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Archives for 01/27/2008 - 02/02/2008

Saturday, February 2, 2008

Who Saw The (Sorta) Jam?

posted by on February 2 at 1:25 PM

I didn’t. I went to the Sportn’ Life show @ Chop, which was cracking. This morning, not so much.

But I still kinda wish I coulda seen “From The Jam” last night @ The Moore, even minus Paul Weller.

I’m no lifelong Jam fan. I didn’t even think about them until 2005.

I was enjoying a cold one or several with my co-defendant Barfly- we were listening to this song and he said, “fuck, this sounds like The Jam”. A mental note and a trip to Everyday Music later, I was hella hooked. How did I live without this group before? Thanks, Fliz.

My favorite Jam song is “I Got By In Time” off of In The City. Weller sings “Please tell me if my philosophy’s wrong/ I’ve got to know the truth” which is awesome, because I totally write a column called My Philosophy.

So who saw the 2/3rds Jam last night? Did they play my song? Did they suck? I’ve got to know the truth.

RE: Are Cover Bands Cool If You’re Not a Cheeseball? (80s Edition)

posted by on February 2 at 12:20 PM


There are a few parties I was asked to crash this weekend, and one of them reminded me of this epic question Ari asked yesterday. The host, who is turning 40, is throwing a big private bar party and has hired the “great eighties cover band” 80s Invasion to play. The host promised to drink “until her liver gave out.”

Part of me doesn’t know whether to be stoked or horrified by the prospect of this party. It really could go either way: the sad desperation of turning 40 combined with the sad desperation of a real life “Wedding Singer” band combined with copious amounts of alcohol could end up in a lot of tears. For fears. It could also be a blast. Looking at the bands that 80s Invasion is currently covering is promising: Talking Heads, David Bowie, the Smiths, Billy Idol, and a bunch of regular 80s staples. It will most likely be a fun, positive party…but there are a lot of unaccounted variables here.

In the end it doesn’t really matter, because I got invited to a house having a “fried food” party (two deep fryers!) and my beat is homes, not bars. Still, the idea of a wasted, freshly turned 40 year old simultaneously scream laughing and crying on my arm as a live band plays a perfect rendition of “Relax” is something I kind of want to experience, if only for the memories. I would tell you where the show is so you could see 80s Invasion for yourself, but its a private party, so you can’t go. Unless you show up and say your name is Jeff Kirby and that you’re with the Stranger.

Friday, February 1, 2008

That Final Dystopia LP…

posted by on February 1 at 5:49 PM

… is finally available at Life Is Abuse, for real this time.


Today’s Best Song

posted by on February 1 at 4:33 PM

What made me happy a moment ago? Hearing “Eardrum Buzz” on my iPod:

Today’s Music News

posted by on February 1 at 4:18 PM

Tv Chef, Rachael Ray pitches SXSW Showcase: Battles declines, Ray’s invincible optimism unfazed.

Cable networks offer alternative to Super Bowl halftime show: Tom Petty might have to let a boob fall out.

Speaking of great half-time shows: Janet Jackson previews two new tracks off her up-coming album, Discipline

Iron & Wine announce U.S. Tour: World Beard and Moustache Competition delayed until Beam gets home.

Britney Spears’ parents in court today: Yeah, it’s been a rough year.

The Earworm

posted by on February 1 at 3:58 PM


From Peter Shapiro’s book Turn The Beat Around: A Secret History Of Disco comes this perfect description of the Earworm. (A song you can’t get out of your head.)

Talking about Van McCoy’s “The Hustle”:

But thanks to that infernal flute line boring into your skull with the savage ferocity that only elevator music can muster, “The Hustle” was inescapable and inevitable, the kind of record that crawls under your skin, subliminally taking root to the point where you find yourself whistling it while masturbating.

Who’s The Nigga In Charge Over Here?

posted by on February 1 at 3:02 PM

Cold boosted from the best hiphop blog in Seattle:

10 Toothbrushes, 10 Ice Creams

posted by on February 1 at 2:54 PM


On the road with PWRFL Power (upcoming tour dates here):

#13 Sound Fix Records//Jan. 27th//Brooklyn

I left Philadelphia around 5PM with Shawn, Mike, and Party Steve. We all got Philly cheese steak at Pat’s. I was told Geno’s is way better but they are racists so they won’t serve me.

First you tell them if you want onions, then a kind of cheese you want, pay and wait.
Actually, you don’t have to wait cuz they make it in 5 seconds. Faster than I counted 8 $1 bills. 3 people in front of me ordered “cheese steak with onion and cheese whiz”. I didn’t know what cheese whiz was but 3 people ordered the same thing.
there was a pure pressure.

“Can I get…cheese steak…with onion….Cheese….whiz, please..?”

It was a fake chesse I get with Nachos. It tasted good though. does cheese whiz stand for “Cheese Wizard”?


Sound Fix bar is neat. Steven, a bartender, knows Zac Pennington who put out my latest CD. Ric who works for ToddP helped me set up this last minute show with Steven.

I liked what I played. Very calm and sophisticated set, I thought. I saw familiar faces (Clark, Daniel, Ashley from Seattle, Archer, and Earl). It was during a potluck and I enjoyed free pizza and free beers.

I went to Archer’s place after the show. She lives with 4 other people. In the bathroom, there’s a cup holding about 10 toothbrushes. Also, 5 different colors of bath towel were hung in a row. It’s amazing to see people are living “together” not like there’s a mess and looks like there are more than 3 people living in one place. Impressed.

#14 Fontana’s//Jan 28th//NYC

I had a photo shoot with Theme Magazine today. Dorothy Hong, a freelance photographer, came to this place I was staying and took a bunch of pictures on her Mamiya medium format camera. I don’t know anyone who does photo gigs with film cameras and it was very fresh. “Tilt your head a little bit and look up?” She told me what to do and shot 4 220 rolls.


I killed afternoon at Cake Shop in lower east side. It was same as the last time I was there, I always come visit when I’m in town. My friend John Chavez’s Hard Bop was playing that night.

I met up with my old friend Kiriko. I gave her my Olympus EE-3 camera. That takes half-framed pictures. And 10 rolls of films.

Fontana’s is located in between Chinatown and Lower East Side. The venue is surprisingly spacious and has a pool table.

As soon as I got to the venue, I started fixing 70’s Yamaha FG-180 I got in DC. I filed down its bridge and saddle, so I can lower the strings.

“Are you… Taz?”

A lady asked when I was frantically sanding wood. Her name was Alena, an interviewer from Theme Magazine.

“Kaz. K A Z. not T A Z.” (>__<)

We talked about a bunch of random on my music, Japan, and touring. She got me Asahi beer and we talked about rent in NYC.

My set was fun and hot. They had a heater on the stage. The room was already hot, so I felt like I was playing in a sauna room.

After the show, I went to McDonald’s with a friend. I saw a sign that says “Get 6pc. of Chicken Mcnuggets for $1! (with a purchase of special value meal)”. My friend ordered Big Mac meal, so I ordered 3 packs of 6pc Mcnuggets.

“One pack per meal.”

A cashier woman who can’t pronounce “hamburger” sounded angry. We paid $12.56 and she gave me 4 dimes and 4 pennies. There was a donation box filled with change, one $1 bill, and a receipt.

“Where is this money going to?” I asked.

She pointed at a picture on the donation box. There was a picture of starving kids smiling tiredly.


She turned around and disappeared in the back.

#15 PA’s Lounge//Jan 29th//Boston

This was my forth show in Boston and third at PA’s. For some reasons, I don’t remember much from this show, so I would like to talk about this place I stayed.

It was my tour mate Katy’s aunt, Laurie’s house in Cambridge. She’s a doctor and has 2 cats that don’t have tails and 1 dog that seemed out of mind all the time. Actually, her cats seemed out it too, they keep their eyes wide opened all the time and don’t stop staring at you until you move.

Her fridge was filled with 10 different kinds of ice creams. Most of them were old and not eatable. So, i ate a can of beef soup and went to bed.

There were so much food and it made me eat. I woke up next day and started eating a bagle and a can of Tom Kha soup. Then, Mango mochi ice (which I threw away after the first bite), and another bagle.

I keep losing weight so I have been trying to eat. While eating and enjoying the internet, I saw a myspace bulletin by Daniel, another tour mate. It said PWRFUL POWR and his band are playing in Providence.

We have played 7 shows already and he never spell my name right /(;__;)\


Are Cover Bands Cool If You’re Not a Cheeseball?

posted by on February 1 at 2:34 PM

Three things have been capturing my attention lately on the subject of cover bands.

1) The upcoming performance of No Quarter, the world’s premier Led Zeppelin cover band, at the Tractor on 2/23:


They boast “Authentic Costuming!” and “Exclusive Audio Visual Presentation and Laser Light Show!” and “Naming Ourselves After the Worst Led Zeppelin Song Ever Written!” as reasons you should book them.

You all should know that Led Zeppelin is my second favorite band of all time, right after Bikini Kill. I entered that stupid drawing for the London show on the first day, and convinced my dad and my officemate Nick Scholl to enter, too, and then give me the ticket it they won. Yes, I WOULD pay whatever they charged to go see Zeppelin. I think I calculated that if I won a ticket and bought a plane ticket the whole venture was gonna cost me around $700. I didn’t care, but I didn’t win.

I can’t decide if I want to see No Quarter. These guys are obviously cheesenuts and it seems like they might emphasize all the wrong things about the Zep, the “Playing Stairway to Heaven in Guitar Center” type things.


2) It’s weird how the Cramps were pretty much a cover band:


Tyler Bosch, who is one of our editorial layout designers (and is in the Ononos, kind of a Yoko Ono cover band), has been sending me a lot of the originals of songs that I previously thought of as Cramps songs. Here’s Goo Goo Muck, for instance. It was originally recorded by Ronnie Cook & the Gaylads.

Now, I know this is like slap your forehead no fucking duh knowledge. There’s even two volumes of a collection called “Songs the Cramps Taught Us” that has all these originals. So don’t make fun of me. It’s still interesting. And I still want to marry Poison Ivy. The Cramps weren’t a cover band because they reworked all these songs with a new, snarling intensity. But…they kind of were. Sort of. I mean, technically.

