This Party Never Happened
posted by March 1 at 10:37 PMon
posted by March 1 at 10:37 PMon
posted by March 1 at 9:30 PMon
Last night’s Pharmacy CD release show at Healthy Times Fun Club felt like a grandiose event, as opposed to a small concert held in a grungy warehouse space. Because of the popularity of the bands and high attendance projection, the Fun Clubbers used paper tickets for entry to the show in hopes of keeping things from overflowing. I hadn’t been to a Pharmacy show in a long time, but easily recognized the throng of loving high schoolers who flock to all of their shows. Local wunderkind, Ben Funkhouser and his posse were there, and dressed to the nines. He wore the anticipation on his face from ear to ear as he told me about how the show was like a holiday for him. He told me about how he’d been at the last two Pharmacy release shows, and would most definitely be at their next. Every time I see that kid I wish a little bit of his enthusiasm would rub off of him and jump in to me.
Anyways, it wasn’t too long after I got there that The Flexx took to starting their mess of a set. If there’s one thing you can say about these dudes, it’s that they always give it their all. Last night was no different. While they may have been at a disadvantage, being the first band to play a show always sucks, they still managed to get some kids moving that seemed to be holding back some energy for the ape shit storm that would inevitably be The Pharmacy’s set.
Next up was Talbot Tagora. Chris Ando and Mark Greshowak have been making music together for quite some time. Through name and line-up changes over the years, I think they have founded something special with what they’re doing now, because they are a band that is very hard to pin-point their specific sound. Nothing about their songs is straight forward as they spiral in and out of hypnotizing guitar drone and explosive rock out sessions. Just when you start to get comfortable in your seat, they rip you out of it and spit on your face. My friends, last night the saliva was flying! The band craftily built the intensity of their set, bringing it to a peak with drummer Ani Ricci’s rolling intro to the song “Morning Secrets”. Between Ando repeating “I was wondering, where you’re going”, the guitars buzzing all over each other, and calm and collected Ricci, who glides over her drumset, rather than pounding on it, the song definitely stood out from the rest. Talbot Tagora get better every time I see them. Coming from a band that’s comprised of kids in their late teens and early twenties, I’d say that’s pretty telling about the big things that might be in store for them. If you’re going to The Stranger’s Young Ones (which should have been all ages) you should consider their set a must see.
Okay, okay. So I didn’t get to stay for the rest of the show. I missed The Pleaureboaters. I missed The Pharmacy. But! I did buy “Choose Yr Own Adventure”, their new album, and on first glance, it looks beautiful! The art, the record, everything, it’s awesome looking. I’ll have to listen to it a little bit more, and get back to you, but what I’ve listened to is so far, so good. Just having listened to it once through, I would suggest a song that I can see being in video games or movies someday, “Little Toys On A Shelf”. If you were there last night, do you have any cool stories or memories to share about the later sets of the night? Did you get punched in the face? Chip a tooth on a microphone? God, I wish I could have stayed!
posted by March 1 at 5:33 PMon
While walking to and from the nearby Safeway on Roosevelt and 75th (you know, the one that RIAA works at), I couldn’t help but notice a band practicing in the auto shop just across the street on Roosevelt. When I think “band” and “auto shop,” I think either ZZ Top covers or that 90210 spin-off TV series The Heights, but this group skewed younger and artier. From what I saw through the big window, either this was a two-piece with the guitarist working some loops on pedals, or a third guy was tinkering with synthesizers behind a stack of mufflers. Either way, from the outside, all I could hear was a basic 4/4 drumbeat and the sounds of an orca wailing over it. The girlfriend wanted me to run back over and interview ‘em (she, the thoughtful one, even made me a sign that said “I’m With The Stranger, Can We Talk?”). I voted against such an interruption, assuming the chat would go like this:
“Why are you practicing here?”
“I work here [OR] This is my dad’s/uncle’s shop.”
“We’re on MySpace.”
Anyway, if you’re that band, you should play in the auto shop on a daily basis. Makes the Fontina cheese run that much more interesting.
posted by March 1 at 3:37 PMon
Stoners, as a people, are not generally known for innovation. Their behavior is habitual, often highly derivative of what other stoners have been doing for decades. Stoner rock has generally followed down the same path - re-imagining the highlights of what previous stoner rock bands have already discovered. Occasionally, a band is able to pick and choose all the right pieces from the music of their past to create a final product that surpasses its origins: it seems Saviours have achieved this in only their second album. Into Abaddon may not be particularly innovative, but it is a remarkable amalgamation of everything great its genre has put forth since its inception. They have looked omnisciently at the intersection between classic rock and metal and chosen all the best bits.
There are obvious bands that Saviours will draw comparisons to: Black Sabbath, early Metallica, Motorhead. These bands create a familiar base for what the band is attempting, but none of them are all encompassing. Saviours have succeeded where most similar bands fail, figuring out how to properly represent their influences without sacrificing originality. Their songwriting shows impeccable taste in their choices of riffs, solos, and breakdowns. Nothing is out of place. The crowning moment, “Firewake Angel,” is a thousand page epic quest unfurled in six short minutes, with a lead guitar line that tells a better story than any narrative could.
A friend asked what Into Abaddon sounded like, and I told him it was like riding your trusty steed into the evil fortress. When I purchased the LP the next day I was elated to find that the illustration inside the gatefold was of the band members, in full armor, riding their horses into a castle of skulls. Saviours are doing everything I could hope from a rock band. Into Abaddon is a soundtrack to all my stoned fantasies.
Tonight @ El Corazon, with Fu Manchu and ASG. 9:00. $15.
posted by March 1 at 3:00 PMon
posted by March 1 at 11:00 AMon
posted by March 1 at 9:00 AMon
Feral Children, Holy Ghost Revival, the Pharmacy
(Music) Two shows in one night—you can do it, old man. First, at the High Dive, Feral Children and Holy Ghost Revival play early sets for live broadcast on KEXP’s Audioasis. Go and thrash to Feral Children’s strident noise—it sounds like Isaac Brock’s angsty little brother—then follow Holy Ghost’s glam-rock revival to the Comet where they’ll perform again to help the Pharmacy celebrate the release of their new album. (High Dive, 513 N 36th St, 632-0212. 6 pm, $7, 21+; Comet Tavern, 922 E Pike St, 323-9853. 9 pm, $6, 21+.) Megan Seling
Sound Off! Finals: the Nextdoor Neighbors, New Faces, Man Down Medic
(EMP Sky Church) For the past three Saturdays, underage bands have played before a panel of judges, being scored in categories like how innovative their sound is and how competent their playing is. The band with the highest score each night has advanced to tonight’s Sound Off! finals to compete for a grand prize that includes a gig at Bumbershoot and a bunch of free shit like guitars and studio time. Tonight’s the night the month-long battle comes to an end. The Nextdoor Neighbors, a cute and simple pop act made up of two girls from Olympia; New Faces, a lush and gentle pop-rock outfit; and Man Down Medic will face the judges one last time, playing the best 45-minute set they can muster. When it’s all over, one band will join the ranks of past Sound Off! champs like Mon Frere and the Lonely Forest. Of course, losing isn’t so bad, either—past losers include Idiot Pilot and Schoolyard Heroes, and they’re doing okay for themselves. MEGAN SELING
Photo by Kyle Johnson
Also tonight, the first of March, there are a few shows featuring bands from the local label Don’t Stop Believin’, which I profiled in this week’s paper. Megan Birdsall, the woman who runs the label (and who’s pictured above), is a genuine fan of music who’s putting out some really great albums. The new Pharmacy record, Choose Your Own Adventure, is on DSB, as is the Pleasureboaters’ debut, and stuff from Yes, Oh Yes, Team Gina, and the Terrordactyls. I’m a big fan of the work she’s done.
Tonight, the Pharmacy celebrate the release of their new album at the Comet with Holy Ghost Revival, Wild Orchid Children, and Das Llamas (see above). At the Vera Project tonight, Team Gina plays with the Trucks and Scream Club. And finally, DSB’s newest addition Tacocat are playing at the Wildrose with Forever.
Don’t Stop Believin’ is taking over the city. Click here to read all about it.
posted by March 1 at 2:52 AMon
The show ended just hours ago and I’m exhausted. My ears are still ringing, this headcold I’ve caught is quickly getting worse, and I can’t sleep—the only thing keeping me sane is the happiness I experienced earlier this evening at Healthy Times Fun Club for the Pharmacy’s CD release show with Pleasureboaters, Talbot Tagora, and the Flexx.
Goddamn, that was a fantastic show—the best I’ve been to in a long while. A review will be up later, after I sleep, along with tons of awesome photos (speaking of, if you went, don’t forget to upload your own shots into the Stranger Flickr Pool).
For now, though, here are a couple videos that don’t sound perfect, but do show what an awesome time was had during Pleasureboaters and the Pharmacy’s set. There’s crowd surfing, group sing-a-longs, lots of kids dancing, drumset deconstruction, and more craziness—watch to see.
The Pharmacy play again Saturday night at the Comet with Holy Ghost Revival, Wild Orchid Children, and Das Llamas.
posted by February 29 at 7:18 PMon
This is the first installment of the Fleet Foxes tour diary, which will be appearing here on Line Out a few times a week while the new Sub Pop signees take their first jaunt across the country. All words belong to the band (Even the ed notes), and sadly there are not photos this time around, but hopefully there will be some in the future. Be sure to check back for more of their adventures.
Hello friends, my name’s Robin Pecknold and I am writing this tour missive from inside our giant white touring van, somewhere on the road between San Francisco and Los Angeles, it’s hot as Hades, and I’m gonna fill you in on all we’ve been up to for the past few days on this inaugural tour of ours. Huzzah!
We’ve been gone since Tuesday afternoon, but we’ve only played one show so far - at the Bottom of the Hill in San Francisco last night. We got a late start on the drive - we were going to leave on Monday, but that was the day that our EP came back from the manufacturers and the shirts came back from Luckyhorse, in addition to the million other things you apparently have to do to get ready to be homeless for two months - and yet I still forgot a toothbrush. Oh well. So we bade our loved ones farewell on Tuesday, crammed all of our stuff into the van in a game of ur-Tetris, and started the long hard slog to San Francisco.
I can’t describe how beautiful the drives have been. It’s such a freeing feeling being out in the open country, there’s even still some feeling of discovery when happening upon [There is a big yellow plane cropdusting out the left window right now - ed.] weird hills or fields full of cows or reaching the top of a pass, California feels so monumentally huge and we’re only even seeing the thin sliver surrounding the Interstates!!!! So much out there to see and it’s all so beautiful. At sunset on the first day of driving, I was laying on the back bench, looking out the opposite window, listening to this great band I found at Wall of Sound called Habibiyya, and the substance of the scenery (some mountain range far in the distance behind a wide grass plain) congealed with the music and it felt like we were in Morocco or the Serengeti, a completely transportive effect that’s one of the things that’s so great about music. I love that it can take you places like a good book can.
Anyway, so we stopped in Redding and met up with the fellows from Grand Archives who have this favorite lodge they dig staying in, that has this crazy anomalous bar - it’s just your typical travel motel type place but the bar is like the old Cha Cha or something, “Ventura Highway” by America was playing on the stereo. I always feel like I’m being used when I sing along to the “alligator lizards in the air” line. That line is egregious and as soon as I’m done singing along I just feel dirty, like they’ve manipulated me into acts I’m not comfortable with. We’ll be playing with GrarChives tonight in LA and tomorrow night in San Diego, I’m really looking forward to it as they are all the sweetest, and the more hometown feelings around the better.
Once we came into San Francisco (after more blockbuster high budget scenery along the way and then seeing the incredible city itself) we went into do this thing called Daytrotter, where they record you playing songs all live together and then put it on their very nice and well art directed and curated website. I’ve listened to a few of these in my day and they always sound awesome, but our entire band experience at the moment to be almost cinematic in it’s strangeness that it was tough for me to “get into the moment” while we were playing the songs, it didn’t help that it was the first time we’d played music on the tour and we were definitely rusty from a lack of practice before leaving…. still, the Daytrotter dudes were the sweetest most awesome guys ever and seemed to feel ok about how we did. They gave us a nice gift bag and we headed to our hotel (again saying hello to our Grand Archives companions) to ruminate on the strangeness of being asked to participate in things that have always felt like objects from another world. San Francisco bros came down and hung out for a while and we checked our pages [less nerdy terminology for “surfing the internet” - ed.]. The bathroom at the hotel was the size of my girlfriends’ apartment.
Yesterday we woke up and headed to Haight Ashbury to pay our respects to the lost dreams of the past and to browse the vaguely hippie related souvenir shops. We were in the neighborhood to film this thing for a site called La Blogotheque where they film a band in a strange spot playing songs - bros Throw Me the Statue and Tiny Vipers have imbibed in the past. When we were scouting for a location, I was wandering around the neighborhood and found this crazy old fairly dilapidated gymnasium. The doors were unlocked and inside, all the lights were out, it seemed half abandoned, and the main light source was a couple broken windows that were sending shafts of light onto the middle of this gigantic basketball court. It was crazy serendipity, the echo in the building was incredible, I can’t guarantee we performed ok but it will at least look and sound cool. That was another surreal Alice in Wonderland moment, through the fuckin rabbit hole into this weird world of internet music insider-land that we never in a million years thought we’d be a part of. Weird weird times, friends.
posted by February 29 at 5:24 PMon
…and there were hundreds of people there and Book of Black Earth and 3 Inches of Blood were both awesome and fun (Toxic Holocaust not so much—repetitive thrash doesn’t do much for me).
The Shirley Temple and Roy Rogers I had had the perfect ratio of soda to grenadine (next time just remember to throw a cherry or two in there, bartender) and the sound was really, really loud, but super clear. It sounded good from everywhere I stood during the evening—upstairs, downstairs, in front, in back.
Also, I love that you can see the stage from anywhere you stand along the balcony rail, even if you’re stuck behind a couple people. There are no hanging monitors that block the view, no poles or walls. There are plenty of great sightlines on the floor too. The main bar is downstairs and it can get a little crowded there with those weird booths from the future being right in the way of where the lines form, but there’s another bar upstairs to keep lines at a minimum. And thankfully, all the dark edges of most steps are well-lit or lined with a strip of neon so you don’t fall, unlike that fucking step in Chop Suey that has made me look stupid more than once.
One thing that’s weird: The stairs are carpeted. While it feels good to have that padding on the feet after standing for a couple hours, at the same time you just know that carpet is going to be the grossest thing in the city in less than a month.
