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Archives for 04/27/2008 - 05/03/2008

Saturday, May 3, 2008

Hey Hey It’s Massive Monkee Day!!!

posted by on May 3 at 2:12 PM

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Today is the day the City Of Seattle recognizes as Massive Monkee Day. Today Seatown’s globetrotting b-boys and b-girls show out in a celebration of the art form, the town, and of course the mighty, mighty Massive.

Here’s something I said about it in my column last year:

From far-flung locales to those accessible by a quick ride on the #36, Seattle’s world-renowned Massive Monkees give it their all. From their free dance-studio practices at Beacon’s Jefferson Community Center to voter-registration drives and high-school education, Massive also give back. “It sounds cliché and corny but it’s true: The children are the future of this art form,” says Massive’s own djblesOne. “The next generation is the base, the bottom line—if we don’t invest in the children, don’t invest in our scene, we literally won’t have one.” Just as dedicated to grooming a new generation of breakers as they are to repping their town, Massive have been sprinkling true and living Seattle flavor on an international level for many moons now, nephew.

“I’m excited about everybody getting together, everybody from out of town coming up,” enthuses djblesOne, “but what I love is that this event gives outsiders a real, concrete, positive perspective on our culture. Like, you can bring your kids to this! You can come learn from experienced heads, see that hiphop isn’t the evil monster it’s always portrayed as.”

If you wanna know the engine that drives this town’s hiphop, it’s all going down @ Club Heaven (172 South Washington St.).

Favorite Lyric and Book of the Day, Unrelated

posted by on May 3 at 1:30 PM

From the stellar “Good Friday” off of Why?’s latest album, Alopecia:

“Sending sexy SMSs to my ex’s new man ‘cause I can”

Jesus! Just look at that thing! Look at the internal rhyme and consonance involved. Look at the amount of narrative and character crammed into just 11 words. Check out how he says “SMSs” when a lesser MC would’ve just said “text messages.” When you listen to it, it sounds like Yoni Wolf’s voice is climbing a up little hill, then falling down, flat. That is one hell of lyric.

Also, on an unrelated note, I just finished reading Carl Wilson’s 33 1/3 book on Celine Dion’s Let’s Talk About Love, A Journey to the End of Taste, and, to add my voice to what I’m sure is already an exhausted chorus of consensus, it is required reading for anyone who has ever cared (too much) about music.

Ship It

posted by on May 3 at 12:52 PM

The Ouch My Eye Gallery opened their Ship It exhibit, which runs through June 8th. Ouch My Eye posted an open call for people to ship things to them in the mail, and that would be the show. Whatever was shipped, however it was shipped, is what is on display.

Someone shipped an inner tube. You can put a stamp and an address on a inner tube and stick it in the mail. Or a rubber ducky. Or a water-wing. Or McDonalds french fries. The scene at the post office being a possible: ‘Letter, letter, bill, bill, letter, RUBBER DUCKY.’

Seattle band Motrecraft played their first show ever. An all girl, all woman band who played very impressively. It’s a Bat for Lashes / Velvet Underground sound. Mr. Dan Paulus was there.

Ouch My Eye is 1022 1st Ave S. next to Safeco Field. Photos by Christopher Nelson.

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Great Job!

posted by on May 3 at 12:41 PM

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The line for the second show of last night’s Tim and Eric Awesome Tour stretched all the way down the block, almost making it to the corner of Broadway and Pike. DJ Douggpound started off the set by telling a joke, then doing a remix of that joke through his DJ booth. He had an especially good one about liking girls who listen to NPR in which he sampled Terry Gross. He also shouted at the crowd, “What are you yelling about? Go back to Enumclaw!”

The live format for Awesome Show was true to their TV program - new videos, sketches, and performances by the gang of weirdos they’ve made into stars. Some highlights: a live performance of “Petite Feet,” a video about caring for your “child clown,” an unbelievably shameless Papa John’s plug where they tried to sell the audience email at papajohns.com for $29.95, getting hit with a hot dog thrown by Eric - then seeing the guy next to me pick it up and slap his friend in the face with it and get punched in the stomach, a new Absolut ad Starring Zach Galifianakis, and Casey Tatum barfing on a kid in the first row after choking and squeaking through several songs. Pierre did “Doo Dah Doo Doo,” James Quall sang and told amazingly bad jokes, and the “This is what I do, I sit on You” guy performed his song for a lucky audience member. The most brilliantly awkward part of the night though were the songs by ventriloquist David Liebe Hart and his creepy, creepy dolls. The room was dead silent, there are no jokes in his songs so no one was laughing, but his comedy (I’m not sure if it’s actually funny to him) is the kind of hilarious that you don’t laugh out loud at. If you haven’t seen what David Liebe Hart does, here’s an idea:

Tim and Eric mentioned at the end of the set that this was the first night they had the other performers along with them, which was kind of hard to believe. Without those guys the show wouldn’t have been nearly as funny. At the merch booth they were selling Jan and Wayne Skylar calendars for the year 1990. The fact that these idiot man-children can sell out venues across the country is truly inspiring.

The ubergaying of Eurovision: Iceland and Sweden! Oh, and Turkey.

posted by on May 3 at 9:03 AM

The second semi-final of Eurovision starts with the amazing, glittery Iceland (Euroband) with the gayest anthem of the contest: This is My life! With a title like that, what else could this song be like? Pall Oskar was involved in the making of this, which is also more than enough to have me jump up and down in excitement. Who’s Pall Oskar? Pall Oskar is the first out gay performer at Eurovision back in 1997, when he took part for Iceland with four latex-clad ladies, a white leather sofa and lots of eyeliner. Because the voting was still done by juries then (as opposed to televoting) and there was a live orchestra instead of a bass-filled backing track, Minn Hinsti Dans got very few votes, but his performance is a classic. Check it out here (and discover how sexy Icelandic is). Iceland may well be one of the gayest Eurovision countries out there, at least judging by the national preselection they had. Also competing was “The Wiggle Wiggle song” by Haffi Haff, whose performance might have even been a tad more fabulous than that of Eurobandid. Iceland is one of my favourite countries in this contest. I just hope they make the choreography a little more dynamic, though they deserve credit for the mini-clothes change in the beginning.


And here’s another Euro-stomper: Sweden’s Charlotte Perelli with Hero. Charlotte Nilsson (as she was then called) won Eurovision in 1999 with the very Abba-sounding “Take me to your heaven”. Kinda like Carola (another Swede who took part three times so far: Watch Carola getting more (1983 – 3rd) and more (1991 – winner) botoxed and Born-Again-Christianed (2006 -5th)), she can’t get enough of Eurovision and decided to take her chances again. Even without the introduction you should be able to tell straightaway that this is a Swedish Eurovision entry. It ticks all the boxes: blonde pretty ladies (though Charlotte looks a bit scary), an Abba dance routine, the typical Swedish Eurobeat and look, they’ve even recycled Carola’s windmachine yet again! Another hit in gay clubs and a definite candidate for the final, without a doubt.


Turkey sends Mor ve Ötesi with Deli, thus ending our gay invasion of Eurovision for now. Though the lead singer is definitely nice enough to look at, so the fun is not totally ruined. We’re back into the regions of rock, without a feather boa or backing dancer in sight and –even worse- real instruments on stage. I’m meant to write a review of this song and they give me no material, whatsoever. Right, back into the history books then. Turkey’s last rock entry was Athena with For Real who came fourth in 2004. The year before that, Turkey won for the first time in their Eurovision career when Sertab (the Turkish Madonna) and her harem of German backing singers/dancers narrowly beat Belgium (the nerve!) with “Everyway that I can”. Certain parts of that performance still make me grin like an idiot. Not that I need much, but still. So yes, this year’s entry. Well, seeing as it’s Turkey, they’ll definitely make it to the final, so in case you’ve not lusted after the lead singer enough in the semi, you’ll get a chance to do so again in the final. Every cloud has a silver lining, no?


Next up: Ukraine, Albania and Lithuania


Friday, May 2, 2008

All Girl Summer Fun Band Releasing New Record!!!!

posted by on May 2 at 3:27 PM

Wooooo! My favorite lady-exclusive solstice party group is going to self-release later this year. No deets yet except for THEY WILL TOUR FOR IT.

Very exciting.

To tide you over, here’s a vid of “Dear Mr. & Mrs. Troublemaker.”

Viva La France!

posted by on May 2 at 3:25 PM

Ce soir, Ce soir! Les Punks de garage se CRASH NORMAL chez le Funhouse!

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Chez le Funhouse!! Ne manquez pas ceci!

No Age Streaming Nouns

posted by on May 2 at 2:59 PM

I reviewed No Age’s new album, Nouns, in my column this week:

Forget Weirdo Rippers, this is No Age’s proper debut: an unexpected blast of an album that totally fulfills every scrap of hype these guys have accumulated over the last year and then some. Its songs are oddball anthems, oblique sing-alongs busied by swarms of sweet noise and punctuated by moments of reflective quiet.

In a response to a Line Out post below, Me Too says:

Yo Grandy: No Age is streaming the whole new album on its MySpace

Everybody, thank Mr Me Too:

http://www.myspace.com/nonoage

Four Quick Obits

posted by on May 2 at 2:41 PM

Bebe Barron (1925-2008) With her husband Louis, Bebe worked with John Cage on the Project for Magnetic Tape and composed the landmark soundtrack to the film Forbidden Planet, which exposed millions to electronic music. Pioneers of circuit-bending and of the kitchen sink-approach to electronic music, the Barrons (pictured below) were willing to try anything to make new and unusual sounds, including building self-destructing circuits. “Prepare your minds for a new scale of scientific values…” and see some of Forbidden Planet.


Bebe and Louis Barron


Henry Brant (1913-2008) A 20th century pioneer of heterogeneous ensembles and acoustic spatialization, Brant took the concept of antiphonal performance (think brass choirs in opposite balconies during the time of Giovanni Gabrieli) to new heights: His oratorio, Wind, Water, Clouds & Fire, calls for three women’s choruses, a children’s chorus, woodwinds, six trumpets, percussion, harp, piano, ten violins, and organ. Several years ago, the Seattle Flute Society performed Brant’s “Ghosts and Gargoyles” for flute ensemble; flutists ringed Town Hall’s main hall. The music, a kind of glacial, surround-sound Gregorian chant, was captivating.

Tristram Cary (1925-2008) A pioneer and fine composer of electronic music, Cary co-designed one the great synths of the analog age, the EMS VCS 3. Unfortunately the documentary, “What The Future Sounded Like,” which features Cary prominently, has been removed from youtube. Here’s a more in-depth obituary.

Jimmy Giuffre (1921-2008) Apart from his essential role in West Coast jazz, the reedman helped pioneer freely improvised music with his ill-fated 1962 album Free Fall. The trio that recorded Free Fall - Giuffre, bassist Steve Swallow, and pianist Paul Bley - disbanded soon after a gig that earned each member 35 cents apiece for a set. Alas, wages for experimental music makers have hardly risen since.

Too many amazing musicians have died recently. To cheer myself up, I watched an episode of The Subject is Jazz with pianist Billy Taylor and composer George Russell. Scan ahead to the six minute mark for “Concerto for Billy the Kid,” which features pianist Bill Evans and remains one of Russell’s best pieces. It’s also a treat to see the underrated trombonist Jimmy Cleveland.

