May 3, 2007 · Darryl Smyers

Dallas Observer

Say What You Want to Say to Me (Fish the Cat Records) is the sophomore effort from Spanish for 100. Hailing from Seattle, this spry quartet plays something analogous to Fugazi tackling the Merle Haggard songbook. Fractured, intense and somehow melodic, this is country-tinged rock of an unusual breed, like Wilco if Tweedy wasn’t always intent on making an artistic statement. Check out “Sangria” and “Quick as a Shutter” for some adrenaline-charged, hick-infused post-punk, complete with an authentic drawl. – Darryl Smyers

June 14, 2006

LostatSea.net

Spanish for 100 has a weird name and plays country tinged rock and roll. Not cowboy hat, whiskey, wife beating country, but more of a tight levis and button up shirt-wearing, Wilco worshipping, Pabst-because-it’s-ironically-redneck country. These guys seem a little too upbeat to be from the dour climes of Seattle, but I could definitely see them rocking their Americana in Kansas.

May 26, 2006

Seattle Post Intelligencer

Two bands with EPs that bode well for their futures: dreamy popsters Panda & Angel play the Crocodile Cafe on Wednesday to kick off the club’s 15th anniversary celebration (more on that next week) (9 p.m.; free). Spanish for 100 releases “Metric” nationally this month and plays the High Dive on Saturday to celebrate.

May 24, 2006 · Matt Shimmer

Indieville.com

Sweet, melodic songwriting and delicious harmonies mark Spanish For 100’s latest EP, Metric. Rocking right from the bat with the infectious, neo-Superchunk-esque “Go Away, Come Home,” this record sets its tone quickly and makes for excellent listening. Slower “Jungle With Lions” is a bit longer than it needs to be (though it’s good, catchy rock nonetheless), but guitar-soaked “Fell A Bird” and the two massive parts to “Golden Days” make up for any drag. A live version of “See Now” is thrown in as a bonus, driving the Awesome Badge’s pin even further into Spanish For 100’s ribbon-ridden lapel. 85% Fun Fact: “Ciento” is Spanish for 100. Matt Shimmer

May 12, 2006

Isthmus

… Not that Cats Not Dogs require perfect conditions to demonstrate what they’re all about. Last Friday at the Tornado Club’s Corral Room, they waited for hours as Seattle’s Spanish for 100 galloped through their complex, earnest originals, and well-rehearsed post-punkers the Danger presented an artful performance steeped in the glory days of Joy Division, the Cure and the Buzzcocks…”

May 12, 2006

Aiding & Abetting

Spanish for 100 claims all the right Americana influences. But these boys don’t play Americana. There is something of a roots flavor here, but we’re talking about contemplative indie rock. Put it all together, and you’ve got a fine combination. Reminds me a bit of Eleventh Dream Day, a band whose myriad sounds confounded any attempt to become popular. Spanish for 100 has a bit of luck, as the last 15 years have proven EDD prophetic. Only five songs here, but each is well worth hearing over and over again. This is the sort of date that must lead to another.

May 3, 2006

Chicagoist

Spanish For 100 Scores 100 A+++ Chicagoist enjoys Built To Spill. We also enjoy Uncle Tupelo. How could we not? We live in the Midwest. So it’s safe to say that when a band comes along and is described to us as being similar to Doug Martsch and Jay Ferrar on a road trip we would be equal parts excited and hesitant. We first saw Spanish For 100 at Schuba’s a few years ago when they opened for some crazy band from Norway whose lead singer kept flashing/pounding her breasts and knocking over tables. That was awesome. What was even more awesome was how unexpectedly fresh Spanish For 100 sounded, and it wasn’t just because they were so obviously on the wrong bill. Lead singer Corey Passons has one of those voices that seems to perpetually be on the verge of veering seriously off-key. Instead of dipping into tinnitus-inducing paroxysms of misjudged octaves, his instrument instead serves to focus attention on his phrasing. And many of his melodic choices are unexpected and fresh, which helps to make the group’s music so compelling and enjoyable. Passons is helped in no small measure by guitarist Aaron Starkey’s style that veers between frenetic punctuation and dreamscape lullabies. His textures are what truly vault the songs into a category that really does. It is also what ultimately makes a comparison as simple as “Built To Spill meets Uncle Tupelo” seem so inaccurate since, while the group’s sound does contain trace echoes of those influences, the pieces they’ve crafted defy such generic descriptions. Martsch and Farrar would be ecstatic if they could write material as fresh as the stuff on Spanish For 100’s (woefully as-yet-unreleased) sophomore effort. Back in the ‘80s we would call a band like this “college rock” because it just didn’t fit into any easily definable category. In subsequent years musical genres have become so segmented that it would seem any and every group could be simply codified. (We are sure that somewhere out there, there‘s a screamo-glitch orch-pop group playing some dirty basement.) Tonight Spanish For 100 is in town playing Subterranean and we bet that they will, even in our fractured times, continue to defy easy description.

