The Stranger, Seattle's Only Newspaper: Line Out: Interview

Otherworldly Precision: Man or Astro-Man? Transmit Modern Intergalactic Sonic Wave Forms (Again)

Grant Brissey — Fri, 17 May 2013 22:03:00 -0700

Man or Astro Man? play Neumos tomorrow night with Audacity and Atomic Bride. Tickets are still available here!

MAN OR ASTRO-MAN?: A futuristic surf-rock band from outer space.

Man or Astro-Man? reportedly take their name from the promotional poster for the 1960 film The Human Vapor, known in its origin country of Japan as Gas Human No. 1. Also, Man or Astro-Man? are from outer space, and most definitely not Auburn, Alabama. Around the turn of the century, Alpha and Gamma clone replicas of the band began touring in order to meet popular demand for their highly sought-after intergalactic sonic wave forms. Twelve years after their last documented recordings, and after "years of hibernation," the original lineup of Birdstuff, Coco the Electronic Monkey Wizard, and Star Crunch have returned with their ninth album, Defcon 5...4...3...2...1, which finds their futuristic adaptations of surf rock to be otherworldly in technical precision. The following electronic communications were recorded on May 7, 2013.

Your intergalactic sonic wave forms are often documented by one Steve Albini. Is Steve Albini human?

Well, what a lot of people don't know is that Steve Albini is actually the inspiration for The Six Million Dollar Man. Last-minute studio changes resulted in the character having "bionic" implants as opposed to the "microphonic" implants Albini employs. Execs felt the world of studio recording was perhaps not as exciting as that of crime-fighting and espionage, so Albini's character was shelved. They then changed Steve's last name to Austin, and Albini became the Pete Best of electrical implants.

How have the years of hibernation affected your ability to manipulate your instruments?

It didn't affect us as much as it affected our instruments. Those things were dusty.

Jim James Is My Morning Frankie

Trent Moorman — Tue, 14 May 2013 09:33:00 -0700

Jim James plays the Neptune Theater tomorrow, May 15th. Tickets are still available here.

MEATCLIFF: Seattle’s wisest corgi.

Louisville, Kentucky, mountain man Jim James (aka Yim Yames) has an unassailable transcendentalism about him. He's rootsy and Zen, and he has a resonant, yodel-throated mine shaft of a singing voice. With James's first solo full-length, Regions of Light and Sound of God, the My Morning Jacket frontman has become a bit of a Southern mystic. His songs swim through expansively altered folk and gospel, each possessing its own calm, rich, tidal sensation. James could not meet me at Electric Tea Garden for an interview, so he sent his holographic interview persona instead. On hand was primordial idiotechno DJ/artist Frankie Crescioni, who was preparing his next set of dankwave by experimenting with water-droplet sounds autotrophing through arena-sized delays. Hologram James and Crescioni hit it off immediately. Meatcliff, Seattle's wisest corgi, was also there. James called for a meditation—the two sat cross-legged on the floor in front of the sub with their eyes closed. James's mountainous mane and Crescioni's flowing rat-tail fluttered from the vibration coming out of the speakers like a light-blue breeze off the Sulu Sea. Opium incense was near. I asked James questions, but he was too locked into the colossal water-drop kundalini and couldn't speak. Crescioni spoke for him, softly.

Where did you learn to sing like you're yodeling in a mine shaft?

My grandfather was a great coal miner in Betsy Layne, Kentucky. On his one day off, he liked to go there to assert his dominance over the miners, and sometimes he'd bring me.

Do you have any yodeling stories?

No, not really. I guess there was one occasion where my grandfather yodeled loud enough to startle a group of wolves away from some friends' sheep, but really it wasn't that exciting.

Cruel Summer: Laura Stevenson Talks Feminism, Depression, and Sugary Pop Music

Megan Seling — Fri, 10 May 2013 11:03:14 -0700

Laura Stevenson plays the Sunset Tavern tomorrow night with Field Mouse and Seapony! Tickets are still available here.

There's something about Laura Stevenson's music that makes it impossible for me to stop listening to her songs. Last year, I played her song "Master of Art" hundreds of times in a matter of months, and this time around, on her latest record, Wheel, my drug is the first single, "Runner." It sounds like the epitome of summer—the chorus captures the same bright bitterness of "Vacation" by the Go-Go's, while Stevenson sings over and over, "This summer hurts." It's the same kind of relationship I have with summer. I love it, and I hate it.

Elsewhere on Wheel, Stevenson continues the evolution from acoustic folk songs to more explosive anthems with injections of horns and piano—new layers reveal themselves with every listen. I chatted with Stevenson while her band made the long trip from Houston to El Paso.

You used to be billed as Laura Stevenson and the Cans. I was going to ask you where the Cans went, but then I read your interview with Larry Livermore, where you pointed out one of the reasons you dropped it was because people kept making boob jokes.

That was the thing that annoyed me from the get-go, but I was like, "I'm going to try to overcome this."

Did you see Grimes's recent blog post about the things that she's no longer going to put up with as a female musician? She doesn't want to be infantilized; she's tired of reviews calling her a waif or a fairy... all these cute words. I feel like it's something that isn't talked about much in the music industry. Does it ever still feel like it's a boys' club out there?

Definitely. Especially the infantilizing thing. It's so ridiculous, because no matter what I do, my voice is called "cute." Even if I'm saying something hideous and sounding as ugly as I can, I'm still called cute. I had a party at my apartment, and this young couple said to me, "We listened to your music! It's really cute." They were guests in my home, so I couldn't be like, "Get the fuck out," they were my roommate's friends, but how shitty! Your life's work is fucking cute? Would you say that to Beethoven? Like, "Real cute sonata, Beethoven." It makes you feel small, and you shouldn't have to feel that way, especially if you're an adult human being who's making something honest.

Take a Vacation from Mundane Sounds: Debacle Fest Is Experimental Music's Ultimate Spring Break

Dave Segal — Fri, 03 May 2013 13:29:48 -0700

Debacle Fest starts tonight and goes through Sunday. See the full schedule at debaclefest.com and see Dave Segal's picks here!

DOUG COOMBES
MOON POOL & DEAD BAND: This festival is going to be a gas.

You gotta admire the steely nerve of a music festival whose biggest acts are Hieroglyphic Being, John Wiese (and his nasty alter ego, Sissy Spacek), and Wolf Eyes treblemaker Nate Young. Organizer Sam Melancon once again has gone deep into the underground to gather a lineup of national and local subversives who explore the extremities of drone, noise, minimalism, electronic music, and avant rock. Now in its sixth year, Debacle bestows three days of subterranean aural adventures in three venues. Think of it as a concentrated spring break for hardcore experimental-music heads. The Stranger asked Melancon—who also runs a simpatico label called Debacle—to shed more light on this important event.

Did you approach the curation of Debacle differently from previous years? It seems like there's more emphasis on dance music (albeit very strange dance music), judging by Sunday's bill, which reflects the influence of your MOTOR night.