As for the bands who played, Book of Black Earth were evil—demonic vocals growling over keyboards scarier than the Haunted Mansion at Disneyland (you know, when I was a kid and thought that it was still pretty scary). Joe, the dummer, kept spitting in the air while banging out the spine of their thrash metal anthems. Between songs he’d reach out and catch the wad of saliva in his hand. It was so gross but weirdly mesmerizing. My boyfriend maintains that he spit so high at one point, that it stuck to the ceiling that was no less than 15 feet above his head. I don’t believe it.
Having not seen them since Bumbershoot 2006, I had forgotten how much fun 3 Inches of Blood are to watch. They’re totally captivating—plenty of headbanging, lots of possessed yarling backing up the main falsetto metal vocals. It’s fantasy metal at it’s finest with songs about robots from the future named Wykydtron, and murdering metal naysayers. Dudes in the crowd were going nuts—spirit fingers during guitar solos, raising the goblet of rock during breakdowns, TONS of air guitar. It’s been a while since I had that much fun watching a crowd at a rock show.
King Cobra’s Grand Opening weekend continues through Sunday. Tonight is Neutralboy, Android Hero, Rain City Shwillers, and Bucklin. Emeralds, Neon Nights, and the Valkyries (heard on this week’s Setlist!) play tomorrow. And it all wraps up Sunday with Visqueen and Quadrillion.
They have shows with the Abodox, Thee Sgt. Major III (who I fell in like with at the first weekly Sunday Bloody Sunset), Patrol, Iceage Cobra, the Whore Moans, the Pharmacy, and the Pleasureboaters coming up too. You can get all the info you need at the club’s MySpace.
Welcome to the Hill, King Cobra. Just don’t forget my cherry next time.
posted by February 29 at 4:37 PMon
Like get right now, when it decided to start singing “Pickin’ Boogers” for no reason at all.
“Go up your nose and pick a winner!”
Ah Biz, you have some gems.
posted by February 29 at 4:19 PMon
This uncelebrated special day we only have once every four years? This day that’s not usually on the calendar? Which means, in a sense, it doesn’t exist? Which means, whatever you do today/tonight, in a sense, never really happened? It kinda makes you feel like you can do anything, including anything you might not normally get away with, doesn’t it?
I just learned from Wikipedia that today is also called bissextile day. To celebrate, I’m going to put on my “FAGGOT” tie, go to Comeback tonight, and lose my shit.
posted by February 29 at 3:51 PMon
Mahjongg at Vera Project
Mahjongg shows are a glorious mess—on the band’s last visit to Seattle, they crowded the Rendezvous’s small stage with spray-painted computer towers and television monitors—and their music is every bit as bizarre, a chaotic mix of dance punk, electro funk, Afro pop, and militaristic noise. Their latest album, Kontpab, captures the energetic mayhem, cryptic patterns, and tense movements of their live shows. Calvin Johnson and So Many Dynamos open. (Vera Project, Seattle Center, 956-8372. 7:30 pm, $8, all ages.)
by Eric Grandy
Sole, Telephone Jim Jesus, No-Fi Soul Rebellion
(Nectar) From the more confounding corners of Anticon’s post-hiphop, freak-folk universe comes Sole and the Skyrider Band. Sole (born Tim Holland) began as a NY-centric, would-be battle rapper, releasing a debut called Mad Skillz and Unpaid Billz at age 16. In 1998, he founded the Anticon label along with Pedestrian and stopped spelling his plurals with z’s. Recently, Holland has fleshed out Sole’s solo productions with a live band, assembled by drummer/producer Bud Berning, aka Skyrider. On Sole and the Skyrider Band, Holland’s breathless rants are backed by Balkan brass disappearing into dub echoes, live drumming mixed with record scratches and warped samples, and electric guitars trading melodies with violins. At its most bombastic, the album flirts with rap-rock cliché, but Sole’s brooding is too densely abstract and Skyrider Band’s tracks too finessed to fall into that trap. ERIC GRANDY
Sly Lothario, Library Science
(ToST) Let’s begin by pointing out that the second album by the local band Library Science, The Chancellor (2007), is far superior to their first, High Life Honey (2004). Why is this the case? The first, which is not terrible, lacks the confidence and fullness of sound that is found on every track of the second effort. The Chancellor is a bold record; the timidity on High Life Honey is here completely expunged and we get a record that has an indie-rock sensibility that’s not hindered or worried but extravagantly expressed by the dub. Now, every dub is ground in one of the two founders of the form: Lee “Scratch” Perry or King Tubby. Alter Echo, a dub producer based in Portland, has, for example, his ground in King Tubby, which is a more technical approach. Library Science’s dub has its base in Lee “Scratch” Perry, which is a more experimental approach. No instrument or sound or mood is a foreigner to Library Science’s experiments. They will test anything in the dub, and on The Chancellor these tests frequently have spectacular results. CHARLES MUDEDE
Another reason to go to Option #1: So Many Dynamos are opening.
Their music is like Q and Not U with Midwest roots. They’re full of angst, but they’re not aggressive. They’re a dance band with heavy synth, but they’re ultimately a rock band. They’ve got catchy choruses that beg to be sung in unison by a huge crowd. The singer has thick-rimmed glasses, sings about girls and science, but somehow doesn’t come off like a complete nerd. And their name, if you didn’t already know, is a palindrome. (And you thought TacocaT was impressive.)
This is happening too:
posted by February 29 at 3:31 PMon
WFMU, the realest (coolest, awesomest, sweetest, tightest) radio station in the country, is doing their annual fund-drive right now. They only have one a year because they are fucking REAL, hear me?
Anyhow, part of their fund-drive tradition is an in-studio performance from Yo La Tengo, but not just any in-studio—Yo La is taking requests:
We’ve been blessed with the annual ritual since 1996: each WFMU marathon our good New Jersey neighbors (give or take a New Yorker or two) Yo La Tengo have graciously dragged their gear down to our studios and helped us raise cash by attempting to play requested covers for real live pledgers. Any request. Were they ever afraid of falling on their faces by not knowing the chords to “Rock the Boat” or “You Ain’t Seen Nothing Yet”? Hell no.
I think Line Out should choose a song to submit. Since I was planning to pledge anyway, I’ll just act as your superdelegate.
Which song should Yo La Tengo play for Line Out?
Of course, feel free to throw superior suggestions in the comments. Poll closes Sunday at 5, when the show starts.
UPDATE: I added Justin Timberlake’s “My Love” to the poll because I decided I would really like them to play that.
posted by February 29 at 3:29 PMon
Phantom Slasher - Blow Me Slow 12”
This week I want to recommend checking out Phantom Slasher’s new 12” re-edit single Blow Me Slow. Over the past few year’s, Phantom Slasher, who are better know as Dan Tyler and Conrad McDonnell of the Idjut Boys, have released many great records including 2006 ground breaking release Gruble. This new 12” single see’s these two new school disconauts take on and rearrange Hot R.S.’s 1977 Slow Blow and Barrabas’s 1972 loft classic, Woman. This often, tongue-and-cheek aliase, tends to have fun with rearranging the track titles, as they do here with “Blow Me Slow”, followed by “Woman”. Both are exceptional re-edits that can work nicely together in a mix with other nicely ‘mangled’ disco cuts. I also find that most of Phantom Slasher’s records, as do all the Noid Recordings are generally limited and move very fast, so if you enjoy Phantom Slasher edits as much as I do, I would recommend picking up this 12” very quickly. Overall, it’s another nice addition to the amazing Noid collection.
posted by February 29 at 3:20 PMon
Setlist is back after a couple weeks of vacation! We’ve missed you, I hope you’ve missed us.
This weekend is absolutely nuts-o for live shows, and Ari Spool and I highlight some of the very best via song. Here’s the playlist:
The Hands “Lies Lies Lies”
Wormwood “The Endless Search for Food”
Grand Hallway “Napoleon’s Left Show”
Tv. Coahran “Kite Flyers”
The Valkyries “Scream for More”
Feral Children “Baby Joseph Stalin”
Awesome “Are You Aware”
Coco Coca “Continents and Oceans”
We also talk King Cobra’s Grand Opening weekend, Wormwood breaking up, the Tv. Coahran’s new record, and the upcoming Music Directory/Young Ones extravaganza!
It’s free! It’ll stream straight to your computer, so you don’t need to download anything fancy or weird. All you have to do is click, sit back, and enjoy. You can even keep doing other stuff while you listen, like fill out TPS reports or something.
posted by February 29 at 3:16 PMon
There are tales in rock lore so brilliantly absurd that I’m willing to accept them as fact despite their improbability—life is simply more rich and interesting when they are regarded as true.
Case in point: an acquaintance of mine had a great story about going to see Ted Nugent back in the ‘80s. The night started with a curtain drawn across the stage. Suddenly, the house lights dimmed and the sound of the Nuge’s blistering guitar leads blared out of the PA. The crowd erupted into applause. The curtains pulled back and the Nuge ran out from behind the enormous drum riser, still demonstrating his extensive fret board awareness while the rest of the band prepared to kick in on the downbeat of the first song (I hope it was “Wang Dang Sweet Poontang”). At the crucial moment, he leapt from the drum riser and attempted a flip that, ideally, would plant him center stage right on the first chord. Instead, the Nuge miscalculated his trajectory and landed with an amplified crunch in a crumpled heap, both legs broken. The curtains quickly drew back and the one-chord-deep concert was over.
Did this really happen? Probably not. I’ve scoured the Internet looking for confirmation, hoping that it’s true, all to no avail. But regardless, in my mind it is a historical fact. The world is a better place that way.
The recently reunited straight edge hardcore band Earth Crisis share more with ol’ Teddy than just an outspoken stance against drugs and alcohol; they also have one of those classic rumored live incidents that may or not be true. Earth Crisis is best known for the title track off their 1993 EP, “Firestorm.” It’s no small wonder that they have also chosen that song as the name of their current reunion tour (appearing at Studio7 on March 9th). The song rocks. Even fifteen years and countless beers later, I can’t help but love “Firestorm.” Lyrically, it’s the ultimate straight edge anthem, a rally cry to purge drug dealers from inner-city ghettos. Musically, it’s genius. At least 95% of the song is just palm-muted E power chords. If it winds up on Guitar Hero, it will be the easiest song to beat EVER.
This combination of militancy and mosh-tastic songwriting managed to carry Earth Crisis to the top of the mid-to-late ‘90s straight edge scene despite the fact that all their subsequent recordings were, in my opinion, god-awful. And while Earth Crisis shows were laden with documented reports of violence and controversy, my favorite story regarding one of the band’s performances has never been confirmed.
The rumor has Earth Crisis playing some club in Salt Lake City several years after the Firestorm EP came out. Bear in mind that this was the ‘90s, when the SLC straight edge scene was notoriously violent and considered the primary gang presence in Utah. The band, no doubt road-weary and thoroughly sick of playing their “hits”, played through a set of new material. Several songs into the set, the audience began calling out for “Firestorm.” The band ignored their wishes. Between every song, the call came: “Play ‘Firestorm’!”
The band finally had enough. “We’re not playing ‘Firestorm’ tonight,” stated vocalist Karl Buechner. There was a pause, then someone in the crowd yelled out: “Play ‘Firestorm’ or we’ll beat the shit out of you.” The band, familiar with Salt Lake’s violent reputation, conceded. The crowd went crazy. At the completion of the song, a voice yelled out “play it again.” The band refused. “Play it again or we’ll beat the shit out of you.” And thus Earth Crisis found their set list rendered null and void as the audience bullied them into playing Firestorm over and over again. Like the Nuge’s broken legs, there doesn’t appear to be any resources available to lend credibility to the rumors, but I just pretend they’re true anyway.
The clip below shows Earth Crisis, in all their glory, performing “Firestorm” at their final concert. Judging from the audience response, I’d say the probability of the SLC story being accurate is quite high.
posted by February 29 at 3:00 PMon
posted by February 29 at 2:48 PMon
What the hell, it’s Friday, so you get two Young Ones today: booksmart popsters Throw Me the Statue and techno wrecking machine Truckasaras.
Throw Me the Statue’s debut, Moonbeams, is a stellar record, one that has grown on me with every listen since it’s original release on the band’s Baskerville Hill label (it was recently rereleased via Secretly Canadian). Of its many great songs, my current and long-standing favorite is, by far, “About To Walk” (performed above on a Washington State Ferry for La Blogotheque).
Youtube videos have so far failed to do justice to the steel-crushing electro power of Truckasauras, but the above image gives you some idea of what to expect: Hulkamania, Gameboy beeps and drum machine beats, American flag capes, nerds going pretty much buckwild. Not pictured: copious amounts of whiskey and beer.
Throw Me the Statue and Truckasauras perform as part the Young Ones showcase on Thurs, March 6th at Neumo’s and Sole Repair, a benefit for Real Change, $5 suggested donation, 21+
posted by February 29 at 2:47 PMon
From the band’s blog:
After over a decade together - after moving across the country together - and after five years as our current lineup - we recently decided together to bring Wormwood’s duration to a close.
Wormwood has reached its fulfillment, achieving more than any of us had ever imagined for from the beginning… Two full-length albums, a slew of 7”s, a DIY array of self-released “tour editions,” (including a cassette tape version, circa 1997!), a dozen intense/hilarious/occasionally downright bizarre US and West Coast tours; and hundreds of shows, playing with some of the coolest bands we could have ever hoped to play with.
…Through it all, we strived as a band to maintain our integrity, and to balance the seriousness/sorrowfulness of our music with good humor and good will.
They play the Funhouse tonight with Birushanah (Japan), Drain the Sky (CA), and Evangelist. Their final show will be in Portland tomorrow night at the Ash St. Saloon.
posted by February 29 at 2:29 PMon
Ah, now there is some real hardcore fashion…no mohawks, no tattoos, no studded belts…just jeans and tee shirts.
Die Kreuzen, c.’83-ish…
posted by February 29 at 1:48 PMon
It was killer. 3 Inches of Blood totally slayed, Book of Black Earth rocked so hard they broke a snare, and the crowd screamed, headbanged, moshed, and threw the devil horns up at everything. A review to come in a little bit (I’m busy, okay?) but here are Kelly O’s photos from the evening.