“Billy” showcases Russell’s gift for making tightly scripted pieces that nonetheless welcome unusual timbres: Note that the drummer continually hits the nipple of the cymbal (near the nut) for a high, ringing tone; Cleveland’s tiny polyphonic emendations around 6’40”; and, at the first piano break, Bill Evans doubles his part two octaves up for a bell-like sound.

I also like how Evans’ one-hand solo at 8’30” - unusual for the absence of left hand comping - thins out the overall texture. By contrast, trumpeter Art Farmer’s marvelous bit at 10’03” cuts through a denser field: a ride cymbal and passages injected by the trombone and saxophone.

Alas, the bass and guitar (guitarist Barry Galbraith falls behind in the first section) remain mostly inaudible in this clip; to really hear the work’s polyrhythmic frisson, find the out of print Jazz Workshop recording released in 1990 on RCA or the cheaper import disc “Complete Bluebird Recordings.”

And yes, the host of The Subject of Jazz, Gilbert Seldes, is a tad stuffy, but when the program aired in 1958, jazz and other improvised musics had yet to win recognition as a field worthy of respect and serious study. Seldes was fighting the good fight.

Ponderosa Stomp memories

posted by on May 2 at 2:21 PM

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Just got back from the Seventh Annual Ponderosa Stomp in New Orleans a few hours ago. I saw some amazing performances across two nights; the spirituals James “Sugarboy” Crawford sang Wednesday evening left me feeling like I was part of a congregation, not a jam-packed House of Blues audience. And Ronnie Spector just sounds better as the years go by. Hopefully she trademarked her signature “whoa-ho-ho-ho” and is making a mint off of ringtone downloads nowadays.

In addition to the showcases, the Stomp hosted their first daytime conference of panels and oral histories this year. The photo above is from Wednesday’s “Here Come The Girls: Women In Rock, Country and Soul in the 60’s” chat, moderated by Holly George-Warren. Mary Weiss of the Shangri-Las (on the left) shared some great stories about her rough-and-tumble adventures (including buying a derringer for protection on the road), and Lorrie Collins of rockabilly siblings the Collins Kids (center) had the audience in stitches reminiscing about being courted by TV heartthrob Ricky Nelson.

But hands down, my favorite person at the conference was the slender lady on the far right of this photo, soul jazz cult figure Tami Lynn. She’d cranked out a smokin’ version of her 1972 hit “Mojo Hanna” the night before, accompanied by an all-star band including Mac Rebennack (alias Dr. John) on the piano. Asked by George-Warren about her early experiences — and dealing with powerful men in the entertainment biz — she remembered an episode at a radio convention when she was just sixteen, and Atlantic Records’ Jerry Wexler cornered her after a showcase, offering her a contract. Her response?

“I’m sorry, sir, I don’t want to be a singer,” she demurred. (Earlier, Lynn had explained that she was a reluctant performer from the beginning.) “I want to be a speech therapist with retarded children.”

Wexler replied: “Well, I know all about retardation… because you have it.

The Moment I Fell in Love With Bright Eyes

posted by on May 2 at 1:50 PM

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How’s that for an asking-for-it post title? Fuck it, let’s just fag out here for a second. The moment I fell in love with Bright Eyes (and, yeah, some of the infatuation has since worn off) was in 2000, in Olympia, in an apartment I shared with two hardcore/metal kids that occasionally indulged in a soft spot of Slint, Will Oldham, or young Mr. Conor Oberst. Fevers and Mirrors had just come out, and I remember being pretty impressed with the whole album upon hearing it, but what really got me was “An Attempt to Tip the Scales.” Not so much the song itself, although it’s great, but the “interview” that follows, in which the Faint’s Todd Baechle impersonates Oberst for a fake radio interview. It’s hilarious.

Baechle lovingly skewers his subject’s supposed gloomy, fey, wiltingly emo disposition, and the radio DJ interviewer is basically the blueprint for how to conduct an asinine interview—asking point blank about the ablum’s symbolism, interrupting his guest, etc. The whole thing is totally absurd—questions and answers make no sense, Baechle asks for the background noise to be turned off just the minute you’ve forgotten it’s there. It was reassuring proof that dude could laugh at himself, and that acknowledgment—that art is after all an act—made it a lot easier to wade in the album’s melancholy. It was also perhaps the first such self-conscious, po-mo gesture I’d ever heard included on a record (or maybe that was Superchunk’s inclusion of a very real hilarious radio show on their Laughter Guns EP).

Oh, all of this, btw, is apropos of nothing more than this song coming up on my random shuffle lunchtime walk today. So there.

Where’s The Beat?

posted by on May 2 at 1:48 PM

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What made Portishead a prominent band in the triphop period (between Massive Attack’s Blue Lines and Alpha’s Come From Heaven) was its successful blending of the new, (modern hiphop) with the mature (jazz cinema; the post-rock of 4AD). Each of these parts was brought into the mixture by one of the band’s three members. With Beth Gibbons came Bauhaus, Cocteau Twins, Throwing Muses; With Adrian Utley, the jazz of Elevator to the Gallows, The Samurai, Taxi Driver; With Geoff Barrow, the beats of Prince Paul, DJ Premier, RZA. When the trio began working on it’s second record, Portishead, Barrow’s was in his early 20s, Gibbons in her early 30s, and Utley was heading to his 40s. Portishead was the meeting point of three generations (waves) of music—its base in the present, hiphop, and its melodies and moods drawn from the near and distant past. Dummy and Portishead are defined by this order (hiphop, cinematic jazz, late-rock); the new record, Third, is not. What’s gone is the hiphop, the base of the earlier recordings. Gibbons brought to the new album her sorrows, suicidal loneliness, gothic longings, Utley brought his cinematic and after-hours textures, but Barrow brought almost nothing. He seems to have junked his turntables and MPC2000 and not bothered to replace them with something else, something different, something that’s happening right now on the streets of London and New York. And a lot is happening these days—dubstep, grime, new variations on hiphop (Jay Dee, Timbaland, Just Blaze). The beats on Third are not its foundation. You almost don’t notice them. What commands your attention is Gibbon’s pain and Utley’s soundtrack to that pain.

Miss! Rap! Supreme!

posted by on May 2 at 1:36 PM

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Is anyone else lightly obsessed with Ego Trip’s Miss Rap Supreme, the MC Serch-hosted reality show on VH1?

And if so, does anyone else have the since-dismissed Khia’s stupid battle rap—hinging on the repeated phrase “You better RESPECT! ME!”—stuck in their head 22 hours a day?

In other news, have you listened to Third Bass’s The Cactus Album lately? It’s delightful!

Glam Gone Disco

posted by on May 2 at 1:21 PM

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“Don’t judge a book by it’s cover”. Well that’s a great statement when describing the Glitter Band’s 1976 disco hit “Makes You Blind”. After this previously soft rock glam band cut ties with their old sound and founder Gary Glitter, the group “went disco” like many others at the time, with this mostly instrumental funky disco classic. This track became an instant hit with in the underground disco community and promoted the group to release other dance oriented cuts like a cover of The Bee GeesGotta Get A Message To You” in 1977. This band, that might of made their early name on soft rock glam jams, might be remember by many for this amazing disco gem.

Download The Glitter Band’s 1976 disco classic “Make You Blind” by going here

I Want to Meet That Dad

posted by on May 2 at 12:59 PM

Tim and Eric are playing two shows at Neumos tonight, the 8pm is already sold out. I watch their show, and I think it’s hilarious. I know a few people who think it’s the stupidest show on TV. We’re both right. There’s a different kind of anticipation for this show than most, and I’m pretty sure it’s due to the fact that I have no idea what they’re going to do live. There’s a good chance it’s not going to be very funny. It might just be weird and awkward. Of course I’m not hoping for that, but I can just imagine them running around the stage smashing things and screaming “Uh-ma-ma!” over and over again for ten minutes while the crowd stares silently, or them performing an hour long karaoke set by “Casey and His Brother.”

There’s also the question of which show to go to - the one where they’re fresh and full of energy or the one where they’re already warmed up and in their stride? I learned the hard way at Bumbershoot last year that seeing a comedian you really like do the same act twice in one day makes the jokes substantially less funny. I’m going to the second show. Whether it’s hilarious or stupid I’m pretty sure I’ll be glad I saw it either way.

Do You Have Hexameters for New York?

posted by on May 2 at 12:57 PM

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Tonight at the Showbox, rumor has it that Colin Meloy will be adapting his musical compositions to transcripts of the second season of the reality show, I Love New York. The juxtaposition has intrigue and improbability, but Meloy makes it work. When he sings, “Do you have love for New York?” there is rapture. Meloy has moved on from ancient Japanese folk tales.

When boiled down, Meloy’s dactylic hexameter filled interpretation shows New York to be Homer’s Odysseus in an epic search for men and harmony. The overbearing presence of New York’s mother goes beyond the Telemachus – Penelope dynamic and enters into a Zeus - Mother oedipal God washed combo.

Meloy climaxes with a startling revelation that he is the one who really has love for New York. While the last two contestants accompany New York to the picturesque 5 Star resort in Ithaca for the final showdown, Meloy laments that he himself is not in the running to be New York’s man.

Tonight in Music: Colin Meloy, Pleasureboaters, Wanda Jackson, Brothers of the Sonic Cloth

posted by on May 2 at 12:44 PM

Tonight, the Stranger Suggests:

Pleasureboaters, Vampire Hands at Vera Project
Pleasureboaters, the fantastically spastic local trio, thrash around the stage like cartoons, bending their bodies and twisting their faces into positions and expressions that echo their corkscrewing, discordant sounds. Opening band Vampire Hands are on the opposite side of the spectrum. They captivate their audiences with a mellow—sometimes sexy, sometimes haunting—guitar-heavy vibe, layered with breathy vocals and the occasional psychedelic jam. (Vera Project, Seattle Center, 956-8372. 7:30 pm, $7/$8, all ages.) MEGAN SELING

Listen to the Pleasureboaters:
“Elliptical Realism”






Listen to PWRFL Power:
“Heaven, a Dog Called Dad, and Rainbow”






Listen to Vampire Hands:
“Opium Typhoon”






Wanda Jackson - “Fujiyama Mama” circa 2006
Wanda Jackson, Marshall Scott Warner, the Kid in Black with the Roy Kay Trio
(Tractor) Wanda Jackson is known as the first lady of rock ‘n’ roll and the queen of rockabilly—a couple of pretty impressive titles. She started out playing country and gospel in the ’50s, singing with Hank Thompson’s band. She then befriended and dated Elvis, who encouraged her to drop the country and embrace the rock, which she did, wonderfully (no thanks to the male-dominated rock scene that pushed her aside). She makes her sweet voice growl and crack and pop on swinging songs like “Fujiyama Mama” and “Hot Dog! That Made Him Mad.” Today, at age 70, she hasn’t lost a bit of her edge; she’s still as feisty and bawdy as ever, and she still knows how to rock and put on a hell of a good show. KIM HAYDEN

In addition to the Tractor show, Wanda Jackson will also be playing a last-minute in-store at Easy Street Queen Anne at 6 pm.