3) I kind of want to form a cover band:

So you see where all this is going? I don’t want to adopt the “Authentic Costuming” or whatever. And I don’t have the musical chops to completely rework the songs I want to do. So it would be somewhere in the middle of the Cramps and No Quarter. But I still feel musically guilty. It’s so unacceptable these days to even do what the Cramps were doing.

It’s like eating at Taco Bell—so socially unacceptable, yet extremely satisfying. I want to cover Dusty Springfield, The Ronettes, and Patsy Cline songs. I’ve tried to satisfy this intense urge at karaoke. It doesn’t work. (Partially because for some reason karaoke parlors only ever stock the sad Patsy Cline and Dusty Springfield songs, and I want to cover the badass ones.)

I feel so uncool.

Tuesdays Down the Drain

posted by on February 1 at 2:04 PM

It was posted last Thursday that master of groove guitarist Sammy Drain plays every Friday night at Thompson’s Point of View.

That is incorrect.

Sammy plays every Tuesday night at China Harbor on Westlake. (2040 Westlake Ave. N.)

It is highly recommended that you go to China Harbor on a Tuesday night and listen to Sammy play. Enjoy views of Lake Union. Order a fine, delectable liquid refreshment. Have a walnut prawn.

Get down the drain.



Tonight’s Tesla Show at Showbox SoDo is Rescheduled for March 9th

posted by on February 1 at 1:33 PM

Because of all the snow in the passes:

Due to severe weather in the mountains of the Pacific North West, Tesla and Cinder Road have cancelled the first four stops on their US tour. They are currently planning to reschedule the missed dates for March after the tour’s end. Confirmation of rescheduled dates to be announced shortly. The tour will officially kick off February 8 at the Fillmore in San Francisco and will continue as previously scheduled thereafter.

The Portland, Spokane, and Boise shows are also being rescheduled, Tesla will come back to Seattle March 9.

The Showbox says all Feb 1st tickets will be honored at the March 9th show, so hang on to those. Meanwhile, the Bullet in Your Head show has now been moved to Showbox SoDo’s Lounge.

Tim Harrington, Weirdest Bandmate Ever?

posted by on February 1 at 1:19 PM

Did anyone catch Les Savy Fav on Conan O’ Brien last night? My guess is not too many of you watched, but it was totally worth checking out! Conan struggled with their name, even mentioning that “about forty people” in the back had made sure he pronounced the band’s name (“LES SAW-VEE FAWV”) correctly. I think the video of last night’s performance speaks for itself, but it got me to thinking… Wouldn’t Tim Harrington be the weirdest person to play music with? What would band practice be like with the guy? Tensions running high in the old practice space, trying to hammer out the bass and drums to a new song, and your lead singer is eating a Filet O’ Fish and trying on one of his new masks? What do the other members of Les Savy Fav’s parents think when they come to their shows? If he’s not the weirdest, then who would be?

Tonight in Music

posted by on February 1 at 1:05 PM

D.Black and Grayskul at Chop Suey
At the end of 2006, I predicted that two hiphop labels, Mass Line and Sportn’ Life, would have the biggest impact on the local scene in 2007. I was almost right. Mass Line had a spectacular year; Sportn’ Life did not. Two reasons: One, rapper Fatal Lucciauno went to jail right after Sportn’ Life released his CD; and two, Dyme Def and J.Pinder, the hottest young rappers in Seattle, left the label for greener pastures. The blows, however, did not kill the label. It still has D.Black. This show is all about the return of Sportn’ Life. (Chop Suey, 1325 E Madison St, 324-8000. 8 pm, $7, all ages.) by Charles Mudede

Read more about the Sportin’ Life party in My Philosophy.

And look what else is happening:

Police Teeth, Lake of Falcons, the Bizmarck
(Blue Moon) To this day, I can’t think of a song that uses the word “motherfucker” better than the MC5’s “Kick Out the Jams.” But Police Teeth’s “Motherfuckers Move Slow” gives the expletive the ol’ college try. Police Teeth is blistering post-hardcore with an infatuation for AC/DC and Wire, played by dudes formerly found in Racetrack and USS Horsewhip. “Motherfuckers Move Slow” is an urgent track rife with guitar riffs, which will sound superb when juxtaposed against Lake of Falcons’ slightly poppier turbulence. Not into the über-catchy “Pretty Little Knife”? Maybe the more Fugazi-styled instrumentation of “Farmer’s Debt” will blow your mind, or the Hot Water Music– influenced “The Smiler” (duel vocals yelling against one another and coming together for the chorus = goosebumps). Or perhaps you’re totally unfamiliar? And slightly intrigued? You’ve got nothing to lose—tonight and every night Blue Moon has a $0 cover charge. MEGAN SELING
From the Jam
(Moore) I have NO problem with “classic” bands reforming, however, some reunions seem challenged—um, like the “it was okay, I guess” MC5 as DKT/MC5. Eesh! Well, former Jam members Bruce Foxton and Rick Buckler have gotten back together, without Paul Weller, adding Russell Hastings and Dave Moore as the Jam, uh, sort of—they call themselves “From the Jam.” Honestly, without Weller, I kinda don’t care that they’re getting back together. Weller was THE angry, sullen frontman that enabled and drove them! He WAS their attitude. So, to me, a Wellerless lineup seems a bit limp. However, English reviews are favorable, and from what I can tell, Foxton STILL has some bits of his annoying mullet, so it’ll likely be just fine—they’ll play their hits and do jumps and all that… really, it’ll be fine… really… just fine. MIKE NIPPER

Also tonight, at Hengst Studios:

For the last five years, Seattle’s Shameless crew has been throwing My Bloody Valentine, and far from its shoegazey moniker, the annual party is a celebration of debauchery, where music, booze, and lowered inhibitions leave more than the lovestruck with a smile on their face at the end of the night.

My Bloody Valentine combines the costumery of Halloween with hints of Mardi Gras’s crazed atmosphere, all for an audience that’s usually as excited for the abundance of fake blood as for the sex toy–filled piñata. It’s a party for all types, with some there for the spectacle, others there for the headliners.

Read all about it in Donte Parks’ column, Bug in the Bassbin.

And, from the Score:

I caught the first installment of this monthly series in January and left inspired. Here, Aphonia Recordings honchos Ben L. Robertson and Andrew Senna team up as the Precambrian, but the focus is on two other groups, Problems and Paintings for Animals. Based in Olympia, Problems play chamber music in just intonation using violin, viola, steel pedal guitar, and a retuned Farfisa organ. Paintings for Animals make hypnotic and gorgeous collages from vocal snippets and field recordings; I had a hard time leaving their MySpace page. Gallery 1412, 1412 18th Ave, 322-1533, 8 pm, free, but donations accepted.

A Ray of Sunshine

posted by on February 1 at 12:55 PM


Taken by Fecki.

Mercy Mercy Me

posted by on February 1 at 12:31 PM

Because of the violence going on and on, because mainstream hiphop used to care about all of the violence going on and on in the hood, I offer this reminder of hiphop at its finest hour. Really, what’s happening brother?

“Victrola Favorites” at Wall of Sound

posted by on February 1 at 11:44 AM


Remember the “party” scene in Ghost World? Steve Buscemi opens up his bachelor pad to a handful of like-minded nerds, and they bond – and bicker – over vintage shellac discs. A veritable laugh riot. And, alas, not too far from the truth. Even by record geek standards, folks who collect these vanishing gems from the early days of recorded sound can be pretty, um… intense. That tends to make investigating this dead medium terribly off-putting to neophytes.

Which is why Victrola Favorites: Artifacts from Bygone Days is such a boon. Compiled by 78 devotees Rob Millis and Jeffery Taylor (a k a Climax Golden Twins), this 144-page clothbound tome reproduces exquisite details, culled from labels, sleeves, advertisements, needle tins, and other ephemera, in vivid color. The duo has taken a subject that is traditionally treated in woefully academic fashion, and rendered it fun and artful. Plus, the tome is accompanied by two CDs crammed with period recordings of Chinese opera, cowboy ditties, Buddhist chants, Portuguese fado, an audio tour of London circa 1929, and the delightfully titled Hong Kong souvenir “Big Idiot Buys A Pig.”

Victrola Favorites is published by Dust-to-Digital, the same crew who brought you the gospel box Goodbye, Babylon and Fonotone Records: 1956 – 1969, both of which earned Grammy Award nominations for their packaging, so you know it looks good. And to launch it in style, a shindig’s goin’ down tonight at Pine Street pit stop Wall of Sound (where Taylor is co-proprietor) from 7 to 9 PM. There will be DJs spinning vintage shellac discs, newly minted copies of the book available for purchase, and nary a hint of peering-over-the-spectacles elitism.

Illegal Leak of the Week: Hello, Voyager, Evangelista

posted by on February 1 at 11:20 AM

No pisen las plantas

As a teenager, my musical education came primarily from living at a used CD store. You know how most used stores these days have a nice “new arrivals” stack, where all of the recently received contraband is placed before it’s eventually alphabetized? This shop hadn’t yet come up with such a system, instead stacking its used discs on the floor under the racks, and I monopolized the small crawlspace for hours every week to call dibs on the good shit.

I was eventually offered a job at this store because the manager said I wouldn’t need to be trained, and I continued to call shotgun on quality loot—Blue Note remasters, hard-to-find GBV bootlegs, a Pet Sounds box set that had the sellers’ warrant for arrest tucked into the liners. The place was my OiNK before OiNK. But when I got older, I realized something—no matter how many CDs pass through a used store, legitimately or otherwise, some bands’ albums practically never get sold.

Exhibit A: The Geraldine Fibbers.

I didn’t learn about them until well after their demise—it wasn’t until the years-ago re-recording of Red-Headed Stranger that I even knew who Carla Bozulich was, and I waited even longer after that to actually listen to a Fibbers record. On the one hand, I’m disappointed that I didn’t fall in love with the band when I was younger; would’ve been a perfect transition after my REM-obsessive pre-teen years to scream the lyrics to “Dragon Lady” at my bedroom wall, then repost them on my old Geocities site (blogs before blogs!). Plus, they might’ve cut Hole off at the pass. On the other hand, lead singer Bozulich’s transition from punk-with-a-drip-o-country to ephemeral, floaty, arty compositions is probably easier to bear in hindsight—I have no trouble putting 1997’s Butch and 2006 solo record Evangelista side-by-side, even if they’re so freaking different.


