I'm old and confused by "today's popular" brand of black metal, but by the looks of this clip it seems these young fellers are happy to head bang AND kick trees!
I'm old and confused by "today's popular" brand of dance music, but by the looks of this clip it seems these young fellers are rolling their mollies quite well!
Do you remember how fun last year's Penumbra was? All those beers and all those bands, together in one building that seemed like the prom you wish you could have gone to? Well hold on loosely, because the second year of Penumbra is coming at you and it's time to get it on your calendar: March 29.
The lineup this year is rad! We have: Olympia witchy grunge pop from Broken Water, almighty alt-rockers Dude York (who have a new LP, Dehumanize, out on Help Yourself Records), the enchanting groove masters Chastity Belt, Portland garager-surfers the Shivas, ‘70s-esque organ-centric pop from the Comettes, with DJ sets by Peel Slowly.
Plus all that crazy fancy special Northwest beer! I tried lager last year that tasted like flowers, a couple ales that tasted like coffee, some of those stouts that are basically loaves of liquid bread, an alcoholic kombucha that was delightful, and all kinds of ciders until I was literally one of the last people there.
A rarely-spotted Seattle food truck gathering will also take place—imagine, a city where you can just eat at more than one food truck at a time! In the same area! It's like we're Portland or something. But with more weed and less crabbiness (JK Portland, you're fine).
Sat. March 29 // King's Hall, 2929 27th Ave. // 5pm - 10pm // 21+
FOUR LOCALS SCORE FOUR SILENT MOVIES: FILM AT 7:30
This ain't your typical Data Breaker entry. What we have here is a night of silent films with live soundtracks provided by four local acts. Darkwave-pop unit youryoungbody accompany Segundo de Chomón's The Red Spectre, electronic-space-rock savant Secret Colors plays along with Ladislaw Starewicz's The Cameraman's Revenge, crooning bass-music chameleon DJAO scores Buster Keaton's The Haunted House, and hazy post-R&B producer Battle Ground Grammar (aka Andrew Gospe) supplies audio for Pat Sullivan's Felix in Hollywood. Should be verrry interesting. Ethnic Cultural Theatre, 7:30 pm, free, all ages.
And here's all our recommended music events—tonight, tomorrow, this weekend, and beyond!
DECONSTRUCT TECHNO/HOUSE LORDS LEVON VINCENT AND ANTHONY PARASOLE
The High & Tight crew continue their quest to secure MVP honors in Seattle's electronic-music scene for this booking, two of New York's deepest techno and house heads: Levon Vincent and Anthony Pasarole. These hombres—who run the Deconstruct Music label—typically pack out the most discerning dance clubs in Europe, so we're lucky to get 'em in an intimate space like Re-bar. Both cats worked for Brooklyn's revered Halcyon record shop last decade, so their knowledge is supreme. Vincent's exceptionally skilled at crafting minimalist, mesmerizing techno with a vast array of unusual textures. Check out "Games Dub" or "Woman Is the Devil" for master classes in how to maximize a few elements into gripping dance-floor burners. With Tyler Morrison. Re-bar, 10 pm–6 am, $15 adv, 21+.
Tonight! In like 4.5 hours! The Sunset Tavern is your very best bet for an evening of boot-stompin', sweaty revelry featuring the rowdy, many-membered party cowboys Country Lips, dusty boogie blues-makers Lonesome Shack, and the experimental/rock project of Bad Blood, aka Conor Kiley (aaka our own Brendan Kiley's younger, longer-haired brother) who will be joined by a backing band made out of the Pharmacy.
These fine 206-ers are joined by the Abigails (all the way from LA and starring Warren Thomas of the Growlers)—serving enough beautifully satanic outlaw-country music to give you the spins. Definitely go (and definitely line up a designated driver, doi).
9pm // $7 ADV, $8 DOS // 21+
The banter was as light and friendly last night as the band's bouncy brand of rock-and-roll, and nearly everybody in the mostly-full room gathered on the opening night of Neumo's 10th anniversary (and Moe's 20th) celebration was in the mood to dance. Each time I hear a Telekinesis song, I envision Lerner soaring between the buildings of Seattle in superhero spandex, singing youthful lyrics with a healthy smile, sprinkling uncut joy into the homes/hearts of residents, who quickly run to their windows with glee (close your eyes and give it a try!). There was no flying—or spandex—but otherwise, the vibe was pretty consistent with my vision.
