Self-described as a “post-metal progressive doom band,” Seasick Gladiator stands out in the D.C. music scene for being a primarily instrumental group, letting the violin assume the role of a vocalist. Formed in 2014, Seasick Gladiator is inspired by the sounds of various post-rock, prog, and metal bands such as Porcupine Tree, Opeth, and Candlemass. Featuring Cassie Pruefer on bass, Nathaniel Simms on drums, Patrick Geddes on violin, and Chris Rasley on guitar, they excel in creating lengthy songs that contrast bass-heavy riffs with eerie high-pitched, ethereal violin melodies. Recently, Seasick Gladiator graced the local venues Pie Shop and Atlas Brew Works with deep and haunting performances, unlike anything I had heard before. Last month, I sat down with Chris, the group’s guitarist and founder, to learn a little more about this group and how they came up with such a spellbinding and novel sound.
Sasha: Tell me about your band—what should new listeners know about you?
Chris: I guess it started around 2014, and I was kind of writing music. I had just left a previous band because I wanted to do my own thing, and I wasn’t happy with what was going on with the other band. I started playing around with a few different members and coming up with these riffs and these songs, but it wasn’t until 2016 that we really started becoming a real band. At first, we were basically just a three-piece, without the violin. But then, I met up with Patrick at a show at Black Cat, and I knew he played violin, so I asked him if he wanted to play with us.
So, we all ended up getting together and recording our first EP or album. It was about seven songs, so I guess it would be considered an EP, but it was about the length of a full album. Some of our songs were long back then, but they’ve progressively gotten shorter over the years.
How did the idea of incorporating a violin into a doom metal sound come about?
I got a bit tired of vocalists, so bringing in the violin was my idea to replace the vocalist. Originally, I had cello in mind, but then I met up with Patrick, who plays the violin. He’s really great, he also plays in a symphony in Northern Virginia. He plays a five-string, and he uses guitar effects—like pedals and such—to get these cool effects and sounds.
Doom metal is often known for its slow, heavy sound. Have you faced any challenges or surprises in blending a more classical instrument such as the violin with heavy riffs?
Not really, I think it really flows. I’ve been playing in bands for almost 40 years now. I’ve been in a few bands where things were difficult; not everyone was on the same page about stuff. But especially with this band, these are people I really just vibe with. We’re not looking to be famous; we’re just looking to play music, write music, and do some cool shit. Even though Seasick Gladiator has gone through a few lineup changes, everybody that I’ve worked with in this band has been on the same page and relaxed about how we do things. The only challenge is that we’re that band that promoters and labels like to ignore.
How does the violinist influence the songwriting process—do melodies start with them, or do they adapt to existing riffs?
Usually, Patrick plays off the riffs that we write. On occasion, he’ll help with stuff for the longer breaks. There’s been a few times where I’ve changed what I’m playing based on what he’s playing so we’re harmonizing a bit more.
How has the local DC music scene responded to your band and its distinct sound?
Well, DC’s a tough scene. I don’t even know how to explain it. Back in the 80s, it was different, then the 90s were different, and now… I think it’s ok? We usually pull a decent crowd. I wouldn’t say it’s all that much different than other places we’ve played. It’s kind of a hard-to-answer question. The problem, I think, is venues coming and going. Old ones disappearing, and new ones springing up—it’s harder to keep things consistent.
How do you navigate the challenges of being an independent or underground band in today’s music industry?
By not worrying about it. It’s just harder to get
gigs, but it gives us time to work on our music. I can curate a show, but it’s a pain in the ass. We like to just focus on writing new shit and rehearsing our stuff so we can play it right. We’ve played a few festivals, and we do alright for what we are. Some of our members have lives, you know, we’re all older. Like I said before, we’re not really looking to be famous. In this day and age, it’s almost impossible anyway unless you have a lot of money.
What’s next for the band? What should we look out for?
We have a new release that we’re saving for late fall. We recorded five songs last December, and they’re ready to go, but we’re going to record two more songs in November for a longer album. We also might be doing a guest vocal with the singer from both Wizurd Island, Youssef, on one of our songs. We’ll release the instrumental version of a song, but sometimes we’ll do a guest vocal version too. We're working with Youssef on our song, “A Serpent Emerges.” We’ve done guest vocals before— we did a collaboration with Earl Walker Lundy from Shadow Witch for our song “Plague Mask” during the pandemic.
Any parting words of wisdom or advice for our readers?
Support local music! I’d like to encourage people to get the fuck out, get off their barstools, and go see the local bands. It’s not expensive.
Seasick Gladiator has crafted a rare sound that’s as profound as it is haunting. Their dedication to blending heavy doom riffs with the evocative tones of a violin creates a soundscape that Chris Rasley describes as needing to be "interesting and deep… heavy doesn’t have to be hard or fast, it just has to be deep. You have to feel it." His words capture the essence of a band unafraid to explore the emotional weight of music, proving that these extreme music genres can be equally moving and intense. Seasick Gladiator doesn’t just give us music, but a fully immersive experience that throws listeners into a world where every note and melody reflects an interplay of light and darkness.
For local music lovers, Seasick Gladiator’s story is a reminder of the creativity thriving in our communities of artists that are willing to take risks and defy genre boundaries to create something extraordinary. So, follow Chris’ advice: get out, and support local bands like Seasick Gladiator! They’re not just playing music; they’re inviting us to experience a depth that you won't find in the mainstream, a sound that resonates long after the final note fades.
This interview has been edited for length and clarity.
Sasha Jayne is a sophomore in the College studying psychology, and is one of the current Spotlight editors. Their true loves and passions are metal music, The Rocky Horror Picture Show, and wearing excessive amounts of black clothing.