If you were listening to 107.7 the End at 7:50 am this morning, then you heard the news—Death Cab for Cutie are playing a surprise show tomorrow night at the Showbox Sodo and tickets go on sale at 8 am this morning.
Then from the comment thread:
Can't tell if it's sold out, most likely Posted by AveryCS on May 10, 2011 at 9:43 AM
I couldn't get tickets but will pay prime if you or somebody you know has tickets...
seasixfive at gmail Posted by six five on May 10, 2011 at 9:50 AM
There's a bunch on craigslist for $100 each. jerks. Posted by Conrad McMasters on May 10, 2011 at 10:44 AM
If you were listening to 107.7 the End at 7:50 this morning, then you heard the news—Death Cab for Cutie are playing a surprise show tomorrow night at the Showbox Sodo and tickets go on sale at 8 am this morning.
The show is at 8:30 pm, doors are at 7 pm, it's $25, and it's a benefit show for Seattle School Lunch Program. Read all the details, and get the ticket link, right here, at Harms' blog.
In other Death Cab news, the End also has a new song, "Under the Sycamore," streaming here.
On Saturday, April 9th, Healthy Times Fun Club will host Rhode Island noise duo Lightning Bolt (duh). Since this is going to be such a hot-item show, it is—unusually for HTFC—an advance tickets only affair. To score your tickets now (and I do recommend doing it ASAP), try these fine area locations:
-Cairo (507 E Mercer St.)
-Pilot Books (219 Broadway E)
-Hollow Earth Radio (2018 A East Union St.)
The H.E.R. folks suggest you stop by on Sundays, Wednesdays or Fridays, cuz that's when the most volunteers are around.
Face to Face are playing Showbox at the Market on June 17th with Strung Out (they still exist?) and Blitzkid. Tickets officially go on sale tomorrow at 10 am, but there's a fancy-pants pre-sale happening right now.
Just go here and use the code showbox with prompted.
Didn't buy your tickets to tonight's Girl Talk show at Showbox Sodo before they sold out? Well you're in luck, slackers. More tickets have been released. There are about 50. Or there were as of 15 minutes ago. They're available online here and at the Showbox box offices.
Colorado pop outfit Candy Claws first gained attention as a self-promoted DIY act, before making the leap to label success with Indiecater Records—who re-released their debut concept LP In the Dream of the Sea Life—and Twosyllable, who put out their recent Hidden Lands. Combining vintage I Hear a New World-style ‘60s noise, murky MBV vocals, SoCal beach pop, world music, and twee elements, Candy Claws are an act that’s not short on contemporaries, but hard to compare directly with any one band. They’re restless, prolific, and have mastered a winsome, inventive, and un-pretentious way of bridging the book nerd/music nerd gap (as is expanded upon in our interview below, they’ve based all of their music to date on works of nonfiction).
We’re giving away two pairs of free passes to Tuesday night’s show at the High Dive with The Chain Gang of 1974. Email firstname.lastname@example.org if you want one of the pairs, and you’ll be added to list for the show (first come, first serve). Please use “Candy Claws tickets” in the subject line of your email.
In a recent correspondence with CC’s Ryan Hover, we got deep about his band’s inspiration, process, and future plans. Also: playing your record for grandparents.
It's less of an adaptation and more of a "musical companionship." With The Sea Around Us, we felt the book and our music shared almost identical sentiments about the ocean. The book is science, but written in such elegant prose, it feels more like an epic poem, a hymn to the sea. That's exactly what our songs were.
We recently tried a similar thing, but our band is instrumental—you have the benefit of using lyrics to evoke (or even cite) specific passages in the books. Was this something you made an effort to accomplish?
The Secret Life of the Forest informed our lyrics much more directly. We selected our favorite passages from the text and ran them through Translation Party, a simple website that translates phrases back and forth forever between English and Japanese, giving you the result each time. The scientific sentences were morphed into some kind of strange poetry. There was lots of nonsense, but we pieced together lyrics from the most beautiful and surprising results.
In the time since you incorporated personally-recorded found sounds (e.g. the waves at Portovenere) on In the Dream of the Sea Life, oceanic sounds—both literal and figurative—have exploded all over the place, and were, and to an extent still are, pretty ubiquitous. How do you feel about that?
