s damaged. It’s torn. It has different identities. It prevails where most others would fail. It’s somehow fearful and fearless at the same time.
Lily Seabird is a one of a kind musician. I try to be more objective when I write reviews. I like to be constructive. I like to think about exploring the ways an artist could improve something that might help them do just that. Changing anything this artist has done would be a disservice to the art and the artist. Frankly, I’m floored that this artist is currently only sitting at roughly 10,000 listeners on Spotify. My take is this: maybe we found her early. We will find out as she it’s about to go on tour. A tour which includes stops in the UK. That will be the test.
When it comes to Lily Seabird, she may be writing songs about “trash mountains,” but no matter the mountain, it’s always important to be positioned exactly where she is. At the top.
To get full access to Lily Seabird’s Social Media options, you can check out her link tree.
Subscribe to her YouTube channel for more video media.
You can catch the latest Lily Seabird news and see what other incredible Indie artists are doing as we round the corner into festival season by visiting Lame-O Records website!
Lily Seabird is going on tour! Check out the link tree above and her artist page on Spotify for dates to see if she is coming to a town near you!
Trash Mountain released on April 4th, 2025 and is streaming all places where you can stream music. There is also a vinyl option available in the merch section of Spotify and Bandcamp.
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