I may have allowed myself to dream a little bigger and go harder for certain artists this year. Overall, the approach was the same as ever. These are artists that I enjoy and would love to see live. That's my only litmus test. I write down a huge list of people I would love to have, and I send out e-mails or ask friends to make connections, and I go from there. As always, what I set out to book and what the final lineup becomes are very divergent, but it's definitely more interesting than anything I could have come up with in a vacuum.

MOTOR is new to Debacle Fest this year. I wanted to go big with a whole night being a showcase of the local MOTOR crew, along with national-level artists that fit in to the vision of what MOTOR can be. I think that night is going to be phenomenal. Just Hieroglyphic Being alone is a huge thing, but I think it will be a historically good night—Moon Pool, Prostitutes, Strategy, GOODWIN, etc. You couldn't ask for a better lineup of mutant-dance heavies.

Save Seattle Drum School

Trent Moorman — Thu, 02 May 2013 13:20:50 -0700

Voice your support for the Seattle Drum School by contacting the Department of Planning and Development at 684-8600. Seattle Drum School also recommends you e-mail Councilman Nick Licata at Nick.Licata@seattle.gov.

TRENT MOORMAN
Kristy and Steve Smith

Since 1986, Seattle Drum School has been a beacon of percussion and musical instruction for people of all ages and skill sets. The North Seattle and Georgetown locations are absolute assets to our city. Combined, they have roughly 600 students, 40 teachers, and four administrators. They offer bass, guitar, piano, voice, trumpet, saxophone, trombone, DJ, mandolin, and ukulele lessons, as well as rock-band classes, a Scottish drum corps class, and audio-engineering instruction. During the summer, Seattle Drum School offers camps, and they host all-ages shows and clinics with big-name hitters at their venues the Slab (Georgetown), and the L.A.B. (North Seattle, standing for Little Auditorium in the Back). But all is not rosy right now for the school—the city is threatening their existence. After 25 years of fire inspections with no problems, the Department of Planning and Development has decided to change Seattle Drum School's risk classification to that of a public school. It would force them to install sprinklers, have a seismic assessment and retrofit, and make various other alterations—the cost could be in the hundreds of thousands of dollars, effectively putting them out of business.

DEAR MAYOR MCGINN: Seattle Drum School should be flourishing, not on the verge of being shut down. Mr. Mayor, we cannot let places like Seattle Drum School perish. It's a great, positive place for kids, employing good people. We need music. We need music teachers. We need music taught. Our city and its government should be helping places like this, not threatening them.

Seattle Drum School founder Steve Smith spoke.

What's the latest on the retrofit/sprinkler issue?

A couple of weeks ago, I spoke with an assistant Seattle attorney who handles land-use issues. She was very kind and said she was going to contact her client at the Department of Planning and Development (DPD) to see if there was a way to bring us into compliance without resorting to a lawsuit. So far, I haven't heard back.

Bleached Bring the Sun: Checking in with the Clavin Sisters on Tour

Emily Nokes — Wed, 01 May 2013 17:19:00 -0700

Seattle folks love to talk about the weather as much as they love to talk about how much everyone talks about the weather. But damnit, it's getting warmer around here! Bleached—a Los Angeles–based, sister-founded lo-fi rock outfit formed by ex–Mika Miko punks Jennifer and Jessica Clavin—are perfect for your sunshine enjoyment. Their recent full-length, Ride Your Heart, is sweet with a little salt, like a fast-melting margarita in a pink plastic cup. Sandy guitar hooks with catchy drumming, A-plus harmonies, and a faded-heart-shapes-on-acid-washed-cutoffs-style nostalgia for the recent past—music you could (and should) pop in an old boom box and start a night-swimming party to.

I e-mailed a few questions to Bleached while they were on the road, older sis Jennifer responded.

Where did the name Bleached come from? When I first saw it, I thought, "Nirvana cover band?" But only for a second.

Ha-ha, no—I was trying to come up with a name that I thought sounded cool and reminded me of a punk-style name, because those are always the best. And bleaching something can last forever, like sisters.

At what point did you decide it was time to teach yourself how to play guitar?

When I was in high school, I used to go to shows every weekend. One time, I saw this girl band and I thought, "Wait, why am I not in a band?" My dad had guitars, so I went home and taught myself how to play so I could start a band. I think I was 16 or 17.

Bleached play Chop Suey tonight with Ex-Cops and Week of Wonders.

You've Got Mael: An Interview With Sparks' Vocalist Russell

Dave Segal — Mon, 22 Apr 2013 13:10:55 -0700

If you’re gearing up for tonight’s Sparks show at Neptune Theatre (or if you're just a fan), you may want to read this interview with vocalist Russell Mael conducted by Elizabeth Mollo that’s in our sister paper Portland Mercury this week.

Here's an excerpt:

RUSSELL MAEL: Our recent touring history has consisted of more and more elaborate staging with each tour. The culmination was our last touring situation where we presented in London on 21 consecutive nights, all 21 of our albums, all 272 songs to that date. And now we wanted to find a way to do something equally audacious on stage but in a completely different way: hence stripping away all of the trappings surrounding the group, having no other musicians on stage other than Ron and me, and no computers or other backing. And in doing so we didn't want this to be mistaken for an “unplugged” or singer/songwriter performance but rather for it to contain all the power, size, aggression and urgency as if there were a full group with us.

Read the whole thing here.

Also, did you know that Sparks’ “Roger” inspired the New Zealand band Tall Dwarfs? This observation has been made by one of the world’s foremost record collectors and weird-music authorities, Eric Lumbleau (Mutant Sounds blog, member of the phenomenal Vas Deferens Organization group). After much listening, I believe the claim. Lumbleau also has said that Sparks' "Biology 2" (which was actually written by guitarist Earle Mankey) influenced Devo, which is another true insight. Live and learn.

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Trying to Talk to Johnny Marr About Shoes: Guitar Legend Shows Extreme Patience with Inept Interviewer

Derek Erdman — Mon, 15 Apr 2013 10:39:00 -0700

DEREK ERDMAN

Dear reader: I've done you a great disservice. When I was offered the opportunity to interview Johnny Marr, I leapt at the chance—I was certain my rabid admiration made me the best candidate to relay Marr's current opinions on the state of the world. Instead, my fanaticism turned into sheer nervous terror, giving me the brilliant idea that I should ask him a bunch of questions about shoes. And weed.

Johnny Marr is a legendary rock guitar player and songwriter, known mostly for his integral role in the Smiths. He's managed to stay relevant throughout his entire career, playing in too many bands to count. In the late 2000s, Marr spent a great deal of time in the Pacific Northwest as a member of Modest Mouse. He'll return on Monday, April 15, to play Neumos, supporting his latest solo LP, The Messenger, which was released in February.

I wanted to congratulate you on your NME Godlike Genius award. How does a thing like that make you feel?

You know, you can't take that kind of stuff too seriously. The award made a lot of fans happy, though, so that was nice. A good thing about that one is that it's kind of tongue in cheek, it's not too serious.

You used to reside in Portland, and you still have a home there. Are you fond of the Pacific Northwest? Have you been able to explore the area very much?