I'd love to think we had enough influence to start some kind of trend, but I think it's just weird timing. At the time I knew it was a little gimmicky to have sound effects in the background, but since we recorded them ourselves in exotic places that were very special to us, it became something a lot more personal. To a listener, it just sounds like obvious ocean noises on an ocean album, but for us it brings back the northern Italian coast and long drives up and down the island of Luzon in the Philippines. The ocean is a fairly obvious source of inspiration for many, but still a pretty profound one. I’m thinking of this great book Music and the Mind, by the psychiatrist Anthony Storr. He’s way too stuck-up to even think about discussing non-classical music from the 20th century or beyond, but he spends a lot of time analyzing music in relation to Freud’s idea of the “oceanic.” “The oceanic feeling is usually compared with the states of minds described by the mystics in which the subject feels at one with the world and with him or her self.” Now, we’ve had decades of music that very literally feels oceanic, some of it oceanic in Freud’s sense. In the Dream of the Sea Life is one of those records for me.
Nice to hear we've joined the canon! The secret is that we overcompressed the mix. If you look at the album's waveform, it's a big blasted-out block of sound. This is on purpose, to make you feel like you're being crushed under miles of seawater. You'll be one with the world when you've imploded in the ocean floor, for sure.
In the Dream of the Sea Life was recorded in a bedroom. Did you upgrade to a studio for Hidden Lands?
No, we just upgraded to a better bedroom. Ha! The way we record, we spend so much time in post-production it would never be worth it to go into a studio. We have a mic and a pre-amp to capture the initial sounds, like a guitar chord or a drum beat, but we spend most of the time assembling the songs on the computer. For vocals on Hidden Lands, we had a nice little setup in our drummer's house at Christmastime. The whole family was away on a cruise, so we had this house all to ourselves, with a Christmas tree and decorations. Kay and I would record vocal takes during the day, and I would play Demon's Souls all night on their giant TV.
Both of your albums are remarkably sonically dense. How do you decide when to stop fleshing out the arrangements—when do you land on the right equilibrium where it isn’t too busy but still sounds really full and well-rounded?
It's usually when I just can't figure out another melody or sound that will fit. I would layer forever if I could, but the song itself has a way of saying, “Enough!” Plus, we like to make sure the songs have variation, so there are some parts that only have a couple things happening, while other parts are very dense with many sounds. It really just comes down to trusting our instincts for each arrangement. We listened to lots of mid-century composers and space-age pop music during this, so we had the feel in our heads already. Then it was very easy to hear what fit the certain sound we were going for and what didn't.
When I ordered In the Dream of the Sea Life from you guys way back, you sent a really kind, thoughtful note with it that talked about how your garden was going and the weather in Colorado and stuff. I really appreciated it at the time, but I imagine that kind of super-personal DIY interaction with your fans isn’t a possibility for you guys anymore.
Yeah, being very busy is a blessing and a curse. It's great to be at a point where touring and recording have become a lifestyle, but we also miss the days when we were hand-printing albums and writing notes. Our garden was mostly a failure, by the way. The corn and tomatoes did well, but everything else died.
The pattern of your work so far would suggest that your next album will be a) based on a book and b) tied, at least metaphorically, to an element or terrestrial location. Are you guys already thinking about what direction you’re going to take on your next release?
The book will probably be Darwin's On the Origin of Species. Right now the idea of evolution through natural selection is the most simple and beautiful thing I know. Who knows what it will sound like!
When musically unhip friends or family members ask you what kind of music your band makes, what answer do you give them?
We call it dream pop, and then try to explain that. Or something about the Beach Boys. Usually we just try to show them the music. The best compliment I ever got was that our percussionist's grandmother listened through the entire album and enjoyed every song. Here's this woman who grew up during the time when all the best pop music was being made, all the classics, and she likes our album! Cool!
Deck the Hall Ball tickets go on sale to the general public Saturday morning at 10 am. But you can buy yours early! Go here and use the presale password THEEND. The presale is good until 10 pm tomorrow night.
2010 Deck The Hall Ball, Wednesday 12/8 at WaMu Theater: Broken Bells The Black Keys Jimmy Eat World Cake Temper Trap Sleigh Bells
Tickets are $44.50 and “Friends of The End” will be able to buy tickets through an exclusive Pre-Sale beginning Thursday, November 4th at 10am. Public On Sale will begin Saturday, November 6th at 10:00 a.m. Tickets available for purchase at the Qwest Field Box Office, all Ticketmaster outlets, online at Ticketmaster.com, or charge by phone 800.745.3000. For more information about Deck The Hall Ball 2010 and to become a “Friend of The End” go to www.1077theend.com. All tickets subject to applicable service charges and fees.