Lesbian, Brothers of the Sonic Cloth, Witch Mountain, Grey
(Comet) If you’re holding out for a TAD reunion (maybe to be announced as part of Sub Pop’s 20th anniversary party?), stop. When I interviewed frontman Tad Doyle back in February, he shot down any chance of his old, drunk, loud-as-fuck band re-forming. “My heart’s just not into that anymore,” he said. “I’ve put that period of my life behind me.” These days he’s focusing on his new band, Brothers of the Sonic Cloth. They have only a few songs posted on MySpace, but by all accounts, Brothers are as heavy and commanding as you’d expect, with Doyle finding new inspiration in dark metal and experimental noise. Approach it just as you would a TAD show—with extra earplugs and ready to headbang. MEGAN SELING

Click here to listen to Brothers of the Sonic Cloth.

And finally, the Decemberists’ Colin Meloy is in town, playing a solo show at the Showbox. Jeff Kirby reviewed his new album in this week’s paper:

Meloy scores two great moments by effortlessly transitioning his own songs into covers: “Here I Dreamt I Was an Architect” into Fleetwood Mac’s “Dreams,” and “California One” into “Youth and Beauty Brigade” into the Smiths’ “Ask.” Meloy explains to the crowd, in one of the album’s many moments of banter, that his solo sets are meant to be like a campfire sing-along, but his Dickensian vernacular and love of historic maritime don’t exactly make for timeless folk tunes. Meloy succeeds in creating a comfortable, intimate performance, but the result is lackluster, like a Decemberists record with most of the good parts missing.

Read the whole thing here.

Listen to Colin Meloy:
“The Bachelor and the Bride”






That’s just what was covered in this week’s paper. There’s more to be found in our online calendar.

Today’s Music News

posted by on May 2 at 10:47 AM

Attention collector nerds - The Cure to release new single every month until album drops

Five part harmonies - Fleet Foxes welcome J. Tillman to the fold

Good news for ASCAP artists - Bad news for online music services

Still a few monikers short of ODB - RZA resurrects Bobby Digital

Street Justice

posted by on May 2 at 8:29 AM

From this:

This:


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by 75_prod

Thursday, May 1, 2008

U.S.E. - Releasing Avenues

posted by on May 1 at 4:59 PM

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U.S.E. has been recording. A new album is close. Drummer Jon E. Rock spoke:

Mr. Rock, when will there be new U.S.E. for the people?
Rock: We are recording at Avast and we have another session to finish up in a couple weeks. Then we will go to our guitar player’s basement studio and finish vocals and vocoder/keys. It’s looking like a late summer release.

How will you all put it out?
We still don’t know how we are putting it out, actually. Maybe an iTunes with vinyl release. So much is up in the air with record companies vs. internet distro these days. It’s hard to know what avenue to take, you know?

Indie-Alt-Cult-Etc.

posted by on May 1 at 4:23 PM

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Moistworks is currently hosting a discussion of whether the term Indie means anything in music anymore. Some people are claiming that indie is the same thing as alt was in the nineties.

Now, I know that this isn’t the most exciting topic in the world, since none of the words actually mean anything when applied to music, but there’s actually some intelligent discussion, with authors like Jonathan Lethem chiming in. It’s an interesting post about something that I previously thought was the deadest topic in the world.

How Much Does it Cost to Start a Record Label? $360 Billion, Apparently

posted by on May 1 at 2:37 PM

Via Star-Telegram.com:

FORT WORTH — An aspiring record label owner is singing the blues after he was arrested last week for allegedly trying to pass a $360 billion check at a Fort Worth bank.

Employees at the Chase Bank at 8601 S. Hulen St. grew suspicious after seeing all those zeroes (10 to be exact) and called the check’s owner. The woman said the suspect, Charles Ray Fuller, 21, of Crowley, is her daughter’s boyfriend and that he did not have permission to take the check or cash it.

Fuller was arrested on suspicion of fraud, along with unlawfully carrying a weapon and possession of marijuana after officers found less than 2 ounces of the drug and a .25-caliber handgun and magazine in his pockets.

While inside a patrol car, police say Fuller blurted out that he is starting his own record label and had been given the money by his girlfriend’s mother to help him start it.

Telefunken: The $10,000 Microphone

posted by on May 1 at 2:36 PM

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In Glengarry Glen Ross, Alec Baldwin’s character takes off his watch, plops it on a table, and says, “This watch cost more than your car.

Yeah, Alec? Well this microphone costs as much as your watch.

Meet the Telefunken Ela M 251VAC. Put your watch back on tough guy.

London Bridge Studio’s Jonathan Plum spoke about it:

Why is the Telefunken so funken expensive?
Plum: A top-condition original Telefunken Ela-M 251 can actually sell for up to $20,000. They stopped making them in the late 60’s. Similar to vintage tube guitar amps, they just don’t make them like they use to. The vacuum tubes this mic uses were from WW2 and simply don’t exist anymore. The Elektroakustic Microphone is one of those “golden voice” microphones. Less than 3,000 were manufactured.

In non-geek language, describe why it’s so good.
It’s clear, present, and warm without sounding too bright. And they were made by hand. I recorded a test for you. Listen to a guitar recorded with an Ela-M - here. Compare that to a U-47 – here.

Now in geek language, describe why it’s so good.
They’re based on a diaphragm tube condenser. It comes with a NOS Telefunken AC701 tube, an original Austrian made AKG CK12 dual membrane capsule, custom wound Haufe transformer sourced from the original European supplier, vintage style Ela M 950 power supply, 10 meter Gotham Audio cable, locking leather bound flight case, wooden microphone box, owners manual, and a fully transferable lifetime warranty.

Lifetime warranty?
In early 2006, Telefunken USA acquired over 50 original Austrian made CK12 capsules from a private collector in Europe. These capsules have been reserved exclusively for the Vintage Series Limited Edition mics including the Ela M251V, Ela M251VAC and Ela M12V.

You can’t get any geekier than that? This is a $10,000 mic. Come on, let your tech flow. Let it out.
Ok. Lets see, AKG, which stands for Akustische und Kino-Gerate (Acoustic and Film Equipment) was formed in 1947 in Vienna, Austria. AKG developed the C-12 condenser microphone in 1953 based on a dual backplate/dual-membrane idea patented by Kalusche and Spardock in 1951. The modified version of this idea became the basis for the CK-12 capsule. AKG was the first to manufacture a split electrode microphone. The original capsule membrane was 10-micron-thick PVC, which was later changed to 9-micron-thin Mylar. The amplifier design was based on the 6072 tube, and the C-24 stereo edition of the mic with two CK-12 capsules utilized this dual triode to its full extent. The C-12, like the M49, had a remotely controlled pattern selection from omni to bi-directional via the selector switch located in a box between the microphone and the power supply. The C-12 remained in production until 1963. In 1964, the C-12A appeared with a 7586 Nuvistor tube amplifier and a physical shape foreshadowing the design of the 414 Series. In 1959, after the U47 had been withdrawn from Telefunken distribution, Telefunken commissioned AKG to develop a large-diaphragm condenser microphone. This became the ELAM 250. This design incorporated the CK-12 capsule in a wider body with a thicker wire mesh grille. A two-pattern selector switch (cardioid to omnidirectional) was placed on the microphone. The ELAM 251 added a third bi-directional pattern to the switching arrangement.

Thank you. I needed that.

The Stratosphere for Atmosphere

posted by on May 1 at 12:42 PM

nyet33209281538.hmedium.jpg For those who are fans of Atmosphere (I’m excluded from that group—Slug’s type of senstive hiphop does not move or enlarge me in any significant way), the duo’s new album When Life Gives You Lemons, You Paint That Shit Gold has reached number five on this week’s Billboard Top 200. The Rhymesayers label, and the underground in general, is alive and well.

Tapes ‘n Tapes - “Hang Them All”

posted by on May 1 at 12:17 PM

Today’s Music News

posted by on May 1 at 11:40 AM

Tragic lives of musicians pt. 1 - Edwyn Collins struggles back to stage after devastating stroke

Tragic lives of musicians pt. 2 - Spank Rock hospitalized

Tragic lives of musicians pt. 3 - Limp Bizkit drummer offers lessons

Tragic lives of musicians pt. 4 - Pete Wentz baffled by assault lawsuit

Can somebody please explain…

posted by on May 1 at 11:19 AM

…the story behind this? (I feel like I’m playing right into their hands, but still…)

brightpink.jpg

Is this merely an advertising campaign for Thee Emergency’s upcoming CD release show(s), or is there more to it? They seem to have filled every available surface—and covered just about every other poster—in the vicinity of the Stranger office.

Mobius Band

posted by on May 1 at 11:18 AM

mobiusband.jpg

Uploaded by Neumos!, taken by Blush Photo.

Ludacris Added to Bumbershoot Line-Up

posted by on May 1 at 10:54 AM

Also added: Mike Doughty, Kid Sister, and Man Man.

Here’s the updated (partial) line-up:

Beck / Stone Temple Pilots / Ludacris / Lucinda Williams / Neko Case / Ingrid Michaelson / Jakob Dylan / Del Tha Funky Homosapien / !!! / Mike Doughty / Xavier Rudd / Anti-Flag / Lee “Scratch” Perry / Saul Williams / Brother Ali / Joe Bonamassa / M. Ward / Man Man / The Walkmen / Kid Sister / Asylum St. Spankers / Dan Deacon / MIDIval PunditZ / Blitzen Trapper / Bedouin Soundclash / Scary Kids Scaring Kids / Tim Finn / Dale Watson / John Vanderslice / Final Fantasy / The Fall of Troy / Orgone / Forro in the Dark / Ryan Bingham & The Dead Horses / Wreckless Eric & Amy Rigby / Arthur & Yu / Darondo and Nino Moschella / Pacifika / Ian Moore and many more to be announced.

And I’m Not Even Tired of Boys and Girls in America Yet!

posted by on May 1 at 10:31 AM

holdsteady2008.jpg

The Hold Steady’s ‘Stay Positive’ Set For Release July 15

“Stay Positive” track listing:

1. Constructive Summer
2. Sequestered in Memphis
3. One for the Cutters
4. Navy Sheets
5. Lord, I’m Discouraged
6. Yeah Sapphire
7. Both Crosses
8. Stay Positive
9. Magazines
10. Joke About Jamaica
11. Slapped Actress

Here’s the band playing the title track earlier this year:

I’m so looking for to this.

The Hold Steady play the Capitol Hill Block Party Saturday, July 26. More info at www.thestranger.com/blockparty.

Eurovision Semi-final: Terrace concrete, Nico & Vlad, Dima’s mullet and Kalomira

posted by on May 1 at 9:00 AM

Finland sends the rock group Teräsbetoni with Missä Miehet Ratsastaa.
Ever since Finland’s first ever win two years ago with a bunch of latex-masked monsters singing hardrock-pop (Lordi ESC 2006), they’ve been sending rock songs. Why cange a winning team, eh. Well, the fact that last year’s entry was one big flop might give them some food for thought, but apparently not. Now I don’t dislike rock. I think this song is decent enough, and I loved Norway’s Kiss –wannabes a few years back (Wig Wam ESC 2005) but come on, sweeties, where’s the glamour, where’s the humour. Mr Lordi wore a cute hat with the Finnish flag on his monsterhead, he had wings and fireworks! Wig Wam had spandex and a feather boa! These guys… well… some of them are shirtless, which is something, at least. But apart from that it appears to be a very “serious” rock song.
Oh go on, watch the clip. If only for the Finnish introduction.