Quite a bit, yeah. I took to it straightaway. Mostly the mentality of the people I found myself meeting—it was nice to discover that there are a lot of liberal and creative artistic people there. I spent a lot of time hanging out in bookstores, meeting other musicians, and writing a lot of songs with bands like Modest Mouse. After a while, I started to explore the things that people who live healthier lives do. I've explored the Columbia River quite a bit, but I find Portland very pretty and quite inspiring, so I didn't really need to get out of town too much. I went to Salem, just because that's where John Fahey spent most of his time.

Johnny Marr plays Neumos tonight with Alamar.

Sound Check: Tyler, the Creator the Statue

Trent Moorman — Wed, 10 Apr 2013 14:49:00 -0700

TYLER, THE CREATOR

Odd Future's main mouth-brain Tyler, the Creator has just released his third studio album, Wolf. With it, a progression can be seen in his rapping, producing, and all-around, international-skate-park, antiworld, image-making mogulity. Mogulity, yes, for Tyler is a mogul and an entity. Also, an anomaly. Is there a more controversial and scrutinized figure in hiphop right now than the 22-year-old Los Angeles–based Tyler Gregory Okonma? At once, he takes risks and reveals. He hits you in the face, but he lets you hit him back. He plays roles as the shock-genius, the villain, and the Amadeus. Is he homophobic? In 2011, his rape-heavy and seemingly antigay content prompted Tegan and Sara to call him on his shit.

Questions about Tyler abound. Would Frank Ocean and Syd tha Kyd—both out now—still work with him if he was antigay? Would Mountain Dew, Adult Swim, and Sony Music be working with him if he were such a social liability? He has carved out a certain mystique. Does he say too much? Perhaps. Does he push buttons and have fun? Definitely. Is it for everyone? No. Does he like cats? Very much so. Is he young and growing? Yes and yes. As of last check, he had stopped using the word "rape" in his shows. But with Tyler's worldwideness and overcharged, hard content, what gets lost occasionally is that he's an artist. Some of his brushstrokes are crude. If it causes reaction, that's what he wants.

Unsafe Travels: Alan Bishop's Made Like a Tree Podcast

Dave Segal — Tue, 26 Mar 2013 09:50:53 -0700

Alan Bishop—Sublime Frequencies co-founder and leader of the Cairo-based band the Invisible Hands—has a new podcast up on Seattle's Made Like a Tree blog. It includes an interview that I conducted with the former Sun City Girls bassist about Sublime Frequencies’ working methods and goals and the origin of his Uncle Jim alter ego. The mix includes highlights from SF's worldly and wildly diverse roster, Bishop’s solo recordings as Alvarius B., and a smattering of classics culled from Sun City Girls’ vast and twisted catalog. It serves as an illuminating introduction to Bishop and SF's aesthetics. You can listen to the podcast and read the interview here.

Tracklist
1. Alvarius B - Dirty Angels [Abduction]
2. Jo & The Magnificent - Sunshine [Silent]
3. Boutaiba Sghir - Malgre Tout [Sublime Frequencies]
4. Artie Barsamin and his Orchestra - Nene Aman [Ilissoss/Kathreftis]
5. Group Doueh - Zayna Jumma [Sublime Frequencies]
6. Omar Khorshid - Raksat El Kheyl [Sublime Frequencies]
7. Group Inerane - Kuni Majagani [Sublime Frequencies]
8. Neung Phak - Beng Touyib [Abduction]
9. Omar Souleyman - Shift Al Mani (I Saw Her) [Sublime Frequencies]
10. Sun City Girls - Ruby Soul Lao [Abduction]
11. Sun City Girls - Nights of Malta (Live 1992) [Nashazphone]
12. Sun City Girls - The Imam [Annihaya Records ]
13. Sun City Girls - Blue Mamba [Majora]
14. Sun City Girls - Sev Archer [Dub Ditch Picnic]
15. Sun City Girls - Cruel and Thin [Abduction]
16. Umni Nadra - Senjah Indah [Sublime Frequencies]
17. Uncle Jim's Superstars of Greenwich Meantime - Graduation Day [Black Velvet Fuckere Recordings]

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Purse Thursdayz - Linda

Radjaw — Thu, 21 Mar 2013 15:20:31 -0700

Welcome to Purse Thursdayz! Every week, I'll be looking into the purses, bags, and satchels of some of Seattle's finest women—seeing exactly what they are carrying around all day. Catching purses in their natural environment is very important, so these ladies do not know they are going to be interviewed.
Shall we?

G. Smith
Linda, 55. White leather tote. 12:26pm. Linda's HQ.

This week, I decided to stop by and see my homegirl, Linda Derschang. You may know her from her many endeavors including Linda's, Oddfellows, King's, Smith, Bait Shop (great design) and the forthcoming neighborhood restaurant, Tallulah's. I'm also pretty sure she owns the Shell gas station, Cal Anderson park, and Bruce Lee's soul. Whatever she is up to, she continues to kill the game. I had to know what she carries around all day.

What kind of purse?
It's Marni. Two months ago, I bought it at the outlet mall outside of Palm Springs. (whispering) I actually bought two.. it was a two for one.

Do you love it?
I do, I really do. I love that nobody would know it's a Marni, no need to scream name brand on the side. I'm more interested in having a bag that I love that also happens to be functional.

Is a bag an integral part of your style?
Absolutely. It can make or break your look. In the evenings, I switch to something much smaller but still carry the bare essentials. I really like purses!

What's your night purse like?
What is most important to me is that it has a long strap. You don't want to be the lady with the big ol' bag on your shoulder hitting people at an event. One hand for my drink, one hand to shake, and I must have my purse low and out of the way.

Sounds like many a years of socializing. Can we see what's inside?

• Apple laptop
• White notepad
• Day planner/address book
• Comme des Garçons wallet
• iPhone
• Checkbook
• Pilot G-2 pen
• Ibuprofen
• Arnica

Do you get a lot of headaches?
I have a bum shoulder. Some days I take the hippie cure and other times I go to full on western medicine.

G. Smith
I always have to have something to read!

• Papermate mechanical pencil
• Set of keys
• Tape measure
• Altoids
• 3 pairs of Apple headphones
• One grey ankle sock

I'm hoping that is your sock?
Yes! It is my sock!

• Bobby pin
• 1 ear plug
• 3 paper clips
• Prescription sunglasses
• Native american styled keychain

My new friend Shirley made that for me. I'm pretty sure it could be used as a roach clip.

• Scraps of paper
• Bunch of change
• Metal business card case
• iKlear single travel cloth
• Pink makeup bag
• Nars powder
• 3 Sephora lipsticks
• New Yorker magazine

Oh, you fancy, huh?
I always have to have something to read absolutely at all times! What if I get stranded? I'm actually totally serious. What if something bad were to happen to me? I get paranoid about my car breaking down and not having anything to read.

What color lipsticks are in there?
Red, 3 shades. It's a must to always have a good red lipstick on hand.

Do you change your purse everyday?
I change purses a lot. I have to travel light and have what I need for my day. Too many things can be overwhelming. Sometimes I have way more random things in here but you caught me on a good day.

Thanks for your time. Let's go eat fish n' chips.