April 28, 2006

Lawrence Journal-World

Spanish for 100 (“Best Bet” listing) Seattle’s Spanish for 100 has this indie guitar-rock thing down. Shades of Built to Spill permeate the band’s latest EP “Metric,” which – no surprise – was produced by Phil Ek (Built to Spill, Modest Mouse). The band has hit the road for multiple self-promoted and self-booked national tours, spreading its gospel of sonic guitar revelry and upbeat songwriting.

April 27, 2006 · Kevin Coffey

The Omaha Weekly Reader

8 Days Picks – 27 Apr 2006 Illinois native Aaron Starkey played in Chicago-based indie bands for years before deciding that “the scene” wasn’t for him. So he packed his bags and headed west to Seattle. There he met Corey Passons and Ross McGilvary and they formed Spanish for 100 in 2002. All in all, they’ve had a great track record for such a young band: Their music has been compared to Neil Young and Built to Spill and they’ve recorded two albums with producer Phil Elk, who has worked with Built to Spill, Modest Mouse and the Shins. — Kevin Coffey

April 25, 2006 · Nancy Petitto

Daily Nebraskan

Despite comparisons, band retains own distinct style By: NANCY PETITTO Spanish for 100 is constantly being compared to big name bands like Built to Spill and Modest Mouse. But the members don’t really mind that. `We’re often described as a combination of Built to Spill and Wilco,” said guitarist Aaron Starkey. “It’s because of the strong singer/songwriter sensibility.” Those comparisons, however, aren’t that far off. The group’s first full-length record, “Newborn Driving” was released in December 2003 and mixed by the notorious Phil Ek, who has worked with bands like Built to Spill, Modest Mouse and the Shins. Spanish for 100 will start off its new tour this month, stopping tonight at Knickerbockers, 901 O St. The group will be touring for the recent EP release “Metric.” A new full-length album is planned for this fall that wasn’t quite ready for this tour. The new album hasn’t been mastered yet, but when it’s done the group will be more than happy with the sound. “It’s a lot more live sounding, open and spontaneous,” said vocalist Corey Passons. “It felt very relaxed with a lot of excitement.” Phil Ek also worked with the group by mixing the new album, giving it the distinctive sound the group was looking for. The tour started last weekend for Spanish for 100, which is something the group does not mind doing. “There’s nothing better than everyday you’re driving somewhere else and playing music,” Starkey said. “It’s a total blast for us.” Regardless of the venue, Starkey enjoys being able to play music as long as the people get into the music. “Some places are just bars that have a stage and sometimes that’s less inspiring,” he said. “Then there are places that are there for the music and everybody that’s there totally loves it.” Starkey and Passons both remember Knickerbockers as being the place where everybody loved the music. Not only did they play a great show, but also afterward they were invited to party with the opening band. “It was some good Midwestern fun,” said Starkey.

April 20, 2006

Salt Lake City Weekly

MUSIC PICKS Sunday 4/23 SPANISH FOR 100 Aaron Starkey bears more than a passing resemblance to Black Francis on “Mood in the Clouds,” a frantic skat of a track off Spanish for 100’s debut album Newborn Driving. Three years later, the Illinois native ditches off-the-cuff non sequiturs and random noise for the easy pace of porch-swing Americana. Produced by Phil Ek (Modest Mouse, Built to Spill), 2005’s Metric reflects the Seattle quartet’s fondness for heartfelt harmonies and jingle-jangle guitar. Hear that twang? That’s the sound of falling in and out of love, on a train from your hometown.