Do you have some of your own? Upload ‘em to the Stranger’s Flickr Pool!
posted by February 29 at 1:30 PMon
As with most of his writing, he does get some thing right. Like this:
I bought Winehouse’s first album, “Frank,” in 2004 at a Heathrow Airport music kiosk. I listened to it on the plane home and dropped it in a garbage can on the way to baggage claim.
and this last bit at the end (which I think is particularly funny/true):
One effective summing up of her style can be seen in a YouTube video of her performing the album’s title track, labelled “Amy Winehouse performing drunk or high. Your guess!” It may be neither—it is Winehouse’s signature, and if she can detach it from the past and keep writing songs like “Rehab” there will be nothing surprising about having her around for a long time. Other than having her around.
But he also makes some stomach turning comparisons, for example:
The singing style heard on “Frank” started years ago—Lauryn Hill, the dopey singer-songwriter Jewel, and Joni Mitchell are all glossed in this approach—and has filtered down through singers like Nelly Furtado, Winehouse, and a currently rising star, Sia.
Excuse me. I don’t want to come off all Christopher Frizzelle or nuthin’, but Joni Mitchell deserves more respect and credit than this jab. Comparing Jewel, Hill, Furtado and Sia to Mitchell. Uh-uh. Them’s is fighting words, bitch.
Further he goes on to compare Sharon Jones and Winehouse’s live performances with the same band, The Dap-Kings. I am one of those folks who think Jones is actually kinda boring and too retro. I prefer Winehouses very modern slap in the face kind of homage to Jones’ pastiche. So I suppose it’s just a matter of taste.
But I can’t help but make a connection to the fact that Jones is a black singer singing black music, and SF-J finds no offense in her “re-creations”. But Winehouse, being white, nearly becomes “minstrelsy”, and is only saved by her garbled marble-mouthed singing style.
Listen to the mid-tempo shuffle “You Know I’m No Good” and hear how she elongates and deforms the word “worst.” Is she channelling a little-known blues singer? Is she hammered?
And the caption I assume he wrote for the accompanying photograph of Winehouse on a bed with a ciggie hanging out of her mouth?
Winehouse’s voice can sound like aural blackface, but her range and variety resist definition. Photograph by Harry Benson.
I guess I’d just like to read an intelligent piece by SF-J that didn’t in some way entangle his own garbled and marble-mouthed views on race into his critiques. Is it even possible?
posted by February 29 at 1:28 PMon
Seen at: King Cobra’s Grand Opening with Three Inches of Blood, Book of Black Earth, Toxic Holocaust, Plaster
Why are you moshing so hard?
‘Cuz I love metal!
What is your favorite kind of cake?
Which is sweeter, metal or German chocolate?
posted by February 29 at 12:54 PMon
The last song of their set from last night’s King Cobra grand opening (about which we have much, much more to tell you).
posted by February 29 at 12:02 PMon
Reintroducing the man who helped inna city British blacks understand the language of inna city British whites, Smiley Culture.
He breaks it down like this:
Cockney’s not a Language it is only a slang
And was originated inna England
The first place it was used was over East London
It was respect for the different style pronunciation
But it wasn’t really used by any and any man
Me say strictly con-man also the villain
But through me full up of lyrics and education
Right here now you a go get a little translation
Cockney have name like Terry, Arfur and Del Boy
We have name like Winston, Lloyd and Leroy
We bawl out YOW! While cockneys say OI!
What cockney call a Jack’s we call a Blue Bwoy
Say cockney have mates while we have spar
Cockney live in a drum while we live in a yard
Say we nyam while cockney gwt capture
Cockney say guv’nor. We say Big Bout here
In a de Cockney Translation!
In a de Cockney Translation!
posted by February 29 at 11:50 AMon
Stage6 was started by DivX as a high quality video site where users could upload and download large files. As a result it became a haven for videos of live shows - a few weeks ago I posted links to an amazing Joanna Newsom set and a Seattle Sleeping People performance. DivX have announced that they will be pulling the plug.
Here is the explanation for the site’s collapse:
As Stage6 grew quickly and dramatically (accompanied by an explosion of other sites delivering high-quality video), it became clear that operating the service as a part of the larger DivX business no longer made sense. We couldn’t continue to run Stage6 and focus on our broader strategy to make it possible for anyone to enjoy high-quality video on any device. So, in July of last year we announced that we were kicking off an effort to explore strategic alternatives for Stage6, which is a fancy way of saying we decided we would either have to sell it, spin it out into a private company or shut it down.
I won’t (and can’t, really) go into too much detail on those first two options other than to say that we tried really hard to find a way to keep Stage6 alive, either as its own private entity or by selling it to another company. Ultimately neither of those two scenarios was possible, and we made the hard decision to turn the lights off and cease operation of the service.
are were scores of amazing videos on the site, all downloadable, and they’re only going to be available until next Thursday. Get ‘em while you can. now they’re gone. Damn.
posted by February 29 at 11:39 AMon
Tonight, Dan Kennedy is reading from his book Rock On at the Sunset Tavern at 7 pm. It’s free. He’s a pretty funny guy; he writes for McSweeney’s, and his memoir is about working in the dessicated husk of the corporate rock and roll industry.
Here’s book critic Christopher Sabatini’s review of Rock On:
If you’re thinking that it’s at least 35 years too late for a book about the death of rock by corporate hands, you’re right. It should come as a surprise to no one that the office jobs behind the commodification of popular music stand in stark contradiction to the ethos that very music is ostensibly pushing. Yet dramatizing this surprise is exactly the tack that Dan Kennedy takes in Rock On: An Office Power Ballad. Kennedy accepts a job in the promotions department of Atlantic Records and expects he is entering the black-and-white pictures in the album sleeves of his youth. He thinks he will be walking among the Stones and Zeppelin. What he gets is the Donnas and the Darkness. And even then it is the former doing public-service announcements, the latter at a board meeting.
All of which is to say I feel like I should not like this book as much as I do; it is unnecessary, not to mention easy to the point of cruelty, to mock a corporate giant’s signed talent. It is Kennedy’s voice that pulls it off. He has convincing innocence and expectation, the genuine elation of someone who has struggled through shit jobs for an entire early adulthood and believes he has finally found something real. Whether Kennedy’s innocence is a pose ceases to matter. What we get is a year-and-a-half behind-the-scenes assignment: a humor writer going undercover to show us that this really is as bad as we think it probably is, a bunch of oblivious and overpaid suits surrounded by the recurring question of how has this come to be.
The question quickly becomes irrelevant. One of the two triumphant points of the book is that corporate rock is dying from the terminal wound inflicted by downloadable music, and that it clearly had it coming. Live by the rock, etc. The dinosaur that stomped all over your youth is dying a slow and painful death and Kennedy is there to laugh at it. The other triumphant moment this book captures comes from an extracurricular Iggy Pop show, where the wiry old punk focuses his bile at the VIP seats: “Betcha wish you weren’t fat! Jump down here you fat fucks! I dare you to jump!”
posted by February 29 at 11:11 AMon
I’ve heard that word describe music for a long time, but never really investigated what the hell it meant.
I know that in the 70, a time when major record labels would release double album compilations of their latest artist and potential hit songs, Warner Brothers released a double album called SCHLAGERS! I just assumed the title had something to do with the singer-songwriter/proto-fm rock that was on the album which included artist like Joni MItchell, Petula Clark, Gordon Lightfoot, Herbie Hancock, Arlo Guthrie, Randy Newman….
But then I’ve also heard it describe pop music that comes from European countries that is slightly based on folk songs or vaudville styles, and western (English language) pop music translated into whatever countries original language. An example would be an Everly Brothers song translated into Finnish.
The biggest champion of this style in the past, before turning to crazy metal bands and transexual dance music, was the ever-poular Eurovision Song Contest, in which European countries vie for the prize by presenting a song that A: represents its country by being in an official language of that country, and B: sung live.
There are English language Schlagers, I believe, that have been hits in the UK. One huge hit-making schlager machine was, of course, ABBA. There songs like, “Thank You For THe Music” and “Fernando”, based on old stage song styles in the former and folk songs in the later, were huge hits world wide.
But here’s a couple of other interesting schlager songs of note.
Brotherhood Of Man had their first hit “United We Stand” in the UK and US in 1970, but really hit the big time with their Eurovision winner of 1976, “Save Your Kisses For Me”. I believe this may be the ultimate british schlager.
Here they are with their choreography, bell-bottoms, “winks” and everything performing the song on the Eurovision broadcast that year.
The last line is nearly so sachrine as to give you a tooth-ache!
And then there’s Kelly Marie, who I’ve written about before, before she went disco and pop in the late 70’s and 80’s her show-tune style of belting out crap lyrics over vaudvillian pop tropes. Here’s one of her big hits “Who’s That Lady With My Man”.
Once again, crap-tastic choreography, AND the killer last line, which adds the twist-of-the-knife aspect to the song.
Also notice the use of clarinet (kind of klezmer-ish)in the verses and the traditional folk-song, sing-song chorus, which would be incredibly easy for anyone in another country to learn. Hence these songs being huge hits in other European countries.
So there you go, in case you ever wondered what the term Schlager meant.
And just in case you want to impress your friends with your crap taste in music….
PS. Kelly Marie has a really amazing, extensive website!
PPS. I love these songs (I know, sad.)
posted by February 29 at 10:55 AMon
Mixing pop and politics - Blur drummer bids for Parliament seat
Not as cool as A Silver Mt. Zion on the Lost commercial - Heroes soundtrack to feature indie all-stars
How about giving me an hour of my Thursday evening back? - American Idol announces televised fundraiser
RIP Mike Smith - Singer of Dave Clark 5 dies at 64
Amy Winehouse: Not In Trouble - Singer cleared of allegations
Sepultura sucked after Chaos AD - Brazilian thrash drummer peddles cell phones and bad music
posted by February 29 at 10:46 AMon
From many of my posts, it’s not hard to notice that Dimitri From Paris is one of my favorite new school disco producers/deejays. With some of his amazing mix compilations like Disco Forever, The Kings of Disco, A Night At The Playboy Mansion, Defected in the House of Love, and his most recent Cocktail Disco, Dimitri tends develop his mixes and edits around some of the rarest and most delightful disco gems. One of the re-edits that I can’t seem to get enough of is his 2004 edit of Goody Goody’s 1978 classic “It Looks Like Love”. This edit found it’s way as part of Rapster Records’ mix compilation The Kings Of Disco which was compiled by both Dimitri and known house/disco producer and deejay Joey Negro. The original track was written by disco legend Vincent Montana, Jr. who is responsible for being the centerpiece and producer surrounding classic projects like The Salsoul Orchestra and Montana, as well as being a one-time member of MFSB. Overall this is another classic re-edit from Dimitri, who successfully captures and re-crafts a rare disco gem and re-introduces it to a new generation.
posted by February 29 at 9:45 AMon
An Outbound As In
There is an intersection. A maroon Buick LeSabre with a cracked windshield pulls to a stoplight. A man named Herman crosses the street in front of the car. He has a cane for no reason. Count Chocula is Herman’s favorite breakfast cereal, he never learned to swim, and he has a phobia of ice sculptures, especially when in the shape of swans.
As Herman passes the LeSabre, he hears Miles Davis’ “Black Satin” playing on the car’s stereo. The earth tilts. On another side of the world a music student in Seville, Spain charts notes to the same Miles Davis piece. A mailman knocks on her door with a package. In the mailman’s teeth she sees the keys of the piano she learned to play on. Chipped identically. The package is from a cello player who won’t leave her alone. The third vase he’s given her this week.
The collection of vases on the music student’s 5th floor sill makes her uneasy so she throws them out the window. She sits on the sill and looks off toward a Ferris wheel in an amusement park nearby. Vases crash, calliope stirs “Black Satin” notes around her head, and the spinning carnival ride churns a peristalsis of the scene. It’s late afternoon. From the view, she traces lengthening shadows into the sunset they latch onto. She doesn’t even like the piano anymore, schooling ruined it. Marine biology is what she really wanted to study - undersea life, starfish, sharks, tiburones.
On the Ferris wheel, car nineteen, a little shit of a boy named Esto has eaten too much cotton candy. He vomits, and it splatters past the hand of a nun in car three below. Exiting the ride, the sister looks to the ground and sees the face of Jesus Christ in the puddle of the boy’s pink throw up. News of the sighting spreads quickly. The cement spot is soon a massive center of worship and the destination of holy migration. Esto becomes a relic. He is quoted in the paper as saying, “I could tell it was something special when it was coming up.” There are mouse pads, coffee cups, and napkin sets displaying the quote in multiple languages. Cotton candy is served. Car nineteen is bronzed. You can get a picture of yourself sitting next to a life size cardboard cut-out of Esto. A real must have. And if you listen closely enough there, Miles Davis can be heard, playing away. Tilting the Earth.
posted by February 28 at 5:58 PMon
I wound up at the Comet to start a surprisingly busy Wednesday night, where local post-emo’sters Beestings were releasing their new album, Where It Goes. I’d been asked to go by friends and, having only heard a total of three minutes of their stuff on MySpace, decided to give it a shot. Beestings’ heavy-handed slow-mo-emo didn’t exactly win me over (set a quota on the use of “heart” in the lyrics, sheez). But the mom in the crowd—it’s no CD release without at least one older woman in a sweater, don’tcha know—was among the decent number of folks nodding their heads to the quartet’s slow, whiny heartbreak songs, and at the very least, Beestings took Grandy’s year-ago complaints about showmanship to heart. And their lead guitarist was pretty good…….at playing rhythm/bass lines. Too bad this ability often got buried in the band’s dependence on quiet-LOUD compositions.
Then my friends decided to bolt—presumably to lay in a hot bathtub while saying the word “heart” over and over and over—so I drove to Fremont and arrived in time for Velella Velella at the Nectar. Completely different scene, of course; V2’s gotten ample press for its acceptably danceable live shows, and last night’s attracted a surprising near-capacity Wednesday crowd. The scene was best summed up by the final song, when the song’s repeat requests for everyone to “get on up” resulted in this girl hopping the stage, grabbing a shaker and singing along quite well—dressed for the part, no less.
While I found myself nodding along throughout, one song mid-set amplified my ambivalence about the band. The track started out with an unnecessarily over-amped drumbeat playing on their iPod, and even though the band built a great mess of live melody around the track, it wasn’t until the iPod beat dropped out and the band began banging, clanging and beating their own implements that the song really came to life. The pre-produced drumbeats might’ve been easier to stomach if they’d come from a laptop with a nice sound card, if not a full-fledged drum machine. Upgrade, dammit, or at least hire the blonde.
