There are two things that Kaskade did right last night: 1) He showed up. 2) I didn’t hear any trainwrecks during his mixing.

Short of that, Kaskade was absolute and utter garbage. Horrible track selection with no sense of quality whatsoever (a waste of some perfectly good CD-Rs). There were people there eating that shit up but well, those people have bad taste in music. I have no problem whipping out my musical elitism, and with respect to what went down at Neumos, I just have to say to keep that shit in Belltown or Pioneer Square where it belongs. Kaskade, you were better when you were just boring. You used to be forgettable, now you’re unforgivable. If you ever pull that kind of crap again, I will fight you with the fury of a million disappointed househeads. Uniting Souls, I’m willing to give you the benefit of the doubt since you’ve brought so much good music to town over the years, but you are officially On Notice.

That little N.W.A. gem I posted yesterday reminded me of this old jam from Tigerbeat6 spaz Knifehandchop:

Hooked on Ebonics

What do you think? Is it a witty dissertation on rap music? Racist editing from a white Canadian?

Personally, I love this song, and just about everything else on Tigerbeat6 (in concept, if not always on my stereo).

Ruth “Miss Rhythm” Brown—R&B legend, Tony Award-winning actress, and a dedicated artists’ rights advocate—is dead at 78.

I was fortunate to interview Ruth in 2003 as part of my Bumbershoot feature “Advice for Young People.” Check out what she had to say about stage wear and tell-all memoirs in points #5 and #9.

There was a lot of material I couldn’t use in the piece, and in trawling through the archives this morning, I found this comment about her involvement in John Waters’ 1988 classic Hairspray, in which she created the role of Motormouth Maybelle.

“I had a great time in that film. Divine became my best friend. When I got there, and they took me to the make-up trailer, and brought out that white wig, I told John Waters, ‘No way, baby ““ you’re not putting that wig on my head!’ And Divine said, ‘Ruth Brown, put that wig on your head, let’s make some money!’ “And he was right. I think of him often.”

I can already picture the two of them kicking up their cha-cha heels together in the afterlife.

By the way, my Line-Outing today comes from an “American-style” breakfast buffet at a hotel in São Paulo, where I am apparently meant to feel comfortable listening to a 50/50 mix of top-40 country music and “Girl from Ipanema”-grade Brazilian schlock while picking at my soggy eggs. Why is it that the 25% of us that have passports still must endure the tastes of the 75% of us that don’t?

Thankfully I will soon travel to the rural Northeast, where I shall see and report on some genuine forró action.

Now it can be two kinds of annoying, or two kinds of awesome, depending on how you see it.

Meanwhile, I still wonder why we have Air Guitar Championships, but no DMC event for air-turntablism.

Seattle’s hardest working DJ collective is moving up to the big time. Tonight marks the first night of SunTzu Sound’s weekly KBCS (91.3) radio show City Soul at its new 9pm-11pm slot, moved up a few hours from the 1-3am position. So instead of providing the soundtrack to your trip home, they’re inspiring you on your way out. Check it out. The radio show’s solid, as is Yes, Yes Y’all which follows.

Tonight it’s a certainty that the Suntzu guys will be mentioning that they’re playing the Baltic Room’s 9th anniversary party tomorrow. Baltic Room favorite Daz-I-Kue of Bugz in the Attic is playing…and it’s FREE!

I forget who I was having this conversation with, but whomever it was, I’m sorry. I had previously stated that I didn’t think !!! would ever release another album, and if they did, it could not be anything but terrible. Seems I have been proven wrong on at least one of those statements so far, as !!! (Chk Chk Chk, duh) has set the release for Myth Takes for March 4th, 2007.

Here’s the cover art:

So I guess what I am saying is that I am sorry for being pompous and wrong on my first statement, and only time will tell if I am pompous and correct on my second statement.

NWA: Explicit Content Only

Here’s a fun little deconstruction of NWA’s masterwork with everything except the profanity edited out. Enjoy!

I know, I know, I’m annoyingly unable to stop gushing about the Juno reunion shows at Neumo’s next month, but I’m just so goddamn excited.

And guess what!

Juno frontman Arlie Carstens just posted a bulletin via his new project’s Myspace page (Ghost Wars, check it), which says that not only will the band play the KEXP benefits, but there’s also talk of a “secret” warm-up performance on Dec 4th. (Thanks to Matt Garman for the tip.)