April 18, 2006 · Meghan Dunlap

The Badger Herald

Spanish for 100 enters studio again Six songs may not seem like much, but for the band Spanish for 100, who have been on the road since their first album, Newborn Driver, debuted back in 2003, the half-dozen is just enough. The taxation of constantly being on the road seems to have only supplemented the intensity with which the band re-entered the recording studio. The band is in good hands with producer Phil Ek, who has produced and engineered a number of well-known bands, including Built to Spill, Modest Mouse and The Shins. Before the production of Metric, their latest release, the band was having a hard time finding a drummer that could stick with veterans Cory Passons (voice/guitar), Aaron Starkey (guitars) and Ross McGilvray (bass). Then Chris Crumpler came along, and Spanish for 100 is now complete. For this group of young musicians, song craft is of the utmost importance. It is clear they want to keep integrity in their music — an integrity that is often lost as bands grow and gain more fame. What these four guys have provided is uncharacteristic of what is being listened to today. The group’s music emanates a sense of tranquility and peace of mind in its layered and diverse musical compilations. They give listeners a little bit of everything; from indie to country to rock and pop, they offer a sound that a person can listen to for hours. Be prepared for a mainly mellow sound throughout the album, although the tempo for “Fell A Bird” is picked up, offering a nice change from previous songs. The guitar techniques used are also out of the ordinary and change from song to song. At one point, a guitar is being played in such a way that makes a listener want to check to see if his phone is vibrating. It is, impressively, layered beneath other sounds, yet it stands out because of its difference. The unconventionality of Spanish for 100’s sound adds to the band’s distinctive and increasingly popular sound. Since its formation in 2002, the Seattle-based group has been incredibly self-sufficient. Back in 2004, the band self-promoted and self-booked a national tour and contrary to many do-it-yourself type tours, the locations they graced weren’t sleazy dives in mediocre towns, but notable venues in hot music spots like Chicago and New York City. The band’s two national tours and their national radio campaigns have prompted them to hit the road once again. They kicked off their tour last fall and traveled around the West, close to their home state of Washington. This month, Spanish for 100 will begin to make their way east toward the Midwest making an appearance here in Madison at the Corral Room on May 5. Spanish for 100 is a mellow outfit that shows potential. Their do-it-yourself mentality is admirable, as is the band’s tendency to musically push the envelope. Metric, as an album, serves as a welcome re-entering of the recording studio and supplements Spanish for 100’s rising star. – Meghan Dunlap

April 15, 2006 · Collin Anderson

UpBeetMusic.com

The word-of-mouth element most likely to perk up the ears of any indie fan with Spanish for 100’s second release, the Metric EP, is that it was produced by the illustrious Phil Ek. Ek’s work (Built to Spill, Modest Mouse) has been key in the movement to augment controlled grit atmospherics and, more importantly, incorporate elements of country into indie music without people fleeing with their hands over their ears. That being said, emo-doing-country band Spanish for 100 might have nearly as integrated a variety of elements as Ek’s most successful clients, but the elements themselves lack much sense of adventurousness. Overlong and repetitive jams (“Jungle With Lions”, “See Now”) feel particularly uninspired next to their tighter melodies (“Go Away, Come Home”, “Fell a Bird”), especially for the latter’s utilization of Corey Passons’ feathery, high vocal range. The EP has moments of great clarity, beauty and urgency, but on the whole (and especially being an EP) it doesn’t satiate the promise of channeled talent implicit in Ek’s reputation. – by Collin Anderson Recommended If You Like: Fall Out Boy and My Morning Jacket 3 out of 5 stars

April 14, 2006 · Ellen Wernecke

TheCelebrityCafe.com

Chicago quartet Spanish For 100, unfortunately, has nothing to do with “Jeopardy.” But the band’s latest six-track album “Metric,” released last year, sounds more like Neil Young’s emo-drenched little brother than an Alex Trebek song sample. Lead singer Corey Passons, whose young voice is reminiscient of Ben Kweller’s, walks the line between whiny and wistful in the slow-building songs, which appear to be in no hurry to reach their drum-led climaxes. But while “Jungle With Lions” takes its time unspooling into the sky and a shimmering guitar solo takes the descant on “Golden Days,” first track “Go Away, Come Home” offers platitudes like “It doesn’t matter what I want/ over and over again… watch it twist and turn and die.” So young, so world-weary. Now that Spanish For 100 has a permanent drummer and is out touring tirelessly, maybe audiences will know what’s bothering them — hopefully in the form of a question. – Ellen Wernecke Reviewer’s Rating: 5.5