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Alvarius B. on the New Invisible Hands Album (Sort Of)

Dave Segal — Thu, 14 Mar 2013 10:18:01 -0700

It’s always a capital idea to read an interview with Alvarius B. (aka Alan Bishop), one of the savvy decision-makers behind the Seattle-based Sublime Frequencies label and frontman for the newish Cairo, Egypt group the Invisible Hands. When Bishop gets to the podium, his cryptic wisdom, biting wit, caustic sociopolitical observations, and astute musical opinions pour forth in a torrent. It behooves you to pay close attention. Read the interview here.

The Invisible Hands’ self-titled album comes out March 19 on Bishop’s Abduction label.

(Yes, this is the same song that accompanied a recent Line Out post on the Invisible Hands, but you passed over it. Why did you do that? Well, here's your chance to redeem yourself. Don't blow it this time.)

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Sound Check: George Clinton's Parliament-Funkadelic Still Tearing the Roof Off

Trent Moorman — Thu, 14 Mar 2013 10:13:00 -0700

George Clinton

To think of funk music without George Clinton is like thinking about the breeze without air. Or water without wetness. That's how integral the man is and was to the sound. The 72-year-old Clinton is, at the core, a grand communicator and skilled facilitator—able to take 20 people in a studio noodling and jamming and pull the strings that would bring it all together. In the late 1960s, Clinton and his musical conglomerations of Parliament and Funkadelic ushered in the funk movement. Clinton aptly orchestrated and groomed the likes of Bootsy Collins, Eddie Hazel, Bernie Worrell, and Maceo Parker, stirring them all into a sonic combination that was impossible not to move to.

Clinton and Parliament-Funkadelic dominated music in the 1970s with more than 40 R&B hits (which included three number ones and three platinum albums). Live, the show became an otherworldly circus. There was the Aqua Boogie Bird, the Brides of Funkenstein, the Booty Snatchers, 20-foot shades, a pyramid, a spaceship, all consumed in gyration. Despite the spectacle, what never got buried was the musicianship. Clinton spoke.

Parliament-Funkadelic were so distinctive that you all needed your own language. There was the music, the show, and your own vocabulary. Where did that come from?

We'd be in the studio or on the road with each other, sort of shut off from the outside world—I guess it just came out of that. It wasn't like we tried to make up all these different words or ways of saying things, they just happened. On sleeve notes to the fans, one of the notes said: "Improve Your Funkmenship. The Nastified Secret Order of the United Maggots of Funkadelia is being magnetized for your convenience. Send all inquiries to Maggotropolis of Funkadelia, Los Angeles, CA. Warning: Obvious squares and turkeys attempting entry into the REALM will be reduced immediately to basic atoms of radioactive turds." Now, what that means exactly I can't say [laughs]. But you listen to the music and see the show, and you understand what it means.

George Clinton & Parliament Funkadelic play Showbox at the Market Sat, March 23.

In Through the Out Door: Led Zeppelin Drummer John Bonham Comes Clean

Trent Moorman — Mon, 11 Mar 2013 11:02:00 -0700

Emily Nokes
JOHN BONHAM: “We should have just kept fishing.”

John Bonham, of Redditch, Worcestershire, England, is the son of a carpenter and is undoubtedly one of the greatest drummers the earth has ever been pummeled by. Bonham grew up swinging hammers and laying bricks, instilling heaviness into his hands and limbs. His friend Robert Plant recruited him to play in the band Led Zeppelin, and with them, his ancient futuristic meter was set into stone. Bonham's playing is multidimensional—innovative with stamina and feel. His inhumanly hefty and fast right foot pounds out a two-ton stomp. You hear it and know it's Bonzo Bonham. Live, his solos go on for 25 minutes, incorporating an effected orchestral timpani drum that hooks cables into hovering alien crafts outside the venue and brings them in for landing.

Led Zeppelin are rehearsing at guitarist Jimmy Page's mansion in Windsor. I'm excited to hear new songs, like "Poor Tom," off their forthcoming album Coda. John Bonham spoke. It took seven separate managers to connect the call. Bonham said he was outside, in a field, and that the sun was out. The reception was surprisingly clear.

What have you been up to, John?

I've been playing lots. Feeling good. I had a rough time there for a bit, but everything's under control now. This place where I'm staying is so far out here, it's hard to get drum parts. The roads to get here are nuts. I discovered fro-yo a couple months ago, and it's blowing my mind. The Reese's/graham cracker combination is tops.

Who are your favorite drummers? Could you talk about how you get your sound?

Max Roach, Gene Krupa, and Buddy Rich. I think you gotta spend time with your drums. Learn to tune them. I use a 14-by-6.5-inch Ludwig Chrome Supraphonic 402 snare. I keep the bottom heads tight. My kick drum is 26 by 14 inches, and I don't like a hole in the front head. The large amount of air needed to move through the shell has to travel very quickly to properly excite the resonant head.

Burnt Palms Cures Vitamin D Deficiency

Bree McKenna — Thu, 28 Feb 2013 18:10:49 -0800

Burnt Palms are a three-piece that play surf/pop/grunge/twee rock in a sleepy beach town in Monterey County, California. Their fuzzy guitars make them sound like a more surfy, more rockin' Marine Girls, but the vocal harmonies just make me remember how much I love the Breeders. This week I can't get enough of their 19 minute debut record, it's inherent beachy-ness is almost making up for the severe vitamin D deficiency I'm certain that I'm accruing living through another bright, grey Seattle winter... and their guitarist Christina was nice enough to answer a few questions I had about the band... Keep reading!

Where'd you get your name from? (at first when I googled you, all I got is this CNN report on a beach fire in Belize)
After making some songs with Clara, I started thinking of some names. I'm not exactly sure why Burnt Palms came to mind. I think at that time, I related to the imagery in my head of such a pretty tree being left charred. That sounds so dark… hahaha… but it was a strange year!

You guys are tucked away in Seaside, CA... any other local bands that you like to play with that are gems that we should know about? Whats the best part of making music in Seaside?
Yeah, Seaside is tucked away in a corner of the Monterey Bay. I think the best part about making music here is the close proximity to the beaches and also having a good jam space in my house with neighbors that don't care how loud we are. It's also pretty special because no one really knows it exists… (besides maybe some Californians). If you're looking for a local gem based on the genre of Burnt Palms, I would suggest a band called Palmz. They are from Santa Cruz right across the bay and they make catchy, amazing songs and play really well live… we have a special love for them! There are definitely some other bands around Monterey/Seaside that are talented and make great music. If you're looking for a high school local gem, try Pipsqueak. They are awesome.

Burnt Palms started as a two-piece about a year ago, how did you all meet? How long has Brian been playing bass with you guys?
Clara and I met through a mutual friend who knew we were both looking to make music with others again. We started off with a handful of songs I had written before we met, and with drums they became something else I was actually excited about. That totally inspired me to keep writing. Brian came into the picture after we recorded our album. Clara and I put up flyers looking for a bassist and he happened to see one at the music store… fate! He's been playing with us for about five months now.