In a way, her latest record, now under the Evangelista moniker, kinda does that. The ‘06 album sounded like she wanted to free herself of songcraft, instead choosing to build mood by wailing over the white noise and tape manipulations concocted by members of bands like Godspeed You Black Emperor and A Silver Mt. Zion, and that’s all well and good. But I personally prefer Bozulich as a songwriter, as a drawn-out rock maestro, and Hello, Voyager reclaims her urgency, repurposing her new band/collective to rock out—in atypical fashion, anyway. The dark, death march of “Smooth Jazz” is punctuated by buzz-saw grunts of bass, shrieking carnival-esque lead guitar parts and occasional howls. That song’s immediately followed by Carla sharply turning gears and becoming a jazz crooner, her voice piping up on “Lucky Lucky Luck” over a soft, repetitive bassline as she announces, “When I was a baby, I was sweet as can be / I had a good heart, but I had to kill it.” The story kinda goes downhill from there.

The return to songwriting form is incredible throughout, though a few tracks on the record are all about the ambiance—some meandering and dark, others melodic and bursting with strings. The ultimate culmination of both of her extremes is the final, 12-minute title track, a song that sees Bozulich losing her poetic shit in grand, Patti Smith-like fashion. Drums bang around however they see fit, guitars occasionally blast a brief refrain, and organs begin to swell as Bozulich builds up the courage to beg for her identity: “Tell the truth and be free / This is my hit-and-run / This is my porn collection / This is me feeling superior to you / This is me selling me out when you needed me most / This is my huge, diseased, throbbing, PRICK / This is my homosexual inclinations / This is me loving someone I’m not supposed to love.” And then she pauses, audibly panting over the ruckus. “This is me.”

I’m Ready

posted by on February 1 at 10:50 AM

I can’t be there for this, so instead I’m already getting excited about this. Only 112 days to go!

In honor of that, here’s Claude VonStroke’s “Who’s Afraid of Detroit?,” with great footage from the D (the city, not me).

Video hat-tip to Ario.

Rare Vashti Demo from 2002

posted by on February 1 at 9:50 AM


A rare Vashti demo from2002 can be found here.

It is from 2002, before the re-release of Just Another Diamond Day, when she was living in Edinburgh. It was recorded with the help of Saint Etienne, who were largely responsible fro her re-emergence. It is a demo for the album Lookaftering, but this version did not make it onto that album, which sounds completely different than this track. It was recently included in a fan club only box set, called Boxette, of Saint Etienne demos and rarities.

Check it out for a very limited time.

Phil to Continue Surfing (& Breaking)

posted by on February 1 at 4:14 AM

lucky.jpgThings went well at the Triple Door Wednesday night and Nada Surf asked cellist Phil Peterson to play more shows with them. (Previous post.) He leaves Monday for two shows in LA, then heads to New York with the band for sold out shows at the Music Hall of Williamsburg and the Bowery Ballroom. Phil is in the process of mixing new Portugal The Man (which sounds amazing) and getting ready for the upcoming Kay Kay release.

I had quick questions for him:

You have to be excited about doing more Nada Surf shows.
Phil: Yeah, I’m super excited. It works out timing wise as well. Funny their new CD is called Lucky, cause that’s how I feel. I’m also really excited about the Kay Kay release and this Portugal The Man too.

How did the Triple Door show go? What songs did you play on?
I came out on the 2nd song and stayed there till the end. I even got to play on the enchore, “Blonde on Blonde”. That was the first time I had played with them on that one. We were feeling each other really well. It felt great. I latched onto the melody and filled out the mid to low range. I really liked playing “Are You Lightning?” too.

Was it your breakdancing? Is that what sealed the deal on doing more shows?
Well, maybe. I hollowbacked a cochise in the corner of the greenroom before the set. I think they saw me do it.

Thursday, January 31, 2008

The Sound of Trocadéro

posted by on January 31 at 4:51 PM

In 1978, one of my favorite disco producers, Alec R. Costandinos, helped put together and write the soundtrack for Michael Schock’s French film Trocadéro Bleu Citron, a movie based around kid’s roller skating life in Paris in the 1970’s. With soundtracks, they at times make for great concept albums based around a certain story or film, however most of the time I find that they aren’t that great, consisting of a bunch of random songs that don’t really fit together in any way. That being said, I recently was able to find a copy of this LP at a local record store and after a few listens, I found that this particular soundtrack was definitely one of the better soundtracks that I’ve come across in a long while. Alec R. Costandinos includes a couple of solid disco gems with the sixteen minute instrumental version of “Trocadéro Suite” and my personal favorite “Grooves” which closes out the record. He also includes some more slower exotic downtempo cuts with “Moments Of Love” and “Trocadéro Lemon Bleu”. All the tracks seem to flow nicely together and make for a nice French disco record without even seeing the film. If you love that exotic French disco sound from the 1970’s that Costandinos mastered so well during his early years, this is definitely a great record worth owning.

Alec R. Costandinos - Grooves

The Finches - Human Like A House

posted by on January 31 at 1:38 PM

This album is just perfect. For a cold, cloudy day. For a warm house. To eat chicken soup to.


Just perfect.

The Finches

And Now, Here’s Some Women Dancing

posted by on January 31 at 1:08 PM

To T-Pain and Flo-Rida’s “Low”

Kate Bush’s “Wuthering Heights”

The Clash’s “Rock the Casbah”

Skerik: Psychic Rushdie Saxophone

posted by on January 31 at 12:56 PM

skerikdevil.jpgSkerik is a bi-coastal man who plays the saxophone. He is a sax lord, a cyclone of skill and activity. His musings are flashpaper origami bulls. Skerik has many musical incarnations. He is Les Claypool’s sax player. He’s toured and played with Roger Waters, Ivan Neville, Medeski Martin & Wood, Mad Season, Stewart Copeland, Screaming Trees, R.E.M., Funky Meters, Bonnie Raitt, the Coup, Shock G, and Corrosion of Conformity.

On his sax, Skerik is a psychic Salman Rushdie. He plays things you knew he was going to play, but it boggles you just the same.

Four of Skerik’s more active Seattle creations are Critters Buggin, Crack Sabbath, Skerik’s Syncopated Taint Septet, and McTuff. McTuff plays tonight at Egan’s in Ballard and Crack Sabbath plays tomorrow, Friday, Feb. 1st at High Dive.

Skerik also has a band called the Dead Kenny G’s. We spoke:

What do the Dead Kenny G’s sound like?
Skerik: Like a free-jazz version of the Melvins.

skerikdeadkg.jpgDoes Kenny G know about it?
I played the Carson Daly Show with Warren Haynes and wore a Dead Kenny G’s t-shirt designed by Les Claypool. It’s got a dead Kenny G with a soprano sax stuck up his ass. When I was introduced, I pointed to the shirt on camera. Carson was amused and mentioned the shirt, and my strange behavior. I later received the following letter:

After I saw your recorded performance on the Daly show, I contacted my lawyers. They embellished information that relinquished my thoughts of not punishing your possee(sp?) You are not Jewish. So as it would appear, consider your ass sued. You are not my friend.


Ken Goerlik

P.S…. I am mean.

After reading this threat, I forwarded it to the other two band members. One of them became extremely concerned. I decided to take advantage of this and had an actor friend call this concerned band member and threaten him with a lawsuit to cease and desist. The band member became highly agitated and scared. The actor did a very good job. Maybe too good. We still receive emails from this person which are highly prized.

We want Kenny G to produce our first record. I don’t know if anyone would survive the first day though. I smell a reality show. The Making of the Dead Kenny G’s with Kenny G. It would be like Henry Rollins marrying Ann Coulter, live on TV.

Could you talk about your sax for me?
My saxophone is black, and made of metal, and I only play STRIBORG saxophones and reeds.

Where does all the saliva go?
It goes into a special de-humidifier that is attached to my soul, I rent it at the tool rental place in White Center. It needs to be emptied regularly.

Continue reading "Skerik: Psychic Rushdie Saxophone" »

Liars, No Age, Past Lives, 01/29 @ the Showbox

posted by on January 31 at 12:45 PM

Photos from Tuesday night’s show, taken by Morgan Keuler:






No Age

Past Lives





Juno Soundtrack Moves to #1 on Billboard Chart

posted by on January 31 at 12:30 PM

Last week it was at #2, but this week Juno has dethroned Alicia Keys.

Coincidentally, in this week’s paper, David Schmader interrogated Kimya Dawson, the woman behind the best-selling sountrack. He talked to her about her recent appearance of The View, the fact that she single-handedly started the war, and her new fame.

The Juno soundtrack has been packing your shows with new fans. How is that?
It’s a little weird. I had two shows in a row where teenage girls with styled hair and lots of makeup at some point during my banter said, “Eew.” One was a show at a record store in Boston, where some of the kids called out, “Come back to the Bike Barn in Maine.” So I was talking about how I loved playing in this barn, because when you play, the bats fly overhead. And this girl was like, “Eeeww!!!” The other time I was talking about my vagina or something. I’m not used to an audience of people who are surprised or grossed out by the things I bring up between songs.

What about your regular fans? Are they being nice and welcoming?
I think most of them are. I’ve gotten some e-mails from some kids who are like, “I don’t like this. You’re my special thing.” They’re mad that the kids at their school are hearing the music. But, you know, everyone’s got to hear something for the first time somewhere. Still, it’s hard, just feeling like I have to spread myself a little thinner.

Read the whole interview here.

Vashti Bunyan - Some Things Just Stick In Your Mind (Singles And Demos 64-47)

posted by on January 31 at 12:27 PM


Or so she’d like us to think. This new double CD compilation, Some Things Just Stick In Your Mind, of very early demos and singles by Ms. Bunyan is full of some great lost songs.

It is impossible, however, for me to think of her as anything other than the quaint little English singer/songwriter she always has been. Regardless of singing a song by Jagger/Richards. Regardless of singing with a symphony orchestra. She keeps everything so tightly to herself, so small and nearly imperceptable, that it is hard not to see her as what she has become: a folk heroine.