June 1, 2004

Indieworkshop.com

"Spanish for 100. Can anyone say new favorite band? It’s safe to say that this album took me by surprise. I got it in the mail and didn’t know what to expect when I cracked it open. A lot of times I go straight to the music when I get something new-no reading up on the band, no checking them out on a website, not even giving them a listen before committing to the selection. Doing things this way can be a bit jarring because if it’s bad, you’re totally let down and then the reading and research that comes after only compounds your contempt for the disappointment (more importantly, the band). It’s like when you spill something on your favorite shirt and then doing the research to find out which household cleaner or frontier tactic will get the stain out. Okay…lost my train of thought…I was writing about something…a band…music…oh, Spanish for 100, that’s right. I started to like this album from the beginning, something I usually try to resist because if the rest turns out to be terrible then I get a feeling that I’ve been bamboozled or suckered in. I tried to fight immediate enjoyment, but the opening song caught me. ‘Put It To Ya’ was the perfect choice to kick things off. The song lays out everything that you’ll have to look forward to for the rest of the record. This band’s sound combines the snappiness of older Modest Mouse, the sonic tones of The Shins, and the cream of all things Pixies while little bursts of classic rock pop up intermittently. Lead vocalist, Corey Passons’ singing has been to likened to Neil Young’s strained crooning, this is pretty dead-on. There’s a sense of nostalgia with the sound of his voice when the band joins in. The loopy singing, the gloomy-then effervescent instrumentation and the overall shoe gazing, lofty feel make the whole listening experience a complete joy.

The ten songs that this band laid out on this album have a wavy, crushed velvet feel about them; the production is clean, but leaves enough distortion to blur the sheen. I could see me still listening to this in five years, which is a hell of a lot more than I can say about most of the rubbish that finds its way into my stereo. The lilting sway of ‘Worn Round Eyes’ shows the band’s lengthy and strong reach as songwriters while the euphony of ‘’Neath Your Tattoo’ displays their abilities to set things honest and personable. The natty snips of ‘Mood In The Clouds’ deigns a The Who feel to it while keeping a Nada Surf sensibility in check.

Spanish for 100 is going to get where they want to go if they continue ushering in music like this. I’d keep an eye out for this quartet, they’re going to push their way in and you’ll be able to say you knew them before they blew up. "

May 15, 2004 · Joel Hartse

PerformerMag.com

"Spanish for 100 will probably be compared to Built to Spill and Modest Mouse by many who hear them. It’s not just Phil Ek’s characteristically tight and clean production, either; the guitar is immediately the most noticeable and interesting thing on the band’s debut, Newborn Driving. Like Ek’s other projects, Spanish for 100 plays a driving, guitar-centric brand of indie rock, and Corey Passons’ and Aaron Starkey’s inventive solos and melodic lines are worthy of comparison to some of Doug Martsch’s best ideas. No, there is nothing wrong with comparing Spanish for 100 with the quirky indie-rockers who came before them, but SF100 doesn’t quite belong in the same league. Not that there’s anything wrong.

Their uniqueness comes from Passons’ vocals. Unlike most singers of bands who display their instrumental prowess, Passons actually sings well – his soaring, high voice brings to mind Neil Young or Alex Chilton at one of his more soulful moments. Vocals, not guitar solos, are the focus of this album, as on songs like the opening “Put it To Ya” and the frantic “Mood in the Clouds” (although the folksy talk-singing of the latter feels a bit out of place).

Guitars are on display here, and the rhythm section of Ross McGilvray and Bob Rees doesn’t have much time to shine, though Rees does some frenetic pounding on “Whole Wide World.” Newborn Driving should be recognized as a solid album: production, instrumentation, and strong vocals are all there. What’s missing, though, is the sense of playfulness that makes Ek’s ilk so enjoyable. Passons’s songs tend to take themselves seriously and the songs are straightforward to a fault. Though interesting riffs abound, the band doesn’t break out of the rock song long enough for us to see if they are capable of true innovation beyond their already solid chops."