Romania brings us Nico & Vlad (how’s that for a Romanian name!) with Pe-o Margine De Lume. I generally have a soft spot for Romanian entries since they often consist of the crazy Eurodisco you only hear in… well, Romania probably. Say for instance Nicola in 2003 whose accent was so heavy that I honestly thought she sang “did you ever know what’s the prince ass for”. Ok, so it didn’t make sense, but Eurovision has had weirder lyrics than that (According to teh internetss she actually sang “what good friends are for”. And just check out that choreography). Last year Romania sent a group called Todomondo who sang in six languages (Eurovision recipe for success) and whose members looked like stereotypes of the countries they represented (English guy in a bowler hat, Italian guy looking like a mafia leader…). Eurovision is always classy and subtle, isn’t it. This year they’re sending a ballad, a very classical duet between a broody looking man (think Angel with a tan), a lady in a ballgown, a white piano and the sluttiest backing singers yet. What the hell are those girls up to back there? The video is funny for the total lack of chemistry between the two lead singers. Vlad looks like he hasn’t got a clue what to do with all these women and would have preferred being on stage alone. I can’t say I blame him.

For Russia it’s the reappearance of Dima Bilan, Russian heart-throb and runner-up in 2006. Oh, 2006… what a glorious performance that was. Dima sang “Never ever let you go” with a heavy Russian accent, in jeans, trainers and white tank top. (Can you use the word “tank top” for men? I’m Belgian, I don’t know these things… whatever you want to call it, it was hot. Shame about the mullet, but you can’t have everything, can you). At one point a dead ballerina crawled out of the piano –a piano that no-one was playing- and started throwing rose petals about. Weird, but for some reason it worked. Check out the youtube clip. Unfortunately, this year Dima is singing Believe, a rather boring ballad –in my opinion at least- but his performance makes up for a lot. Sadly he’s wearing a suit this time (honey, show off those arms), he’s grown hair on his face (tsk) but at least the mullet is gone. His accent still is the cutest, especially when he sings words like “impossible”. He’s a superstar in the ex-USSR so he should definitely make it to the final.

And the last country in the first semi-final is Greece. Oh lookie here, they’ve sent Helena Paparizou again! And they’ve even given her dancers a chance to take part again as well! Or not? The differences are minimal. Greece has a recent reputation for catering to the gay audience and this year is no exception. Helena Paparizou was a good example, and so was Sakis Rouvas in 2004 with the intelligently titled song “Shake it”. Check out the clip if only for the incredible design of that shirt he’s wearing: just tight and short enough to show off both pecs and abs, and a fabulous example of a classic Eurovision clothes change. (And while we’re at it, have a look at the Dutch votes in 2006 when Sakis was presenting the contest and Paul De Leeuw decided to flirt with him).
This year Kalomira sings Secret Combination, a typical pop song with some Greek elements (think a slow Sirtaki). She’s wearing an impossibly short skirt (granted, she’s got the legs for it) and her dancers have stolen Dima Bilan’s 2006 outfit. The lyrics of this song are about as dirty/innocent as the ones of “Genie in a bottle” (“My secret comination is a mystery for you, use your imagination, I’m not easy but I’m true”) but all is forgiven because the dancers take off their shirts at the end of the song and spell out the word “LOVE” on their chests.


And that’s it for our first Semi-Final, airing on May 20th. Don’t worry though (or no time to rejoice yet, depending on your point of view), we’ve still got a second Semi-final and five finalists to go.
Next up: the übergaying of Eurovision in the beginning of the second Semi-Final.


Wednesday, April 30, 2008

Music Of Cosmos

posted by on April 30 at 4:24 PM

In 1980 PBS aired the TV series, Cosmos, narrated by Carl Sagan. Easy to make fun of now, with his famous line, “Billions and billions of years ago…” Sagan at the time was the leader of the pop scientific community. Unabashed in his straightforwardness about subjects like biological evolution (a topic still hot today as ever), and the faux science of astrology, Sagan was the totem for all that was good in science. A man who could talk calmly and beautifully about the logic and confusion of the scientific world here on earth and out in the stratosphere.

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I was 9 years old at the time, and my father was the science and math teacher at a small indian reservation high school in northeastern Washington. He loved Carl Sagan. He read his books, followed his writing in magazines, and was thrilled to see Spokane was going to air the series along with most of the rest of the PBS affiliates in the United States. Why my father, a devout Episcopal secularist, loved Sagan so much, yet also sent me and my brother to a small christian private school is beyond me. I assume he wanted us to have a good education, and maybe at the time, the Spokane school district wasn’t good. Who knows? But as rigorous as our private christian education was, so was our scientific education via Carl Sagan.

My brother was a math geek, so he probably remembers these things better than I, but what I do remember was the amazing, at least to me, at the time, special effects achieved in the series. While spaceships flew out into orbit, Carl Sagan walked around them as if he was on a life size set. Showing us quasars and imploding galaxies. Pontificating about what ancient scientists might have thought of the heavens, while reaching out in wonder and talking about the life he was certain was out there looking back at us.

The other important memory of the series i have is of the amazing and evocative soundtrack. As I’ve talked about before, I’ve always had a love of classical music, and love to see in what ways it can be referenced in modern electronic music. The music in Cosmos did this beautifully. Classic baroque by Bach and Pachelbel, intermingle with modern works by the vanguard of electronic music, Vangelis, Tomita, and Takemitsu. Vangelis and Tomita hadn’t yet achieved the status that they would in the following years when Vangelis’ soundtrack work (Chariots of Fire) and Tomita’s classical recordings (The Planets) made them household names. But this was the television event that really put them all on the map. I remember my parents going out and buying Vangelis’ two albums, Heaven and Hell, and Albedo 0.39 after songs from them were aired on the series. And being a “classically trained” household, my brother and I were force fed infinite listenings of Tomita’s various albums which my mother would special order from the small local record store.

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Needless to say, when I found this record in a dusty bin of “New Age” music a few weeks ago, a rush of memory flared out to me, like lens glare on film. Bach’s “Partita” and Vangelis’ “Alpha” started playing loudly inside my head, blocking out the Judas Priest that was blaring in the used record store. Mixing and intermingly their tones as I gazed at the martian landscapes inside the gatefold cover.

It would have been easy for the producers of the series and album to put together a little compilation with snippets from each artists, one after the other, but that’s not what they did. Sagan and his producers and sound engineers put together a thoughtful soundtrack which literally mixes classical pieces with the modern spacey electronic music, and programs them into “Parts” titled “Space/Time Continuum”, “Life”, “The Harmony Of Nature”, “Exploration”, “Cataclysm”, and “Affirmation”. Each part has one to four songs ranging from Hovhaness and Japanese flute music to Stravinsky mixing in with Kitaro, Tomita and guitarist Roy Buchanan.

It’s really cool.

I don’t know. Lineout readers might be too young for this kind of aural deja vu, or memory evocation, but just hearing this creative mix of great music brought me waves of nostalgia for a time when, I think, I was happy, well adjusted and my father and I could find something in common to gaze at in wonder.

The Music Of Cosmos.

Part 1: Space/Time Continuum A: Vangelis - Heaven And Hell, Pt.1 B: Shostakovich - Symphony No. 11 C. Vangelis - Alpha

Part 5: Cataclysm - A: Roy Buchanan - Fly Nighy Bird B: Vangelis - Beaubourg, Part 2 C: Stravinsky - The Rite Of Spring

Re: Good to Know

posted by on April 30 at 3:00 PM

No Ghostface cameo = No cred.

HELP ME

posted by on April 30 at 2:38 PM

Someone please, please, PLEASE, take The Stranger’s music internship off of my hands. It has been month after grueling month of “do this” and “do that”, and I simply can’t take it anymore. While I can’t promise they’ll give you school credit or sign any papers to prove you were an intern, I can promise that Eric Grandy will drive you into the ground with pointless crap to do. Megan Seling, despite what you may think, is a raging beast in person, and the office gets really stuffy at times. Candidates with allergies should rethink their ambitions. I hear Quiznos is hiring.

If this sounds fun, which it isn’t, you should totally send your applications to megan@thestranger.com

I pine for a night of sleep without clublist related nightmares haunting my slumber so…

SEND! SEND! SEND! APPLY! APPLY! THIS IS THE CHANCE OF A LIFETIME!


The Teaches of Piggies

posted by on April 30 at 2:00 PM

I know, I know I’m always the one with the Muppet videos, but still:

Akimbo, Cicadas, and Triclops! @ the Wild Buffalo, Bellingham

posted by on April 30 at 1:26 PM

Triclops!

Cicadas

Akimbo

This was Cicadas’ last show in their hometown of Bellingham. They will play one final Seattle show at the Blue Moon on May 15th. They are (were) one of the most amazing technical rock bands in the Northwest. They will be sorely missed by those who were aware of their existence.

Akimbo and Triclops! play tonight at the Jules Maes with the Oswald Effect. Triclops! is an awesome spectacle live. Singer Johnny (of Fleshies fame) is an unrelenting spaz of a frontman, armed with an effects board and bass duct taped to a chair and a penchant for running through and on top of the audience. They play a unique mixture of Dead Kennedys style punk mixed with modern, heavy prog. They kick a significant amount of ass.

Pete Wentz Fantasy Meltdown Poll

posted by on April 30 at 1:05 PM

meltdown.jpgSubstance-fueled meltdowns are a storied facet of live music. Performing artists sometimes mix substances to motivate themselves, calm their nerves, or get into a headspace where they can connect to a crowd. Night after night of shows and substances and unstable mental conditions can lead to a meltdown. It’s usually a sad and ugly scene that people can’t take their eyes from.

Cat Power’s scotch and Xanex fueled collapses were well known. Elliot Smith had a meltdown or two. Axl Rose was prone to liquor, speed, and kicking fans in the face. Charles Mingus’ famous Town Hall tirade was not pretty. And pretty much every Brian Jonestown Massacre show ended in breakdown.

Pete Wentz needs to meltdown. How would you like to see it? Here are a few Wentz meltdowns to choose from:

1. He mixes acid and Ex-lax and thinks he’s Bear Grylls from Man vs. Wild. An episode of the show had Grylls in Africa where he drank water from fresh elephant dung. Halfway through Wentz’s set he hallucinates that he’s Dumbo and becomes thirsty. He takes his pants off, shits on stage, and tries to squeeze water out of it.

2. He mixes coke and Viagra. He walks by a mirror backstage and tries to have sex with himself. He shatters the mirror and slices his dick off.

3. He injects heroin into his eye and tries to fly off the stage scaffolding, breaking every bone in his body.

4. He mixes ecstasy, morphine, mushrooms, crack, and yellow jackets. Forty-five minutes later, he thinks he’s a tangerine. He tries to peel his skin off with a knife and swallows his tongue.

5. He takes nine Vicodin, smokes PCP, and drinks three Sparks. He takes a gerbil, feeds it liquid acid, Ex-lax, and PCP, and sticks it up his ass. Halfway through the first song, the gerbil thinks it’s Pete Wentz and launches out of his stomach like Alien and tries to sing the song.

Which Pete Wentz substance-fueled meltdown do you choose?

Good to Know

posted by on April 30 at 1:05 PM

So I got an e-mail from a friend yesterday, sent to me and other friends, suggesting that we haven’t seen each other in a long time and so we should all go see Shine a Light, the Scorsese-directed Rolling Stones documentary this weekend.