The community radio station KEXP in Seattle has asked Juno to reform to headline the station’s annual Winter Fund Raiser Benefit, December 9 & 10th at Neumo’s in Seattle. Man, that’s weird. Nonetheless, it seemed like a good cause, so we said sure.
Also on the bills will be our old friends Ted Leo & The Pharmacists, as well as Cold War Kids, The Hands, and others. Should be real loud and a lot of fun.
As well, Juno will be doing an unannounced warm-up show December 4th in prep for the benefits. More on that later.

Three shows now? It just keeps getting better!

Although they’re often categorized as the violent and sexist counterpoint to Public Enemy, I became obsessed with both groups around the same time for similar reasons (quite simply, the honest beauty, however brutal, of fearless truth-telling). There have been rumors of a reunion here and there over the years, and even the occasional pseudo-reunion for an awards show. I’m not certain how I feel about that prospect. On one hand, I never had the opportunity to see them and Straight Outta Compton remains one of my all-time favorite records to this day (I’ve had to replace my copy 3 times). Dr. Dre and Ice Cube are certainly still vital, in my estimate. However, a rather key player left this mortal coil more than a decade ago.

What do Line Out readers think? Would you attend an Eazy-free reunion? What if this kid stepped in?

Hannah’s dead-on with her post about The Showbox’s December lineup and the inclusion of Public Enemy. What would draw me most about the P.E. show is the inclusion of the S1W. I remember watching Public Enemy videos with the uber-militant S1Ws and being in complete awe. They scared the shit out of me (and with their stern faces I’m sure they scared others as well), but I still revered them like they were superheroes. Totally worth the price of admission alone.

Their calendar was already looking good, what with Joanna Newsom on the 4th, the Blood Brothers and Trail of Dead on the 7th, and the Melvins/Big Business New Years Eve pairing, but things just got even better with the announcement of a Public Enemy show on December 17th. Strike all of the repugnant images you’ve seen of Flavor Flav recently from you mind’s eye and meditate instead on the eternally awe-inspiring sound of Chuck D’s voice. Here, I’ll refresh your memory:

Tickets go on sale on this Saturday at 10 a.m.

Looks like I’m going to have to tape the Office tonight because:

-Minus the Bear, Slender Means, Sirens Sister and Spook the Horse are playing an all-ages show at Neumo’s.

-Kid Congo Powers & the Pink Monkey Birds play the Sunset with Triumph of Lethargy Skinned Alive to Death.

-In Praise of Folly play their last show at the Crocodile with The Drug Purse and Speaker Speaker.

-The Album Leaf is at Chop Suey, and Brent Amaker & the Rodeo are at Cafe Venus

-Diamond Cut Diamond play the Comet.

H IS FOR HELLGATE, DIAMOND CUT DIAMOND, KISS HER FOR THE KID
(Comet) It’s about time someone figured out that what is missing too often from dance punk and electronica is a palpable sense of danger and fury. That said, it would be shortsighted to toss locals Diamond Cut Diamond into either of those categories simply because their catchy, pop-flavored screeds have an angrily buzzing synthesizer seething underneath them. The energy this trio is channeling is far more honest and engaging than what those disposable genres have to offer—think Sleater-Kinney’s early, unflinching shrieks and Team Dresch’s purposeful punch, delivered with a modern hook. It’s not a flawless gem, by any means, but that isn’t how candid punk rock should be valued anyway. HANNAH LEVIN

-And finally, the Vonneguts are at Gallery 1412.

THE VONNEGUTS, THE NEW BLOODS, THE PWFRL POWER, BOW AND ARROW
(Gallery 1412) Even while facing the looming possibility of being forced to shut their doors, the folks at Gallery 1412 haven’t strayed from their course of providing Seattle with a venue that houses some of the more inventive and experimental acts of the Northwest. Tonight’s bill fits right in with the Gallery’s MO; the Vonneguts craft idiosyncratic lo-fi noise pop, while openers and fellow Portlanders the New Bloods inhabit the foggy space between Southern soul and Animal Collective’s ramshackle wild-man traipses. It may be why we love the venue, but 1412’s dedication to the weird and the wonderful in music may also prove to be the instrument of its undoing. SAM EWALD

Phew.

Asobi Seksu are playing Chop Suey tonight with Tokyo Police Club and Pit Er Pat. Ma’Chell Duma Lavassar did a fun interview with the band, which you can read here.

Also tonight, Blind Guardian at El Corazon.