While I’m at it, can I talk about the indie-rock line dance? You know, when lines form two-to-four deep in the front of a concert crowd, stare up at the band, and do the safe, boring, side-to-side dance? Seemingly in unison? V2 attracts ‘em like nobody else, and they make me feel like I’m in the middle of Beck’s “Where It’s At” video. Guh. I wish people would make up their minds—either lose your shit and dance, or hang in the back with me and the other boring wallflowers. Pick a side!
posted by February 28 at 3:26 PMon
“It’s Bigger Than Hiphop- The Truth Behind The Evergreen Uprising”
“We have spent well over 150 hours, interviewing various eyewitnesses, faculty, administration, and students, as well as collecting and editing over 20 hours of footage,” says (director) Andrew Rutherford, who directed and edited the video for Hip Hop Congress, “We are confident in the quality, content, and accuracy of this film, and hope that it clears up misconceptions and misinformation about what happened that night.”
“We offer the results of our inquiry not only as community media producers and advocates of Hip Hop culture, but also as supporters of the movement towards universal restorative justice and proactive restitution,” says Julie Chang Schulman, Northwest Regional Director for Hip Hop Congress, and author of the video’s script, “we were concerned with what seemed to be the omission of the Olympia Police Department’s role in this incident. If the objective is accountability and preserving the safety of this community, this should be just as important a part of the investigative process as finding those responsible for damages, especially given the preexisting tension between OPD and the Evergreen community.”
The National President and Executive Director, Shamako Noble, will be speaking at an event aimed at the Evergreen student community this Friday, February 29th, at 3:00pm, in Lecture Hall 1 at Evergreen State College. Hip Hop Congress will also be screening “It’s Bigger than Hip Hop: The Truth Behind the Evergreen Uprising” for the student body at that time.
For more information email firstname.lastname@example.org
posted by February 28 at 3:00 PMon
posted by February 28 at 2:51 PMon
I just spent five minutes on hold, on the phone, with a certain theater in a certain city trying to get tickets for my beloved to see a big old fashioned Broadway Show. (Please, when you say those last two words make Jazz Hands and say it in a stage whisper.)
While on hold, I started to hear two women bantering. I couldn’t quite make any sense out of what they were saying. I knew what I was listening to came from a Broadway Show (please feel free to follow the above instructions again), but I didn’t know which.
I eventually figured out it was from the show, Wicked.
It was totally annoying. How much sing-talking the characters had to do to get to the “song”. A full minute until the words “Defying Gravity” were sung. Then this, I dunno, power ballade started. Holy fucking douche nozzle. That felt like the longest five minutes of my life.
It sounded like they had to really stretch to get the song to fit into the musical. It was so generic sounding and, well, boring.
This is the kind of song and exposition I HATE in musicals.
Will I ever get that five minutes back?
posted by February 28 at 2:38 PMon
Should be pretty interesting:
posted by February 28 at 1:34 PMon
Advance tickets are on sale at Neumo’s ($5 will get you into both clubs). Sole Repair, if you didn’t know, is behind Quinn’s which is right across from Neumo’s (kitty corner to the Comet).
Visit thestranger.com/youngones for more information.
posted by February 28 at 1:16 PMon
There is life after the Sub Pop divorce - Constantines head out on tour but aren’t ready to make things awkward in Seattle
Hooray for media consolidation! - Ticketmaster and Cablevision to acquire 49% of AEG Live
Sorry, indie record stores - Apple is now the #2 music retailer in the U.S.
Perhaps an Itunes-only release would be wiser - Non-profit to release benefit CD to cover Evergreen riot damage costs
Not quite We Are The World - New York Philharmonic perform in North Korea
Someone needs a voice coach to perfect their yarling - Alice In Chains biopic in the works
posted by February 28 at 12:58 PMon
You might remember Casey Foubert from the article I wrote on Eastside music last month (if you didn’t know about him already). In-between touring the world with Sufjan and Richard Swift and engineering records he has his own instrumental compositions called Law of the Least Effort. Performing with him last night was a spread of impressive musicians – fellow Sufjan drummer James McAlister, former Crystal Skulls bassist Yuuki Matthews, Josh Ottum on guitar, and trumpeter CJ Camerieri who plays with Sufjan and Rufus Wainwright. The set was eclectic – tunes ranging from blues rock to hints of fusion jazz to Herb Alpert. Though the group had only learned and practiced the songs over the last two weeks the set was phenomenal. These are some of the finest musicians in Seattle, whether they’re backing national acts or jamming out as a bar band. I wished their set was longer than the 25 minutes they played.
Law of the Least Effort shows are few and far between. This show only happened because they had been asked to open by the percussionist of Slavic Soul Party, whom they met in Brooklyn working on Sufjan’s “BQE” project. SSP kicked off their tour in Seattle to an impressively full Tractor crowd. Slavic Soul Party are no independent rock band, and they’re not your average bar band (though they do have a residency at a bar in Brooklyn) - they are a nine-piece marching band playing gypsy funk. As soon as the band starts up the whole vibe of the bar changes, gets… Slavic. There are a row of women in the front holding hands and doing a line dance. When singer Eva Salina Primack comes out do so some vocals the women know all the words. The band is having a great time on stage; they take turns coming up to the front to nail solos. Honestly, this kind of music doesn’t do much for me, but the band is talented and everyone is having fun in the crowd, so no shit need be talked. I stick around for a handful of songs, enough to hear them transition in and out of Johnny Cash’s “Ring of Fire” before I’ve had my fill. I guess my soul is hardly Slavic. I go to Moe Bar and sing karaoke Hall and Oates.
photos by Anne Murphy
posted by February 28 at 12:20 PMon
Searching for a synthesizer can be trying. There are so many different types and models and price ranges. Wading through the specs, tech talk, and vernacular sometimes makes the synth quest un-fun.
What are the best ways to find a synthesizer? How do you make sure you get the right one, at the right price?
Jeffrey is a man who is looking for a synth. He’s become a bit overwhelmed with the techie aspects of the search. We spoke:
How’s the search for your synth? Have you decided which one you’re going to get?
Jeffrey: I don’t know, I can’t cut through all the gearhead hype and talk.
Don’t get down, young synth quester. There is a synthesizer out there for you. When in doubt, go Casio, yo. You’re looking at Casio’s, right?
I’m looking at the MicroKorg which has an arpeggiator, a vocoder, etc, but NO drums.
And the Alesis Micron, which has arpeggiator, vocoder AND drums. For the most part they seem to be the cheapest and give the most bang for your buck.
These aren’t the droids you’re looking for. I mean, so which one are you leaning toward?
Well, they both have vocoders and arpeggiators, but the Micron has a sequencer and drum sounds. The MicroKorg has a little bit better sound, but no sequencer or drums. So I don’t know.
The Microkorg is the only synth of the two I’ve messed around with, and it’s a very nice sounding, flexible, easy-to-use, and portable synth. I’ve heard good things about the Micron though but have had no experience with it. I guess it really comes down to whether or not he needs a drum machine as part of his synth.
My personal opinion is that a drum machine should be a self-contained unit or a computer program, just like any other piece of equipment. Usually when I start seeing things like a guitar amp that also has built in bass line generator or a effects pedal that does five-million different sounds I get a little worried, cause a lot of those sounds on that effects pedal aren’t going to sound that great and that amp isn’t going have the best basslines that you could get. Usually the less things that a synth tries to do the better.
Thank you, Gear Dan.
Tell us, oh great Line Out gear masters, which synth should Jeffrey get? It’s in your hands.
posted by February 28 at 11:00 AMon
Tonight is the Ball of Wax volume 11 release party at The Sunset. If you don’t know Ball of Wax, the first six volumes are available for download here (and if you like them, you should donate something, as they aren’t exactly a hand-over-fist operation, if you catch my drift, if you pick up what I’m laying down).
The eleventh volume is something a little different: twelve bands were formed at random and given one day to come up with a new song. BoW 11 is an album composed of those songs. The results are pretty similar to other BoW offerings: some ambient electronic-driven music, some weird guitar-influenced fuzzy stuff, and a rampant feeling of experimentation and excitement. Bands like Webelos, Beast Please Be Still, and the Luna Moth will play tonight, and maybe one or two of the one-hit wonder bands will reform onstage.
It’s six bucks, which gets you in, gets you a copy of Volume 11, and the whole thing is a fundraiser for the very worthy Hollow Earth Radio.
posted by February 28 at 11:00 AMon
posted by February 28 at 10:55 AMon
Buddy Miles, the rock and R&B drummer, singer and songwriter whose eclectic career included stints playing with Jimi Hendrix and as the lead voice of the California Raisins, the animated clay figures that became an advertising phenomenon in the late 1980s, has died. He was 60.
Miles died Tuesday of congestive heart failure at his home in Austin, Texas, according to an announcement on his website.
A massive man with a distinctive, sculpted afro, Miles hit his peak of popularity when he joined Hendrix and bassist Billy Cox to form Hendrix’s Band of Gypsys, which the New Rolling Stone Encyclopedia of Rock & Roll called “the first black rock group.” Miles had played with Hendrix on the guitarist’s influential “Electric Ladyland” album released in 1968.
posted by February 28 at 9:35 AMon
As Idolator reports today, Toronto electro-prog quartet Holy Fuck, who I gushed about here yesterday, have confirmed for Rachel “All your Kraft food boxes are belong to me” Ray’s SXSW showcase. They’re billed as “Holy *&%$” in the announcement.
I’m new to SXSW this year, so I’m not sure if this sort of thing is the norm, or if this represents a new level of co-branded absurdity or what, but I’m guessing there will be free snacks at least. The rest of the line-up includes Autovaughn, The Ravonettes, The Cringe (apparently Ray’s husbands band), Scissors For Lefty, The Stills, Holy *&%$, and DJ Efren ‘Pedro’ Ramirez from Napoleon Dynamite, who, as Idolator notes, is a pretty sad celebrity DJ (I mean, his dad doesn’t even own a restaurant chain or anything).
posted by February 28 at 9:00 AMon
Ball of Wax CD Release
(Sunset) Ball of Wax is a quarterly CD anthology that collects some of the goldurn prettiest music you’ve ever heard, from artists like Wesafari and Plan B. Volume 11 is a departure from the norm for BoW: On November 17, 2007, 35 musicians got together, split into 11 brand-new bands, then went off and wrote exactly one song each. Tonight, BoW stalwarts Webelos and the Luna Moth, among others, will be performing, and some of Volume 11’s featured supergroups might be coerced to climb onstage and perform their one-hit wonders, too. Six dollars gets you into the show and buys you a copy of the record, and if that wasn’t enough, the show is also a benefit for Hollow Earth Radio, the local online radio station that plays seemingly endless sets of gorgeous music interspersed with fragments of weird found sound recordings. The world simply was not built to withstand this much pretty. PAUL CONSTANT
My!Gay!Husband!, DJ Colby B, DJ Glitterpants
(Chop Suey) Vancouver, BC, DJ and producer My!Gay!Husband! is huge, both in the intimidating physical sense and in terms of accomplishment. His résumé includes scores of mashups, mixtapes, reedits, and remixes, and his schedule has him playing and throwing many of Vancouver’s best dance parties when he’s not out on tour. Also intimidating is the man’s reputation as a bully of a party starter. When he’s not mixing G. G. Allin into Trillville or dropping booty remixes of Feist, he’s screaming over the turntables, or pouring beer on your half-steppin’ shit. As raucous and loose as he is live, his productions and mixes are impeccably tight. ERIC GRANDY
3 Inches of Blood, Book of Black Earth, Toxic Holocaust, Plaster
(King Cobra) The newest club on Capitol Hill, King Cobra, celebrates its grand opening tonight in the space formerly occupied by Sugar. Tonight’s lineup is a hell of a good start for the club—3 Inches of Blood play epic, anthemic metal that’s so dramatic it could be considered ironic if they didn’t totally shred. They thrash around their long hair, their wailing guitar solos reaching up to the gods of metal. Book of Black Earth slay, too. They’re one of the heaviest bands in Seattle, with demonic vocals, blistering guitars, deadly video-game keyboards, and breakdowns that cause concussions. Ho-lee shit. King Cobra’s grand-opening weekend continues through Sunday with shows from Visqueen,
theEmeralds, and Neutralboy. Visit kingcobraseattle.com for the full schedule. MEGAN SELING
posted by February 27 at 7:19 PMon
This Friday, Ladies Choice Presents and the Funhouse bring a particularly brooding and brutal show featuring Wormwood, Drain The Sky, Birushanah, and Evangelist.
I will be unnoticeably absent from the show due to a clogged social calendar. These prior engagements are killing me. I’m still kicking myself for missing the previous Ladies Choice/Funhouse joint venture: last Thursday’s Shat show. It’s not everyday one gets to see a grown man clad only in a jock strap and a helmet adorned with dildos sing such gems as It’s About Time To Suck On My Penis Now and Fuck, I Stepped In Shit. Shat mastermind Jeff Wood deserves a spot next to Wesley Willis and Daniel Johnston, having survived a gunshot to the head during the Rodney King riots to go on to pen some of the catchiest, albeit thoroughly juvenile and base, scatological-themed metal parodies ever. While Friday’s show will not be the GG Allin-lite fare of Shat’s performance, I’m sure it will still be confrontational and abrasive. It was nearly ten years ago when I first saw current Seattle locals Wormwood play in their native home state of Kansas. Over that time they’ve evolved from a Man Is The Bastard/Neurosis hybrid into a more musical beast reminiscent of the early transitional period of Swiss black metal-tinged industrialists Samael. Truth be told, I’m really intrigued by opener Birushanah. This Japanese outfit play math metal augmented by an auxiliary scrap metal percussionist; think Meshuggah meets Skeleton Key.
Both shows are the result of the booking efforts of Seattle’s premiere purveyor of the more eclectic realms of live extreme music: Ladies Choice Presents. Adam Bass is the man behind the moniker, and if you’ve attended an exceptionally caustic show in recent years, chances are pretty high that you’ve rubbed elbows with the man. Despite a spotless attendance record for regional thinking-man’s-metal shows, he’s taken it a step further by making sure off-the-radar acts don’t pass up Seattle by booking them at spaces like the Rendezvous Jewel Box Theatre, the Funhouse, and El Corazon. Adam’s wealth of musical knowledge, friendliness, and unceasing enthusiasm make him a local treasure. So of course I had to figure out what makes him tick and harassed him via email.
posted by February 27 at 6:07 PMon
Just in time for mono season - Air’s classic make out record, Moon Safari, to be reissued.