I immediately said no. Actually I think I said:

Fuck, no! Iron Man! Iron Man!

It occurs to me that, in that split second before hitting the ‘reply’ button and writing my response, I did all kinds of calculus in my head: I pitted my love of Martin Scorsese’s films against my hatred of what the Rolling Stones have become. My Stones hatred overwhelmed my love of Scorsese. And I also pushed my hatred of what the Rolling Stones have become against my love of friends who I haven’t seen in a month or so. My hatred of the Rolling Stones, again, completely defeated my love of friends. And, by pitting my hatred of what the Rolling Stones have become in direct competition with Iron Man, I have categorically proven that I love Iron man more than the Stones.

In fact, I can’t think of any scenario that would get me into that theater. If, somehow, an imaginary threat like “See the Rolling Stones movie or these six random children would die of cancer” were made real, I would of course see the documentary, because while I may be a jackass at times, I am not a monster. But I would hate every minute of the movie.

So it occurred to me today that I should write a note to my friend thanking him for finally giving me a definitive method for expressing my hatred of what the Rolling Stones have become: I don’t hate them quite enough to kill, but no reasonable incentive would ever get me to see one of their performances.

Let’s Just Try to Be Honest for a Minute

posted by on April 30 at 12:54 PM

Thanks, Hickey. From here.

“That’s Wonderful / When Your World at its Worst Seems Bearable”

posted by on April 30 at 12:30 PM

In old/pizza-is-delicious news: Braid! “What a Wonderful Puddle” came up on the old walk to work today, and, I know, it’s like the blueprint anthem for emo’s romanticization of eternal boyhood/Peter Pan syndrome, but fuck it, that song is wonderful. I love it. No puddles today though, or I would probably have ruined my socks jumping in them. No videos of the song either, that I can find (youtube suggests I watch these guys instead), but here’s another great one from the band, “Do you Love Coffee”:

Don’t Leave Me This Way

posted by on April 30 at 11:41 AM

harold-melvin-studio.jpg
One of the highlights of the past few Wednesday night’s, at the Havana, have been the night’s closing track, which has been a Dimitri From Paris extended edit of Harold Melvin & The Blue Notes’s 1975 soul classic “Don’t Leave Me this Way”. Every week I play it and I constantly get people asking me what the track is and how much they love it. This amazing re-edit is the final track on Dimitri From Paris’ 2002 mix compilation After The Playboy Mansion, as well as being included in the vinyl-only release After The Playboy Mansion (Uplifting Selection) LP which consists of some of the compilations highlights unmixed. And because it’s Wednesday, I thought it would be apropriate in sharing. Enjoy!

Download Dimitri From Paris’ re-edit of Harold Melvin & The Blue Notes’ 1975 soul classic “Don’t Leave Me this Way” by visiting here

Scarlett Johansson, Tom Waits, David Bowie, TV on The Radio, and Salman Rushdie Walk Into a Bar…

posted by on April 30 at 11:05 AM

or Lost in Translation 2: Reverb Boogaloo

Back to the Motherland

posted by on April 30 at 11:05 AM

Fitty returns to Africa
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50 Cent and G-Unit Tour – featuring 50, Young Buck, Lloyd Banks and Tony Yayo – will stop at the Coca-Cola Dome in Johannesburg on May 1 and the Belville Velodrome in Capetown on May 3.

The last time Fitty went to Africa, he came back “empty-handed.”

50 Cent is leaving the African adoptions to Madonna and Angelina Jolie. The rapper came back from Angola empty-handed. “Black folks, we have kids,” he told Hot 97 radio host Miss Jones. She countered, “And we try to get rid of the ones we got …”

Fitty is hiphop’s Britney.

Langhorne Slim

posted by on April 30 at 10:50 AM

langhorneslim.jpg

By whprwhil records.

They Found Roger Waters’ Flying Pig

posted by on April 30 at 10:40 AM

It landed, in pieces, in a country club. Now these yuppies get $10,000 and tickets to Coachella for life.

finderskeepers.jpegJennifer Soliz, The Desert Sun

Full story (and video) here.

White Williams & TV Carnage - “New Violence”

posted by on April 30 at 10:17 AM

If you’ve ever been stoned at my apartment, you know that I love me some TV Carnage. The series collects and edits together in rapid montage all the best/worst that TV has to offer, and it is insanely hilarious and smart. Now, TV Carnage mastermind Derrick Beckles has teamed up with laconically glam electro rocker White Williams to direct the video for Williams’ “New Violence”—it’s no “Steven Segal AIDS conspiracy” or “Stairway to Stardom,” but it’s still pretty good (hell, Beckles can make an anti-smoking PSA and have it be pretty good).

Today’s Music News

posted by on April 30 at 10:02 AM

This does not speak well of my two left feet - Scientists find connection between intelligence and rhythmic accuracy

Not-So-Incredible Journey - Roger Water’s giant inflatable pig found

Drinking on the job - Paula’s latest American Idol mishap

Six hundred thousand Chris Martin fans can’t be wrong - New Coldplay single does impressive numbers

Daily update on the death of the record industry - What self-respecting music fan buys CDs at WalMart anyway?

Pornograffiti 3? - Extreme have a new record in the works

Tonight in Music: Cut Copy, Night Marchers, Mad Rad

posted by on April 30 at 9:00 AM

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Cut Copy are at Neumo’s tonight. Eric Grandy interviewed the band’s Tim Hoey for this week’s music section, here’s an excerpt:

Most of all, there’s Modular Records’ star band of the moment, Cut Copy, whose fairly brilliant sophomore album, In Ghost Colours, debuted at number one on the Australian charts.

“I don’t think we’ve ever thought of ourselves as a charting kind of band,” says multi-instrumentalist Tim Hoey, on the phone from Sweden. “I guess that maybe says a lot about what’s happening in Australia at the moment. I think maybe the lines have been blurred between dance culture and indie-rock scenes. Certainly in Melbourne, you’ve got rock kids coming to dance clubs and dance kids going to rock shows. It’s only been the last couple of years that our kind of music, that scene, has really taken off. It’s always been dominated by really middle-of-the-road, boring classic-rock music—the Vines and Jet were the big charting bands when we started out.”

Read the full story here and see them play tonight at Neumo’s with Black Kids and Mobius Band.The band’s also playing a free in-store at Easy Street Queen Anne at 6 pm.

Cut Copy - “Lights and Music”

Also tonight:

Night Marchers, Muslims
(Chop Suey) You get the impression watching John Reis (aka Speedo, formerly of Drive Like Jehu, Rocket from the Crypt, and Hot Snakes, among others) that the dude will probably keep cranking out hard-driving, feedback-charged, raw-throated rock until the day he keels over dead. Like much of his post-Jehu work, Night Marchers eschew posthardcore artiness for straight, heavy riffs, mixing grinning, self-deprecating showmanship and banter with mean, scowling screaming. Fellow San Diego band Muslims are less amped up and abrasive, their brand of garage rock tending toward loose rhythms, hints of desert twang, and dry fuzz all sublimated for the sake of lead singer Matt Lamkin’s damaged pop songs. ERIC GRANDY

Listen to Night Marchers:
Who’s Lady R U?






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Mad Rad, Party Time, Champagne Champagne
(Nectar) You may have recently seen the name Mad Rad, either in Run DMC’s classic style or otherwise, oh, everyfuckingwhere. Give them this: Dudes’ promotion game is tight. Tight enough to pack the main room at Chop Suey at a recent show full of hands-up hyped-up fans. Their tracks posted online don’t sound like much, but these guys are game party starters live. If their lineage isn’t evident from their neon apparel and raunch rhymes, their use of two Spank Rock jams—”Backyard Betty” to soundtrack an onstage dance battle, “Put That Pussy on Me” as a backing track for some rap—should clear things up. Openers Champagne Champagne feature Blood Bro Mark Gajadhar on production and the MC talents of a gentleman named Pearl Dragon. Party Time are, presumably, excellent. ERIC GRANDY

Click here to listen to Mad Rad.
Click here to listen to Champagne Champagne.

Click here to see what else is happening tonight.


Tuesday, April 29, 2008

More On Today’s New Records

posted by on April 29 at 4:05 PM

My brain’s a little scattered today, and there are a lot of records hitting shelves, so I left a few of the list—as mentioned earlier, there’s a lot of stuff in stores today (Madonna, Jamie Lidell, Boris, Portishead), but should you still want to buy (or steal) more (or should you think—based on the first single—that the new Madonna album isn’t actually worth your money or effort [true]) here are more options:

The Roots Rising Down

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The Roots - “Get Busy” featuring Dice Raw, Peedi Crakk, DJ Jazzy Jeff

Santogold Santogold

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Santogold - “L.E.S. Artistes”

And, while we’re talking about new records, I should add that there will be a full review of Jamie Lidell’s Jim in Thursday’s paper. To tide you over, here’s a sample of what Larry Mizell had to say:

Multiply’s insanely on-point combo of warm, beat-happy underpinnings and lover-man crooning merely set the table for the steamin’ stacked plate that is Jim, an album you’d better just get now so you can digest it before the radio, the TV, and everyone else plays it out for you. Jim finds Jamie still further from his experimental roots, going whole hog on an instant-vintage Motown kick—and killing it.

And there you have it.

When Pigs Fly

posted by on April 29 at 2:55 PM

oinkoink.jpgAP Photo/Chris Pizzello

Via Reuters (bolds mine):

Organizers of a major California music festival are offering a $10,000 reward and four festival tickets for life in exchange for ex-Pink Floyd frontman Roger Waters’ two-story inflatable pig, which was lost on Sunday night.

Waters’ signature pig was seen floating away during his closing set at the three-day Coachella Valley Arts and Music Festival, held in the desert east of Los Angeles.

The giant flying pig, part of Pink Floyd’s stage show since their 1977 album “Animals” featuring the song “Pigs on the Wing,” broke free from its tethers above the Coachella crowd and drifted off.

It’s not the first time Waters has lost his flying pig. Back in 1977, it floated away on the second day of a photo shoot at the Battersea Power Station in London and was later recovered and used for an album cover.

Free Kitten!

posted by on April 29 at 2:22 PM

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The band Free Kitten, featuring Kim Gordon, Yoshimi, and Julie Cafritz, will release their Inherit on Ecstatic Peace next month. This song, “Seasick,” will be on it.

Free Kitten - “Seasick






(Thanks to Ari for finding the photo above.)

Payout Scams: Vanishing and the Count

posted by on April 29 at 1:35 PM

scammoney.jpgYou’re on tour and you just played a show at a good club in another city. It’s the end of the night and it’s time to get paid. The manager calls you into his office and shows you a chart for the breakdown of the payout. The club bases their payout on attendance.

If there had been six more people there, according to the manager’s numbers, you would have gotten another hundred dollars. His figures are way off. You know there were at least a hundred more people there. And over the course of the evening, maybe two-hundred more. You tell him you think his numbers might be off but he stonewalls you. He sits back in his chair, smirks, and says, “Nope, those are the numbers from the door man. He has a click-counter.” The manager sounds like a robot. The words are scripted. You realize it’s a scam, but what can you do?