Less brash and bold than many others of the day, it was inevitable she would eventually be pushed aside for bigger throated, lustier, gamier divas. But somewhere in the back of her mind she must have realised the world would eventually come back to her, to hear what she had to say.

Even though these demos are so different than her recorded efforts post this period, these are a treasure. A picture of someone, both in song and memorobilia (the booklet features many pictures and newspaper articles on Ms. Bunyan from the day) trying to place herself squarely in a world which she really believed she belonged in, the pop music world, but which seemed to reject her appeals to it.

I had been under the belief for a while that Vashti somehow was just uncovered in the last 5 years, and before that her name had never been mentioned. Untrue. Yes she did eventually drop out, but prior to all the rejection, she hoofed it in and out of offices, playing her guitar, recording demo tapes and singles to give to those she thought would see the world the way she did. She thought she was the epitome of pop. They did not.

Their loss, well is our loss in the long run. Had the world embraced Vashti at the beginning, we’d have a detour out of the Denny, Prior, McShee triangle that has had a hold on our imaginations, and our thoughts of popularized folk of the 70’s. Instead we’ve had to rediscover how bold, her tiny world vision was at the time. And the work to retroactively expand it has been interesting to watch and listen to.

Let’s hope this looking back that Some Things Just Stick In Your Mind does is only a rest stop on the new journey Vashti will take us on.

Today’s Music News

posted by on January 31 at 12:04 PM

The Hold Steady’s in the Studio: And they’ve got beer, beards, and Ben Nichols from Lucero with them.

It’s Time for Picture Pages!: Bill Cosby is writing a rap record?

Qui’s Curse: David Yow (former Jesus Lizard frontman, currently in the band Qui) was hospitalized a few days ago because of a collapsed lung. Now his bandmate’s in the hospital after suffering three strokes.

Also in the Hospital: Britney Spears.

They Cannot Lose: The Futureheads have started their own label, will release new record March 10.

NKOTB: 3/5 of the reunited New Kids have posted a new song on their website.

Tonight: the Russians Are Coming. Tomorrow: the Bellingham Invasion

posted by on January 31 at 11:59 AM


If you’ve listened to 107.7 The End’s Young and the Restless any weekend for the last couple months chances are you’ve heard them jam the Russians“Chastity Castle.” One of the finest acts Bellingham has to offer, the Russians are an explosive four piece that bring dancy but driving electro punk somewhere between Death From Above 1979 and the Red Light Sting (minus a considerable amount of sass). You can pretty much guarantee these guys are going to squeeze every last drop of energy out of their bodies by the end of their set. They play the Sunset Tavern tonight with Trip the Light Fantastic and X-Ray Press. $6.

The Russians will also be featured on this week’s KEXP Music That Matters podcast, which will focus completely on music from Bellingham. The podcast goes up tomorrow and features many excellent bands, specifically Black Eyes and Neckties, The Braille Tapes, I Love You Avalanche, and perhaps my favorite rock band in all of Washington State, Cicadas. You can find the podcast here starting Friday.

The New Chris Walla Record Came Out This Week

posted by on January 31 at 11:58 AM


Field Manual

Chris Walla’s solo debut starts with a captivating choir comprising his voice layered and a cappella—he, himself, and him beautifully sing, “All hail an imminent collapse/You can fumble for your maps/But we’re exhausted by the facts.”

It’ll stop you when you hear it—you’ll listen closely, you’ll want to hear exactly what the hymnal voices are singing. The song is called “Two-Fifty,” and it’s the perfect track to open Field Manual, an exaggerated introduction to a record saturated with pretty sounds.

As early Death Cab for Cutie shows, facing off against the cherubic Ben Gibbard, Walla’s attempts at background vocals sounded weak and uncomfortable. At least once, he even giggled a little while singing, apparently aware that he was out of tune and maybe not fit for harmonizing.

But that was years ago. Field Manual proves Walla has learned to work with what he’s got. His voice is breathy and gentle (and in tune) and not unlike Gibbard’s. But it’s his trademark glorious production that makes the songs on Field Manual sing. His mixes here are impeccable—every sound is thoughtful and delicately balanced.

“Geometry &c.” showcases infectious pop with bright guitars and da dee dum hooks, while “The Score” summons up Superdrag. The brokenhearted “Holes,” ends the record on the opposite note of where it began, with just a lone Walla, his guitar, and a little bit of piano. The simple ballad is the best display of his voice on the entire record. Turns out Walla can sing after all.

Click here to listen to the song “Sing Again” via Barsuk.

The Agony and Ecstasy of iPod Shuffle Mode: Knee-Deep in the Mocha

posted by on January 31 at 11:23 AM

I’m such a control freak that I rarely deploy my iPod’s “shuffle” mode, but when I do, relevations unfold.

Sometimes it’s heaven, with my iPod’s random brain drudging up songs I’d totally forgotten about and love to pieces. (Recent random stunners: the gorgeous “What About Me?” from The Best of Chic Vol. 2, and “What Makes You Happy,” from Liz Phair’s much-maligned Whitechocolatespaceegg.)

Other times, it’s hell, such as this morning’s completely uncalled-for resuscitation of this crime against humanity.

(For those encountering the above linked track for the first time, it comes from a Starbucks corporate meeting, where select members of upper management lip-synched to the track, which was then presented to attendees on CD.)

P.S. to everyone: Please incorporate the phrase “knee deep in the mocha” into your vocabularies, either as an all-purpose euphemism for stress, or a highly particular euphemism for scat play.

As Idiotic Super Bowl Ads Loom…

posted by on January 31 at 10:56 AM

It seems like as good a time as any to link to a recent British TV ad that makes no fucking sense. Reason for posting on Line Out instead of Slog will be apparent by ad’s end.

People, we are THIS CLOSE to Bill Hicks’ vision of an ad with a naked girl fingering herself, and only two words appearing beneath her body: “Drink Coke.” What the hell? And even in spite of my high-and-mightyism, why do I still find this ad (and the G-Unit remix) so amusing? God help me.

OMG!!1! Look Who’s Coming to Town!

posted by on January 31 at 10:39 AM


special guest: Boys Like Girls
COMCAST ARENA at Everett Events Center – EVERETT, WA
Saturday, May 10, 2008
Tickets are $35.00 and $47.50 and go on sale Saturday, February 9.


Tonight in Music

posted by on January 31 at 10:33 AM


Black Mountain

MGMT, Black Mountain, Yeasayer, Howlin’ Rain at Neumo’s
Tonight’s show offers a dizzying (and bicoastal) array of psychoactive rock. Representing the West Coast are Black Mountain (Vancouver, BC) and Howlin’ Rain (San Francisco); from back East come Brooklyn bands Yeasayer and MGMT. Black Mountain deals in druggy classic-rock dirges, Yeasayer in oddly hopeful millennial gospel. But most exciting is MGMT, a young duo who met at Wesleyan College. Their tripping ranges from liberal-arts-school noise jams to poppy, polished psych-funk to bleary-eyed ante meridiem folk. (Neumo’s, 925 E Pike St, 709-9467. 8 pm, $12, 21+.) by Eric Grandy

And from this week’s Score column:

Pianist Eric Vaughn brings his energetic touch to a showcase for the Seattle-based Broken Time label. In addition, Michael Owcharuk leads an adventurous chamber-jazz sextet that features Jim Knodle (trumpet) and Beth Fleenor (clarinet). Jazz Alley, 2033 Sixth Ave, 441-9729, 7:30 pm, $10/$18.50.

Greg Garcia Leaves High Dive, Moves to Tractor

posted by on January 31 at 10:19 AM

Not breaking news, this apparently has been in the works, but Greg Garcia (who has been at the High Dive for about three years) sent out the e-mail this morning officially announcing his move:

Hey Friends, with great excitement, and some sadness, I announce I will be leaving Interface Booking and my position of talent buyer at High Dive.

I’m very excited to announce that I will be handling the booking duties of Tractor Tavern. While change is very hard and somewhat scary I’m lucky to be surrounded by great people that will help make this transition as easy as possible

Things at The Tractor will continue to have the usual programming you have come to love. We will be building on what has made The Tractor successful after all these years and trying some new things as well. I’m really excited to bring some new flavor to The Tractor but at the same time I have lots of respect for what has made The Tractor a landmark for music fans all over the world.

Wednesday, January 30, 2008

Because It’s Late…

posted by on January 30 at 9:30 PM

And I have a cold. And I’m hopped up on a combo of Nyquil and Sudafed.

For some reason that combination made this little ditty so compelling and beautiful.

Carl Orff, meet the banjo. Banjo, meet Carl Orff.


Sandy Bull - Carmina Burana Fantasy

(hat tip Bumrocks)

Oh Man!

posted by on January 30 at 7:39 PM


As much as I would have liked to have seen the Liars show last night (mostly just to check out Past Lives) I had other business to attend to, namely playing a show at Chop Suey for ten people (including staff). It did give me the opportunity however to experience the one-man explosion that is Oh Man! Imagine a whole set of electro 8-bit dance that immediately makes you want to start jogging. Empty room or not, Oh Man! cast some magic spells on his keyboard, bouncing up and down in a sleeveless shirt and sweatband. It may have been the couple drinks I downed right before he played, but Oh Man! won me over quick with his energy. Whatever you want to call what he’s got - moxy, jazz hands, ADD - he’s got it in spades. And he made a dismal Tuesday night show a little brighter with it. Check out his songs, “Dino Woods” is the jam.

No Age, No Context @ the Showbox

posted by on January 30 at 4:05 PM

IMG_9134.jpgRandy Randall photo by Morgan Keuler

What most struck me about No Age last night at the Showbox was how important that band’s context is to what they do. No Age come from the much-loved and much-hyped all-ages scene built around LA’s the Smell, and it’s almost impossible to think or read about one of those things (the Smell, No Age) without the other. The album art for their debut, Weirdo Rippers, featured one photograph of the Smell with the band’s name and album title pained on its face (it might still be there) and another that looks like a class photo of the current LA punk scene. There might not be any other band right now for whom a sense of place is so important. (At least, that’s how it seems to someone who’s never been to said place.)