Home is where the hyperbaric chamber is- Michael Jackson wants to keep Neverland Ranch
An angered response?- Black Crowes reject Maxim’s apology.
posted by February 27 at 4:50 PMon
Jawbreaker - “West Bay Invitational”
The whole song, sure, but especially the moment at the 2:54 mark, when the bridge, “We hung our clothes up on the floor/and put our faith in a closed door” breaks into a nervous, first-kiss guitar riff. (File under: nostalgia, long distance crushes, mix tape gold, house parties.
Milemarker - “Ant Architect”
“Allergic to the hive / The hive is giving him hives” (repeat).
Pavement - “Silence Kit”
Is there any opening more obliquely hopeful than the phrase “Silent kit / No one to remind you” and the fried, lazy afternoon guitar that accompanies it? Probably, but not on my walk home.
posted by February 27 at 4:44 PMon
This year’s list of Young Ones is impressive—Talbot Tagora, the Physics, Throw Me the Statue—and I’m really looking forward to the showcase on March 6th, where you’ll have the chance to see almost all the Young Ones play together under two very close roofs (half the show is at Neumo’s, the other half down the street at Sole Repair).
You won’t want to miss Sleepy Eyes of Death’s set.
Photo by Jeff Kirby
The band crafts dynamic instrumentals with guitar, drums, synthesizers and keyboards, and their songs are energetic fits of dance beats and rock rhythms often swelling to dramatic climaxes. But knowing that the live show is as much about their sonic output as it is a visual experience, the young men in Sleep Eyes turn off all the lights, turn on the smoke machines, and proceed to rock the fuck out through a thick cloud of constant smoke lit up with flashing red, yellow, and blue lights.
It is a fantastic way to experience such a cinematic sound (and the band tells me there have more visual surprises in store for the March 6th show).
Watch Sleepy Eyes of Death:
Listen to Sleepy Eyes of Death:
Be sure to pick up the March 6th issue of The Stranger to read more about the band. Then see them play the Young Ones showcase on Thursday, March 6th with Talbot Tagora, the Physics, the Moondoggies, Truckasauras, Throw Me the Statue, and headliners Arthur & Yu and Dyme Def.
Sleepy Eyes will go around 8 pm on the Neumo’s stage, and $5 will get you into both Neumo’s and Sole Repair. All proceeds go to benefit Real Change.
posted by February 27 at 4:04 PMon
If you do, then you can now follow Line Out on Twitter!
We’ll keep you posted when there are heated debates about Rush and Yes and hot polls about Slats, but mostly we’ll use it to announce any breaking news like if a club shuts down, if a rad band is playing an unannounced show somewhere in the city, or when big shows get announced.
If you aren’t familiar with Twitter, it’s a pretty cool application—you sign up (for free) and you can send and receive short updates via your phone or computer. You can let people know what you’re up to (if you want). You can choose to follow your friends so you know what they’re up to too. The BBC is on it, NPR is on it, I think even Obama has an account. All updates can be sent to you via e-mail or directly to your phone, so you don’t even have to be near a computer to know the latest.
Don’t worry, if you start following Line Out, you won’t be getting spammed constantly with every post to go up throughout the day. It’ll be a few updates a week, and used especially if there’s breaking or exciting news.
posted by February 27 at 3:17 PMon
Flautist Herbie Mann could be considered a “household” name when it comes to jazz music, however for some reason I didn’t realize his brilliance until very recently. After exploring through some of Mann’s albums, I found that there is a handful of releases during the middle to late 1970’s that completely blow me away. Most of my interest is centered around, obviously, his more disco and latin sounding releases, including the 1975 LP Discotheque which included a cover of Barrabas’s “Hi-Jack”, as well as his 1978 release of the Waterbed album, which included a cover of one of my all-time favorite disco tracks “Waterbed” by LTG Exchange. After his success with these more dance oriented disco sounding jazz records, Herbie Mann continued to explore his disco infatuation by hooking up with legendary New York disco producer Patrick Adams and together they wrote and produced the Super Mann LP, which Terry helped introduce me to. This album included a cover of Celi Bee’s “Superman” theme as well as the original disco-funk classic “Etagui”. Although many of his disco hits tended to be covers, even though he had plenty of amazing originals, he was able to help bridge the gap between 70’s jazz, latin-funk, and disco.
posted by February 27 at 2:53 PMon
Like some of the commenters on Eric’s post, I left last night’s show thinking that A Place to Bury Strangers is a very good young band, but that the hype being thrown their way is a bit ridiculous. It’s unfair to pretend that APTBS are heads and shoulders above the rest of the shoegaze-revivalists out there. The lyrics are a bit underwhelming and I was disappointed by how small their wall of sound actually was (I was expecting a larger daisy-chain of pedals on-stage as well). I enjoyed their performance (especially the latter half), I’ll definitely follow them and see them again, but it isn’t right to praise this band as the best thing since Kevin Shields twiddled his first knob. Give them another album and a few more tours and we can revisit the topic however.
In any case, I wasn’t planning to add anything other than images so here are some pics I took at the show (I didn’t come away with any good ones of Holy Fuck so none of their performance).
A few more pics after the jump.
posted by February 27 at 2:32 PMon
The DVD, by filmmaker and Grammy-winning producer Don Letts, will be in stores April 15th.
See the tracklisting after the jump.
posted by February 27 at 1:09 PMon
Beestings are having their record release show at the Comet. Their album Where it Goes is 38 minutes of hanging out with your friends on a summer night, looking at the moon. It was recorded by Harkonen/Helms Alee bassist Ben Verellen, and it sounds top notch. 9pm, $6.
posted by February 27 at 12:24 PMon
Holy Fuck, A Place to Bury Strangers - Chop Suey
MSTRKRFT - Neumo’s
Chop Suey was dark and filled with smoke when I arrived two songs into A Place to Bury Strangers’ set. The first thing that struck me was that the trio was nowhere near as loud as I’d expected. I was expecting them to melt my face off, but instead I found myself able to casually carry on a conversation midway through the main room. For all the band’s noise and effects, and for all the attention those things get in their press, the core of their music is really pretty poppy—a sometimes noisy, sometimes shoegazy, consistently gothic mix of the Cure and Sonic Youth (and Bauhaus and My Bloody Valentine), simply catchy choruses and melodies emerging out of gentle washes of distortion or delay. The vocals were high and clearly audible in the mix. During the droning outro of one song, some crackling, electric static punctured the surface, the first hint of the band’s much-hyped but so far underused effects chain.
For the next song, a slow strobe lit up the fog, and Oliver Ackermann destroyed his guitar in disjointed slow-motion, swinging it around a mess of feedback. On the final song, “Ocean,” the noise finally peaked at the desired face-melting volume, erupting into high, squealing distortion. After their set, I overheard Ackermann talking to a fan about whether or not their band was “full-on ’80s goth.” APTBS is a little more ambitious and less anachronistic than that, incorporating as much instrumental noise as morbid (and, yeah, teen-angsty) lyrical mope, but the short answer is, yeah, they’re hella goth.
Toronto’s Holy Fuck were up next, and I was stoked to see them after having missed them at last month’s Super Furry Animals show. Their set began with some pinging sonar sounds, and it was immediately louder than A Place to Bury Strangers. The pinging gave way to a muscular motorik bass and drum groove, they adept rhythm section locked up tight while the band’s other two members warmed up their tabletops of electronics, pedals, and cheap keyboards. The next song added drum machine, fuzz bass, and vocal echoes and resonant chirps to the mix, with one of the hunching knob-twiddlers occasionally barking through a microphone and into some kind of delay.
Their mics were clearly not set up for clean signals—when they later paused to thank the crowd and talk about their last stop through town, everything after, “Thanks,” was more or less a garbled mess, as was everything after “Vancouver” when they tried to tell some anecdote about that town. For the next song, another mic provided stuttering vocoder vocals. The guy stage left pulled loops of magnetic tape out of some analog tape echo like taffy, occasionally turning a crank on the side of the machine, or else flossing the tape back and forth to produce almost-record-scratches. Their live rhythm section is incredibly hot, tight and taut in one place, loose and funky in another, casually shifting from propulsive stretches to cool breaks.
The band again and again built up these teetering, expectant moments that crested into seratonin-flooding breaks—it’s one trick, the central trick of so much dance/electronic music, but Holy Fuck totally nail it. It occurs to me that the band’s naughty name probably helps a lot of their fans get down with their more proggy and techy elements, but it’s the band’s stunning show that got the crowd dancing and bopping like total goofs (it was a joyously dorky dance floor). Looped 16th notes heated up into white-glowing noise, tinny tinkling turned into steel drums, the drummer switched from half to double time, backward synth sweeps and Future World synths mingled with strutting, walking bass lines. At times, it was like Tussle with more junk, at other times, it was like Black Dice or Wolf Eyes trying to make dance music, right down to the half-swallowed mics held in their mouths.
At one point during their closer, the gorgeous glissando-stringed “Lovely Allen,” the tape-tugging guy looked up across the table at his band mate, mouth agape, smiling, like even he couldn’t believe the awesome, triumphant sounds they were making. The crowd cheered them back out for an encore, a groovy jam that couldn’t quite eclipse “Allen,” but was fun enough on its own.
Down at Neumo’s, another brand of Toronto techno was representing. MSTRKRFT were on stage, spinning their song “Neon Nights,” openers on stage leading the crowd in a clap-along over the track’s squealing synths. And the crowd—damn! The all-ages floor was a near mosh pit towards the front, kids in neon shirts pressing up on each other, leaning over the stage, water bottles spraying everywhere (even on the DJ’s records), revelers grinning and clapping as the KRFTsman mixed in the vocal, “All I do is party.” Promoters, take note: these kids are pent the fuck up and ready to party (visions of the upcoming Justice/Diplo myspace music tour?) If you can find a way to make money from some all-ages new rave. Spent and satisfied from Holy Fuck, feeling a little feverish, and pretty confident that I could predict the course of MSTRKRFT’s fun but dependable tech-house set after having seen them twice before, I took off. We should’ve suggested both shows.
posted by February 27 at 11:01 AMon
A record store clerk was a jerk to me, so I put a GWAR CD in the Belle and Sebastian section. Read more – here.
Commenter ‘bing’ said it was a douche-off, which I won for blogging about it. ‘Bing’ said it was the nadir of Stranger writing.
On your marks, get set – Douche-Off:
Who is the bigger douche?
Who is the bigger douche?
Who is the bigger douche?
Who is the bigger douche?
posted by February 27 at 10:35 AMon
The best thing about Michael Radford’s adaptation of George Orwell’s novel 1984 is not in the movie, the Eurythmics’ soundtrack.
Radford rejected the Eurythmics’ synthpop score and instead used a dull (dry, dead, dreadful) original orchestral score. The Eurythmics, however, released the soundtrack separately and provided the world with what might be the only instance of a soundtrack being not only better than the movie but also the book.
No need to read Orwell when the essence of his famous work is better captured by the Eurythmics’ pop.
01. I Did It Just the Same - 3:29
02. Sexcrime (nineteen eighty-four) - 3:59
03. For the Love of Big Brother - 5:06
04. Winston’s Diary - 1:22
05. Greetings from a Dead Man - 6:14
06. Julia - 6:40
07. Doubleplusgood - 4:41
08. Ministry of Love - 3:48
09. Room 101 - 3:50
posted by February 27 at 9:00 AMon
Velella Velella photo by Philip Kramer
Chow Nasty, Velella Velella, James Pants, the Gomorran Social Aid & Pleasure Club
(Nectar) Velella Velella are the epitome of party music, and when paired with Chow Nasty tonight at Nectar, the Fremont club’s gonna be dripping with glittery sweat. Not that there aren’t plenty of other feel-good, get-the-fuck-up-and-dance bands in Seattle (U.S.E, Coconut Coolouts, Little Party and the Bad Business, to name a few), but Velella Velella bring a smoother, sexier vibe to their synth-inclined grooves. Which is not to suggest that they don’t also lay it down with some quick-moving, hand-clapping, Dismemberment Plan–on-a-good-day party funk either. “Free Airline Tickets” from the band’s Fight Club EP is the starry soundtrack to Club Pop on the planet Mars. MEGAN SELING
Also tonight, the Willie Nelson Project performs at the Triple Door. The Score highlighted their efforts in this week’s issue:
I phoned Seattle trumpeter Thomas Marriott with just one question about his latest disc, Crazy: The Music of Willie Nelson (Origin): Why Willie Nelson?
As if anticipating my question, Marriott reflected, “In jazz, we have a lexicon of songs—the repertory of standard tunes. Many of them,” he added, “come from movies made in the 1930s. The repertory needs updating.”
And why not with country songs? Aside from experimental music, I can’t think of any other genre so damaged by easy clichés. The outsize cowboy hats, the big (and usually bad) hair, and visions of Bud Light–swilling fans who have never stacked bales of hay or slopped hogs (I did both growing up) belie the sophisticated construction and melodic richness of country music.
Also tonight, the first installment of Season of the Witch, a new DJ night at Moe featuring The Stranger’s own Ari Spool and Bree TacocaT (of duh, TacocaT). They’ll be spinning some rock and punk and I’m sure Spool will dip into some psych stuff too. Right, Ari? Right?
posted by February 26 at 5:39 PMon
I don’t really read a lot of other music blogs, unless you count this one. Pretty much WFMU’s Beware of the Blog and that’s it. But every so often I go over to Grandy’s desk and borrow CDs to try and figure out what Stereogum or whatever thinks is cool. I figure I’ll be self-indulgent and add my unwanted opinion.
Here’s the three I investigated today.
Dengue Fever-Venus on Earth
Indie rock interpretation of Jan Pahechaan Ho. Why would you make lounge music with no horns? This record sounds like the sound track to a really bad romantic thriller starring Sharon Stone somewhere in Asia. This plays during the scene in which she is being creepy to an Asian playboy in a hotel bar that has a taxidermied elephant in it.
Evangelista (Carla Bozulich)—Hello, Voyager
I couldn’t find a pic of the cover, sorry. But you should look at it, it’s pretty cool.
Carla Bozulich rides the crazy train, but I’m pretty into it. I can tell she’s really into Diamanda Galas and Quix*o*tic, but I can’t really wrap my head around anything else about it yet. Anyone have any peyote to lend me? I need to find understanding.
