by Josh Bis
on Tue, Nov 30, 2010 at 11:53 PM
When new Sub Pop signees Mister Heavenly played their first show tonight at the Moore, opening for Passion Pit, the source of the most excitement among the throngs of teens was that their bass was being played by Michael Cera, patron saint of the perpetually awkward adolescent.
He's played bass players on film twice in the last two years, so I guess that it makes sense that he'd get around to putting his Sex Bob-omb (and/or Jerk Offs) skills to use on a real stage. I've sent a note to Sub Pop to see if they have the backstory on his spot in the lineup. More on that, and photos from the rest of the show, later tomorrow.
update: Sub Pop's publicity coordinator Bekah Zietz says that "as of right now he is not an official member, just playing with the guys on this tour."
I just spent the last 4 days in wine country with family. It was nice and all, wine is great, but the most intoxicating discovery I made the whole time was without a doubt on the Bay Area TV station KOFY—a station that appeared at one point to be a real life SCTV—a little show called, simply, Dance Party. It seems like the show has had a few different incarnations; first, a 50's style retro dance show, then a 70's version, and most recently, a "RE-MIXX" version where they dub newer jams over old episodes. We all watched, agape, as truly amazing-looking Bay Area residents (when we watched, circa 1992) writhed to the beat, flouting alll convention and flaunting rare fashion sense. The between-song banter from host (and KOFY visionary) Jim Gabbert is amazingly awkward yet warm, and he clearly loved the fabulous freaks that came out to strut their shit on his show; my favorite moment (besides when the body-builder looking brother in the vest with the horseshoe hairline split his pants) was when a huge-haired gent in a blue-flame unitard thing (seen at the end of this clip) introduced himself as Ginger Coyote. Awesome! Apparently KOFY is going to be restarting this celebrated franchise next year, and you too can be on it! Because, after all, KOFY DANCE PARTY IS THE BEST SHOW EVER.
Google 'Night Slugs' and you're likely to see a bunch of links to articles with the phrase 'label of the year' prominently displayed. It's hard to argue with a pile of jams from Kingdom, L-Vis, Jam City, Bok Bok and Girl Unit. If you're curious about the label or want to play catch up, you will be glad to know the first label comp, Night Slugs Allstars Vol. 1 is available now.
Check out a couple mixes by Girl Unit here and here.
Primal Scream's Classic Re-Issued For Its 20th Anniversary
Primal Scream to release a newly re-mastered version of Screamadelica to celebrate the 20th anniversary of their genre-defining, groundbreaking masterpiece on March 7th, 2010 in Collector's & Deluxe Editions.
To mark the 20th anniversary of this landmark record, the band have made a new cut of the album with the help of their longtime friend and occasional collaborator, Kevin Shields of My Bloody Valentine.
Since its release in September 1991, the inaugural Mercury Prize winning record has influenced countless bands and artists, been widely acclaimed by critics as one of the defining records of the 1990s and as one of the most inventive albums of its generation — the album had a huge effect on 90s popular culture, bringing acid house and rock 'n' roll to a unified mainstream audience that had until that point been disparate and underground.
The Collector's Edition of Screamadelica will comprise four fully remastered CDs and a heavyweight gatefold double LP, including a new cut of the original album as well as the previously unreleased Live in L.A., 1991 album, a CD of original remixes by Andrew Weatherall, The Orb, and others, along with a re-mastered version of Top 10 hit 'Dixie Narco' EP.
There will also be a 30 minute documentary DVD: 'The Making Of Screamadelica', documenting the album track by track, plus bonus content from the original Screamadelica VHS, accompanied by a 50 page commemorative bound book featuring interviews with the band, unseen images, and notes on the Story Of Screamadelica by Loaded magazine founder James Brown.
The Collector's Edition boxset will also include a 12" slipmat featuring the original iconic sleeve design by the late artist Paul Cannell, a Primal Scream replica tour t-shirt (by Worn By) and 5 x 7" art cards.