You don’t want to piss him off and get on his bad side, because you want to play there again. You try again to tell him you think there were lots more people there than his numbers show, but he gets agitated, “Look, I don’t know what to tell you, this is what the doorguy gave me.” Not wanting to make a scene and get blacklisted, you suck it up and take the money. You’ve been ripped off, but it’s such a good venue, you want to play there again. (So you can get ripped off again!)

Venues hold the cards when they base the payout on attendance. You can hire your own door guy to count, but that’s someone you have to pay.

Negotiating a guarantee beforehand is the way to go. Print out the email that says how much you get paid. When the club tries to lowball you after the show, or tell you there is no food buyout, having that email is nice. (Even if it’s a local show.)

Another scam is the vanishing bar manager. At the end of the night, they are nowhere to be found. There’s no one there to pay you. It’s late, and you need to get on the road. You try to call the manager, and harass the staff for an hour, but they tell you there’s nothing they can do. You wait until the tour is over and harass the manager for three months with emails. Maybe you’ll get paid, maybe not.

Usually touring bands are taken care of. Usually club managers are on the level. But when it comes to the click-counting power sleaze and the vanishing bar manager, you have to watch your back and be as proactive as possible. That $100 they take from your cut is spent fast.

New CSS Song, “Rat Is Dead (Rage)”

posted by on April 29 at 1:27 PM

Sub Pop just posted a new CSS song from their upcoming album Donkey (to be released June 22).

CSS - “Rat is Dead (Rage)

Warning: May Cause Butt-Barfing

posted by on April 29 at 1:17 PM

In 2001, when Alien Ant Farm was on MTV every 20 minutes covering “Smooth Criminal,” I was consoled by the idea that when it came to shitty bands covering Michael Jackson it couldn’t possibly get any worse.

I was wrong. It’s worse now. If I ever have to see Pete Wentz lick his bass strings again I’m going to find his mom and kick her in the stomach. Fall Out Boy will never get away with this. When Alien Ant farm committed their atrocity, karma hit them fast and strong - a year later they crashed their tour bus and singer Dryden Mitchell broke his back. Fall Out Boy will not escape unscathed. I’m predicting that within the next year Pete Wentz will be beaten to within an inch of his life by a drunken Joe Simpson, furious that his daughter got knocked up by such a prissy douche. Lord knows what’s in store for Patrick Stump. I foresee some sort of bear mauling, or perhaps a poison hoagie.

Today’s Music News

posted by on April 29 at 12:35 PM

Daily update on the state of the record industry - Major labels sue Project Playlist

Daily update on ownership of Beatles property - Hand-written Lennon lyrics up for auction

Daily update on Radiohead - VH1 performance scheduled for May 3rd

Daily update on band break-up - Seattle’s Sinking Ships break up

Love and Rockets Bubblemen at Coachella

posted by on April 29 at 12:30 PM

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By baconbits.

Now Jimi Hendrix Has Something in Common with Pamela Anderson and Kim Kardashian

posted by on April 29 at 12:21 PM

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Alleged Jimi Hendrix sex tape to be released

LOS ANGELES (AP) — Vivid Entertainment is releasing a sex tape allegedly starring Jimi Hendrix.

The Los Angeles-based adult entertainment company said they obtained the footage of the music legend shot in a hotel room about 40 years ago from a memorabilia collector.

The footage features Hendrix engaging in various sexual acts with two women, according to a statement released by Vivid. The company said they consulted with several experts to authenticate the footage.

Hendrix died of a drug overdose in 1970. Seattle-based representatives for Hendrix’s estate did not want to comment about the tape.

Vivid Entertainment was also responsible for the release of celebrity sex tapes starring Kim Kardahsian and Pamela Anderson.

New Music in Stores Today

posted by on April 29 at 12:12 PM

It’s Tuesday, the day new records appear in record stores. Brian Cook already gave you a couple recommendations, here’s a rundown of what else you’ll find on the shelves:

Portishead Third
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In this week’s paper, a bunch of writers (Miranda July, Sherman Alexie, Charles Mudede, Stephen Elliott, Grant Cogswell, Laura Albert, etc.) shared their stories of gettin’ it on to Portishead.

There was a time when we were at it like bunnies. The “modern rock” station played Portishead nonstop. It was the time of roommates and thin walls, and radios turned up to mask. And Portishead were more to mood than the Sundays (too cute) or My Bloody Valentine (too noisy) or Blur (charming beat and accents become annoying during sex, like someone playing with your nipple post orgasm). Portishead were a good indicator that I was knocked up. Suddenly I could not bear that repeating dunda-dah dun-dun. Morning sickness and Portishead were one. Trying to quickly twist the radio knob away from the sound was like trying to scratch an itch while hang gliding. My arm was stretched out as if in petition, my fingers grazing the globular button, when something came shooting out of me, an ooze of warm spittle that bubbled over my swollen belly as the song played on. Now they are back and my son is a 10-year-old drummer. Long may they both play on. LAURA ALBERT

Click here to see the new video for the first single, “Machine Gun.” Don’t forget to pop a breath mint.

Madonna Hard Candy
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Here’s the first single, “4 Minutes,” featuring Justin Timberlake:

Jamie Lidell Jim
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Here’s the first single, “Little Bit of Feel Good”:

Mudcrutch (featuring Tom Petty) Mudcrutch
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Here’s the official video for Mudcrutch’s “Lover of the Bayou”:

There’s more! The Roots, Def Leppard, Nerf Herder, Robert Forster, and uh… Dweezil Zappa. Pause & Play has the full list.

Arthur Russell Documentary Screening

posted by on April 29 at 10:30 AM

Tomorrow night in Portland, their will be a very special screening of Matt Wolf’s new amazing documentary on Arthur Russell, Wild Combination: A Portrait of Arthur Russell as part of this week’s PDX Film Fest. In this documentary, Wolf highlights through interviews and exclusive footage the life, legacy, and struggles of this legendary avant-garde cellist and disco producer. Arthur Russell can be credited with many amazing and groundbreaking releases including Loose Joints’ “Is It All Over My Face”, Dinosaur L’s “Go Bang”, and the avant-garde masterpiece World of Echo. However, as the documentary suggests, Arthur wasn’t tied to any one particular type of music genre, “Arthur was tied to Arthur”, and that statement is really reflective in this powerful documentary about one of the most unique and influential musicians we’ve seen in some time.

Wild Combination: A Portrait of Arthur Russell
Wednesday April 30th, 7:30
Hollywood Theater

Buy Tickets Here

Tonight in Music: Tyler Ramsey, Peter Morén, Geologic and Kiwi

posted by on April 29 at 9:35 AM

Peter Morén, the “Peter” in Peter, Bjorn, and John, is playing tonight at the Triple Door. Christopher Frizzelle interviewed him for this week’s paper—the two talked about his new solo album and Hitler.

petermorenillo.jpgIllustration by Kyle T. Webster

The first song on The Last Tycoon, “Reel Too Real,” is about failing a test for military service. What were you doing testing for military service?

All Swedish boys who are about 17, 18, 19 have to do a military service test. It’s obligatory. But it’s really, really easy to fail. You have to do, like, eight months of military training if you succeed at this test. I went to the psychiatrist and was honest with him and I didn’t need to do the training.

For psychiatric reasons? That’s awesome.

Yeah, because I looked pretty sad I guess. And he asked me if I’d had a bad breakup with my girlfriend, and I had, and then I told him that I dreamt about Hitler growing up.

You dreamt about Hitler growing up?

It wasn’t really a dream. It was more that every time I faced my head toward the wall when I lay in bed at night I saw his face agitating, having a speech. So I always had to sleep with my face facing the room. I couldn’t have my head facing the wall because then I saw Hitler. That was totally true. But then I also faked on the hearing test.

Listen to Peter Morén:
“Social Competence”






Great American, Tyler Ramsey, Husbands, Love Your Wives
(Tractor) Tyler Ramsey is a folky singer/songwriter from Asheville, North Carolina. The songs on his new album, A Long Dream About Swimming Across the Sea, are simple, understated affairs—acoustic guitar bolstered by some unobtrusive rhythm or other accompaniment—that spotlight Ramsey’s warm, worn, hushed singing. Given another week or two with this album, I could tell you whether or not it was worth a lasting listen, but for now I can guarantee that it’s at least initially pleasant. The properly punctuated (if pesky for copy editors) Husbands, Love Your Wives is the solo project of Baskerville Hill denizen Jamie Spiess. Spiess’s songs are often heavyhearted, but her voice is entirely weightless. ERIC GRANDY

Listen to Tyler Ramsey:
“A Long Dream”






Husbands, Love Your Wives MP3s are available at www.baskervillehill.com.

Also, Geologic and Kiwi are at Chop Suey. In this week’s My Philosophy, Larry Mizell demands you go.

You can always find more in our online calendar.

Two Reasons To Hit Up Your Local Record Store Today

posted by on April 29 at 9:15 AM

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Boris
Smile
(Southern Lord Records)

When it comes to heavy metal, my favorite bands tend to be the ones that are more interested in the genre’s sonic heritage than its accompanying Satan-and-leather aesthetic. I will always prefer Melvins to Maiden. This may be the reason that I am so fond of Boris. Through the course of the past 12 years, the Japanese trio have mined the landscape of hard rock, extracted the best elements, and blended it with an unceasing creative spirit. Pink, their last proper studio full-length, managed to house their wide array of influences in the confines of an accessible heavy rock album. But in the three years since, the band detoured from that template and returned to their more adventurous leanings by releasing a series of collaborations, including three records with noise artist Merzbow (Rock Dream, Sun Baked Snow Cave, Groon/Walrus), one album with psych guitarist Michio Kurihara (Rainbow), and the highly acclaimed pairing with funeral droners Sunn (Altar). In the process, they continually demonstrated their willingness to extend their artistic boundaries outside the realm of conventional metal.

With Smile, Boris has once again exploited the clichés of loud rock music, stripped it of camp and irony, and reminded us of everything that is great about our favorite obnoxiously abrasive records. The band concedes that ‘80s hair metal was a strong guiding force this time around, but the band’s signature in-the-red production makes the simplified power-chord riffs translate more as an homage to early punk than to peroxided Reagan-era rock. Even the solos, the classic metal indulgence, have a particularly gnarly edge to them. The paint-peeling leads have a pleasantly painful sound that gives one reason to conclude that Merzbow’s treble assaults left their mark on Wata’s guitar technique.

The Headbanger’s Ball demographic might find tracks like the early-CAN-esque “Flower Sun Rain” or the restrained pop of “My Neighbor Satan” a bit pretentious; a blasphemy in the unbridled and primal school of metal. But when paired with the wild abandon of rockers like “BUZZ-IN” and “Statement,” the contrast serves to make the divergent approaches that much more effective. Such wide dynamics aren’t typically employed in these circles, and Boris’ use of this musical device inadvertently exposes its deficit in the larger realm of hard rock.

I find these deviations from the standard metal formula intriguing. The album title alone indicates that the band is more fascinated with satisfying their own creative curiosity than living up to some sort of sinister and evil image. As with their previous releases, Boris transcends the stigmas of their dual-necked guitars and Orange full-stacks to attain the position of one of the most engaging rock bands operating in this day and age.
*****

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Langhorne Slim
Langhorne Slim
(Kemado Records)

The first time I heard Langhorne Slim, I was waking from a nap on the bench seat of a van. A voice roused me from my slumber. It was not the voice of the driver or a fellow passenger; rather, it was a bold but wavering timbre singing a modern country song. It was one of those tunes that strikes the perfect balance between melancholy and triumph. Those are my favorite kind of songs. They somehow remind us of our hardships, but offer us a beacon of hope. On that dark mountain drive, I laid in the backseat and quietly listened to this stranger sing his songs through the tape deck.