April 26, 2004 · Jonathan Brisby

Deslusions of Adequacy

"I’ve got to say that, even though this record isn’t all that bad, Spanish for 100 has got to be one of the worst band names I’ve ever heard. That being said, I’ll forgive them and we’ll try and forget about that for now. I am not a big fan of alt-country or power-pop type rock, and that is pretty much what this is, but I work with some guys who love and I mean LOVE that kind of music, and I’ve heard plenty of bands in this genre a lot worse than Spanish for 100.

The band’s debut album Newborn Driving (also a terrible album title, but whatever) reminds me of many mid-90s groups such as the Jayhawks, the Posies, and Live. The vocals are a dead ringer for the Jayhawks. The guitar sound on this record is almost exactly like the Posies’ Frosting on the Beater record. The vocal harmonies are also reminiscent of both the Jayhawks and the Posies. The songwriting is pretty good for this type of stuff, as I said before I’ve heard much worse; that all being said, this is not my favorite genre and I’m not really into this record.

I suggest that if you are a fan of the Jayhawks or the Posies that you pick this up. I think for the genre it is probably quite good. I’m certain that if you like the aforementioned bands that you will like this quite a bit and it would be well worth your time to pick this up. A solid first effort by this Seattle band"

March 31, 2004 · Tim McMahan

Lazy-i Reviews

"One of those bands whose style is tough to peg because in many ways, it lacks any specific characteristic. It’s definitely indie, but rocks only in the laid-back sense. Singer Corey Passons’ high, nasal voice is along the same lines as Ben Gibbard, but isn’t as cute.

This is glimmering acoustic-born pop without a hint of punk or angst, which makes you think alt-country, but that’s not right, either. How ’bout straight-up 4/4 backbeat indie sung buy a sweet-voiced guy who collapses wholeheartedly on the hooks? The fact that its built in Seattle and was produced and engineered by Phil Ek (Built to Spill, Modest Mouse) gives it a lift. The fact that the songs are amazingly catchy pushes it over the top."

March 25, 2004 · Dan Shvartsman

30 Music

"Maybe it’s lead singer Corey Passons’ voice. Maybe it’s their similar Northwest roots. Or that they use the same engineer. Maybe it’s just because of the press release that mentions their influences. Any of these could be reasons for why Spanish for 100’s debut CD, Newborn Driving, will instantly recall Modest Mouse. Fortunately, in a subtlety explained in a recent 30 review, Spanish for 100 does not imitate the indie rock heroes from their own state of Washington, but instead emulates them and develops their sound off of it.

The song that will be easiest to compare to Modest Mouse is the opener, “Put it to Ya,” a tune that features a relaxing vocal line (with an apparent twist on the old “Daylight come and you want to go home” chant for the chorus). The band showcases their ability to put together a satisfying finish to the song, as a repeated line of “Say it ain’t so and say it ain’t so” slowly builds in tension and harmony before releasing into a gritty guitar solo and a final repeat of the chorus.

The album keeps it up from here. A few songs touch on romance in a melancholy and effective manner. “Sweet, Sweet Things When You’re Gone,” again goes the lazier route to start before reaching a cathartic bridge that really adds to an already pleasing track. “Come Rain or Shine” has a sweet chorus and features the good guitar work that goes on throughout the disc. “’Neath Your Tattoo” is tremendously touching as an ode to a friend who has made efforts to hide a scar from his/her past.

Amidst all these slower, more relaxed songs is an upbeat, if strange, gem in “Mood in the Clouds.” A quick drum line leads into Passons wailing out these dreamy images of “Oils in puddles / halos in light / purple soothes into gold / It’s a rain-stained world.” After a quieter verse, we get an interlude at about the 1:20 mark that highlights some great edgy guitar work. The opening verse kicks back in and then before you know what hits you, the song wraps up. It ends up sneaking in as the best track of the CD.

That’s not to say there aren’t other good tracks still up Spanish F100’s sleeve. “Worn Round Your Eyes” doesn’t stand out much for the first two-and-a-half minutes or so, but then Passons makes almost an aside to the audience as the background slows down behind him. The intensity then returns, along with the chorus, after Passons declares, “I don’t think that I’m burning / No, I don’t think I’m on fire / and no, I don’t think that I’m burning / Hear no, see no, feel no heat at all.” All that’s left is the closer, “Five Hours In,” a quixotic yarn where Passons accepts his fate willingly, stating “Never been sad / ’bout what I must do.” Grainy guitars take us home for the last minute, leaving us with only the slightest sense of closure.