1. Let England Shake 2. The Last Living Rose 3. The Glorious Land 4. The Words That Maketh Murder 5. All And Everyone 6. On Battleship Hill 7. England 8. In The Dark Places 9. Bitter Branches 10. Hanging In The Wire 11. Written On The Forehead 12. The Colour of The Earth
by Gabe Meier
on Tue, Nov 30, 2010 at 1:46 PM
When SPD officer Ian D. Birk shot woodcarver John T. Williams in the back, killing him, an incredible amount of outrage and disgust from the majority of the city erupted. Williams, who was carrying a legal knife, was a cherished member of the Ditidaht and Nuu-chah-nulth First Nations tribes in British Columbia and was deaf in one year. Like the rest of the city, No Touching Ground, who's work I featured a few weeks ago, responded to shooting by displaying Williams's face prominently on the streets of Capitol Hill. The image is striking and is a much-needed statement against the disgusting actions of the Seattle Police Department.
Update: Toby Crittendon at the Washington Bus snapped a few pictures of the above piece that No Touching Ground has since updated. Check them out after the jump!
by Dave Segal
on Tue, Nov 30, 2010 at 1:33 PM
Diff'rent Flex—the first club event in Seattle devoted to "UK Funky and Tropical Bass"—launches Wed. Dec. 1 at the Baltic Room. Your knowledgeable DJs for the night are Kid Hops (KEXP 90.3 FM/TRUST), Ill Cosby (Car Crash Set), Balianne (Full Blast UKG!/Dope City Kids), and DJ Spirit Fingaz (Pow Wow). Entry is $5, 21+.
More info here and some blogging with explanatory YouTube-age here.
You can see how things started, and where things exactly stand at this moment (their new album, The Youth Die Young, drops today—and the reviews in our paper drop tomorrow). From September 16, 2008 'till infinity.
Yeah...um...last night, at the bar, I admit I was TIPSY, and when James Brown's "Sex Machine" came on I jumped up and GOT DOWN. But instead of doing the Mashed Potato/James Brown like I oughta, I danced the Johnnie Taylor. Um...the JT is a hand on your hip, torso cocked to the side and bouncing on the beat, while smiling. Mr. Taylor had such a badass smile it IS part of the dance. Which is FINE, I love doing that Johnnie Taylor dance (and I'm GOOD AT IT), but it is WAY less exciting. Really, WTF, I didn't even try to drop a boogaloo. THANKS A LOT BOOZE.
When the Rose Quartz music blog billed a new cut by Wllington act Wet Wings as "drenched in a particularly New Zealand tropical mist that Ruby Suns might dig," they caught my attention right away.
Sure enough, "Stockholm" is a real treat, a nice bit of scenic, well-produced escapism that's made a pretty stressful past couple days considerably easier to slog through (and a glance outside the window confirms that our weather isn't going to start behaving as pleasantly as this music sounds anytime soon, either).
While I fannishly wait for more news on the in-progress Ruby Suns LP4, this will do just fine.
I am very excited about Stickers! Stickers are a trio of drums, bass guitar, and saxophone. They are one boy (bass) and two girls (sax/vocals and drums). They make a great, groovy no-wave racket. On paper, their songs are goofy (lyrics about Thanksgiving, Princess Di, "White Jazz")—though not without some hints of personal/political implication ("You're the princess/You should fuck who you want"). At a house show in the Central District on Friday night, though, you didn't really hear the lyrics—or you only heard snatches of them, a word here or there caught in the rhythmic grind of their music.
Over the foundation of bass and drums, their singer tosses out her lines in a cracking, hiccupping, Valley-inflected voice, like a slightly less excitable Karen O. She takes up her saxophone and spits out atonal squawks and shards of melody. The bass guitar shifts from loose, low rhythms to menacing, overdriven descending riffs.