Much like The Showbox, your prices are ridiculous. The Puyallup Fair has come and gone, and once again, just like last year, I didn't even see one single show. Seeing a live show at the fair, amongst the smells of both the elephant ears and animal barns, should NOT cost an arm-and-a-leg. Seeing a show at a fair, after riding The Zipper, and then eating a corn dog should be affordable.
I would have LOVED to have seen Willie Nelson (decent seats? $50). Or even Heart ($60)... or it woulda have been kitschy-dumb-fun to go see fellow Detroit-er Kid Rock ($85). But no such luck. I couldn't afford any of those. Maybe next year.
Victor Shade is RA Scion. RA Scion is the rapper for Common Market. The other half of Common Market is Sabzi, the producer for Blue Scholars. The producer on Victor Shade is MTK, a rising cat from Everett whose thing (or swing) is big productions, bold sounds, and bright lights.
Victor Shade is performing tonight at Hard Rock Cafe. If you want to see the show for free, we have two tickets to give away by random selection. Send an email to this address: email@example.com. (Include Victor Shade in the subject line.)
If your first name is Mike, you should check your e-mail. If you are not the person named Mike who won the tickets, though, you can still buy them before they officially go on sale this weekend by going here and typing in the password "theend".
Last Friday, I announced a Pavement ticket giveaway, wherein a pair of tickets to Pavement's September 5 show at the Paramount would be given to the person who wants them most. Levels of want would be decided by personal essays detailing why the writer deserved Pavement tickets more than anyone else, submitted to The Stranger. We received many lovely entries but two stood out.
From Pavement-ticket-wanter Marian:
I grew up on the tiny little island of Guam, stuck in the middle of the Pacific. As you can imagine, bands NEVER came to Guam, and it's not as if I could drive to a major metropolitan area to see touring acts. The closest place to see bands was Japan at $600 a pop for airfare. Yeah, not going to happen!
Pavement was one of my favorite bands growing up. I would listen to the "alternative" radio show religiously and request Pavement songs and tape them off the radio when they would play. I collected all their albums, bought their 7" singles from the Matador mail-order catalog (despite not having a record player), and hung pictures of the band on my wall. I was truly an obsessive fangirl, and none of my friends could understand my love for them. "They sound lazy," they would say. "Is he saying career or Korea?" That's part of the charm, dammit!
Of course, by the time I had graduated from high school and moved to the mainland for college, Pavement had broken up—just like every other band I loved. Gaaah! So being able to see Pavement would be a nerdy little Asian girl's dream come true.
Sincerely (I want them the most), Marian wants to see Pavement the MOST. :D
And from Pavement-ticket-wanter Samuel:
if I win I promise to never be a juggalo, ever again
It's up to you, people.
UPDATE: Marian wins by several miles. Congratulations, Marian!
In what must be hailed as a most wonderful opportunity for people who can't/don't want to go to Sasquatch, or people who love the band so much they'll happily attend this reunion tour more than once, Pavement is playing at the Paramount on Sunday, September 5.
Or, if you would like a free pair of tickets to Pavement at the Paramount, simply tell us why you deserve them more than anyone else. Responses can take any form you choose—haiku, essay, screed—and can run up to 500 words long. Submissions will be accepted until this Sunday at 11:59 pm, and should be sent to firstname.lastname@example.org.
The winner will be announced on Monday May 3 here on Line Out.
For anyone interested in traveling to Tacoma during Memorial Day weekend for that other festival, there's now a chance to win a free three-day-pass. Tonight on KGRG's Dead Air (full disclosure - a radio show I hosted up until two weeks ago), Rain Fest organizers Matt Weltner, Zack Ellis and Brian Skiffington will be stopping by to announce the final four bands playing this year. Oh yeah, and they're giving away a couple festival passes, too. Since I don't host the show anymore, am I allowed to win?
Here's all the info to remember for tonight...
Dead Air Wednesdays 7-10 PM 89.9 FM KGRG kgrg.com to stream online Request line: 253-833-5004
She's playing August 4th at the Moore Theatre, all-ages, $27.50, tickets on sale this Saturday at 10am (at the Paramount and the Moore, at stgpresents.org and tickets.com, and at 877-784-4849). That is all.