"We are Telekinesis, and we're from Seattle, Washington," Lerner said about three times during the set, eliciting a roar of hometown cheers each time. His drum set center stage with huge padded mic angled at his mouth from over his left shoulder, Lerner pounded the hell out of his drums while sing-yelling into the heavily reverbed system, flopping his cheek-length curly hair every which way. The rest of the band (though Lerner writes his songs solo, he's joined live by a guitarist, bassist, and keyboardist) was turned up to match Lerner's pounding/singing, and the whole operation together sounded fit for an arena. The volume, and the band's highly positive energy really filled in the gaps in the mostly full room, pulling people together physically and emotionally.
Halfway through the show, the band stepped aside, and Lerner took up an acoustic guitar, and did his singer/songwriter thing. He worked through "Rust," from 2009's nearly self-titled Telekinesis!, and a couple others before returning to the kit for a finale that included "Power Lines" and ended with "Tokyo." The crowd hung in for the softer moments—and his voice can certainly carry a room—but the enthusiasm the crowd brought to the band's more rocking numbers looked like they were the people's preferred mode. Lerner invited the assemblage onto the stage for the final song (pictured above), informed the crowd there wouldn't be an encore ("Encores are really weird," he explained) in the nicest possible way, and went out with a bang.
P.S. Did you guys see Wild Ones? Before Telekinesis took the stage, the Portland quintet played a pretty killer set of dreamy guitar-balanced electro pop with creative dance rhythms (think Pure Bathing Culture meets Reflektor-era Arcade Fire). Also: Wild Ones share a guitarist (Nick Vicario) with Telekinesis. I'd recommend giving their new album (with a title that's hilariously at odds with their moniker) Keep It Safe.
djblesOne from Don’t Talk To The Cops!, the dexterous one, has a remix of Siouxsie and the Banshee’s “Happy House” featured in Strife.TV's 2013 recap. It’s a FREE DOWNLOAD, and it's quite tight. So begin 2015 right. Bang down an elbow freeze. Scheme out. Flip backwards. blesOne spoke briefly:
How’d you choose this song to remix?
Because I love the band and Siouxsie Sioux is one of my favorite vocalists. Her voice is powerful and chilling. The song made me feel very intense and the way I let out that energy is dancing. The most extreme version of that for me is bboying - breakdancing. I wanted to remix it to something I could break to so I could release all that dancing tension that boils up inside me when I listen to it. That's really why I remix anything.
What’s Strife TV?
Strife.TV is a channel that covers the bboy dance culture and lifestyle around the world. They cover events, dancers, and music in our scene, from the perspective of people inside the dance scene.
If someone hears the song, and uncontrollably needs to do a backflip, what’s your advice? For someone who’s never done a backflip, how do you do a backflip?
The secret to back flips is really trusting in yourself, oh, and also practicing backflips a lot.
I'm working a NYE party tonight and I really, really hope tonight's New Yeas Eve blow out ends up being THIS amazing!!! Godamn. What a way to welcome 1969.
I have a handful of this French long hair band's, Les Variations, records on 45s, but it ain't nothing like this. I reckon it was their live/stage show? Uh...there's SO MUCH DOUBLE KICK DRUM!! Oui! Oui!!
Since New Year's Eve is on a stinking Tuesday this year, you might want to get your ya yas out this upcoming weekend! And what better way to do it than dancing! In a mask! A FREE mask...
Today I'm giving away a pair of tickets to Saturday's Bhangra/dance night at the Nectar Lounge in Fremont—JAI HO! Masquerade Ball, Pre New Year's Eve Bollywood Party. The event is hoted by singer/dancer/DJ Prashant, with free dance lessons and henna until 10 p.m. Plus the first 100 to enter get free masks!
Be the first to email your first and last name to firstname.lastname@example.org with JAI HO! in the subject and the tickets are yours.
Couldn't write about this party because it was a year-end issue for Data Breaker (I list my favorite electronic-music releases of 2013; check it out Wednesday morning), but you may want to carve out some high-energy time Fri. Dec. 27 for Berlin DJ/producer DeWalta. He's headlining an event organized by the avant-techno crew Peloton Musique, which will go down at the Monkey Loft. The rest of the bill features Chad Niero, MQUIN, and Justus Kovac.
DeWalta is a deft maker of sly minimal techno, putting out excellent records on labels like Vakant, Meander, Haunt, and Cynosure. It's easy to come off as humdrum in this style, but DeWalta never falters with the interesting textures and crucial hip-swiveling rhythmic accents. He's a master of seductive understatement in 4/4 time.
More info here.