It wound up that the record was the latest offering by this Langhorne Slim gentleman and his backing band, The War Eagles. I was shocked to learn that he hails New York; I didn’t think heartfelt sincerity made it from the Big Apple these days. This is the kind of stuff that comes out of rural Texas or the Great Smoky Mountains, not the land of skyscrapers. I had to remind myself that even old Robert Zimmerman needed that big city to transform into Bob Dylan. I don’t think Langhorne is too hung up on locations anyway; neither his rabble-rousing two-steps nor his bluegrass ballads seem desperate for backcountry affirmation. The music is distinctly American, and that’s about as region-specific as one needs to get.

The novelty of revisiting ol’timey music in the modern age is boring if it lacks quality songs and charm. Fortunately, Langhorne Slim has plenty of both. The songs are memorable, if not downright infectious, and there’s a general air of hope throughout the record that makes listening to it a life-affirming experience. He reminds us that “you can have all the diamonds you can have all the gold, but someday you’re still gonna get old. You gotta learn to get happy along the way.” It’s almost a reply to Dylan claiming “life is sad, life is a bust, all you can do is do what you must.” Slim also tells us that “someday, my friends, it’s gotta make sense in our heads: can’t make up our minds til we wake up and make our beds.” Let Conor Oberst keep his depression and collegiate turn of phrase. There’s something in this kind of simple wisdom that makes a grump like myself want to clap my hands and stomp my feet for the barn-burners or get glassy-eyed over a beer for the melodic laments.

Daft Morning

posted by on April 29 at 9:00 AM

Via United States of Michael.

Eurovision Semi-Final: The Bosnian Bjork, Armenian Qele and Dutch Hind.

posted by on April 29 at 8:31 AM

Bosnia & Herzegovina scare me this year. They usually send us a typical Balkan ballad, something folky or a typical Eurovision queen (seriously, click on that link, you won’t regret it). This year however, they’re sending Pokusaj with Laka. The lyrics, in case they’re singing the English version, go something like “I don’t want to be a wacky boy, we are living in this wacky world”. Interesting. The video shows a French maid with a crazy guy, who’s arrying a live chicken (no live animals at Eurovision, thank you very much). In the background, farmhands are acting out some weird choreography and there’s plenty of meaningful gazing into the camera. At one point, the French maid transforms into the Bosnian version of Björk –without the shrieking- and starts flopping about on stage like she’s chased by a serial killer. She’s not, but at this point I wish she was. The music is at some places quite decent, but then it’s ruined again. Well, for me anyway. Also, in the video, pay attention to how unimpressed the studio audience looks. It’s probably the most entertaining thing about this whole song.


Armenia is relatively new to Eurovision and they tend to do well (Don’t mention block voting! Don’t mention block voting! I mean, come on, they send a man singing a ballad in front of a cardboard tree covered in paper and still take 8th place?! I don’t see a lot of countries following that example). Sirusho should ease into the final with Qele Qele, and not just due to block voting. The song starts off with some serious er… shouting, which will be impressive as long as she manages to keep it in tune. The lyrics are hardly Shakespearian quality (“instead of watching me, you should be reaching me. Come Qele, move Qele”), the accent is cute, but honey… seriously…Not wanting to look like a slut is fantastic. I commend you for it, I really do. But you don’t have to look like you’ve just worn something to rush to the supermarket. “I’m off to Eurovision, what should I wear? Oh I know, my jeans and this ratty old sweater. That’ll be good enough. And I’ll get the girls from next-door to wear their gym clothes and they can dance backing. Brilliant!”. No no no, give me some glamour! Thankfully Sirusho makes up for her wardrobe choices by including the Eurovision Clichés of playback-drumming on stage (+10 points) and fake Riverdance (+20 points).


Hind (and my god, does she have a funny name for English speakers) represents the Netherlands with the originally titled “Your heart belongs to me”. It does? Well… it might. This is another example of a poppy, happy song with a lot of Eastern influences. One could say the ethnic sounds are an attempt to gain some Eastern European sympathy, but I don’t care (You’ve probably already noticed that in Eurovision, Eastern Europe is seen as at least as powerful as the Mafia. They’re like the father you have to work hard to please, the teacher you don’t want to disappoint.). To me this is a decent pop song, sung by a sexy lady (hel-lo there, Hind) wearing nothing more than a short coat. Forget trousers, Hind, the outfit’s great this way!


Next up: Finland, Romania and Russia.


Monday, April 28, 2008

This is Exactly What I’ve Been Wanting MySpace to Do

posted by on April 28 at 4:43 PM

Not really.

MySpace unveils new karaoke feature

By JAKE COYLE, AP Entertainment Writer

NEW YORK - You’re sitting at home online and suddenly you get an irresistible urge. You absolutely have to belt out R. Kelly’s “I Believe I Can Fly” and share it with the world.

You now have that ability, thanks to the new MySpace Karaoke, to be launched Tuesday by the social networking site.

MySpace Karaoke (ksolo.myspace.com) debuts nearly two years after Fox Interactive, a division of News Corp., which owns MySpace, purchased the karaoke site kSolo.com. The combination of MySpace and kSolo allows users to upload audio recordings of them singing everything from R. Kelly to Richie Valens to their profile page.

Belittling the Competition

posted by on April 28 at 4:01 PM

WFMU has a description of a throwdown between MiniKiss, a KISS cover band comprised totally of midgets, and Tragedy, the heavy metal Bee Gees cover band. The winner, in the blogger’s opinion at least, was Tragedy by a landslide.

Here, from Tragedy’s MySpace page, is a video of their cover of “Stayin’ Alive.” It’s pretty good:

It kind of makes me want to see a heavy metal adaptation of Saturday Night Fever. The funny thing is, as I was typing that last sentence, it seemed like an increasingly good idea, and now that I’ve said it, it seems nigh-unstoppable. It could be a period piece. Someone get on it!


Scott Weiland Goes to Jail

posted by on April 28 at 3:55 PM

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Don’t worry, he’ll be out by Bumbershoot.

Via TMZ:

Rock star Scott Weiland has just been sentenced to 192 hours in county jail for his November DUI arrest. This is Weiland’s second DUI offense. He has until May 28 to serve the sentence.

Scott, who was not present in court today, entered a no contest plea through his attorney, Anthony Brooklier. The former Velvet Revolver singer was also ordered to complete an 18-month alcohol program and pay almost $2,000 in fines. He will be put on a four-year summary probation.

Weiland was charged with one misdemeanor count of driving under the influence of alcohol with a prior conviction, and with an allegation that he refused a chemical test as required by law. We are told he was over the legal limit of .08%, but not by much.

According to the police report, he failed the field sobriety tests and refused to take a blood or urine test. He was booked for DUI and released on $40,000 bail.

Impossible

posted by on April 28 at 3:51 PM

Last night—>last week. You can’t be everywhere at once, and I think I did pretty well just hitting two great shows last Wednesday, but damn! The Death Set’s “Moving Forward” came up on my random shuffle walking across Cal Anderson Park today, and I’m really wishing I could’ve also made it out to their show that night. Here’s a picture of it from the Stranger’s flickr pool, courtesy of Sound on the Sound:

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Doesn’t that look like fun? Anyway, The Death Set’s Worldwide isn’t the most consistent or complicated record, but it’s a pretty great record for sunny Monday cubicle transcendence.

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Trailer for Germs Biopic What We Do Is Secret

posted by on April 28 at 3:40 PM

The film was directed by Rodger Grossman and it stars Shane West as Darby Crash, Bijou Phillips as Lorna Doom, and Rick Gonzalez as Pat Smear. The movie also features the Bronx playing the part of Black Flag. Srsly.

Looks Like Ya’ll Wanted Some Grunge This Weekend…

posted by on April 28 at 3:30 PM

I just got this week’s lists of the best-selling NW artists from local record stores (which I use to compile NW Top 10), and Easy Street West Seattle’s list had two random records:

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Neither sold enough (if any) at other stores, so they didn’t make it on to the top 10; Fleet Foxes are still #1.

More Stache…More Disco

posted by on April 28 at 1:24 PM

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Here is two edits that I recieved from “recently located Seattle residentPat les Stache. This time around, Mr. Les Stache, put his touch on John Tropea’s 1979 cosmic classic “Livin’ In The Jungle” and Gepy & Gepy’s 1979 disco gem “African Love Song”. Both edits, I hear, will probably be included on a new re-edit 12-inch, Pat Les Stache Presents: Cabana Music Vol.01, which should be coming out later this Spring. The record will also include an edit of Black Ivory’s 1974 funky soul classic “What Goes Around (Comes Around)”. All in all, just some more disco edits to make the world go round!

Pat Les Stache - African Love Song
Pat Les Stache - Lovin’ In The Jungle

Dracula Chewing Gum

posted by on April 28 at 1:11 PM

Upon reading this in the business section of The New York Times

Mars, the makers of M&M’s, announced a deal Monday morning to acquire the Wm. Wrigley Jr. Company, the chewing gum concern, for about $23 billion.
…I thought of this old record by the Jamaican toaster Lone Ranger
47b3ce06b3127cce9ee65046188200000015108AbMmrNs0asz.0.jpg The connection? Recall his big hit “Barnabas Collins.” (Barnabas Collins is a vampire in a 70s TV show called Dark Shadows.) Now recall this wonderful passage from Lone Ranger’s tune.

[Barnabas’] eyes get red and his ears get dread/His teeth get long and he start to feel strong/When [he is on] the scene you hear a girl start to scream… Girl! Out the candle, take off your bangle, turn your neck upon the right angle/He is the best in the business/Barney chew your neck like Wrigley’s/Barney is the best in the business/Barney chew your neck like Wrigley’s…
That’s toasting at its best.

Who is the Master?

posted by on April 28 at 12:55 PM

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Suppose it’s time to get a CD mastered - who’s the person to go in this town? Who is the actual Audio Master of Seattle? Seattle has several engineers that claim that title, but when it comes to choosing who’s going to get your business there can only be one. Like the Highlander. When an engineer has earned the title of “Master,” what then sets them apart from other Masters? Price? Efficiency? Ability to master all genres of music with equal skill?

Because You’re Not Doing Anything Important Anyway…

posted by on April 28 at 12:41 PM

Check out this blog’s list of 10 great moments of Punk Rock on TV, including Fear’s SNL performance (featuring a very young Ian Mackaye), the Sex Pistols on The Today Show, the Ramones on The Simpsons, and members of the New York hardcore scene appearing as guests on Donahue circa 1986 (“I dunno how some dude in a $300 dollar suit can know what hardcore is about when it comes from your heart.”). It comes with clips of everything too, so you can waste a good half an hour watching history.

Not mentioned, the Cramps on 90210 (they played a Halloween party at the Peach Pit, sadly I couldn’t find video…), and the many GG Allin talk-show appearances. For example, here he is on Springer, when Springer was still trying to have class.