BLIND GUARDIAN, LEAVES EYES
(El Corazón) Adorned with fruity, fantastical covers, Blind Guardian’s first two albums were deceptively devastating. Like a Renaissance-festival regular whose simulated swordfights led to lethal battle skills, this German group converted its nerdish pursuits (Tolkien-obsessed lyrics, absurdly technical progressive riffs) into turbulent thrash. Unsatisfied with mere speed-metal wizardry, Blind Guardian started evoking Fantasia’s “Sorcerer’s Apprentice,” using overdubs to conjure a cloned orchestra on 2002’s baroque A Night at the Opera. The band’s four members manage to preserve this illusion of magnitude live, with the help of a disorienting, exploding-star light show and enthusiastic fans that sing along with every word—and some guitar solos. ANDREW MILLER

And want to start planning for next week? Well not only is the new issue online (which includes pieces on the Slits, Danzig, the Album Leaf, and more), but there’s also a new episode of Setlist posted, where you can hear songs by Minus the Bear, Dolour, the Hacks, the Earaches, Matthew Shaw and other local stars.

Yesterday Skin and Bones, the new Foo Fighters live acoustic CD, came in the mail. I listened to it, and since I like the Foo Fighters, I liked the record just fine. If the Foo Fighters have never floated your boat, this disc certainly won’t change your mind (it isn’t magic), but what it did do was remind me what a badass screamer Dave Grohl is (funny that an acoustic record would do that, but whatever).

Dude can shred some vocal chords, that’s for sure, and I really appreciate a good, cathartic holler. It made me wonder, though, who has the best scream in rock and roll?

Refused’s Dennis Lyxzen’s vocal explosion in “New Noise”� is pretty fantastic. And Bikini Kill’s Kathleen Hanna definitely has to be on the list too. And of course the classic Kiss, AC/DC, Van Halen moments should be recognized (or should they?).

Locally, Andrew Moore of Kane Hodder consistently blows minds with his shrieking. Check out “I Think Patrick Swayze’s Sexy”� on the band’s Myspace page for proof (more specifically, check the 1:18 minute point). Schoolyard Heroes’ Ryann Donnelly has also come close to shattering glass with her pipes.

This is all off the top of my head (and admittedly, I’m a little sleepy today), so I know there are some fuckin’ killer screams out there that I’m neglecting. Who gives you goosebumps?

So the Ironclads were friggin’ fantastic last Saturday as expected, but the surprise of the night came from Little Party and the Bad Business, who lit up the house with two keyboards and a drum machine. They blew the circuit breaker 45 seconds into their first song, and started up again after a few moments of darkness with an equally pandemic set, minus a few lights.

The entire thing brought to mind a quote from the end of Eric Grandy’s article on the Rapture last week:

“Dance music is still very underground in the U.S.,” says Jenner. “Dance music is more punk than punk rock.”

Okay, whatever! When I first saw this new video by Gwen Stefani, I thought sampling from The Sound Of Music would be cool. Then she ruins it. Watch:

Wow! Another pop song that’s basically a chick acting like a slut over breaks. Lame.

l-r: Gabriel Andruzzi, Luke Jenner, and Matt Safer. Not pictured: Vito Roccoforte.

The Presets did their best to warm up the crowd for the Rapture, but, as vocalist Julian Hamilton observed, it was very, very cold in El Corazon last night. It was also 8pm on a Monday night. The Presets played more or less the same fantastic set as they did a couple months ago at Chop Suey, but the all-ages crowd was decidedly more reserved. Even their interpolation of Daft Punk’s “Da Funk” barely got a response. Hamilton mentioned how weird it was to see faces in the crowd instead of just a dark room, and drummer Kim Moyes occasionally struck a mocking cross-armed pose (aka “the indie rocker”) to better fit in with the Seattle stiffness. Despite this, the Presets absolutely killed it. The live drums/synth thing makes for a great show, lending some real force to their fist-pumping electro. It didn’t hurt that El Corazon had their PA dialed to “rave”, with the bass physically overwhelming for most of the Presets’ performance.

By the time The Rapture went on, the place had filled up (although it thankfully never reached that over-sold point where the show becomes no fun) and the crowd seemed considerably loosened up and enthused. The band kicked things off right with the crowd-pleasing countdown of “Heaven”, but something seemed a little off, and it became clear during the next song (“Get Myself Into It”) that it was the drumming. Roccoforte played sloppily throughout the set, tempos sped up and slowed down within songs, and he had to drop the occasional fill to get back on the beat. This was most apparent during Andruzzi’s usually triumphant “more cowbell” moments, when the bell and the beats just wouldn’t stay in time. “Killing” felt rushed, “Out of the Races…” was too loose, and the tempo was all over the place on “Pieces of the People We Love”. The band didn’t seem too perterbed, though, and the set was generally a success. The band was having fun, especially Jenner, who struck guitar-god poses, threw a sweaty towel to the crowd before their encore, and encouraged everyone to kiss their neighbors on the cheek during the breakdown of “Echoes”, which a lot of people did (sorry, Ari). The band wisely avoided playing “First Gear”, despite some dude’s repeated, shouted demand that they do so. It was a fun show overall, and the band seemed happy with it. At the afterparty, the Rapture’s Dj sets kept the party going for a small but energetic crowd.