RL GRIME'S BOOMING TRAP ON ACID
After debuting in 2012 with his Grapes EP, Los Angeles producer RL Grime (aka Henry Steinway) has sped to the upper reaches of the electronic-music domain, where his tracks get love from Diplo, Flosstradamus, and A-Trak, among other rich jockeys of disc. His grandiose yet nuanced fusion of new-school hiphop and future-bass music makes such success understandable. Booming beats and bass + melodies that trigger rave flashbacks and tender/raunchy feelings = hands in the air and feet in motion. Neptune Theatre, 9 pm, $16.50 adv/$18 DOS, all ages.
CAUTION: PETE SWANSON'S TECHNO WAR ZONE AHEAD
When an electronic musician calls a record Punk Authority, you can expect tunes that deviate from club protocol. Which is what ex–Yellow Swans member Pete Swanson did with the 2013 mini LP by that title. This is techno encrusted with toxic sludge and bolstered by beats that sound like cannon shots. Listening to Swanson's music is like being in an active war zone, with all the attendant adrenaline that that scenario implies. One of his most powerful tracks is the 13-minute epic "Life Ends at 30"; it feels like being riddled with drum-machine bullets and pelted by analog-synth shrapnel. We're in for a night of painful ecstasy. This edition of Sam Melancon's Motor event, the ninth, also features excellent locals Chris Davis (Brain Fruit), TJ Max (Jayson Kochan and Timm Mason), and DJ Slow. Chop Suey, 9 pm, $10, 21+.
Why promote your upcoming shows with a dumb ole' flyer, WHEN YOU CAN MAKE A VIDEO?!? Move over Vern Fonk! (Or should I say Vern FUNK?)
SPLATINUM: FUNKONOLOGY Album Release [Dance!] Party is December 20th.
Four Tet is nothing if not generous. This live recording was taken from a show in Tokyo that he performed a MERE two days ago. It's a nice continuation/ summation of his most recent, club-oriented albums, while still managing to hit those soulful, melodic highs he's so fond of. And just when he sorta seems to be navel-gazing a little, the beats drop hard as bricks and snap the whole thing back into focus.
Because if you want to go singing or dancing, have I got a recommendation for you: No Diggity, the '90s karaoke/dance party in the basement Grotto at the Rendezvous. Karaoke starts at 8:30, dance party starts at 11:30. It's a sweaty happy '90s-celebrating party and good vibes abound. Their Facebook page promises "pillowy mounds of dope beats."
You should go! Because anything with this tagline is a good thing, in my book:
On The Boards is hosting an Instagram Dance Film Contest for 15 Second Dance Films.
How to submit: Record your own dance film and tag the film with #otbdancefilmcontest13 on Instagram to be automatically entered.
Here is an example of a dance film by Dayna Hanson.
Judges will be dance film legends/luminaries: Dayna Hanson, Ben Kasulke, Jessie Smith, and an OtB Guest Judge.
1st place $100
2nd place $50
3rd place two tickets to Next Dance Cinema by Velocity and NWFF
All placed films (1st, 2nd, 3rd) will be screened at Next Dance Cinema, December 9/10.
...happened because of this clip:
I don't usually resort to statements like this, but if you aren't smiling by the end of this video, you have ice running through your veins and are dead to me. Happy Friday!
We are surrounded by the revival of U.K. garage. Young 'uns all over are repurposing the trademark shuffle in clubs and other places they go out to, or stay in at. The old faces have returned to play in new venues, or the old venues with new names. But it's different this time. It's either part of the house scene or mixed in with bass culture. The first time around it was its own world, as these incredible photos by Ewen show. It was a means to an end for a specific set of people: folks wanting a club that didn't get shut down by police. Folks who were bored with drum'n'bass. Then folks who wanted it more like drum'n'bass. And then folks who got the clubs shut down by police.
Middle-class grime journalists always talked about how champagne-lifestyle lyrics were silly and unrealistic, but this is exactly why the crowds were there. Who wants to dance along to the struggle and the shit on a weekend?
Any self-respecting youth culture should become so popular as to be reduced to a few sounds, items of fashion and lingo: the stabs of "R U Sleeping?", the mad Moschino and "Booo!". But the important and exciting thing about Ewen's photos are that they take you back to the real thing, and make sure you don't forget that it was just a roomful of people having a night out, trying to go home with someone – all young people have ever done.
I am a guilty part of the second wave that thought the MCs were more interesting than the DJs, and I feel bad about that now. The problem with MCs is they tend to bring their mates down when they MC, and their mates are always worse than them. Then people do silly stuff.
I don't know of any other music scene that was actually banned by the police, but it's really nice to see them back out again, being appreciated for how important they've been to music.
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