by Brian Cook
on Tue, Nov 30, 2010 at 11:56 AM
When folks talk about the best live bands they’ve ever seen, a few names immediately come to my mind. There was my first show ever—Fugazi at the University of Hawaii back in ’91. The entire band was drenched in sweat halfway through the first song; the bass felt like I was getting punched in the chest; and, of course, Ian Mackaye lectured the crowd and paid some dude $5 to leave. There was that Belle & Sebastian show in September of 2001, just a few days after the World Trade Center buildings went down. There was so much tension and anxiety in the air, and the humble melodies orchestrated by the thirteen Scots on stage felt like the perfect salve to an aching crowd. There was the Neurosis show at the Old Fire House where they blew the power, the Jawbreaker show at the Capitol Theater Backstage where the surge from the crowd nearly pushed the makeshift stage off the five-foot-drop onto the theater floor, the Roseland Theater show where I first saw Melvins perform with Big Business and they wrapped up the set with my two favorite songs (“The Bit” and “Lovely Butterfly”, for the record). Those were magical moments.
But the very first concert that pops into my mind? For whatever reason, on the occasions when the topic of the best live set comes up in conversation, I always think back to a show at the Up & Down Club in Ballard back in the summer of ’97. A band called Jesuit from Virginia Beach was rolling through town with local underdogs Harkonen. I’d caught Jesuit a couple of times the summer prior when my band played a few shows with them on the East Coast. They kinda reminded me of power-violence pioneers Crossed Out—alternating between these blistering blast-beat grind moments and then lunging into these punishingly heavy-handed half-time riffs. Those shows were pretty decent, but nothing prepared me for their set in Seattle. They set up on the floor of the venue and a semi-circle of hesitant attendees encompassed the band, arms crossed. Then the band kicked in and the normally stoic Seattle crowd erupted. One moment the band was blazing through their machine-gun tempo material, and then dropping into these massive quarter-note power chord riffs that sounded like the thundering of the Apocalypse. The band and the audience were completely unbridled. One guitar player was batting off careless dancers with the neck of his guitar; the other guitarist was alternating between frothing at the mouth into the microphone and yelling through the pick-ups of his guitar. Every song descended into unstructured mayhem, a complete disregard notes and rhythm. It was sheer violence. The only other band I’ve seen come remotely close to that level of genuine malice were grind-legends Assuck, and Jesuit trumped them ten-fold. The show left me completely shell-shocked.
Jesuit lasted another year, disbanding in 1998. They left behind a demo, two seven-inches, and a handful of compilation tracks, all currently out of print. Singer/guitarist Nate Newton now plays bass for Converge and guitarist Brian Benoit went on to serve in Dillinger Escape Plan until arm and shoulder injuries left him unable to play. Magic Bullet Records is currently working on a discography of their material. All of this information is basically a lead up to an announcement that Jesuit is doing a one-off reunion show on April 9th, 2011 with Unbroken and Indecision. Unfortunately, it’s happening in New York City.
I know reunions are never the same, and nothing is going to come close to that spectacle thirteen years ago, but I may have to cash in some frequent flyer miles regardless.
by Dave Segal
on Tue, Nov 30, 2010 at 11:36 AM
Tahiti 80’s forthcoming album, The Past, the Present & the Possible (due in early 2011), is a pleasantly frothy electronic-rock record that's mainly notable for its cover of the great British group A.R. Kane’s “Crack Up” (off their sprawling 1989 magnum opus "i"). It's super rare for any band to try to cover an A.R. Kane track, as they were so much their own distinctive entity that it's almost futile to attempt to approximate their unique dub/astral-jazz/shoegaze/noise-rock collisions. However, "Crack Up" is one of A.R. Kane's more accessible, dance-oriented numbers, and Tahiti 80 do an admirable job of recreating its mutedly buoyant euphoria.
This might help you in the gift-giving department, if you know any Neon Indian fans or people with unfashionable wrists. To celebrate the recent release of Neon Indian's new album Psychic Chasms / Mind Ctrl: Psychic Chasms Possessed, NOOKA and the band are teaming up to give one Line Out reader a fancy prize package that includes:
To win all this swag, just e-mail your first and last name to firstname.lastname@example.org with Neon Indian in the subject line. One winner will be randomly chosen Wednesday, December 8th, and notified via e-mail. The only caveat: You must live in the U.S. to win.
If you aren't patient enough to enter the contest, you can buy a copy of the record here, buy your own NOOKA watch here, and get your own sunglasses here.