This was their live set:
Heaven
Get Myself Into It
Sister Saviour
The Devil
Out of the Races and onto the Tracks
I Need Your Love
Killing
Pieces of the People we Love
Whoo Alright Yeah Uh Huh
House of Jealous Lovers

Echoes
The Sound

Encore:
Don Gon Do It
Down For So Long
Olio

Last night I got schooled. Not only did a friend of mine think I was absolutely ridiculous for having never seen It’s A Wonderful Life (true story, never seen it), but he was also completely astonished by the fact that I’d never heard Hum’s You’d Prefer An Astronaut in it’s entirety.

Apparently, I have completely failed as a human being.

So we drove through the rainy city and listened to the Hum record. He played air drums; I stared out the window trying to figure out exactly what the guitars were doing to get that whooshing noise on “Little Dipper.”� Then we stopped at Tower Records (everything’s 30-60% off!), and I bought my own copy for eight bucks. I’ve been listening to it practically non-stop since, including the hours I slept with it playing on my stereo.

I’ve loved “Stars” (track three) since I was a teenager—it appeared on many a mix tape I was given, and it was the band’s big hit when Astronaut was released in 1995. But for whatever reason, despite it being one of my favorite songs at the time, I never bought a copy of the album. Eleven years later, I’m finally catching on—it’s a great, great record from start to finish. There’s spacey and layered guitar, tons of well-placed feedback, moody vocals, and some pretty wicked drumming (see “The Pod” for proof). And “Stars” is still an amazing song. I feel so lame for not realizing it sooner.

So incase some of you out there are in the same boat, and also have yet to experience You’d Prefer An Astronaut, consider this your invitation to do so. Maybe I’ll stop listening to it long enough to watch It’s a Wonderful Life sometime soon, too. Then I’ll really be cool.

Just look at these two. HOODLUMS. Can they bounce a beat? YES!

Opening for Minneapolis’ P.O.S.
9 pm. Chop Suey. Get in there.

Sure it’s going to be a great show regardless, but unfortunately the killer Chicago instrumental band Russian Circles are no longer playing the Minus the Bear/Slender Means show at Neumo’s on Thursday.

Dammit!

Minus the Bear, Slender Means, and Sirens Sister are still a go, and now Spook the Horse have been added as well, so it’ll still be a good time, but I was really looking forward to seeing RC again, they’re absolutely amazing live.

Hopefully they’ll reschedule a Seattle date sometime in the near future—I’ll keep you posted. If you’ve yet to hear ‘em, pick up a copy of their latest, Enter, or click here to hear a couple tracks. They’re gorgeous and heavy and epic.

The PLUG Independent Music Award nominees were announced today. It’s essentially the indie equivalent of the Grammys and anyone can vote (I sure hope they have some fraud prevention measures in place, because I’m guessing ballot box-stuffing is a given).

Neko Case is nominated for Female Artist of the Year…

As is Joanna Newsom, who’s highly-anticipated new record Ys comes out today on Drag City.

The metal category has some pretty worthy contenders as well, including Isis, the Sword, SunnO))) and Boris, and the Melvins.

The complete list of nominees can be viewed here.

Exciting news in the world of punk rock:

A new Dystopia full-length album, recorded a year ago, is set to be released early next year on Life Is Abuse. Yes! (There’s no word on the title of the record, as far as I can tell.) I’m sure this record will be awesome as usual—but can they possibly top their only other full-length album, 1994’s Human=Garbage? The bigger question, though, is will the band regroup and go on a quick tour to accompany this release? Who knows, but they fucking better—and they better not just play one or two impromptu Bay Area shows. A couple years ago at an Asunder show in San Francisco, a friend of mine sidled up to Dino and asked him when Dystopia were going to play again”¦ Dino replied with laughter, saying they weren’t planning on it at the moment. Let’s hope they change their minds, if even for one quick tour—Dystopia shows are always intensely rocking and a damn good time. Four long years after their amazing, filled-past-capacity, last Gilman show, I’m beyond ready to see them play again.

