PREMIERE | The Pennys, self-titled

The copper casted craft of The Pennys’ (from left) Mike Ramos & R.E. Seraphin; photographed by Alejandro B. Joven.

In the nonstop motions of big moves and releases from the whose-who of the Bay Area DIY scenes, collaboration and camaraderie are the key ingredients to the bonds that make their collective talents shine even brighter. From the individual to the power of people in numbers, the tides of togetherness have reached a groundswell that feels refreshing and truly regenerating. While this supportive tradition isn't necessarily new by any historical metric, the closeness and willingness to lift up one another feels more endearing, enduring, and expressive than ever before. Perhaps it was the effect of the pandemic. Maybe it was the boom and busts of insufferable tech bubbles. And maybe it is the perpetual push of constant change that defines the Pacific whirls of nonstop winds: the atmospheric hazes of friendly fog and the gentle pitter patter of precipitation from those low flying clouds that embraces all denizens into a shared space of micro-climates, neighboring blocks, and harmonious communities.

In the spirit of the Bay's marathon of prominence and aspirational ubiquity — Mike Ramos and R.E. Seraphin unveil the anticipated self-titled of their collaborative pop clique — The Pennys. Formed out of sessions for Ray's solo work at Mike's Bernal Heights flat, the duo expanded their collaboration to include fellow local mainstays Yea-Ming Chen (of Ye-Ming & the Rumours, Ryli), Owen Kelley (previously of Sleepy Sun), and Luke Robbins (formerly of Latitude, as well as Ryli).

The simpatico nature of these collaborations are a no-brainer given the creative cross-sections of connections between all the involved artists. Witnessed here is a captured kind of magic that is one of the most exciting things the Bay hasn’t really heard since the halcyon, hopeful, and restless days of 2009. A time where you could easily bounce between Bottom of the Hill, Eagle Tavern, Hemlock, Hotel Utah, Rickshaw, etc and catch the like of the Fresh & Onlys, Girls, the Sandwitches, Sonny & the Sunsets, Weekend, and countless other local phenoms. Given the current tight bonds shared by many in the local communities, a new era of collectives and cooperatives have emerged between the East Bay, SF, to the southern and northern Bay networks. There is something ecstatic that is happening here, and the momentum has only but begun an unstoppable showcasing of talents in a prolific parade of wonder works that feature contributions from some of the most inspired imaginations.

The modern movement can be heard in The Penny’s debut self-titled EP for Mt.St.Mtn. Mike, Ray in conjunction with the collaborations from their fellow local luminaries epitomize what is so special about this current wave of prolific momentum. This record is the one you have waited years to experience. From the big lead single "Say Something", you are feeling things you probably have never felt since the first time you heard Chris Bell's "I Am the Cosmos" or the Chris Owens/Chet JR White's Brett Anderson/Bernard Butler-esque bop "Laura". It is a track that opens up the floodgates of emotions in excessive abundance, the things that are otherwise obfuscated by the asbestos blanketed comforts and kneejerk defenses of apathy and desensitized jadedness.

"Say Something" sweeps you into those emotional flash points in the Polaroid scattered quilted comforter canvas of the sentimental heart that seeks something more than this. The Pennys then heighten the senses with "One Million Things" that shines like a thousand light bulbs of hope that ignites desires and passions in the face of stagnations that are as much a part of life as the elusive specter of progress. Facing the futility of things, Mike and Ray create a song that reaches for the fire escape ladder to heaven in chords, and harmonies that rock you sweetly into that gentle Sunday morning sway.

Mike & Ray in the van, in session, on the road & in the synergistic pop alchemy of The Pennys; photographed by Alejandro B. Joven.

"Trilobites" swaggers down the dusty western roads with a presence that recalls the reckless desperados of brother bands, worshippers of 1960s iconography and ethos, and everyone that sought to make something larger than the sum of all messianic pagan idol obsessions. The time tripping tributaries conjure up the fissures where the contemporary cadences collapse into an interdimensional existence on "My World", where an invitation into alternate arenas offers an experience of anachronistic anomalies.

Pervasive throughout the Pennys' self-titled is a blooming perennial beauty that populates the entire record like a garden in the full blossoming swing of springtime. Tributes and reverence to those aforementioned trailblazers of past and present are praised in "Long in the Tooth", that gallops like seasoned troubadours across sensational sepia-toned skies during the golden hour. Mike, Ray and the entire ensemble bring it all back home on the gorgeously star twinkling "No More Tears". The record strolls and sings off into that sunset with the promise of better days, and brighter dimensions, shedding the fears and tears in pursuit of an indefatigable cosmic light with the potential to shine through all of our days and through the longest of nights.

R. E. Seraphin provided insights on the origin story behind The Pennys:

The Pennys was originally intended to be another R.E. Seraphin album, with Mike [Ramos] recording and contributing songs. But I was feeling creatively rudderless and didn’t have much of a foundation to build a record on, so I asked if we could work collaboratively instead. Mike said he was not opposed—which I’ve discovered is sort of his catchphrase.

The Pennys’ Mike & Ray take you on a trip upon their magic swirling ship; photographed by Alejandro B. Joven.

We had only five songs to work with when Mike sent me the voice memo that would turn into “Say Something,” a song he suggested had single potential. That song turned out to be the fulcrum of the project and gave us the push we needed to move forward.

We recorded over a weekend, learning and arranging the songs while we recorded. The recording itself was easy and, maybe subconsciously, we decided we weren’t going to fuss over anything. This meant only doing a couple takes of each instrument, no punching in, and no comping tracks.

Cover art courtesy of Jen from Hits.

I’m more of a traditionalist when it comes to recording. I always believed you were supposed to write the songs, rehearse them with the band, record the drums, then work as quickly as possible. Mike, however, has a somewhat unorthodox recording philosophy; notably, he believes in recording drums after bass and guitar to prevent getting locked in to a particular groove, which also means recording sans click track. I don’t think he even played a full drum kit on most of the songs opting for a more Mo Tucker approach. While this was initially a bit disorienting for me, I soon surrendered myself to the process. There’s a somewhat wobbly quality to the songs as a result that I think gives them character.

Throughout the creation of this EP, Mike has joked (I think) about licensing these songs to a major sitcom in a bid to make us the next The Rembrandts. While we are still entertaining offers, this hasn’t happened yet, and I don’t think we’re quite Billboard Hot 100 material at the moment. But we are proud of the way the songs turned out.

The Pennys’ self-titled arrives May 1 via Mt.St.Mtn.