The album has a lot of fuzzy guitars and 90's vibes to me...any favorite grunge bands?
Growing up in the 90's exposed me to a lot of great bands and I can't pick just one… although in 4th grade (behind the school at recess) I taught my friends the lyrics to Miss World by Hole…

You can check out the album on the bands Bandcamp, and album will be available on vinyl shortly!
Burnt Palms by Burnt Palms

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2nd Annual Balkan Nights Northwest, an Interview With Dragi Spasovski

Sean Jewell — Wed, 27 Feb 2013 10:37:27 -0800

Festival season is upon us, and the next great one coming up is Seattle’s own Balkan Nights Northwest. Last year it was a one-day affair that overflowed the Russian Cultural Center, encouraging promoters to make it two nights this year: March 15th and 16th (three nights if you count a special Triple Door performance on the 17th).

Believe it or not, the swirling orchestral sounds and hypnotic vocals of the Balkan region are something we specialize in right here in Seattle with great bands like Bucharest Drinking Team, and Orkestar Zirkonium. Seattle is also home to ambassadors and Balkan folk music heroes like Dragi Spasovski and Alexander Eppler. This year there are over 30 traditional and comtemporary Balkan bands performing. Get your tickets here.

If you’re like me and wondering what to expect from a Balkan Music festival, check out my interview below with the charismatic and kind Dragi Spasovski himself.

“A Night When You Will Forget Who You Are”

I consider myself a connoisseur of roots music, but when Hearth Music brought to my attention that Seattle’s 2nd Annual Balkan Nights Northwest was coming up, I must admit I realized I knew little about the genre. The Balkans are that region on the peninsula east of Italy: Macedonia, Greece, Albania, Bosnia, etc., and it just so happens that some of the nicest people I’ve ever met are from that region. I’ve feasted with Greek sailors, shared borscht and taught Windows software to Russians, and once bonded over roast beef and potatoes with a Romanian ship captain while we talked about raising our children; so when I saw the opportunity to meet with Macedonian folk singer Dragi Spasovski, I asked to meet him and talk over some Balkan food. “There are not so many places to get Balkan food” Dragi replied to me in email, but we agreed to meet at Sarajevo Lounge in Belltown.

When we arrived, Color Me Badd and H-town played on the speakers. Dragi didn’t seem to notice. The constant performer, he immediately asked the waiter where the band set up, where the people danced. He was eager to talk about Balkan music. A person raised in the ethnic and political tumult of such a region, he had no problem jumping into conversation with me about the differences people overcome through music. When I asked him what people who have never been to a Balkan fesitval can expect he looked at me and smiled “people you’ve never met will take you by the hand, and you’ll be swept into the current of happiness, singing and dancing” because, he said “it’s a night when you will forget who you are”.

“I have been described as an Izvor (translated: wellspring) of music, this is also how I describe my mother”

Dragi is heir to a great tradition of Macedonian folk singing. Songs date back to the times of Byzantium, and his mother was perhaps the greatest living library of those songs during her life. Rajna Spasovska possessed an ebulient, natural voice that fit perfectly with traditional Balkan instruments like the stringed tambur and kaval flute “She always worked, and she always sang,” Dragi told me. “As a child, I’d stand behind my Mother’s chair as she embroidered and worked on my sister's dowrys, I would stay quiet as a fish—in America you say quiet as a mouse, but you see, a mouse can make noise, a fish cannot—and I would listen to her sing songs that at times made me cry, I can still hear them echoing in my soul”. At a young age Dragi received the opportunity to become an Oro dancer, and record with Macedonian National Radio. It was then that he met some Seattlites in Europe who first encouraged him to come here. Dragi doesn’t dance anymore, but he’s internationally renowned for his deep, pitch perfect voice, and despite his one regret —that he didn’t learn more from his mother before she passed—he is now the wellspring, the izvor, of Macedonian traditional music.

“Music is never how I made a living, but it is how I have survived”

After ordering some “traditional” Bosnian food which Dragi did not appear to approve of (American size portions!), he described for me his longevity and success. It was with deep conviction and the piercing eyes of a father that he leaned over his meal of lupijna bread and chevapi and met my gaze for the most heart stopping moment of the conversation “I have only ever sang for the love of the song.” Dragi is a singer in his soul. “I sing when it is not time to sing, there is no off switch for me, I sing in the break room at work sometimes” he said laughing. Dragi relayed for me the passion he had for Macedonian music, and I saw a glint of a tear in his eyes describing for me the loss of his brother, how it stopped his Mother from singing, and the unexpected loss of his Mother, but like Balkan music, there is a happy side to the struggle.

“I’m not being very humble, am I?”

The questions I had to interview Dragi with were worthless. He's an expert at reading the people he entertains, and he knew instantly I didn’t know much about his music, but he humored me just the same, because the story of Macedonian traditional music is his passion; it’s crystal clear in his descriptions that it’s an emotional journey for him and the people who bring Balkan Nights to Seattle. He even holds yearly educational camps on the East and West coast for young singers (players and dancers too) who desire to learn the traditional songs. He teaches the complicated lyrical works, and people like Stefce Stojkovski teach lessons on woodwinds, stringed instruments, and even gajda, a type of Balkan bagpipe, and he’s delighted by what he sees in both American and Macedonian youth. Like Seattle’s Balkan festival, the desire to learn the traditional songs and dances is overflowing with people, people who desire to have what we have right here in Seattle: Dragi Spasovski.

“It’s never the culture is it? It’s the love that drives the world around.”

Dragi has done several very intimate podcasts that describe and help to translate some of the lyrics of traditional songs at Izvor music. I listened to them and heard some familiar themes developing: love, perseverance, triumph; I asked Dragi about the idea that one may not even need to understand the words to be drawn into a singers tale in a different language (a lesson I learned reading a Eugene Hutz [Gogol Bordello] interview as he described his love for Brazilian Tropicalia in interview). Dragi pointed out to me that as long as the singer understands the tale, and feels it in his soul, he can capture any crowd and sweep them in, that he’s seen grown men overcome with emotion in Balkan cabarets, drop their drink and be moved to tears. These are the kind of performances Dragi seeks to give. Relaying the time honored tales of Macedonia even brought one DJ to refer to him as the Macedonian Johnny Cash. “It’s quite a compliment, I think”. I had to agree.

“This coffee was definitely not made by a Bosnian”

Despite our differences with American/Bosnian style of food at Sarajevo Lounge, we ordered some Bosnian coffee after our meal. It met neither of our standards and the poor Turkish delight that accompanied it was “hard as a stone” (to their credit the waiter and chef offered free dessert, which we declined). We laughed and drank our coffee just the same, overcoming differences, bonding through love of music. Dragi assured me that acts like Alabanian singer Merita Halili and master accordionist Raif Hyseni, who will be flying in for the show from New York, were the real deal. He let me know that musicians were flying in from California to accompany him, that Bucharest Drinking Team and Orkestar Zirkonium were more contemporary bands, but he approved of them too, because their music brings people together, to sing, to dance, to be happy, if only for the night, no matter who they are or where they are from.

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Hot Hair-Care Tips From HAIRSTORM

Bree McKenna — Fri, 22 Feb 2013 15:17:00 -0800

After a few drinks last night, I noticed a poster for HAIRSTORM's upcoming tour (Seattle's premiere '80s hair rock tribute band) and I immediately wrote them to get the low-down on their hottest hair-care tips.