Also, be on the lookout for a second World Burns to Death LP, Totalitarian Sodomy, to be released on Hardcore Holocaust. It’s due to drop at any moment—in fact, it’s past due, with some websites reporting the release date as last week. Keep your eyes open for this one; if it’s anything like their last LP, The Sucking of the Missile Cock, it should be fucking brutal.

With a little internet research I’ve found out a little bit more about Matmos’ porno music career.

It looks like it’s going to be a very gay day here at Line Out.

Here’s the article from Toronto’s NOW weekly. It’s the sidebar on the article.

So the other day, I was playing the U.S. version of Yellow Magic Orchestra’s seminal album, ×∞ Multiplies while some friends were over, when one of them got this shocked look on his face and exclaimed, “Shit! This is the music in one of my favorite porn tapes!”

I’m a little shocked, not that the music is in the video, but at the songs they picked. I can’t imagine the big beefy guys of “Man-To-Man Heat” fucking to YMO’s Behind The Mask or Rydeen! (Click on links for samples of the songs.)

The caption for the video on the COLT website says:

Man To Man Heat DVD

WARNING: VIEWING THIS DVD MAY CAUSE FEVERS, SWEATING AND POSSIBLY SPONTANEOUS COMBUSTION. The high temperatures radiated between two brawny COLT men have finally been captured on DVD! Buckshot Productions’ first compilation DVD features all the hot, steamy, man-to-man magnetism that identifies COLT films as the leader of the pack in all-male erotica. More than 2 hours long (!), “Man-To-Man Heat!” features such an explosive cast of COLT superstars it could be cause for a three-alarm fire! Burn cream and bandages not included.

What it doesn’t say is, “We are totally ripping off the artists of all the music in this video!” because, no doubt, YMO has no idea that their songs play, looped, for 15 minutes at time, in a few different scenes.

When my friend showed me the video I was fascinated by some of the other music in various scenes. One scene has music from Carl Sagan’s Cosmos, written by Vangelis, mixed with a disco record that was supposed to be played at 45rpm, slowed down to 33rpm. Another scene had music by new age guru, Kitaro. The music chosen for the video was amazing/strange, but I couldn’t stop wondering if any of these artists, knew their music was the soundtrack to many a gay male’s fantasies! I also couldn’t help thinking to myself, that I wanted to compile all the music onto a soundtrack, then surprise people by telling them what movie it was for.

The internet is a great anonymous way to ask you: What are your favorite porn/music confluences? Tell us in the Comments.

P.S. On a related note I’ve heard tell that crazy sampling mini/maximalists Matmos have done porno soundtracks. Does anyone have any ideas as to what movies they wrote music for? Is it cheesy “Whahcka-Whahcka-Wow-Wow” sounding stuff, or is it more “artistic” than that? Shoot me a comment!

Sorry for the lack of posts today. Mondays are deadline days, and we’re all really swamped around here. However, I do want to mention that the Rapture are playing tonight at El Corazon.

Eric Grandy wrote a great piece about the band in this week’s paper, which you can read here.

Also tonight: Airport Cathedral at the High Dive, Lee Scratch Perry at Neumo’s, and Frank Black at the Showbox.

The sound wasn’t great, and the turnout was equally shabby, but nonetheless, Beach House and Over The Atlantic staged a stellar Seattle debut last Friday at Conor Byrne. After seeing Beach House live, I’d be a schmuck if I didn’t take this opportunity to reiterate all my previous praise for Victoria Legrand’s voice; she was truly amazing, exhibiting both great brilliance and depth in her singing. Here are a few pics from the show courtesy of fellow BH fan Erin M. Conor Byrne’s intimacy suited both bands quite well, and I can’t wait to see the venue host more adventurous shows like this one.

Continue reading "Last Time, Promise..." »

Before Matt Herbert became our favorite ultra-political, torch-song-arranging, broiler-chicken-sampling producer, he caused quite a stir in house circles with his Herbert series of 12”s on UK label Phono — a collection of (relatively) minimal, chunky, swingy tracks that are widely imitated today, but at the time sounded like nothing else out there. These were collected on the 100 Lbs. LP, which has been out of print for years.

But thanks to the nice people at !K7, it is available once again. Those who discovered Herbert with the Bodily Functions LP or later works may not dig this, but techno/tech-house fiends really ought to own a copy. (And while you’re at it, dig through the used bins for some old Wishmountain records.)

Preview it here.