Newborn Driving is a nice listen if you’re in a calm or wistful mood. It drones a little bit during the second half, but there are no really bad tracks and some really nice tunes. “Mood in the Clouds” is enough to buy the whole album on its own, but there are other highlights. A very solid debut and add-in to the indie rock world."

March 21, 2004 · Matt Johnson

Sponiczine

"Seattle-based underground rock from the grunge era. And it is not just the city association. These guys party like its 1992. But convincingly so. Produced by Seattle rock heavy Phil Ek (Built to Spill, Modest Mouse), the album is earnest but obvious to a fault.

“Put it to Ya” is power pop, with the clean production and riff-heavy echoes of Built to Spill. “Newborn Driving” builds on melancholy introspection with a punchy chorus and a firm bassy foundation. “Whole, Wide World” bakes like a warm slice of Pixie’s pie. “Come Rain or Shine” catches an all around ‘70s vibe while “Worn Around Your Eyes” trad-rocks like the Faces. “Sweet, Sweet Things When You’re Gone” showcases songwriter Corey Passons’ overheard snatches of conversation, beautified with a not so obvious sing-song conclusion. The song titles on this record may seem abrupt and in some cases fail to breath new life into cliché. Spanish for 100 competently harnesses the power of straightforward rock to make a statement. The twin guitar attack won’t knock you over. At times crunchy, at times sweet and chiming, the main ingredients are here. Described in The Local Planet as “stubbornly straightforward,” which teeters on the semantic good side of boring, Spanish for 100 could stand to spice up the mix."

March 1, 2004 · Kent Walter

1340 Magazine

"I always hate to rip off what someone else has said about a band, but if it’s something the band themselves have put in front of me, I think it’s OK to repeat something as perfectly fitting as this: "Newborn Driving pays homage to the art of strong pop melodies, English amps, and Thinline Telecasters." I could not have put it any better.

This a straight-forward rock band that takes full advantage of having two guitars. The record is comprised of mostly mid-tempo songs that hinge on the strong voice and sense of melody of lead singer Corey Passons. Solid and creative songwriting, wonderfully implemented vocal talent, enough texture to get immersed in, but enough direction to keep you from getting entirely disoriented.

With the right kind of exposure, these guys could go very, very far. Head over to the website and have a listen. Thank me later."

January 29, 2004 · Marjorie Skinner

Portland Mercury

"One of the most miraculous things about music is its ability to ingratiate itself into one season or another. Summertime, for instance, is Led Zeppelin season, while gangsta rap screams "depth of winter." But Spanish for 100 makes winter the new summer, combining classic rock elements that echo Crosby, Stills & Nash and a decidedly modern indierock influence. They come out of this blender collecting acclaims for originality and heartfelt songwriting, carefully showcased on their recent debut album, Newborn Driving."

October 20, 2003

AstroPop

"With a sound that blends Built To Spill’s twin guitar fireworks (as well as their Idaho fixation) with Crosby, Stills & Nash’s vocal harmonies, the chiming guitars and soaring vocals here are both intelligent and emotionally expressive. With its heartland-rock outlook and countryish twang, "Newborn Driving" is as autumn as pumpkin pie and the reemergence of sweaters."

April 24, 2003 · Jeremy Hadley

The Local Planet

"The result is a unique mix of modern rock that balances out somewhere between the classic rock sounds of Neil Young and a smoothed-out Seattle indie sound, that merges occasional guitar quirks and blasts with a well-structured, sometimes stubbornly straightforward sound"

January 21, 2003

three imaginary girls

"I felt as though the place had taken on an Elk-Lodge-esque power as

Spanish for 100 swaggered from song to song. A taste of Clem Snide without the quirk but with double the earnestness."

November 28, 2002 · J. Rush

Tablet Newspaper

"Spanish for 100 is a full sounding indie-style group with a vocalist that sings as though his heart is buried in the deep south. The result sounds like a collaboration between Clodhopper and Modest Mouse. Hopefully, neither of those comparisons leave you wanting to do anything other than listen to these guys , because they’re really good. If you make it out to discover one new band this month, make Spanish for 100 your musicians of choice"