What is your style regimen before shows?
We always blow dry our hair while hanging upside down. That is the ONLY way to keep it up!

Leave in or wash out? How do you all get volume?
Never, ever, ee-eever wash!!! And we get all that bitchin' volume from layers of hairspray, just like coats of paint. Lots of thin layers.

What happens when a band member's hair starts to lose volume or shape in the middle of a set?
Hate when that happens, even more than getting cold sores! Well, you gotta make sure that the flat side of your head is facing the back wall, so you can get offstage without anyone noticing.

What is your opinion on mousse?
We totally prefer it BBQ'd.

Hard-hitting question: Aquanet, yes or no?
Hell Yes! We never really understood what the big deal is about the ozone anyway.

Thanks, HAIRSTORM!!!! You can catch them recreating Def Leppard/Twisted Sister/Whitesnake/Gun N' Roses vibes at the Feedback Lounge in West Seattle on May 4th.

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Psychic, Powerful, and Perfectly Wonky: Matmos's Mind-Blowing Telepathic Experiment

Dave Segal — Tue, 19 Feb 2013 11:15:00 -0800

AJ FARKAS
Drew Daniel and Martin Schmidt aspire to telepathy.

"These people were on fire," says Matmos member Martin Schmidt about the massive post–Super Bowl celebration by his fellow Baltimore citizens in the wake of the Ravens' win. "When I walked by, one of them said, 'Yay, our team won!' I'm infected by the same disease, but I just doubt myself. Am I allowed to be enthusiastic about anything?"

"Some of them had this weird irony about the fact they were celebrating," says Drew Daniel, Schmidt's musical and life partner, who recorded some of the spontaneous festivities because, hey, this stuff could come in handy for a future album or something. "It would creep into the way they would chant. 'Bal-ti-more! Bal-ti-more! U!S!A! U!S!A!' It was like there were quotes around it." But he also sensed something "utopian and awesome" about those crowds.

Matmos have been putting quotes around experimental electronic music for the last 16 years. If anyone could take the chaos and exuberance of a sportsball hullabaloo and make them interesting, it's these witty eccentrics. Hell, they could probably put an ingenious spin on the tired trope of "jock jams" if they set their minds to it. They may be highbrow creative chameleons, but Matmos know how to inject fun and unpredictability into their music, as anyone who saw Daniel's butt get used as a percussion instrument at that long-ago Triple Door set can attest.

Matmos play Neumos tomorrow, Wednesday Feb 20, with Mouse on Mars and Horse Lords.

The Best of Everything: So Much to Like at This Upcoming Show

Emily Nokes — Sat, 09 Feb 2013 10:07:00 -0800

SARAH BLANCHARD
LONESOME SHACK

I'm totally biased because I live in the Central (and Best) District, but catching a show at neighborhood bike shop 20/20 Cycle is magical. Owner Alex Kostelnik hosts a handful of all-ages music events every year, temporarily moving piles of bikes, bike parts, and accessories to create an intimate venue—the low ceilings and overall DIY appeal of 20/20 are always a welcome change from the bar/venue grind.

On February 9, local garage punks Unnatural Helpers will be sharing a bill with the tears-surfing lady group wonders La Luz and stripped-down, ghostly blues-makers Lonesome Shack. Just this lineup alone at this venue is A+, but the sparkling cherry on top is that Ruben Mendez and Lacey Swain's Gold Van Records—a mobile record shopping experience full of hand-picked vinyl—will be open for business outside the show.

You know and love the Helpers, but let's get acquainted with these other folks in a triple interview party with La Luz, Lonesome Shack, and Gold Van Records!

Lonesome Shack

Who are Lonesome Shack?

Ben Todd (guitar, vocals, songwriting), Kristian Garrard (drums), Luke Bergman (bass), and occasionally Andrew Swanson (saxophone).

Tell me about Lonesome Shack!

Ben: Haunted boogie blues. The first Lonesome Shack tape came out in 2002. I made tapes for years when I lived in a lonesome shack in Alma, New Mexico, but the beginning of the band, as it is now, was when I started to play with Kristian in '08. Luke joined a couple years back, and that really filled the band out. Our new record, City Man, was recorded live to tape in one night at Cafe Racer and features Andrew Swanson on sax.

Catching Up With PSmoov

Sean Jewell — Wed, 23 Jan 2013 12:48:16 -0800

PSmoov, Patrick Toney
PSmoov, aka Pretty Pete, aka TenHundred

The first time I met PSmoov I was on my way to a Mad Rad/Champagne Champagne show. He was alone, looking lost, thin as rail and diminutive; not to mention heading away from the venue he was supposed to be playing in a few minutes. We talked briefly about his work w/Mad Rad, Fresh Espresso, and his his recently released Face Scrunchers Vol. 2. I could barely hear him on out on the street, but I could see his pupils were dilated big as saucers. He was deliriously high on something and just barely making it through my barrage of bullshit (dude, can't believe you sampled Supertramp!). At that show I had been old school, stone cold sober roughly two years myself. Everyone else was hammered, though, and I was not as shocked as all the girls in the crowd were when PSmoov lost his way in the lights and fell off the stage (to Smoov's credit I don't think he missed rapping a single bar). That was the third of three Mad Rad shows I’d ever seen. Each had progressively shown better music and lyricism, each came with more drunken antics.

Shortly thereafter PSmoov's efforts to kick a few nasty habits became very public. He and Rik Rude performed new material that blew people away at Sasquatch in 2012. Bossalona was released a month later in June. I caught the Fresh Espresso album release party at Neumo’s. P Smoov looked different this time, healthy even. He was manning the merch booth, sipping red bulls and playing dice with Radjaw. He looked like someone trying to keep busy doing other things. Wherever he went, Radjaw could be found, guarding him like a big brother. Despite equipment malfunctions that night Fresh Espresso’s performance is the best one I’ve ever seen. Shaprece sang, and Darwin, Radjaw and OCNotes DJ’d, all was right with in Out For Stardom world. He moved away from Seattle, then back. Now he’s painting, producing, and living in Seattle again.

I caught up with PSmoov again in December at his art show at Bon Voyage in Pioneer Square. He was there promoting some art work under his moniker Ten Hundred. This time when we talked his he seemed at least as tall as me, despite being much shorter. This time with clear eyes, we talked briefly about what makes us tick. Despite being late at night the little shop began to fill up with people who had come to see his work. Before I left I got him to agree to let me pry into his personal life via email and share it. I thought that for someone who had such a painful and triumphant year all at once, he’d be a great person to start out 2013 by talking to:

How’s things?

Things are swell.

Between 2010 and 2012 you’ve been behind some pretty interesting releases that helped color the Seattle Hip Hop scene: Mad Rad’s second album The Youth Die Young, two volumes of Face Scrunchers Mixtapes, and Fresh Espresso’s timeless Glamour, and Bossalona. You’ve worked with everyone from Macklemore to Fatal Luciauno, what should people know about our music here; can you share some of your inside perspective on the Seattle music scene?