Listening to Weirdo Rippers, I have a hard time hearing what all the buzz is about. There’s some great moments, sure, but there’s also a lot of lo-fi fuzzing around and pedal prog goofs. As Brandon Ivers pointed out in this review, the record flicks on and off like a light, from noise to pop punk, and it’s sometimes jarring (go to a light switch and start flicking it on and off as fast as you can—it’s kind of like that). Live, though, the band surfed, 2-chord pop punk hooks emerging form the noise builds as on cresting waves, riding out and exhausting themselves, then starting again.

IMG_9396.jpgDean Spunt photo by Morgan Keuler

But even if the songs made more sense live, there was still something missing, something that doesn’t translate so well from the Smell or the Punkin’ House (where I once saw Spunt’s old band, Wives) to the Showbox. At some point, someone in the crowd must’ve shouted out something about the Smell, because singer/drummer Dean Spunt replied, “Yeah, I smell. I smell big time,” before speaking sincerely about the band’s creative home: “The Smell is the nicest place in the world, actually. I’m not kidding.”

Presumably, part of the Smell’s charm is a wild and devoted hometown crowd. After the Seattle crowd’s anemic response to another song and Spunt’s asking, “You stoked or what?” Spunt sincerely whined, “C’monnnnn, come onnnnn,” before launching into “Everybody’s Down,” an anthem that aims to make No Age’s scene universal with its chorus of “Everybody’s down/ Every soul in every town.” As a looped drone played out from his pedals, guitarist Randy Randall hopped on top of his amps and clutched his guitar in one hand while Spunt stepped away from his kit to sing. When Spunt pounded back into his drums and Randall leaped down and into a guitar riff, maybe a half dozen people in the middle of the crowd truly lost their shit. It was the high point of the set. At the Smell, I bet that moment looks like armageddon.

Liars were kind of a drag compared to past shows, mostly due to an injured, chair-bound Angus Andrew, whose hulking stage presence and wild fits usually animate the band’s drones. (I bet wherever I saw that puff of smoke coming from at the start of their set still dug it, though). Past Lives I’ll get to in a minute, but for now let me say that they may have been the best performance of the night, a little nervous but full of electricity and promise. Here’s hoping they’re playing again soon.

Free Pinback Tickets

posted by on January 30 at 3:59 PM

Want to take your special someone to see Pinback on Valentine’s Day? The Showbox is giving away a couple pairs of free tickets!


To enter, send an e-mail to with “PINBACK” in the subject line and your full name in the body of the e-mail. There will be two winners and each will get a pair of tickets (the Showbox will contact you if you’ve won).

Here’s all the info (note: it is all ages):

Thursday February 14th - At Showbox at the Market, 1426 1st Avenue - Showbox presents PINBACK with special guest MC CHRIS. $16.00 advance at Ticketmaster. $18.00 day of show and at the door. Doors at 8pm. All Ages.

Today’s Music News

posted by on January 30 at 3:04 PM

Kanye Announces the “Glow in the Dark” Tour: Featuring Lupe Fiasco, Rihanna and N.E.R.D.

Bands Take Note: Having a song on Guitar Hero and Rock Band made more money in 2007 than having a song on iTunes.

Oregon AG Investigates RIAA: Attorney General is “questioning the data mining tactics and subpoena practices employed by the RIAA” against 17 UofO students.

Israel Invites the Beatles Back: 40 years after the country banned the band from playing there.

Forbes’ Top-Earning Women in Music: Madonna, Barbara, and Celine top the list.

Despite What Pete Wentz Says: Fall Out Boy did not inspire Cloverfield.

LiveFastDie, PunkThrashRock

posted by on January 30 at 2:51 PM

I first heard LiveFastDie, about, oh say, 10 minutes ago. From their MySpace page:

“Another band that can hardly play their instruments and like to get wasted. Check back with them in a year and see who’s dead.”


I love shitty trash punk like this more than anything, maybe in the whole wide world. Tonight. The Funhouse.

Speaking of Curtis Mayfield

posted by on January 30 at 2:32 PM

The Northwest Film Forum just announced:

Thursday, February 7 at 8pm

This installment of our quarterly soul music party brings to the big screen electrifying vintage soul performance footage from the late 1960s and early 1970s. An all-star line up including Curtis Mayfield, Sly and the Family Stone, Ike and Tina Turner transport us to the heyday of sweet soul lyrics, raw grooves and funky moves. Of course, before and after the screening we’ll be serving refreshments and DJs will be serving up platters of dusty soul for your listening and dancing pleasure! Come get your groove on.

Tickets and info at

And here’s a little Ike & Tina treat:

Nice and easy…


posted by on January 30 at 1:32 PM

supergreg.jpgYou’ve probably seen this guy before.

If you haven’t, allow me to introduce – Super Greg.

If you go – here, the screen below will appear before you. There are three buttons: ‘Super Greg’, ‘Number One’, and ‘Scratching.’ Click them and Super Greg says, “Supa Greg!” Or, “Numba One!” Or you can make Greg scratch. The controls for these actions are at your finger tips:


Super Greg says:

Sometimes as a DJ U have these ‘golden moments’ when everything seems to flow. You never know when they are going to happen. It’s funny, on this particular occasion I wasn’t thinking about DJing at all, but about a sweet girl I once met at a bus station.



The Helio Sequence

posted by on January 30 at 1:01 PM


Taken by Timwillis. See more live music shots in the Stranger’s Flickr Pool.

Boys Noize Coming to Seattle

posted by on January 30 at 11:30 AM


It’s not listed on Chop Suey’s calendar yet, but it is here: March 14, 2008 @ Chop Suey


Oi Oi Oi

(Boys Noize)


Ever since Justice blew the lid off this rock ‘n’ roll/new-rave clusterfuck, producers have been chomping at the bit to steal their formula. While most of the results have been pretty lame, Boys Noize is, for the most part, a rare exception. Cooked up by Berlin-based producer Alex Ridha, Boys Noize snatches Justice’s most obvious sonic trademarks—gritty bass riffs, overcompression, noisy production—and mixes it with his native country’s way tidier, motorik techno. The end result purges out both genres’ annoying valleys without con- sistently reaching either style’s potential peaks.

The track that best realizes the French/minimal connection on Oi Oi Oi is “Oh!” The song eases up on the ZZ Top distortion, and its bass line sounds like a linear, controlled riff in comparison to Justice’s wandering leads. But aside from the differing riff aesthetic, it’s the drums that really mark this as straight outta Berlin: The shuffle is all Gary Glitter sway ‘n’ stomp. It lacks the syncopation of minimal, but it takes a huge hint from the “schaeffel” timing of producers like Kompakt’s Thomas Fehlmann.

The problem is Boys Noize can’t have it both ways. Ridha can’t ditch minimal’s boring tendencies and still harness the syncopation; he can’t tame the French house bass line and still have the wild energy. So, what he often leaves you with on Oi Oi Oi are tracks that almost hit the sweet spot… right up until the final two tracks. “Frau” and “My Moon My Man” (a remix of the same-titled Feist song) are like companion tracks to “Oh!”—proof that when Ridha actually nails his balancing act, he can beat the French at their own game. BRANDON IVERS

(ht to Division)

Said by a Man on the Bus This Morning About Vinyl Records

posted by on January 30 at 11:10 AM

“Hands down, the best use of fossil fuels.”


Nada Surfing Strings

posted by on January 30 at 10:44 AM

Tonight at the sold out Triple Door, Phil Peterson from Kay Kay and His Weathered Underground will be playing strings with Nada Surf.


Phil also plays on Nada Surf’s new album Lucky, which comes out Feb. 4th. You can stream the entire album here for now. They recorded the album this past March at Robert Lang Studios right here in our own Richmond Beach, WA.

Phil met Nada Surf through the Pretty Parlor. The guys from Nada Surf came to see Kay Kay at the Vera Project, and it was love at first listen.

Phil also can breakdance. He says:

No one really knows I can breakdance. People think string players can’t breakdance. Well, let me tell you, I can breakdance. I will throw a piece of cardboard down on the sidewalk and coin drop an armchair freeze on your ass.

Tonight in Music

posted by on January 30 at 10:00 AM


The Decemberists
(Moore) The other night I was watching a DVD of the Decemberists playing a show in Portland in 2005, although I was only half watching because I was also reading. At the ideal Decemberists concert, you would be able to read during the show. There would be a copy of Moby Dick and a little book light at your seat. It would not be considered rude. The last time I saw live music at the Moore, I left my seat and climbed to the top of the balcony and lay on my back on the concrete behind the very highest row of seats, very close to the ceiling, and felt the 101-year-old building vibrate against my spine. The Moore, Seattle’s preeminent site of opulence in decay, is perfect for the Decemberists’ antique anxieties. CHRISTOPHER FRIZZELLE


Nada Surf, Port O’Brien
(Triple Door) In 1996, Nada Surf released the extremely catchy song “Popular,” which musically explained the “rules” to a successful high-school dating career. “Being attractive is the most important thing there is/If you want to catch the biggest fish in your pond you have to be as attractive as possible/Make sure to keep your hair spotlessly clean/Wash it at least every two weeks/Once, every two weeks.” But interested in being more than an alterna-rock one-hit wonder, Nada Surf plowed through the aftermath of their short-lived MTV-star status (“They’re that one ‘Popular’ band, right?”) and continued to release records that confidently combined wistful and smart pop with warm indie rock. Their new album, Lucky (to be released on Barsuk February 5), doesn’t cover much new territory for the band, but I do very much appreciate the addition of strings in the first single, “See These Bones,” which could sound really dramatic and fantastic when played during tonight’s all-acoustic set. But unless you were quick enough to grab tickets early, you will never know—the show’s sold out. Then again, there’s always Craigslist. MEGAN SELING

Tuesday, January 29, 2008

In Case You Missed This Sad News…

posted by on January 29 at 5:19 PM

“Ben McMillan, singer for Gruntruck and Skin Yard, dead at 46”

The P-I blog Ear Candy has more on the story.