Kind of a weird thought, but I find her accent a little over-emphasized. I mean, I know it’s real and whatevs, but I feel like she’s saying, “Oi’m Brit-ish and it droIves me MEN-TAWL! But Oi’m bloody adorable, don’tcha fink?” This is just straight modern girl pop music and it’s got nothing else. It’s so easy and so accessible and so bright and so repetitive that you can ignore it just as easily as you can love it. Feist, Lily Allen (at least she’s kind of a brat, right?), blah blah blah.
All done! I’ll go back to being ignorant now!
posted by February 26 at 4:43 PMon
posted by February 26 at 4:22 PMon
Tel Aviv’s Monotonix put on an amazing show at the Comet on Friday. So good in fact that I was willing to drive up to Bellingham to see them play again, only this time the show was in a much different venue. All of the great music bars in Bellingham have shut down over the last couple years, leaving touring bands with few available places to have shows. Last night’s was held at the bar Cap Hansen’s, a small watering hole that can barely hold fifty people, and has no stage. Tables had to be moved out just so the bands could set up. The prospect of seeing Monotonix in a space like this was too good to be true.
Opening the show was my favorite band out of Bellingham, the insanely talented thrash proggers Cicadas. It broke my heart to see them play the Sunset for less than ten people earlier this month - kids in Seattle would lose their shit if they saw this band open up the right show. They don’t ever have that problem in their home city though, as they’ve made their name in Bellingham as the fastest, technically amazing rock band in town. As usual, their performance would have made any rock musician humble. And as a nice bonus, they closed their set with a sweet cover of Rainbow’s “A Light In the Black.”
Even if there were a stage in Cap Hansen’s, Monotonix wouldn’t have used it. Singer Ami Shalev spent most of the show running up and down the bar, diving on everyone’s heads or squirreling his way through the crowd. The bar was so crowded there wasn’t room for anyone to actually dance, just bob up and down in place. The owners of the bar laid down some ground rules with the band before letting them perform, specifically no fires and not to break bottles. A previous Monotonix show in Bellingham at the bar Chiribins left the place somewhat destroyed, and the owners of Caps were not eager to have that scene replayed. Lucky for everyone, the band doesn’t need to rely on destruction to give a good performance - their dancy garage rock can stand on its own. There wasn’t enough room to crowd surf the drummer, so instead he brought up part of his kit onto the bar to finish the set. The crowd screamed for one more song but the band was spent. Amazingly, nothing got broken. I can’t imagine this band ever playing a boring show. Whether it’s in an actual rock venue or a hole in the wall bar their set is a guaranteed great time.
posted by February 26 at 3:26 PMon
Lately I’ve been stuck on this 1976 disco track, “What Goes Around Comes Around” by Smoke. This group, which eventually changed it’s name to Blacksmoke released this short little catchy disco soul-funk classic off of their self-titled LP, which was released by Casablanca Records’ sub-label Chocolate City. If you enjoy the original three minute version, I would recommend checking out Leonard Part Sixx’s extended edit which is featured on his Underdog Edit Series (No.09, to be exact). Regardless, it’s a great mid tempo disco track that really tends to grow on you over time.
posted by February 26 at 2:42 PMon
There’s that Pink Floyd connection to the Wizard of Oz.
But did you know there’s a Pink Floyd – Willy Wonka connection?
The Dark side of Chocolate:
And as long as we’re talking about Rush. Here’s the same scene to Rush. Chocolate Rush:
posted by February 26 at 2:22 PMon
(Thanks again, to Bryce.)
posted by February 26 at 2:15 PMon
Try walking in their shoes- Karen O., M.I.A., Ian Curtis, and Common are soon to be Converse poster children.
Next time you might want to listen to the album- Maxim magazine apologizes to the Black Crowes
A sign that blogs will someday rule the world- Perez Hilton to get a piece of the Warner Bros. pie?
posted by February 26 at 2:13 PMon
No, goddammit, NO!
As if the major label industry doesn’t have enough troubles, now they’re going to put Perez Hilton in charge of something?? Why? He doesn’t do anything! He uses Microsoft Paint to draw dicks on pictures of celebrities and now he’s gonna get to put out records?
I’m starting a petition to fight this:
We, the undersigned, are appalled by the possibility of Perez Hilton being given control in the music industry. This is an act of annihilation of the culture and history of music around of the world.
Megan Seling, Seattle, WA
Who’s with me?
posted by February 26 at 1:25 PMon
I know it seems like I live in the past these days, with all the disco and retro folk stuff I write about, but hey, I just don’t find much new music that appealing. Honestly. I never listen to the radio. I rarely buy new albums, and am often chased out of record stores by crap playing on the sound system (if I never hear another “alt-country” album again, it would be too soon).
Well, recently I did get 3 new albums I really like.
Sebastien Tellier - Sexuality
Is this image NSFW?
You know this guy, right? He’s the one who made his first album, L’Incroyable Verite, without any drums. It was meant as a statement about how music could have rhythm without the force of a kick drum behind it. You, as the listener, were instructed by Sebastien Tellier to listen to the album by the light of a candle, hopefully in some sort of situation romantique!
That album only half worked for me. Too clever by half, was how I explained to to friends. Cute, but not cuddly. It found it’s niche however by having songs from it included on Sofia Coppola’s film Lost In Translation.
His next project, Politics, spawned the beautiful monster chill-out track “La Ritournelle” which has probably made him a very rich man, being on every downtempo compilation of 2006 and 7. Unfortunately with songs poking provacative fun at the Berlin wall, and genocide, it was a totally lopsided affair.
I think Monsieur Tellier likes to see himself in the roll as the droll, kooky french guy, a la Serge Gainsbourg’s more comedic phase. But he hasn’t quite pulled it off.
Sexuality, his third proper album, co-produced by Guy-Manuel De Hommem-Christo of Daft Punk takes that goofy comedic phrasing and thrusts it into a exotique sexual surrounding. Tracks like the opener “Roche” see him singing softer, with mild chord arpeggiations that ebb and flow like waves, back and forth, in and out of your ear drums. Lots of heavy breathing and girlish squeals punctuate the songs, and bring to mind some of the more fantastical work by Gainsbourg.
With instrumental tracks like “Sexual Sportswear” that call to mind Goblin sodomizing Cerrone and the oddly titled “Manty” (a little too close to panty, for my taste, but it’s not my album…) with it’s lusty female laughter that oddly at times seems close to tears Tellier has found his landscape, and we see, as on the cover, he paints himself into it beautifully.
My only complaint is that he might have sacrificed himself a little too much on the altar of Daft Punk. Nearly every song sounds like it might have been a slow out take from Discovery. Not a bad thing as that is one of the best albums EVER. But it would be nice to get a tiny bit more varied sound over the whole album.
Principles Of Geometry - Lazare
Um, have you heard of this group? I hadn’t until the other day. I picked up the album because I heard a track that had the above-mentioned Sebastien Tellier doing vox on a vocoder on the single, “A Mountain For President”.
This album is fantastic. If you are yearning to hear a Boards Of Canada album that is made to dance to, then I can give this album no higher praise. It takes those tones and sounds the BOC use so well, and twists and works in some beautiful beats, sometimes minimal, sometimes full throttled, but always interesting, truthful and beautiful.
Apparently these guys are collectors of old analogue synth technologies, and used them exclusively on this album. Such beautiful and modern music being made from old machines is nothing new, but these guys just really hit the nail on the head. I am doubly impressed that these guys managed to escape my ears until now. Visceral, real, honest-to-god music.
I usually don’t like rap in electronic songs that much, but the simple word play by a guy named Vast Aire on the cut “Napolean” perfectly matched the mood of doom and gloom to awesome effect.
Once again, is it just me or is every french electronic group out there paying homage to Goblin? Their dark, walking dead, arpeggiated chord progression imprint is all over this album.
BTW. Get the single to “A Mountain For President” as it has a killer remix of the track by Joachim.
Samples from the album can be found on their Myspace page.
Kelley Polar - I Need You To Hold On While The Sky Is Falling
This album is only available on iTunes at the moment, and will become available on CD in early March.
On iTunes, Kelley Polar is taking a little flak for this not being like his last effort, Love Stories Of The Hanging Garden. The lushness of that work with it’s vibrant strings and gorgeous neo-disco vibe made famous by label-mates Metro Area, who Polar has recorded with in the past, is less present on this album.
But that is not to say that this album lacks anything by turning slightly away from that sound. The beats here are minimal, and use lots of natural sounds to fill the space between bass hits, as on the track “Rosenband” whose breathless-ness is caused by stacatto breath-beats. A cool effect reminiscent of Herbert.
The songs are still, in a round-a-bout way, regarding things celestial. We’ve got a song, “Satellites” which through turn of phrase becomes a love song of yearning and waiting. “Zeno Of Elea” which I can imagine must be about some sort of constellation has wonderful tonal progression, more akin to Polar’s classical background. The song takes you on a complete journey through space and time, leaving you someplace totally different and unexpected from where you took off. The whole album is full of songs that like onions start out simple, and lead through many layers to a internal sweetness.
Polar’s vocals on this album are a little more forceful, and while he’s not a great singer, it gives the album a yearning, clinging sound. Lyrically Polar does more “waiting”, “needing” and “wanting” then in his previous work. Which gives you the feeling Polar is bearing his lovers heart right out there on the tip of his viola.
How clearly can I say I love this album. I hear something different and revelatory at every listen. Like his last, I’ll be into this album for a long time, peeling away it’s many layers.
And, please, on the off-chance there is a god….let Kelley Polar come to Seattle on his tour!
posted by February 26 at 1:25 PMon
From Mother Jones:
Music has been used in American military prisons and on bases to induce sleep deprivation, “prolong capture shock,” disorient detainees during interrogations—and also drown out screams. Based on a leaked interrogation log, news reports, and the accounts of soldiers and detainees, here are some of the songs that guards and interrogators chose.
Among the torture tunes: the Barney theme song, the Meow Mix TV jingle, Eminem’s “Kim,” Metallica’s “Enter Sandman,” Christina Aguilera’s “Dirty,” Prince’s “Raspberry Beret,” and “Babylon” by David Gray.
Thank you, MetaFilter.
posted by February 26 at 12:46 PMon
THE ROCK AND ROLL HALL OF FAME ANNOUNCES ITS PRESENTERS FOR 2008
New York — The Rock and Roll Hall of Fame Foundation today announces the artists who will induct this year’s honorees at a ceremony on March 10, 2008, at the Waldorf-Astoria Hotel in New York City:
Leonard Cohen will be inducted by Lou Reed
The Dave Clark Five (Dave Clark, Lenny Davidson, Rick Huxley, Denis Payton and Mike Smith) will be inducted by Tom Hanks
Madonna will be inducted by Justin Timberlake
John Mellencamp will be inducted by Billy Joel
Kenny Gamble and Leon Huff will be inducted by Jerry Butler
The Ventures (Bob Bogle, Nokie Edwards, Gerry McGee, Mel Taylor, Don Wilson) will be inducted by John Fogerty
Little Walter will be inducted by Ben Harper
posted by February 26 at 12:30 PMon
If you are a musician in Seattle, MusiCares (the Recording Academy’s non-profit) wants to keep you healthy:
First, your body:
Saturday, March 22, 2008
8 a.m. - 2 p.m. (must have a scheduled appointment)
509 Olive Way #1607, Seattle, WA 98101
MusiCares, in partnership with Qliance, a Seattle based monthly-fee primary care clinic, presents a limited opportunity to receive a free basic health assessment. This basic health assessment includes glucose, blood pressure, BMI and cholesterol tests. Hepatitis C+ and HIV screenings will also be provided. Following the testing, a primary care specialist will meet confidentially with each participant to discuss basic health concerns, family/individual medical history and test results.
Second, your teeth:
Monday, March 17, 2008
North Seattle Dental
11011 Meridian Ave N
MusiCares, in conjunction with Dr. Christopher Pickel, DDS, North Seattle Dental Group, will be providing comprehensive dental treatment and educational consultations to low-income music professionals in need of those services.
You have to call MusiCares to make an appointment to receive the free check ups—their number is 800-687-4227. Stay healthy, Seattle musicians!
posted by February 26 at 12:30 PMon
posted by February 26 at 12:16 PMon
Is “Where Lies My Tarp?” by the Microphones. The song appears on the expanded re-issue of the Microphones’ masterpiece, The Glow pt. 2, available April 8th via K Records. A version of the song called “Where Is My Tarp?” also appears on the album “Singers”, and you could probably find the song on the internet somewhere if you’re into that sort of thing.
The recording included with The Glow pt. 2 reissue (on the disc titled “Other Songs & Destroyed Versions”) is striking for how little it sounds like anything else on the album. Phil Elverum’s vocals are, of course, instantly recognizable, as is the song’s subject matter—glowing orbs in the sky, camping supplies, love—but, after an intro of dubbed brass and tape noise, the song’s instrumentation is clean and traditional, picked electric guitar and unobtrusive drums, closer to straight folk or country than almost anything in the Microphones oeuvre. Here are the song’s lyrics, as transcribed at the frightfully comperhensive Mt Eerie Preservation Society (let it be noted that on the Glow pt 2 version, the line goes “my arms have to row”):
I can not sink into your bed tonight. I have to go. My arms must row. Your bed is soft, Your face is sweet, You gaze is true, Your eyes are blue, But mine see through to: Where? Oh where? Where lies my tarp tonight? Where lies my moonlight? Where lies my sunrise? Where lies my heart? There is a ball of fire above your house, You squirm and coo, I’m petting you. But there is a ball of fire inside your chest. I’m a mirror moon. You’re a black lagoon. I’m a birch canoe. I’m a wind that blew. I’m a migrating moose on the prairie, loose.
posted by February 26 at 12:09 PMon
Live Nation welcomes Iron Maiden to White River Amphitheatre on Monday, June 2, 2008 at 7:00 p.m. Tickets are $ 25.00, $45.00, $55.00 and $75.00 and go on sale Saturday, March 8 at 10:00 a.m. at all Ticketmaster outlets, Ticketmaster.com or livenation.com or charge by phone (206) 628-0888.
Wow, what a quality birthday present that would make for your favorite Stranger employee!
posted by February 26 at 12:06 PMon
#22 Oxfam Cafe at Tufts University/Feb 22nd/Medford, MA
It snowed so much today, we were skeptical if we could get to Massachusetts.