Seattle music has creative integrity. Sort of a utopia for the artist that just wants to create art in their own way and create for the sake of creating. Our community of musicians and the fans of those musicians seem to be generally more open minded about the variety of styles they are willing to listen to and appreciate. A lot of collaboration seems to occur too with pleasing results. I don't think we have giant neon blinking dollar signs over our heads like other places. So sometimes we get overlooked by outsiders. But if you take the extra time to peer in through the peephole you will find a pretty magical place. Like looking into the future.

Does Seattle music seem especially vibrant in 2012 to you as well or am I just getting out more?

I have spent a good chunk of 2012 in the Midwest. When I returned to the fair Emerald City I was rejuvenated with a feeling of thankfulness that a city like Seattle exists and embraces someone like myself. Seattle vibrant in 2012? Yes. But isn't she always a glimmering beacon in the night?

In early 2011 you were touring a bit after releasing The Youth Die Young, and Rik Rude was working with his Metal Chocolates album. When did work on Bossalona begin and did you know you’d be releasing an album in 2012?

The earliest stuff from Bossalona was done during that time. We performed a couple songs that were on Bossalona at Sasquatch 2010. But we recorded like 6 songs from Bossalona in one week in Michigan when Rik Rude flew out to visit. Its funny it took us 2 years to finish half the album and 6 days to finish the other half. When Rik and I get together we work on stuff. Sometime we do just a little something, sometimes we knock out 2 or 3 songs. It's a very vibey kinda thing, and if the vibes are right, then we work.

With the two of you guys so busy, is it hard to nail down time to work on projects for Fresh Espresso?

Sometimes. But we work well without each other too. I will have beats ready for Rik when we link up. And Rik will have bits of notebook paper and random ideas ready too. Again, vibeyness abounds.

Most of us are familiar with your onstage work on a Korg synth and vocoder, but are there any other tools you’re working with producers should know about?

The Korg MS2000 is the synth you are referring too. I love that synth... at one point i owned 2 of them. I use a lot of virtual instruments (computer based instruments that you controll with a midi controller) by Native Instruments, Arturia, IK Multimedia... Turntable... I dunno, whatever the mood calls for. I make all my beats right in pro tools though. which may be different from other people around here. Other guys use beat making programs like Reason, Ableton Live, FL studio, then they bring em over to pro tools or something else when they wanna record vocals over them... I just start in pro tools right from the jump off. I set pro tools to grid mode, so everything lines up to my tempo and just start chopping shit up and moving things around in there, recording, arranging, programming drums, melodies all that. It makes it easy so that when i wanna record vocals, I'm there, and when i wanna work more on the beat its there too. I dont want to constantly be jumping between programs.

Some beat makers only make beats, but since I make beats, write songs, do vocals, mix, and master, I need a bit more of an all inclusive program that can take me from start to finish.

Back in May you performed at Sasquatch and people came racing back with news of your highly autobiographical new material. Were you battling to get sober while composing Bossalona?

Yeah. A few songs on Bossalona are pretty much all about my struggle with drugs and alcohol. especially "Goodbye My Love". Sasquatch was one of the first times we ever did that song live. It was weird playing that song for a big crowd... but it was one of the biggest hits of the set. For years I had been in a downward spiral... classic VH1 behind the music story. Non stop drugs, booze, girls, partying. I stopped functioning as a human being and became something else. It came to a culmination one night when I was high on Cocaine, Fentenol, and Booze and I tried to kill myself by eating a whole bottle of pills and slitting my wrists. After I survived that ordeal, I called my dad in Michigan and got on the first plane home.

I quit drugs from the moment I stepped on that plane. It took me a couple more weeks to quit drinking. At the time of me writing this I have been clean and sober for 1yr and 1 month.

My dad has taken to calling his house "Ronnie's Rehab" (His name is Ron)

You basically flew in from Michigan for that show and then straight back. Were you still in rehab, or just cooling off with the fam?

I wasn't in "rehab" at that point... just focusing on recovering. Also I got a job out there in Michigan to start paying off the large amount of debts I had accrued when I had been spending all my money on drugs, and to save up to move back to the west coast. So I had to get back to work.

You, Radjaw, and Buff are the Kings of Party Mountain. Is there room up there for someone who doesn’t “party”? How difficult has that adjustment been for you?

My friends are all real supportive of my decision and saw me at my worst. They know its good for me to be clean.

Speaking of your family, this year you participated in the music for marriage equality effort by making a video and talking about your Dad. Is he a Fresh Espresso fan?

My dad is a huge Fresh Espresso fan. Infact he had a lot of input and suggestions for the entire making of Bossalona. He likes the samples I use in Fresh Espresso. Say's "See that's my influence on you son!" Cuase i grab a lot of jazz, soul, and pop from the 70's for fresh espresso. Lol. He also loves to bring up how he used to write music when he was my age and I got it all from him.

When you talk about music with your Dad what comes up? You’ve used samples from unusual sources like Supertramp and Alan Parsons project. Did you grab these from Dad’s record collection?

He was more into disco and pop, jazz, bossanova, m.o.r. stuff... You hear a lot of that influence on me. My dad gave me a few records way back. But most of the records come from the record store. But the lessons both my parents tought me about letting my creative side shine is the biggest way they influences my music.

Bossalona seems like an even mix between old future-pop synth PSmoov, and some intricately juxtaposed acoustic vintage and hip hop work. Is this an evolution of your production skills and taste or am I just making this shit up?

Man the hip hop side is older than the synth pop stuff for me. I feel like bossalona is a bit of a return to my beginnings in the fact that it is more bombastic and triumphant. Thats how all my beats used to be. Then I started working with Buffalo and Radjaw and we went more into the electronic world. Working with Rik demands different energy than working with other people. I just like making energetic music. Sometimes that energy is released with that classic hip hop vibe, sometimes that energy is different. Rik gravitates towards a certain beat, I gravitate toward another. When he and I work together, we have a great common ground that works really well I think.

Are you still producing out of The Robot Room?

Yup... Its in Pioneer Square now. At the basement of the OK Hotel.

I read an interview in October with local Raider Klan wunderkind Key Nyata where he claimed he’d never heard any of Fresh Espresso’s music, then shortly after City Arts Fest this year he was in your studio. How’d that come about?

Yeah, I am recording his whole album now. We performed together for C.A.F and I gave him my number and told him we should vibe out on some music. He is super talented. Im not even gonna say "super talented for a young guy" he's just super talented. I love his stuff. I feel like since he is working with me, the sonics of his mixes are sounding a little cleaner and his voice really shines now. He makes all his own beats too, which I respect.

You’ve worked with Spac3man recently too, correct?

Yup... recording, mixing, mastering his new project. Shit's tight. Space is great. Fun to work with. He has a great vision of what he wants in the studio... he's not one of those dudes I dont gotta coach to much. He knows what he wants from the get go. I'm just along for the ride on those sessions. haha

I saw you at Bon Voyage Vintage for the showing of some of your work as Ten Hundred. Your work is colorful and a neat meeting between abstract and figurative, not to mention you make use of some otherwise tasteless vintage paintings and frames as canvases. How did all this come about?