Say Goodbye to Melissa Quayle Tonight at the Cha Cha

posted by on January 29 at 4:20 PM


After almost a decade of working at the Vera Project as a volunteer, a sound engineer, a show manager, and most recently the program director, 26-year-old Melissa Quayle is leaving the all-ages venue to search out bigger opportunities in New York City.

In addition to being a longtime familiar face at Vera, Quayle has also worked at Neumo’s, the War Room, Trinity, El Corazón, and a handful of other Seattle music institutions, and she’s a member of the Tina Turners, Seattle’s premier double Dutch jump-roping team.

“I’ve had a lot of jobs,” says the self-proclaimed workaholic. “I’m glad I’m taking a break. This is the first time I’ve been unemployed in six years!”

Before heading off to the East Coast, Quayle has scheduled some time with friends by taking a short “tour” of sorts down the West Coast. After that, she’s going to really test her workaholic nature by spending one month in Jamaica by herself.

“I’ve never been there, but I wanted to go someplace tropical. I’ve rented a house on the beach. I knew I needed a break before moving and settling in New York; I need to cleanse. I’m pretty sure that’s where a little bit of freaking out will happen.

After that, it’s off to New York, where she doesn’t have any permanent job plans (yet), but she does have a few goals, both long and short term. “I need to expand and figure out what my options are outside Seattle. I need to go explore elsewhere. I really like promoting and developing events, but I also want to get more involved in hiphop and artist management.”

As for her long-term goal, she also has a young pet project that she’s focusing on. “I have a friend who lives in Cape Town, South Africa, and we want to do a cultural exchange through hiphop. Hiphop is becoming a large part of their culture, while they explore what it means for them to be African.

“I think there’s a lot of funding out there, not only from grants but hopefully the music industry and nonprofit industry too. It would be a learning opportunity for a lot of people. That’s the ultimate goal; that’s really the motivation for moving.”

Last weekend she celebrated her all-ages departure with a show at Vera (all the volunteers made cute little buttons with a cartoon Quayle on them to hand out to the crowd in her honor), and this week she’s saying goodbye for good with a party at the Cha Cha featuring DJ Nolan Ryan and (if we’re lucky) one last guerrilla performance by the Tina Turners with Quayle.

“I love Seattle,” she says. “But I also love New York. I go there several times a year, and a lot of my favorite people live there. Vera has been an amazing place to be around, but I want to see what else is out there.”


posted by on January 29 at 3:36 PM

The ever deepening lore and legacy of the Vaselines has led me to an inquiry of the term ‘Proto Grunge.’ I saw the Vaselines Wiki-genre listed as indie rock, twee pop, garage pop, and proto-grunge.


Please define for me the category of proto-prunge.

What bands are proto-grunge?

Linguistically, Proto is used to form the name of the hypothetical ancestor of a family of languages. It’s also used to make words in which it has the meaning ‘first’. Such as “Proto-Indo-European is the ancestor of the Indo-European languages.” classifies these bands as proto-grunge:

Dinosaur Jr, Fecal Matter, Gasoline, Smashing Pumpkins, Critical Dump, the Scientists, the Sonics, and Sonic Youth.

I don’t know, Smashing Pumpkins don’t seem proto to me. Wouldn’t you have to have the Melvins in there? Once again, I present the Proto-Buzzo-Afro:


My Saviours

posted by on January 29 at 2:57 PM


Last week Oakland based metalheads Saviours released “Into Abbadon,” the follow-up to their remarkable debut “Crucifire.” “Into Abbadon” has been playing on repeat for the last couple days, and I feel confident saying now that not only is it the best metal album to come out so far this year, but it’s also better than any metal record that came out in 2007. It is the perfect mix of rollicking riffs and tasteful solos, with a touch of classic ’70s Sabbath and early (read:good) Metallica and Motorhead. You never get the sense that they’re stuck repeating older acts though, as some have complained about their Kemado labelmates the Sword. The sound they have created is undeniably modern and progressive. And as an added bonus the production is flawless. It’s pretty much everything I could hope to hear in a metal album. Here is a video of them tracking in the studio, laying down some sweet riffs.

Saviours will be in Seattle on March 1st at El Corazon. Their record is available now, though I haven’t seen it in any shops yet.

Consensus: Gallows are British, Not Assholes, and the Cancer Bats are Fucking Awesome

posted by on January 29 at 2:25 PM


The Cancer Bats totally stole the show last night at Chop Suey.

The guitarist looked like Tad’s metal-obsessed little brother. He thrashed his long hair around like and animal, he played every single spindly metal guitar noise perfectly, he was so fun to watch. The singer had a mullet/faux hawk, and he called songs “bangers.” “This next banger goes out to Gallows” and “We have two more bangers for ya,” he’d say.

They were loud—almost too loud—and they sounded like a hard rock/hardcore/metal science project with booming, anthemic choruses but they played like a party band. As they danced under blue and green lights, I pictured the stage of Chop Suey looking like their den of wicked experiments, with glass bottles of bubbling liquids and weird things happening to little animals in glass boxes… I wished they were wearing lab coats.

No, I was no on drugs.

Then This is Hell played and I loved them a lot less; I didn’t love them at all. Their 30-minute set was the weirdest thing I’ve seen in a long time and I can’t completely explain why, but let me try anyway. The band was comprised of one guy from every stereotypical music scene—the singer was a hipster, he looked like the Long Island version of Ben Lashes with his black hoodie under a jean jacket. One guitarist was a camouflage-shorts wearing hardcore kid with a blue bandanna wrappped around his buzzed head. He tried to make jokes while the other guitarist changed a string and he failed. I named the bassist Johnny Bluejeans because he was wearing tight, dark blue girl jeans and a tight sleeveless black shirt to show off his “pythons.” I bet he called his biceps pythons. The other guitarist looked like a regular dude in jeans and a t-shirt, and I don’t remember the drummer.

They were typical chugga chugga GROOOOOWWWWLLL hardcore, and they weren’t bad at it, but since that sound has been done since 1980, I’m so fucking bored of hearing it over and over again by new bands. It didn’t feel like a real show for their entire set. The kids in the crowd were weird—I don’t know where they came from, they weren’t there for Cancer Bats’ set. Even the singer kept saying how he didn’t remember Seattle being so weird.

These kids were dressed too well. They would yell weird, inaudible shit at the band, though they were loving it, and while they tried to do the hardcore dances you’ve seen on YouTube videos, they really didn’t know what they were doing. They mostly ran in loose circles and slam danced and fell down. A lot.

The whole scene felt like a set-up. It felt like this band and these kids were all cast to be the background concert for a WB show. Even weirder, the set started with a proposal. I think it was a proposal, anyway. Some dude hopped on stage, grabbed the mic and said something about someone marrying him.


He said it again “Garblegarblegarble marry me?”


Continue reading "Consensus: Gallows are British, Not Assholes, and the Cancer Bats are Fucking Awesome" »

Impressions ‘69

posted by on January 29 at 1:51 PM

Curtis Mayfield and the Impressions are the ultimate early/mid-60s pop soul group. I clued into their elegant teenage pop greatness last year when I picked up their 1964 and ‘65 classic LPs “Keep On Pushing” and “People Get Ready.”

Their falsetto and horn section (and slightly African) pop tunes were graced by an MLK civil rights-era sensibility that give these albums an extra dimension.

So, it’s strange that one of their last albums, 1969’s disappeared “The Young Mods’ Forgotten Story” is—despite a heavy dose of politics on a song called “Spade and Whitey” and despite the over-the-top politics of 1969 in general—is a wonderfully apolitical outing. It’s mostly gorgeous pop masterpieces about pretty girls and love with Mayfield’s perfect voice at the center.


Also weird (and out of sync with ‘69), there’s no psychedelia or guitar rock or experiments. 9 of the 10 songs clock in around 2 minutes. They’re just snippets of soft soul, much like the earlier material, but less contrived—with Mayfield’s falsetto and horn arrangements making the scene. Another song comes in at 3 minutes.

The album goes by too fast. But repeat keeps it on all day, which I highly recommend.

How I Roll

posted by on January 29 at 1:18 PM

#10 The Lab//Jan. 24th//Washington DC

I was so lucky to have Bauhaus in walking distance when I lived in Seattle. Here in suburb of Washington DC, I have to walk 30 minutes round trip to get a cup of okay-tasting Starbucks coffee. That was my morning ritual for 4 days as I came back every night after Richmond, DC, and Baltimore shows.

The Lab is a new all ages space and even sound men volunteer to be there. The ex-church space has good acoustics and is appropriate for my kinda music. My set was laid back, I and audience talked back and forth. It was pretty peaceful.

A guitarist from the last band happened to know me. He plays with Travis Morrison & Hell Fighters and I opened for them once. I guess it makes him a hell fighter.


#11 Charm City Art Space//Jan. 25th//Baltimore

CCAS is an all ages art gallery/performance space located by Baltimore’s premier gay bar Gallery.

That night, I ate at McDonald’s. It was a chicken nuggets meal (that comes with a large coca cola and fries). My tourmates are both vegan and I wanted to be bad that night. Bad like Jessi James.

It was surprisingly good. Pieces of chicken were crisp, fries were crisp, and coca-cola was sensational. You can get all of these pleasure for mere $6.

Thanks for the chicken meal, I could sing louder with even more confidence than usual. I didn’t even need a PA system and sang upstairs with my tiny amp (Fender Champion 600). Everyone played in the basement. It was too cold for me to play the basement..


#12 Green Line Cafe//Jan 26th//Philadelphia

Philadelphia is magic. Every time I visit this city, it just hits me so bad. Philadelphia is deep.

We got into town around 6PM. Daniel (of the Vonneguts) wanted to take a look at this place we were going to stay. That was a 3-story house where 5 people lives. One of them was world famous “Party Steve”. I have never met anyone who parties more than he does. He doesn’t drink, doesn’t do drugs, and has 2 phones (a normal cell phone and party phone). He knows all the cool parties in town or all the cool parties want him so they tell him to come. who knows.

After the visit, we headed to Green Line Cafe. The cafe is small and has drawings by kids on the wall. The crowd was small at first but by the time I played, the house was nicely packed (still 30 people max. capacity..).