Oxfam Cafe is a part of Tufts U dorm. Their most popular menu item is a Pizza Bagel. The first band canceled, so Capillary Action played first, then me.
I usually stand up when I play but this time I sat down on a chair. After the show, we went to Nicole’s (who hosted the show) place and watched Simpson’s while eating pizza and drinking National Bohemian, Baltimore’s own PBR. We got a dozen at the Baltimore show, 6 pack=$2.50.
#23 Ground Zero/Feb 23rd/Troy, NY
GPS is amazing. You type in an address and it tells you where to go.
Today, we went to a bagel shop in Allston. “It’s the best bagel in the country,” Jon of CA said. To me, bagels taste the same and the statement sounded funny.
Ground Zero is also a basement at Rensselaer Polytechnic Institute dorm. There was a good crowd already when we got there. A guy with glasses came up to me: “Hey, Kaz, do you remember me? it’s Jessi. We went to Shoreline Community College together.”
What a coincidence! Especially in such a small town like Troy (20 min. away from Albany).
The show was very fun. During the set, I asked if anyone was selling Adderal for finals and later I heard a girl sitting right in front of me was. Of course she has some, it’s a college dorm!
#24 Recess Cafe/Feb 24th/Syracuse, NY
Capillary Action headed to Canada and I headed to Syracuse. We are going to meet up in Detroit. Dirty D.
I took the greyhound from Albany to Syracuse. There was a diner in the station. I had a greasy, greasy breakfast. The diner was so ghetto and I loved it.
On the bus, a kid behind me was asking “Hey mom, there are ten hundred women in the army. How many more women do you need to have 1200 women?”
“Mom, you are SMART.”
This conversation is pretty deep. I don’t know what the heck he was talking about. Why Army? Why 1200 women? I am not a huge fan of the army, I am glad there are only 1000 women in it, not 1200.
As soon as I got to Syracuse, I bought a sandwich at Subway. I have been craving bad foods on the road, Subway, Mcdonald’s, sketchy diners, etc. When I turned around, there was a guy with bright red glasses. That was Anthony from Know Nothing. He came to pick me up.
The Recess cafe is pretty similar to that cafe on 50th and University in Seattle, one with a movie theater. There was a good mount of punk kids already. “Shows in Syracuse usually turns into punk shows,” Anthony said.
The show was fun, I played with Lemuria. They know Eric from Tacocat and we were all about Eric.
“Do you know his band the Trashies?”
“He took us to the Sub Pop office last time we were in Seattle.”
“We played with his new band that covers a Bikini Kill song.”
I asked them to take me to Buffalo from Syracuse, that way I can go to Ohio easier next day. After hours and hours of conversation on Eric and Good Will Hunting in their car, we started listening to Carissa’s Wierd. I have only heard one song on YouTube. They had 50 some CW songs on their iPod. (By the way, when I played Scrabble for the first time in my life, iPod was the only word I came up with. And it didn’t count)
“There’s a good burrito place called Super Mighty, let’s go.” I got a Super Mighty burrito and Pepsi. It was only $2.40. I noticed that eating out in Seattle is veryyyyy expensive.
I went to bed early at their place. They pay $850 for 5 bedrooms (only $700 till last month).
Buffalo, an all-American city.
PWRFL Power is one of this year’s Young Ones. For the full list—including Throw Me the Statue, Talbot Tagora, and Truckasauras—visit www.thestranger.com/youngones.
posted by February 26 at 11:36 AMon
First, there was this song:
“Golfshirt” by Nerf Herder
I’m not the one you dream about
And I’m not the one you can’t live without
I’m not the one who you wanna see
I’m not the one who you want to be seen with
And when you’re tired of all the jerks
And you’re tired of all the work
And you’re tired of being hurt
You will long for the comfort of my golf shirt
I’m not the one who was an old time punk rocker
I was listening to Rush and trying to feather my hair back
When all that stuff went down
I’m not the one who was in a high school hardcore band
I sat in my room scoring with Ms. Pac-Man
And when you’re tired of all the jerks
And you’re tired of all the work
And you’re tired of being hurt
You will long for the comfort of my golf shirt
No tats, no piercings, no hats, no grunge beard baby, yeah [x4]
Now there is this:
“Golfshirt (Part 2)” by Nerfherder
Parked at the dark end of your street
I’m sticking to my vinyl seat
I got my big old spy scope out
I’m sneaking right up to your house
My golfshirt is tattered and torn
I’ve been wearing this thing for so long
It’s midnight and I don’t have a clue
It’s midnight and I still want you
I’m climbing up your apple tree
With my giant spy scope i can see
I’m watching you flossing on your teeth
I bet your mouth is really sweet and minty
Whoa, my golfshirt is tattered and torn
I’ve been wearing this thing for so long
It’s midnight and I don’t have a clue
It’s midnight I still want you
You… I still want you [6x]
My golfshirt is tattered and torn
I’ve been wearing this thing for so long
It’s midnight and I don’t have a clue
It’s midnight and I still want you
I still want you [3x]
The former was on the band’s 1996 self-titled album, the latter is from the yet-to-be-released IV, which I am listening to now.
I loved that self-titled album—there was humor and Van Halen references and songs about being a big dork (like “Golfshirt”) which I really related to because I was a dork in high school (shocking, right? I know). I haven’t paid much attention to Nerf Herder since 2000’s How to Meet Girls (which is more funny big rock/power pop stuff), so maybe this wouldn’t be such a shock if I had been following the band the whole time, but Jesus, IV is depressing. The band sings about still hanging out on Haley Street and still not getting the girl. There’s a song about going to their high school reunion, and a song about reliving the past via items at a garage sale. Track after track, they sound old and unhappy. There’s even a song called “I’m Not a Loser” where the band sings “I’m not a loser/It’s just a matter of mind over matter” over and over again like they’re trying to convince themselves.
There’s hardly any human, there’s no big rock… it’s sad to see a band age.
posted by February 26 at 11:29 AMon
I first heard this song over 20 years ago, and it remains a world-historic ass-kicker. (Plus, bitch can bring it live.)
Thank you for the reminder, Mudede.
posted by February 26 at 10:49 AMon
First: You simply must read Vanessa Grigoriadis’ 9000-word essay on Britney Spears. If there’s a Britney-specific Pulitzer for 2008—and there should be—she will win it.
Second: Please enjoy this mind-blowing, Ozzy Osbourne-flavored performance by the Poca, West Virginia show choir Visual Volume. (The first five seconds alone should earn them a spot in the Rock n Roll Hall of Fame.)
Thank you, Auschglitz.
posted by February 26 at 10:00 AMon
posted by February 26 at 9:38 AMon
“I got it bad/You don’t know how bad I got it.” Nik Kershaw
“And I remember/And I remember.” Intelligent Hoodlum
“I do know Man-din-ka.” Sinead O’Connor
“Oh I, oh, I’m still alive/Hey, I, I, oh, I’m still alive.” Pearl Jam
“Please believe what you want to believe but leave me to do me/Ain’t nobody can do me better than me.” Choklate
“Who could it be? Believe it or not it’s just me.” Joey Scarbury
“I/I was standing.” INXS
“I want to have dinner with Gershwin.” Donna Summer
“So I start my mission, leave my residence/Thinkin’ how could I get some dead presidents?” Rakim
“And so I face the wall/Turn my back against it all/How I wish I’d been unborn/Wish I was unliving here.” Eurythmics
“I came in this world alone/Me, myself, I.” Joan Armatrading
posted by February 26 at 9:00 AMon
(Music) MSTRKRFT’s Jesse Keeler recently explained the title of the techno rockers’ new single, “VUVUVU,” thusly: “The song was inadvertently named by Xavier [de Rosnay] from Justice. He says the music they make is [imitates] ‘PRPRPRPR TISH, PRPRPRPR TISH’ and the music we make is ‘VUVUVU.’” Indeed, MSTRKRFT’s DJ sets keep up a thick, heavy bass pulse more in line with straight techno than with Justice’s metal riffs and disco breaks. With LA Riots and Lazaro Casanova. (Neumo’s, 925 E Pike St, 709-9467. 8 pm, $13, all ages.) Eric Grandy
And Holy Fuck is back already? Didn’t they just play within the past few weeks? Are they really playing again? Yes, yes, and yes:
Holy Fuck, A Place to Bury Strangers, the Purrs
(Chop Suey) Fucked up at 4:00 a.m. at a friend’s house: Upon seeing some massive, knob-intensive guitar pedals scattered around his coffee table, I say, “What are you, A Place to Bury Strangers?” Well, we all had a good laugh about that one, because that’s the sort of lame shit that passes as humor between music critics (thanks for reminding me of that when I was sober, btw). See, A Place to Bury Strangers are the band of one Oliver Ackerman, who makes custom-built guitar pedals as Death by Audio as his day job. Not surprisingly, A Place to Bury Strangers’ distortion-drenched shoegaze, reverberating drones, and amplified windups serve as a kind of showcase for dude’s wares, demonstrating the awesome power of a good effects chain. But A Place to Bury Strangers are far from showroom dummies; their dark self-titled debut is a sonic landmine, sure to blow up live. ERIC GRANDY
And from this week’s BITB by Mr. Parks:
Harsh is back with a one-off at the Rendezvous on Tuesday, February 26. As always, their artists have the best names around, with Herpes Hideaway, Red Squirrel, and In the Age of Terminal Static joining D.C.’s Bajskorv for a night of “electronic death.”
And lastly, from this week’s Score by Mr. Delaurenti (who also suggested Harsh):
Wryly billed as “hot Latin music, circa 1500,” the Early Music Guild has imported this outfit to showcase work by Juan de Encina, Diego Ortiz, Miguel de Fuenllana, and anonymous Sephardic Jewish composers. With countertenor Jose Lémos. Preconcert talk starts at 7 pm. Town Hall, 1119 Eighth Ave, 325-7066, 8 pm, $15—$35.
posted by February 26 at 2:47 AMon
Johnny Cash’s 76th birthday is today. Little Red Hen is celebrating. Draw your (play) gun. Take a shot.
Dan Tyack is a lap/pedal steel lord.
I believe they may play some Johnny Cash songs.
9 PM - $2 cover. 7115 Woodlawn Ave NE.
posted by February 25 at 4:25 PMon
After the East Coast tour, I was supposed to spend two weeks in Oberlin,OH to practice with Capillary Action, my tourmate. However, their living situation changed, they weren’t able to host me anymore. So I was told to stay in NYC until the 19th, which turned out good. I got to spend an extra two weeks with my gf and ate bagels. Also, I got the flu.
#19 Talking Head/Feb 19th/Baltimore
I took the Chinatown bus to Baltimore. It’s a super cheap bus line literally leaving from Chinatown. It’s usually faster than the Greyhound.
There were six bands on the bill that night. Santa Dads played and everyone from Wham City, a Baltimore art-collective lead by Dan Deacon, was there. I met them for the first time in Jan. 2007 and it was so nice to see Lizz King, Adam (of Creepers), and Kevin (of Videohippos) again.
And wonderful news: M.I.A came and liked it. Thanks to the City Paper for writing about me, Diplo’s Manager brought M.I.A. to the show.
It was awesome to see someone everyone’s talking about. Her hands were dry.
#20 Inciting HQ/Feb 20th/Philadelphia
I was supposed to go to Geno’s for Philly Cheese Steak since I went to Pat’s last time but we didn’t have time.
The venue was somebody’s loft space. Nobody came. M.I.A didn’t come either.
#21 Cake Shop/Feb 21st/New York
Cake Shop! My favorite place to play in NYC all the time! I wanted to buy an electric guitar before the show but I couldn’t find a Fender Mustang. I decided not to.
The show was very fun. I saw my friend Anthony who now makes the TV show Made, Kiriko, and Ryan. Yes, Ryan from Catbird Records; it’s also a blog (catbirdseat.org) and they are releasing my EP and I made this show a CD release party.
After the set, the lead singer from Shudder to Think bought CDs from me, I wonder if they can cover one of my songs… when they tour with the Smashing Pumpkins again… (*_*).
39 more shows to go, this national tour is going to be very fun.
PWRFL Power is one of the Stranger’s 2008 Young Ones
posted by February 25 at 3:29 PMon
After talking to The Physics yesterday…
…and listening to the duo’s debut album, Future Talk, from beginning to end this morning, I have reached this conclusion: The Physics make the smartest hiphop in Seattle. Future Talk is not the full realization of the combined intelligence of MC Thig Natural and DJ/Producer Jus D’Amato. The CD is a little uneven. But the best tracks in the collection expresses a kind of thinking that has no match in this city. The brains of local hiphop my have its most capacious home in the music of these young ones, The Physics.
The Physics will play the Young Ones showcase on Thursday March 6th at Sole Repair and Nuemo’s. Sleepy Eyes of Death, Talbot Tagora, Throw Me the Statue, the Moondoggies, Truckasauras, and 2007’s Young Ones Dyme Def and Arthur & Yu are also on the bill. It’s $5 to get in to both venues, and all proceeds go to benefit Real Change.
Read more about all 2008’s Young Ones at thestranger.com/youngones.
posted by February 25 at 3:23 PMon
Wilco postpone show in lieu of playing SNL- Hosting will be the girl from Juno, making the show a must see if you work at Urban Outfitters.
Who wouldn’t drink this?- Dr. Dre to release line of high class beverages.
The wait is over- Britney Spears voted World’s Greatest Mom (with psychiatrist present)
Wishing I could take off his undies- Virtual Devendra Banhart doll unleashed on unsuspecting Earth.
posted by February 25 at 3:17 PMon
(Thanks to Bryce for the tip.)
posted by February 25 at 2:55 PMon
Have you signed up yet?
It’s open to all Seattle musicians—DJs, rappers, bands, solo artists.
If you already have a profile on the Bands Page, you just have to update it to be included. Click here for instructions on how to do that. If you don’t update your page, your profile won’t be deleted, but it won’t be included in the print version of the guide either.
If you don’t have a profile, it’s really easy and free to make one—click here, it only takes a few minutes.
You get 25 words to use however you wish—you can describe your sound/talents, included whatever contact information you wish (if you want to leave your e-mail out of it to avoid spam, go ahead), or give us a poem. It’s your call. Just be sure that you’re in it. If you aren’t, you don’t exist.
For more information: www.thestranger.com/bandform.
posted by February 25 at 1:47 PMon
Jay-Z making money from the…
…African Slave Trade!