Flavor and the Wall

posted by on April 28 at 12:34 PM

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Los Angeles: Flava Flav was sitting in a Mercedes with the top down on a Santa Monica street. I was there to meet him for an interview and get him to tell me a dream. (I’m into dreams.) You could smell Flav’s splif a block and half away. A log sized, log flume of a joint. Flav is filming in Canada and was home for a couple days. From his car, he was staring at a giant mural on the side of a building. He never took his eyes from it:

Mr. Flavor, do you remember your dreams?
Flav: I like this wall, yo. I come here when I can. I like to construct it in my head. You gotta augment shit, you know?

Can you tell me the real reason you wear clocks?
Damn G, hit me with that. The real reason ain’t real haha. The real reason is stupid. But it stuck. (Lifts up his sleeve and flashes a diamond wristwatch.) Can you say sponsors?

He laughed a spitting laugh from deep in his throat, then he told me his dream.

When he finished, I got out the car, and shut the door gingerly. The engine had been running the whole time. I thanked him and he was away. He took a right onto Santa Monica Blvd, looked back, and yelled, “Augment, yo! Flava-FLAAAV!!”

Wildrose’s Pride Line Up Announced

posted by on April 28 at 12:33 PM

The Wildrose always cranks out the best mini Gay Pride festival for artfags and people who don’t want to listen to house music. Here’s the line up for this year:

Leslie & the Lys
The Dutchess and the Duke
Coconut Coolouts
The Intelligence
The Heavy Hearts
Hell’s Belles
The Ononos
The New Bloods

Looks awesome! It all happens on June 28th.

UPDATE: In response to Terry, Jodi Eklund (Wildrose Booker) says: “Yes, [it’s 21+], but under 21-year-olds should hang out on the steps of the Chophouse or outside—they can see the whole show!”

Boston & Styx Coming July 10

posted by on April 28 at 11:45 AM

They’ll play Marymoor Park Thursday, July 10. Tickets go on sale this Saturday (May 3) at 9 am via Ticketmaster. Tickets are $49.50 and $79.50.

Hot Chip

posted by on April 28 at 11:15 AM

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By dagmarsieglinde.

What’s the Point of Offering a Song for “One Week Only,” Coldplay?

posted by on April 28 at 11:06 AM

Staring tomorrow morning at 7:15 am (Eastern), Coldplay fans will be able to download the new single of their upcoming album, one week before the record is released. All y’as have to do is visit their website, www.coldplay.com.

The song will only be available for one week.

Way to give music away for free, that’s nice, but what’s the point of the one week deadline? Once you put a song online, you can be assured that it will be available via every music sharing/stealing/torrent site in the world. Even after you pull it from your website, it’ll still be everywhere else. The internet is bigger than you. You can’t put a deadline on the internet.

In another kind gesture, the band also announced they’ll be playing free shows at London’s Brixton Academy on June 16 and at New York’s Madison Square Garden on June 23. Details for those shows will be announced tomorrow morning as well.

re: Prince Covers Radiohead at Coachella

posted by on April 28 at 11:05 AM

I wish Prince were coming to Sasquatch.

Partly because critics are freaking out over his Coachella gig (Idolator: “Prince takes Coachella to school”), but mostly because I love Prince as an idea, as The Perfect American, but I’ve never seen him play.

And Prince doesn’t seem like the kind of musician you can really learn to love on records alone (unless you’re a kid, because kids have projectile imaginations that hurl them into the world of the record they’re listening to, which is why kids can and do fall in love with Prince in their bedrooms). But for stunted adults like me, who came to Prince late, the records are groovy but just don’t make it.

I need to see The Perfect American live.

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Why the Perfect American? Because Prince is all things to all people, the ideal American synthesis—ethnically, sexually, gender-wise, fashion-wise. He’s a dandy and a rocker, a warm epicurean and a cold futurist. A prancing woodland creature in velvet and a slick technophile in vinyl. A decadent, Old-World aristocrat and a New-World evangelist for the democracy of the dance club.

(One of my favorite stories about Prince comes from a radio DJ, who used to DJ at clubs in Minneapolis. Prince would run into the club super early in the morning, after working all night on a new song, and hand the DJ a flimsy little test pressing to play. Then he’d stand in the center of the floor, listening and watching. This, Prince said, was the only way to know if a song would work—to hear it on big club speakers and to watch it on the bodies around him.)

Miles Davis adored him.

Charlie Murphy lost to him at basketball.

Tipper Gore founded the Parent Music Resource Center after she heard her 12-year-old daughter listening to “Darling Nikki.”

He actually convinced the American public to refer to him as “the Artist Formerly Known As Prince.”

He’s a hypersexed vegan Jehovah’s Witness.

Prince is America.

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(Now all I have to do is learn to like his music…)

Prince Covers Radiohead at Coachella

posted by on April 28 at 10:52 AM

I wasn’t at all sorry that I didn’t go to Coachella… until I saw this.

(ht pitchfork)

Tonight in Music: Blood on the Wall, Coconut Coolouts, Chinese, Elephant Kisses

posted by on April 28 at 10:45 AM

coconutbanana.jpgCoconut Coolouts photo by Jason Fisher

Blood on the Wall, Coconut Coolouts, Eat Skull
(Chop Suey) Despite the band’s affable sound, Coconut Coolouts are really like the James Brown of Seattle rock music—their name seems to pop up everywhere, and all the freakin’ time. It’s well deserved, then, that they get to share a bill with equally committed fuzz-rockers Blood on the Wall, whose new album, Liferz, is yet another slab of perfectly paired male-female vocals, driving guitar, lumbering bass, and no-bullshit, no-frills drumming. Both bands have a knack for mixing jaunty guitar riffs with just the right bass lines. Expect a fair amount of beer to get spilled all over Chop Suey’s floor at this one. GRANT BRISSEY

Listen to Coconut Coolouts:
“Chocolate Money”






Listen to Blood on the Wall:
“Sorry Sorry Sarah”






D Numbers - “Short Trip (Live)”
Chinese, Elephant Kiss?, D Numbers, Centaur Hearts
(Funhouse) Centaur Hearts have one track posted up on their social networking site of choice, and it sounds like it was recorded inside a tin can inside a cat butt inside a cave during an earthquake using a toy microphone. Still, there’s an undeniable full-speed-ahead charge buried somewhere in all that poorly compressed fuzz, and the fact that they consist of two-thirds of Teeth and Hair (but seem to have dropped that band’s yelping shrieks) isn’t a bad sign. D Numbers are an instrumental electro-acoustic trio from Santa Fe whose jams might aim for Battles’ crypto-smurf rock but land somewhere a little more safely jazzy. Elephant Kiss? do bedroom geek raps about unicorns and bicycles to giddily glitchy electro noise. Chinese are a fast-driving guitar and drum duo. Should be a perfectly weird show. ERIC GRANDY

That’s just the beginning. Everything else is listed in our online calendar.

Today’s Music News

posted by on April 28 at 9:50 AM

Welcome to 2008 - Metallica learns to embrace the Internet

Imagine no religion - Ono sues creationist documentary for using Lennon song without permission

Goin’ down in a blaze of glory - Bomb scare at Bon Jovi concert

Bring earplugs and a diaper - Boris/Torche/Wolves In The Throne Room tour


Sunday, April 27, 2008

The Shroud of Baxter

posted by on April 27 at 12:11 PM

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Late night at a motel. A vortex of interstate activity. Obese families in Ford Tauruses with Bush stickers on them. These are the people that are interested in Britney. And sex tapes. Everything is a rock show. Even church.

A team of dirt bike racers is in the room below. They’re knocking back Vodka-Gatorades and looking for poontang. A church group two doors down hides their daughters. Scents waft.

You check into your room. Brush teeth. And there it is, a giant burly pube on the sink, sitting there like a thick black piece of corkscrew pasta. Coiled like a viper. Staring up at you, waiting to strike. You brush and look away. And try not to think about the fact that that pube probably came from the crotch of a chicken molesting trucker named Baxter.

Time for sleep. Finally, sleep. The sanctity of a bed after a long day. You turn down the sheets and there’s a stain. Face sized. It’s like the Shroud of Turin. Is it dirt? Is it blood? Is it make-up? Jesus Christ. Maybe it’s Baxter’s face. Sleep comes before you can fully investigate.

Eurovision Semi-final: Drag Barbies, golden GoGo Boys and a singing turkey

posted by on April 27 at 9:00 AM

Abby pointed out that the promo video for Azerbaijan is -if possible- even more fabulous than the live recording, and I have to agree it might just be that. Check it out here. Am I the only one who’s expecting both singers to start kissing?

But we mustn’t dwell on Azerbaijan, amazing though it is, there are more countries in this year’s contest.
One of them is Poland, they’re sending Isis Gee with the song For Life and I can’t for the life of me figure out why. Was everything else even worse? How is that possible? “For Life” is one of those sleep-inducing ballads where you’re waiting for something to happen… “surely at one point the song is going to explode, she’ll start shouting, the tone of the song will change and…” no. Nothing. Just Drag Barbie (I know the youtube clip is quite grainy, but check out this photo, she looks like a blonde Dana International… only far less pretty) doing the Whitney Houston-patented “Dramatically Moving The Microphone Away From My Mouth When I Reach A High Note” amidst the clouds, with her boring fake-violinists and fake-pianist. The promo video is even more annoying. Moving on.


And on we go to Ireland, incidentally the country that’s won the contest the most (and only sends crap entries since the last time they won in order not to have to host it again). Ireland is taking a risk this year by sending Dustin the Turkey with the glorious “Irelande, douze points” (Ireland, twelve points). Risky? Because they should easily make the top ten with this, and who knows, they might even win the damn thing again. Ireland also wins the prize for the most annoying vocal so far. I know allowances must be made for the fact that Dustin is a turkey, but that excuse only goes so far. The eurobeat makes up for everything though, as do the lyrics: “Drag acts, and bad acts and Terry Wogan’s wig, mad acts and sad acts, it was Johnny Logan`s gig” (I’ve never heard a better description of Eurovision). Also, note the ending where Dustin namedrops all the Eastern European countries in the hopes of getting their votes, and let’s not forget the golden GoGo boys in the background. Classy!


After all this madness, unfortunately it’s time for Andorra. Oh, I don’t hate Andorra, I’m sure it’s perfectly nice and last year they sent cute high school boys with guitars who sang something about the environment (and of course didn’t make it to the final).
No, the sad thing is the piece of crap they’re sending to Eurovision this year. “Casanova” is a hysterical piece of “dance” music you’d expect at Junior Eurovision instead of at the Real Contest (yes, the contest gets Capital Letters). I couldn’t find a live recording of the song so who knows if Gisela will hit those high notes. The promo video features a lot of doors, a ballgown and snow. I’m expecting arty choreography and for this to disappear without any votes at all.


Next up: Bosnia & Herzegovina, Armenia and The Netherlands.

Overheard at Parties

posted by on April 27 at 1:48 AM

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- “I was on the bus today with a woman who had a stroller. The bus driver asked what the baby’s name was. She said (flippantly), “Beyonce.”

- “Did you know that this (uses hand to wipe bottom of forearm then flicks fingers) is sign language for ‘abortion?’” (The conversation then moves to a discussion of the scene in Gummo where two deaf people are arguing in a bowling alley while Chloe Sevigny watches, eating a corn dog.)

- “…(slightly bummed) we ate tater tots, then she fell asleep.”