Before my set, I went to this pizza stand/deli across the street and had a slice of BBQ pizza and buffalo pizza. Also, red stripes. I watched basket ball games surrounded by 3 black men in 50’s holding 40oz. bottles of Colt 45 and talking about their wives.

When I drink a beer or 2 and play, it turns out good in general. That night was no exception. The audience (80% female) laughed at my songs, at my life, and felt sorry for laughing.

I met 2 Japanese girls, Eri and Naoko. I get excited when I see Japanese kids at my shows outside of Seattle. Later, I went to a house party with Party Steve, Daniel, and Naoko where I saw Jucifer play.

I feel like everything/everyone I dealt with at house parties in Philadelphia was lacking senses of time/colors, etc. Or they have totally new standards I am not familiar with.
A lot of kids were wearing whatever they found on the street or dumpsters. They eat stuff from dumpsters (i.e found cheese pizza) and play weird free folk jam in their living room at 2PM. One guy was dressing in a pair of pink leggings and a bright blue sweatshirt. I could see his balls. Also, I noticed a lot of people has gap-teeth like I do. Their obnoxiously colorful outfit and gap-teeth made them seem like aliens or some kind of wild animals and I felt like I was in another country.

I went to a tiny art space after the Jucifer show. The space was called Bo-Bo’s. As I enter, I saw about 7 people covered in pieces of fabric. They seemed like dresses but they were just pieces of fabric of 2 colors;Lavender and bright orange. The room was full of sage smoke (?) and one girl was lying down on the ground. I thought everyone was on LSD/Shroom but later I found out they were all sober.

This one guy kept saying illogical and pretensiouly spiritual things to me and I felt like he was fucking with me. I noticed his sweatshirt (!!) had a scorpio patch, so I told him I am scorpio asked his sign. He ignored and kept talking about out space, etc. I was bored and picked up a bunch of stuff from the ground. I happened to pick up a knife and flipped open.

“Close it! you need to close it!”

The guy got real serious suddenly, got the knife away from me and threw it away.

I wonder if he though I was gonna stub him. (u___u) no..

When I looked around the room, I notice there’s a futon about 4 feet high and an old guy was sleeping on it. The guru woke up after all the conversation.

“Hey, how are you? Did I wake you up?” I asked nicely.
“Oh, well… I was trying to sleep…but I couldn’t. I wanted to sleep so when I wake up I don’t know where I am.”

I thought that’s weird and told him when I fall asleep, I do because I know where I am and relaxed. And when I wake up, I know where I am.

The guru seemed very uncomfortable because that’s true. He has never forgotten where he felt asleep. Especially, on the stupidly high-up futon.

“Can I come back?” I asked. and everyone except him was “NO!”.

I should have told them not to fuck with a Zen-man but i just made a sad face and turned my back.

“You can come back, I can issue a ticket or something” said the old Guru.
“Really? cool! I wanna come back and wear the dress!”

He posed for a second and whispered

“Oh, I wish I could marry you.”

“Why not? let’s get married, don’t wish, just do. That’s how I roll.”

He seemed sad to see me leave and waved his hand softly.

I got out from the sage-smoke-filled room and all I could think was chicken nuggets meal.


(For more tour dates, go to

Amanda Palmer of the Dresden Dolls with Estradasphere

posted by on January 29 at 1:08 PM


Taken by jessiqua. (The larger, original version—with better detail—can be found here.)

What Is It?

posted by on January 29 at 12:59 PM

It is a comeback for LL Cool J.

In the late 80s, a heap of dumb love/sex songs had made him irrelevant and he desperately needed to come back to the core of things, the source, the purpose of hiphop. But the first line of his comeback track, “Mama Said Knock You Out,” declares: “Don’t call it a comeback!” He tells us not to call it what it is. What he says and what he knows are not united. What we know and what he says are not united. What is unsaid is united: this is a comeback. What is said reveals what it is in reality by stating what it is not. Is this a case of what Run-DMC called: “Bad meaning good/not bad meaning bad”? LL Cool J negates what is true and therefore makes it more true than it actually is? The negation enhances the fact? “Mama Said Knock You Out” has a difficult opening line.

Orgone’s Gone Funky

posted by on January 29 at 12:53 PM

I was originally introduced to North Hollywood’s Orgone by being a huge fan of Danny Krivit and checking out his remix of Orgone’s cover version of “Funky Nassau”. Even though I would say that I’m probably a bigger fan of the original 1974 version released by The Beginning of the End, Orgone’s version does provide it’s own interesting take on the classic track. With a more laid back and funked out approach combined by female vocals, this nine piece group successfully put their imprint funk sound on the song, producing a solid cover song that sits nicely in the mix with their original material. After hearing this track, I checked out their 2007 debut LP The Killion Floor and found that they had a lot more to offer with a collection of well written and produced 70’s funk and latin-disco influenced original cuts, including stand out tracks like “It’s What You Do”, “Hambone”, “Dialed Up”, and another cover, this time of George McCrae’s 1974 classic “I Get Lifted”. Overall, I was very happy to discover this new group that know’s how to truly produce that classic vintage ‘70’s funk sound that makes you want to get on the floor and let loose. If your a fan of artists like Sly & the Family Stone, War, Fela Kuti, and The Beginning of The End, as well as newer groups like Escort, The Million Dollar Orchestra, I would recommend checking out Orgone’s The Killion Floor.

Orgone - Funky Nassau (Danny Krivit Remix)
Orgone - Dialed Up

PS - Check out Orgone Tonight @ Nectar, 8pm, as well as an in studio performance on KEXP today at 3PM

Today’s Music News

posted by on January 29 at 12:52 PM

Gwen & Gavin Pregnant Again: Stefani is supposedly three months pregnant with the couple’s second child.

The Grammys Get Writers: The Writers Guild of America West agreed to let the Grammys proceed with WGA writers. Still probably won’t be funny.

Rivers Cuomo is Writing a Book: It’s about his life, and so far he has EIGHT FUCKING VOLUMES (?!?) “sketched out.”

Operation Jailbreak—Failed: Judge says Foxy Brown won’t be released from jail to get her ailing ears fixed.

Love in Hard Times: David Byrne, Grizzly Bear to be a part of three-day Paul Simon extravaganza in April.

I’d Still Rather Watch the Puppy Bowl: Pepsi will air an ad celebrating 25 years of Thriller during the Superbowl this Sunday.

Rapid Shutdown?: Third-party filesharing services like Rapidshare and Sendspace might be getting shut down for real.

Speaking of Getting Music from the Internet: Qtrax says “We’re not idiots” in response to getting caught without permission to offer major label music for free.

Britney Spears is Barefoot And…: Crying. But at least she’s not pregnant.

And This Just In!: “Emo thrives despite backlash!”

Tonight in Music

posted by on January 29 at 12:16 PM



Liars, No Age, Past Lives
(Showbox at the Market) While Liars and No Age are the obvious draws for tonight’s show, local art-punk aficionados will want to show up early for the debut of Past Lives, the new project from former Blood Brothers Jordan Blilie, Morgan Henderson, Mark Gajadhar, and original guitarist Devin Welch. Further up the bill, L.A. duo No Age return to Seattle on the heels of a breakout year in 2007. The band’s debut, Weirdo Rippers, was a chaotic mix of punk fits and lo-fi drones, but for such an unevenly charged record, it was surprisingly not divisive, landing them a deal with little-known local label Sub Pop, not to mention an impressive spread in that old punk-rock bible the New Yorker. Liars, in 2007, released their (relatively) straightforward fourth album, Liars, which tempered their spacious noisescapes with fried heavy rock, unexpected breakbeats, and even some unsettlingly displaced surf pop. It was a good year for them, too. ERIC GRANDY

The New Gnarls Barkley…

posted by on January 29 at 11:01 AM

Sounds like the Go! Team (no, not the Calvin Johnson/Tobi Vail one…it’s never that one). Hear for yourself here.

Update: That link’s down, but you’re all savvy internet favs; go find it elsewhere.

The Breakfast Taco - Go-Getter Edition

posted by on January 29 at 10:19 AM

Mmmmm... bacon

This particular pre-SXSW breakfast taco should be eaten in a stolen car—one with a cell phone left in its passenger seat, which Zooey Deschanel calls to identify her car’s thief, only to endear herself to said thief and fall in love. Conveniently, that’s the plot of last year’s festival-only The Go-Getter, a coming-of-age flick that, at the very least, sticks Deschanel (Elf, Almost Famous) in the role of quite possibly the most likeable character of all time. Unless, of course, you don’t fantasize about stealing a cute girl’s car and having her call you over and over until she eventually makes out with you. Bonus: check out that hat.

Mmmmm... Zooey

The soundtrack to The Go-Getter was solid as well—helps that it was written and recorded entirely by M. Ward—and, as many an outlet reported last year, the M and the Z bonded thanks to the film. The fruits of their musical friendship will see release in March on Merge Records under the moniker She & Him. This, as many an outlet joked last year, should soon lead to a singing starlet showdown between Deschanel and Scarlett Johansson.

Back to the “taco” part…here’s a SXSW rule of thumb: March album release + Merge Records = showcase appearance, and sure enough, their set at this year’s fest was confirmed yesterday. But will the She & Him concert be good for reasons beyond my Deschanel crush? In trying to figure this out, I did some Googling, and between hundreds of photos, I stumbled upon this convenient MP3ization of the duo’s live appearance earlier this month on KCRW’s Open Road program.

Truth be told, she comes off a little flat in her leading role in most of these songs, but you can’t deny the duet on that linked site, “Magic Trick.” Songs like that, and cute cowboy hats, should result in a pretty good showcase, and since M. Ward generally has his pick of the roots/country spectrum’s best performers and singers in guest spots on his records, I can’t help but trust the guy. Too bad about as many people will get into the showcase as have seen the freakin’ Go-Getter, thanks to SXSW’s propensity to put big sets in undersized rooms. My prediction? She & Him will wind up booked at Austin’s criminally tiny Momo’s, a not-quite-venue where I’ve had to push and shove in years past to see breakout sets by Broken Social Scene, Midlake, Holy Fuck, and many, many more. Mark my words—my SXSW soothsaying is impeccable. See you at Momo’s!