This ain’t no joke:
Rap mogul Jay-Z is at the center of a $5 billion dollar “claim of lien” filed against him by Brooklyn activist Clive Campbell and the DA Black Defense League.
Campbell claims Jay-Z, born Shawn Carter, as well as developer Bruce Ratner and Barclays bank worked “in concert” with Barclays and “profited from the African Slave Trade and continue to profit from these gains, through a conspiracy dating back hundreds of years and continue to date to oppress Black people, enslave them, unlawfully deport them to all corners of the Earth.”
But how can this be? Jay-Z is a real brother?
According to The Observer, Barclays, Ratner and Jay-Z are connected in the case through their ties to a $4 billion Atlantic Yards project in Brooklyn, where Ratner and Barclays plans to build a Frank Gehry-designed basketball arena for the New Jersey Nets, as well as more than 6,000 new apartments.
After hearing this piece of news, learning that Dick Cheney donated his entire fortune to the NAACP would not come with a shock.
posted by February 25 at 1:39 PMon
On her Myspace Blog:
swank looked great, i bet that was Versace, she looke dgirly for the fiorst time in forever- im sad for PTA i love teh Coens but PTA well tehy shouldve let him release all 6 hours of There Will Be Blood cos thats what i bet there is of it, Kidman as anyone knows and me are not bffs by any stretch, and i though te edgy thing was cool but for some reason not onher- and her forehead is way too shiny it flips me out- iwas REALLY isnpired Diablo Cody won - that was fucking AWESOME in fact i think i just may have peed all over her My Space- i was supposed to be at Eltons Party at i think noon or something and if we dont hiurry it will suck- i really dont want to get there ina crush of shit and stuff- wait my pr is outside im calling her hold on- okay i hope the disaster has been averted but m,y expirience with that party is that i do NOT want to see Paris dancing ona table i really really DONT and i dont want to stuff a stale slamon canape in my mouth and i really need to get laid so i m off to do so.
i love dthat tattoo on her ( Dibalo) and her cute thigh and the wietzman shoes were actually pretty unnatractuve really,. neat, i like the minnesota thing too, i wont be getting a bl;ack bob although i think abou tit contstantly , but it was inspiring rarely does anyone win when theyre an “outisder” particul;alrly chicks who talk about sex working- desp[ite the fact that EVERYONE i know in this town who wasnt upper middle class or didnt come from a hollywood family DID IT and even then i know of some exceptions. so i was really proud a little Nirvana moment if you will.
“we won” my friend Daphne Guiness is here and i cant wait to see her.
okay signiong off ,. im moving bu June really why? cos between a blood red Fortuny and a pink Fortuny id get all sorts of crazy shit by people who dont even know whata Fortuny is ! borrrring, ill be back but for now im so over L:A
I’m kind of surprised there isn’t a section where all the pills made her pass out and faceplant into the keyboard, typing a string of random letters. Or maybe that’s the only thing that happened, and it’s just coincidence that it almost spelled several real words, like how a thousand monkeys on a thousand typewriters will eventually come up with a Dickens novel. This is the transcript of a human being decomposing before they actually die.
(hat tip to Idolator)
posted by February 25 at 12:34 PMon
posted by February 25 at 12:22 PMon
When I took a trip down to Portland a few months ago, I obviosly stopped in as many record stores as I could fit in one Saturday afternoon. The place that I scored maybe my best find was at this reggae/punk/metal record store in downtown. I don’t remember the name of it, as I was in and out of there pretty quickly. However, I was lucky enough to find one crate of disco records, and in that crate I found Tempest Trio’s rare 1979 sel-titled LP, a record that I’ve been looking to find for some time. I was pretty excited with the find however shocked at where I actually found it. Although I tend to find some of my best finds at record stores and places where the crates haven’t been picked over. Regardless, I was happy about finding this five track LP off of Marlin Records, which I’m finding was responsible for many great disco records during the 1970’s. This record turned into a one-off disco project by legendary producers Mike Theodore And Dennis Coffey. Even though the album only consists of five tracks, the record is solid all the way through with classic cuts like “Starlight”, “Last Call For Love”, “Love Machine”, which was more recently re-edited by Prins Thomas, and the popular “Do You Like The Way That It Feels”. Overall, it was a great find in a record store that probably uses their disco LP’s more for wall decoration, rather than for filling up their bins.
posted by February 25 at 12:08 PMon
Sorry about the ALL CAPS, but that’s how the press release came in… and I’m not retyping all that.
SASQUATCH! MUSIC FESTIVAL ANNOUNCES 2008 LINEUP
Memorial Day Weekend | May 24, 25, 26, 2008
The Gorge | Quincy, WA
R.E.M, THE CURE, THE FLAMING LIPS U.F.O. SHOW, DEATH CAB FOR CUTIE, MODEST MOUSE, M.I.A., MICHAEL FRANTI & SPEARHEAD, FLIGHT OF THE CONCHORDS, THE NEW PORNOGRAPHERS, THE PRESIDENTS, THE NATIONAL, TEGAN & SARA, BUILT TO SPILL, THE HIVES, RODRIGO Y GABRIELA, OZOMATLI, COLD WAR KIDS, THE BREEDERS, BEIRUT, THE KOOKS, MATT COSTA, BLUE SCHOLARS, GHOSTLAND OBSERVATORY, STEPHEN MALKMUS & THE JICKS, THE FLAMING LIPS MOVIE PREMIER: “CHRISTMAS ON MARS”, OKKERVIL RIVER, DENGUE FEVER, JAMIE LIDELL, CRUDO (FEAT. MIKE PATTON & DAN THE AUTOMATOR), MATES OF STATE, DESTROYER, ROGUE WAVE, BATTLES, THE FLEET FOXES, WHITE RABBITS, THE CAVE SINGERS, PELA, GRAND ARCHIVES, THE LITTLE ONES, THAO NGUYEN & THE GET DOWN STAY DOWN, DEAD CONFEDERATE, 65DAYSOFSTATIC, THE HEAVENLY STATES, KINSKI, DAVID BAZAN, DYME DEF, VINCE MIRA WITH THE ROY KAY TRIO, SERA CAHOONE, JOSHUA MORRISON, THE BLAKES, SIBERIAN, THROW ME THE STATUE, THE COPS, SAY HI, THE SHAKY HANDS, J. TILLMAN, “AWESOME”, AND MORE TO COME!
And here’s the ticket info, via the same press release:
$55 per day for the on sale weekend only, beginning Saturday, March 8th at noon
$65 per day beginning Monday, March 10th
$75 week of the festival, beginning Monday, May 19th
V.I.P. package tickets with special amenities also available. Full details on the festival website: www.sasquatchfestival.com.
Tickets go on sale Saturday, March 8th at noon and can be purchased online at ticketmaster.com, sasquatchfestival.com, all Ticketmaster outlets, or charge by phone in Seattle (206) 628-0888, in Oregon (503) 224-4400, and in Eastern Washington (509) 735-0500
Camping is available for May 23, 24, 25, 26 and reservations can be made when purchasing tickets via Ticketmaster. For more details, directions and further information on camping at The Gorge Amphitheatre go to www.sasquatchfestival.com.
(Want to get updates about breaking news like this sent straight to your phone? Follow Line Out on Twitter and make it so.)
posted by February 25 at 11:41 AMon
Ouch My Eye Gallery had a show this past summer called Muppet Rawk. Artists muppetly interpreted album art and paid tribute to their favorite music. Lawrence Ruelos and Dev Madan guest curated the event.
The Cure – Boys Don’t Cry. Painted by Paul Whitehead:
Beaker as the Cure’s Robert Smith. Similarities: Hair and high pitched vocals. Robert Smith says, “Kiss me kiss me kiss me.” Beaker says, “Mee mee mee.” Differences: Beaker is Dr. Bunsen Honeydew’s assistant. Robert Smith is no one’s assistant.
Van Halen – 1984:
Track five on the album is “Drop Dead Legs.” Kermy, when fried with flour, salt and pepper, and dipped in egg batter, could make for tasty legs.
The Police – Ghost in the Machine:
Animal, Piggy, and Kermy as the red digital read out. “We are puppets, made of material (world).”
The 1984 and Pig in the Machine artist’s names are forthcoming.
posted by February 25 at 11:25 AMon
Jeffrey Lewis is fucking awesome. His songs are clever and funny and genuinely felt; his voice is ragged, flat, and pinched in all the right places; he and his band, the Jitters, are confident and capable enough to ramble and improvise without missing a beat, simultaneously sloppy and sharp. Lewis and the Jitters played two shows this past weekend—Saturday night opening for the Mountain Goats at Neumo’s and Sunday at the Dearborn House in Wallingford. Each set was a mix of Crass covers (from his recently released 12 Crass Songs) and Lewis originals, and each set was completely different.
Of the latter, Neumo’s probably got the better set, including a song about meeting Will Oldham on the subway, in which Lewis asks him if it’s worth being an artist, and Oldham beats him up, ties him to the subway tracks, and fucks him (“artists are pussies”); a song warning that there’s no such thing as a free lunch on the record label; and a “music video” (still projections of Lewis’ colored, hand-drawn comics) about how Lewis used to dress like a hippie and his friend used to dress like a punk, but how they both “don’t look like much” now and, anyway, it’s what you’re like inside that matters. At the Dearborn House show, a benefit potluck for Hollow Earth Radio, the attendant mix of bike punks and preciously ugly sweaters (Twee.I.Y.) got a truly funny a capella “documentary video” about the history of writing, which Lewis delivered by flipping pages in his sketch book.
Both shows got a good mix of Crass, including “Walls (Fun in the Oven),” “Punk is Dead,” “Banned at the Roxy,” “Systematic Death,” “End Result,” and for his last song at Dearborn, the great “Do they Owe Us a Living?,” which couldn’t quite rouse the politely seated crowd for its call-and-response. That Crass’ right-on songs ring as true today as ever is both vindicating and depressing. That Lewis’ comfortable art-gallery crowd can’t be bothered to sing along is just typical.
Update: Two other Moments in Twee from the Dearborn show that I meant to mention: 1. Both a cat and a dog were wandering around the house/gallery space, and at one point Lewis said, “I think I own a bracelet made of hair from that dog.” 2. Lewis band twice overruled him when selecting the next song (they were playing without a set list), telling him first that one song was “too samey—no more songs in the key of G,” and telling him the second time, “You’re outvoted, this is what happens when you don’t have a set” to which Lewis replied, “No, this is what happens when you don’t realize your band has a leader.” Soooo cute!
posted by February 25 at 11:02 AMon
Look, the Hives—if you have enough money to tote that giant neon sign all over the world, you have enough money to hang a curtain over it while your opening bands are playing.
It’s just common courtesy.
posted by February 25 at 10:49 AMon
Yes, Oh Yes photo by Gunther Jose Frank
Yes, Oh Yes, Blanket Truth; the Pica Beats
(Chop Suey) Like Don’t Stop Believin’ labelmates the Pharmacy, Bellingham’s Yes, Oh Yes are a band who dress up spare pop punk and ragged ballads with lo-fi synths and classic psych pop touches. But Yes, Oh Yes trade that band’s out-of-control house-party ruckus for softer, subtler songwriting. Jordan Morris’s vocals are perfectly strained and hoarse—part Oberst, part Strummer—and his songs are touching and catchy. Blanket Truth combine ukulele, Omnichord, occasional beatboxing (courtesy of Eli Dam, little bro of Akimbo drummer Nat), and Jon Manning’s falsetto vocals to achieve something like the Unicorns’ demented bedroom pop. The Pica Beats accent their sweet, twee songs with prerecorded percussion and live sitar; they’re looking for a permanent horn section. ERIC GRANDY
Also tonight: A band called Arsonists Get All the Girls are playing at Studio Seven (that’s them pictured above). Their name made me curious (because it’s a total lie), so I listened to a few songs via MySpace. They’re… not my cup of tea. They’re not my cup of anything. Not even a cup of urine. They’re blastblastblast drumming over maniacal guitar playing and cookie monster vocals and and out of place synthesizer and the songs cause a really weird physical reaction within me. After three minutes, I was pretty sure I had just been impregnated with satan’s baby. Or maybe it just made me gassy. Either way, I had to turn it off.
posted by February 25 at 10:23 AMon
KEXP is doing their pledge drive this week, and it occurs to me that if some hypothetical person doesn’t happen to like the KEXP-simulcasting-in-New-York deal, now would be the best, if not only time to call them up and explain exactly why KEXP isn’t getting any of their hypothetical money this time around. The next pledge drive would probably be too late. Hypothetically.
posted by February 24 at 6:41 PMon
If you do, then you can now follow Line Out on Twitter! It’s what you’ve all been waiting for, right? I know.
We’ll keep you posted when there are heated debates about Rush and Yes and hot polls about Slats, but mostly we’ll use it to announce any breaking news like if a club shuts down, if a rad band is playing an unannounced show somewhere in the city, or if a big show gets announced (like Radiohead—book that shit dudes!) or canceled.
If you aren’t familiar with Twitter, it’s a pretty cool application—you sign up (for free) and you can send and receive short updates via your phone or computer. You can let people know what you’re up to (if you want). You can choose to follow your friends so you know what they’re up to too. The BBC is on it, NPR is on it, I think even Obama has an account. All updates can be sent to you via e-mail or directly to your phone, so you don’t even have to be near a computer to know the latest.
Don’t worry, if you start following Line Out, you won’t be getting spammed constantly with every post to go up throughout the day. It’ll be a few updates a week at most, and used especially if there’s breaking or exciting news.
posted by February 24 at 3:55 PMon
(Palmer, AK photo by Blush Photo)
Strong Killings, Palmer, AK
(Green Room at Showbox at the Market) Just a couple weeks ago I wrote about Ships, the newish project featuring the Lashes’ keyboardist Jacob Hoffman and former Divorce guitarist Garrett Lunceford. This week, guess what? Those same dudes are in yet another band! This time, they’re the live accomplices for Hoffman’s Lashes bandmate Eric Howk, who is the main songwriter for Palmer, AK. It’s a dreamy, introspective project with lo-fi recordings—”Goodtime” is a bittersweet number with harmonizing vocals delicately dancing with soft piano; “Same Rain or Noelly” has a worn folk feel with strings and quickly strummed acoustic guitar and even a whistling solo. It’ll be a nice way to wind down and wrap up the weekend. MEGAN SELING
Here’s the band playing a song called “The Moat” at Veracity in December 2006 (via their MySpace page):
posted by February 24 at 3:38 PMon