Monday, January 28, 2008

One Shot

posted by on January 28 at 3:50 PM

The wordy new video for the Mountain Goats’ “Sax Rohmer #1” (from the forthcoming Heretic Pride) comes from a fine tradition of clever, cinematographically acrobatic single shot videos. Here is “Sax Rohmer #1”:

Here are a couple of its notable precedents (the first of which will require muting):

(ht: stereogum)

Tonight in Music (The “Are Gallows Assholes?” Edition)

posted by on January 28 at 2:13 PM


Gallows, This Is Hell, Cancer Bats, Vultures United
(Chop Suey) The opening words to Gallows’ new record, Orchestra of Wolves, are “Kill the rhythm! Smash the beat! We’re gonna party till we’re dead on our feet!” and holy shit they fucking mean it. The aural onslaught that ensues thereafter is not hardcore or metal, but really just two-, three-, and four-minute blasts of aggression, Frank Carter’s throat-damaging vocals, and guitar parts that want to be AC/DC and Converge at the same time. Anthemic breakdowns like “We’re not the same!” will keep the kids in front chanting and happy, but the older dudes will still get cozy in the mosh pit, especially during their cover of Black Flag’s “Nervous Breakdown” in which Gallows take a break from their dark side to give it a pretty straightforward, only slightly modernized (in that it’s better produced than Black Flag ever was) blistering treatment. MEGAN SELING

Update: Upon further inspection of Gallows’ lyrics, I’m trying to decide where they stand (and where I stand on them). The title track on their latest record, “Orchestra of Wolves” could be interpreted as an anti-date rape song. Or they could just be douchebags. I can’t tell.

If I offer to buy you a drink
Trust me when i say it’s non-alcoholic
You’re no good to me if you can’t even speak
I don’t want you passing out
I want you sucking my dick
If I offer to buy you a drink
Trust me when I say it’s non-alcoholic
I want you to wake up and remember my name
When you’re washing my cum off your fucking face

But they supposedly put on a killer show. And the Cancer Bats are opening, and I’ve only heard a couple of their head-banging party anthems, but they’re great. And they’re Canadian. So I’m still going to tonight’s show… I probably just won’t sing along.

And if I get a chance, I’ll ask Gallows if they’re assholes. Because I’m curious.

Trippin on a Soul Cloud

posted by on January 28 at 12:54 PM

This weekend while digging through crates and crates of records at a number of local record stores, I found a copy of Biddu Orchestra’s 1976 Rain Forrest LP. Biddu Orchestra is a project put together by Indian-British producer Biddu Appaiah. I’ve heard his name thrown around as to producing some great disco tracks, so I thought I would give the album a listen and to much delight, I instantly fell in love with this LP. The album has an overall European disco feel to it, sounding much like something produced from Alec R. Costandinos or Cerrone, with my favorite cuts being “Rock Me With Your Love”, “Trippin on a Soul Cloud” and “Chic-Chica-Chic-Chica-Chic”. Overall it was a nice find, that I highly recommend hunting down especially if your into that more European/French disco sound. It’s safe to say that I’m definitely looking forward to tracking down more Biddu Orchestra releases.

Biddu Orchestra - Rock Me With Your Love
Biddu Orchestra - Trippin on a Soul Cloud

Today’s Music News

posted by on January 28 at 12:49 PM

David Yow Goes to the Hospital: The former Jesus Lizard singer had a collapsed lung, but is expected to make a full recovery.

Led Zeppelin Reunion Tour May Happen: Says Jimmy Page.

Good News for Happy Shiny People: Modest Mouse will open for REM. There’s no Seattle date, but the tour will hit Vancouver on May 23.

Music Television: Neko Case appears on Adult Swim, and Homer Simpson invents grunge music.

Oops: Free music service QTrax claimed to be embraced by the music industry, but is forced to shut down anyway.

The New Kids on the Block: Reunited.

The Great Debate: Sagging

posted by on January 28 at 12:48 PM


Got nothing to do today but sit around and watch daytime television… like you do every day? Well today is an extra special day for the Dr. Phil show. Instead of interrogating a 12 year old on national television about molesting his sister, or badgering a couple about their spending habits, today Dr. Phil welcomes the Ying Yang Twins for a debate on pants sagging. No foolsies. On the other side of the debate are founders of the Hip-Hop Government organization, Rev. Al Sharpton and Dallas Deputy Pro Tem Mayor Dwaine Caraway. Yeah, that’s a fair fight, Al Sharpton versus the guys who got famous for whispering “Wait’ll you see my dick.” I can already hear the Twins’ plea: “You see, when you’re trying to beat that pussy up, it helps if your pants are already almost off.”

Channel 5, 3:00pm.

DJ Mullet

posted by on January 28 at 12:10 PM

mulletclose.jpgToday in snowday dick-tie’s -

We have DJ Mullet.

DJ Mullet spins rock hits, rap hits, and hits that aren’t even hits. The fattest of beats are backdropped and scratched. DJ Mullet has a full on Camero Skynrd-Hawk mullet. He ain’t fakin. Just standing within this guy’s vicinity heightens your testosterone level. See – 9/19/06 Drunk of the Week.

The back of Quinn’s has a two level room for parties and private gatherings with high ceilings, indirect lighting, and a sleek sofa loft-lounge overlooking the bar. (Quinn’s serves a wild boar sloppy joe. Has anyone tried it? Stranger review.)


I wondered by the DJ table and Mullet’s tie was paisley. With headphones shouldered to one ear, he eyed me, and put on Hall and Oates “I Can’t Go for That (No Can Do)”. Then he popped, snapped his fingers, and his tie magically turned into a cock. I did the Macarena and could not help it.


That’s My People

posted by on January 28 at 11:27 AM

Banished from this 1998 video for NTM’s hit “That’s My People” are dancing/sexy women. The video has no sex in it. It is not selling sex, or the erotic bubbles of a good time, or the Amazonian pleasures of rump shaking. The video is about the stern (severe, spiritual, refined) realm of the b-boy. A pack of French b-boy’s roam the empty spaces of the underground and the night streets of Paris. What is on their mind is not their money; nor is money on their mind. Their mind is on the city (in the way the city is on the mind of a flâneur), their rhymes, their art, their political struggles with the forces of the law and the global market system. The b-boy’s mood in its most ideal condition is cold and sexless. The fall of the b-boy begins when LL Cool J declares he needs love.

New Someone Still Loves You Boris Yeltsin MP3

posted by on January 28 at 10:32 AM

The band’s new record, Pershing, won’t be out until April 8, but you can get an early peak with the song “Glue Girls,” available for your listening pleasure here.

J. Tillman

posted by on January 28 at 9:34 AM


Taken and contributed to the Stranger’s Flickr Pool by sarah joann murphy.

Sunday, January 27, 2008

King Cobra’s Soft Opening

posted by on January 27 at 3:10 PM


On the second night of King Cobra’s “soft opening,” the new club—opened by the former Kincora crew in the space just vacated by Sugar—is still clearly a work in progress (the club is open for business, but won’t have it’s grand opening until March).

In the black-lit entry way, the woman working the door has a hard time adjusting to the dim light. “It’s so dark in here,” she says, angling my ID to get a better look at the birthdate beneath the glowing green state seals. “What does that say, ’80?”

Inside, the club’s LED lights have been switched from cold purple and blue to warm red and yellow, reflecting off the club’s mirrors and the still-white surfaces. (A friend overheard two employees talking about the color scheme, trying to find a no-green, all-red setting for the lights). A roll-down garage-style door blocks off what used to be Sugar’s dance floor. The brick wall behind the bar has been painted over with a mural of a gothic city skyline, industrial silhouettes studded with the odd skull or “rock’n’roll” banner and looked over by a towering red robot. The robot is pretty cool.

Upstairs, vintage vinyl records—Blondie, Judas Priest—have been centered on the circular mirrors on the black ceiling. There’s a black semi-sphere in one corner that may or may not still conceal a security camera. There’s a mix of non-descript black-upholstered bar stools and Sugar’s mod white plastic high chairs.

A friend describes it as looking like “the cool club you see in the movies—the hip, kind of dangerous club.” The aesthetic confusion—Sugar’s neon modernist décor being gradually overrun with Kincora’s black leather jacket vibe—seems a little like the seedy video arcade from the movies, loitering “bad” kids lit up by colored lights and screens.

A DJ table is set up in the upstairs’ southern corner, and there’s PA speakers standing on tripods. The DJs are playing rock records (at one point, Bobcat came by a friend’s table and asked, “Are you ready for some fucking metal tonight?”). Slats is there.

My friend Lee reports that Friday night’s opening party (I couldn’t make it) was a good turnout and that the food was especially good (“the chicken satay wasn’t just chicken with yellow food dye and peanut sauce, it was really authentic”).

Looking down from the balcony, the dance floor is dark, there’s plywood on the floor and a drum kit set up on the black stage. It’s a big space with a good layout. It should be a good spot to see a show. It will also be interesting to see how it fills up. Lee thinks attendance won’t be a problem because “’rockers’ are more willing to leave their neighborhoods than ‘hipsters’,” suggesting that King Cobra will become a destination for such folks from all over the city rather than just another bar in some insular Capitol Hill circuit.

We’ll see. It is a big space, in a very competitive nightlife scene, and they’re gonna have to fight hard to book bands and DJs that can fill the place up, unless they can afford to leave those garage doors down some nights. Also a little troubling: Despite press releases trumpeting the diversity of the music they plan to book (“everything from hiphop to punk, metal, alt-county, comedy, and even DJs”), all signs last night—the records on the ceiling, the banner in the mural, the metal-head DJs—pointed to a pretty narrowly focused vision.

Still, for tonight, the upstairs tables are all full by 11pm, and the downstairs—blacked-out dance floor excluded—is filling up too. It’s a good scene, and King Cobra’s crew should be pleased.

(I forget to ask if they serve the malt liquor of the same name—next time.)

Funeral For a Friend

posted by on January 27 at 3:07 AM

Tonight was the “funeral” for a house of many parties, the Holy Land. It was truly an honorable farewell. These kids know how to keep a dance floor moving; how to cram a grip of people into a cozy central district home. Consolations, congratulations, and farewell, for now.