I have been doing art since I was a wee lad. There has been a resurgence lately. I dont really remember when I came up with the name Ten Hundred for my art... but I remember thinking I wanted a name that sounded big. And one of Rik Rude's famous quotes is "I'm feeling like 1000 dollars in the eighties". Well i was thinking about 1000, and then i kinda changed that to ten hundred... like 8 hundred, 9 hundred, 10 hundred. I have been making and selling a ton of art in 2012-2013. Painting over the old art came out of necessity. Canvases are expensive. Frames are expensive... so if I can get a canvas with a frame from the thrift store for $12.99 I am not going to let the fact that it already has art on it stand in my way. I just paint right over the pre existing art. It's also nice too, cause i really like doing paintings of my characters, but i dont like painting backgrounds that much... so the backgrounds are already done. haha.

At my art show my buddy Luke told me it's kinda like hip hop in a way. Using pre existing material and adding to it and changing it to make it into something totally new and fresh. If your readers want to check out some of my art they can go to tenhundredart.com

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The Band Name Game: Gaytheist's Jason Rivera Weighs In

Megan Seling — Sat, 19 Jan 2013 11:18:23 -0800

JAMES REXROAD

Portland's blistering and triumphant rockers Gaytheist can't get mentioned on a blog without the writer first saying how they love or hate the punny name. It's been called "awesome," "juvenile," and "the best band name ever." A few months ago, Vice.com premiered the Gaytheist song "Stampede of Savings" (which is blazing and great, by the way) and admitted the only reason they'd listened to Gaytheist in the first place was because of the name.

"I'm a gay atheist," says the band's singer, Jason Rivera. "The second or third time we came up to Seattle, we had made friends with Monogamy Party, and [their drummer] Keith was like, 'I know a couple people who are pissed about your name because you guys are called Gaytheist, but none of you are gay.' [My bandmates] Nick and Tim start laughing and said, 'Jason's as gay as it comes!'"

Before they play the Comet this Saturday, Rivera (the guy in the middle) took a break during his day job to chat with me about the good, the bad, and the poopy.

Let's play a game. I'm going to read you a real band name, and then you can give your expert opinion on whether it's good or bad. Are you ready?

Sure, go ahead.

Vaginal Defecation.

[Laughs] It's definitely got the shock factor. That's, like, the next level of Anal Cunt.

Gaytheist play the Comet tonight with Argonaut, Princess, and Transient.

Eighteen Individual Eyes Early Show Tomorrow, Friday, at Barboza. Ke$ha Not Playing

Trent Moorman — Thu, 10 Jan 2013 13:30:19 -0800

Irene Barber

Exacto-shoegazing pilotiers Eighteen Individual Eyes play an early show at Barboza tomorrow, Friday, January 11th. We spoke about their upcoming Ke$ha collabo and about scalp tattoos of pastries. Fifty Shades of Grey and Anatomy for the Artist are read from aloud.

What are the set times for the show? What’s new?

Jamie Aaron: It's an early one. Doors are at 7 pm and I think the show will be over by 10 pm. It's a no nonsense two-band bill: Slow Bird and Eighteen Individual Eyes. As for other haps, we are continuing to put together new material. We're not really supposed to talk about it, but Ke$ha is ghost writing most of our new album. Turns out she has a huge place in her heart for psych rock. Also, Irene has been doing some guest singing spots with some folks around town. Keep an eye out for that, 2013.

Assorted anecdotes from my recent holiday season:

1) I'm flushing out plans to open a craft cocktail/lesbian bar called Reclaimed Wood.
2) While in NYC over the holidays, I dined at Guy's American Kitchen and Bar. To drink, I "enjoyed" Guy's Fieri's fucked up twist on a Manhattan. Manhattan ingredients in Flavortown? Goldschlager and Jack Daniels.
3) I touched a $5000 blazer at Alexander McQueen.

Please pick up whatever book you’re reading open to a random page and read a sentence from that page.

"You must eat, Anastasia." Taken from this turd of a book called Fifty Shades of Grey I recently dared myself to endure on a cross-country flight.

Andy, talk about the dragon tattoo that you're getting on your shaved head. Why the change?

Andy King: I think change is always good. My hair was getting a little out of control so I started with the shaved head then decided why not take another small step and get the dragon tattoo. It gives me strength.

Samantha Wood: Andy’s tattoo was originally going to be a bear claw - the pastry, not an actual bear's claw. Me? I just began massage school, and I'm designing a tarot deck. We used one of the cards for our new shirt design. In addition to my assigned massage texts, I'm reading Anatomy for the Artist by Jeno Barcsay, so I can activate my artistic mind in learning. Here's a random passage – “Flexion and extension are carried out round a transverse axis connecting the right and left femoral heads.”

Eighteen Individual Eyes and Slow Bird play tomorrow, Friday, 1/11 at Barboza. Early show.

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Where Have Pleasureboaters Been?: Having Babies, Making Sausage, and Flying Around the World

Megan Seling — Thu, 10 Jan 2013 12:29:12 -0800

LAUREN MAX

Pleasureboaters' promising career ended as abruptly as their discordant punk songs do. Four or five years ago, the band's name was on the tip of everyone's tongues— local blogs and music fans couldn't shut up about Pleasureboaters' infamously chaotic shows that often devolved into nothing more than a noisy pit of sweaty bodies. Night after night, singer and guitarist Ricky Claudon thrashed around the room, eliminating the boundaries between stage and audience, while drummer Tim Cady often abandoned his shirt, standing up behind the drum set and jumping in the air in an effort to pound the drums as hard as humanly possible.

Once they released their fantastic full-length album, ¡Gross!, on local label Don't Stop Believin', everyone was hooked on their unrelenting and wonderfully cacophonous noise. And then they disappeared. Gone. Just like that.

While it's no longer surprising to see an old flame relight these days (what with reunion shows seemingly being announced every hour), Pleasureboaters delighted many when they declared their return, playing their first show since 2008 at the Funhouse on October 20.

But where the fuck have they been?

Pleasureboaters play the Sunset Friday with Absolute Monarchs and Mass Games. Tickets are available here.

The Passengers: Ted Narcotic's Taxicab Music Show

Brendan Kiley — Fri, 21 Dec 2012 10:07:00 -0800

Kelly O
TED NARCOTIC: Living life unfiltered.

I don't exactly remember the first time I got a ride from Ted Narcotic, aka Theodore L. Higgins, aka Yellow Cab number 352. It was probably late and probably downtown. That's where he usually turns up.

But I clearly remember his vague resemblance to Iggy Pop—long hair, gently weathered face—and his boyish friendliness. I also remember the music playing on his car stereo: fuzzy, stripped-down, bluesy rock 'n' roll that wrapped its hazy arms around vocals that were half-sung and half-spoken, which also bore a resemblance to Iggy Pop. I leaned forward and asked the driver who it was.

"That's me!" he said, smiling. At the end of the ride, he handed me two home-burned CDs, pulled out a marker, and signed them "Ted Narcotic."

I remember a few other cab rides with Ted over the years—he's a memorable guy—and, one recent rainy night, I hailed a cab downtown. It was Ted. He drove a friend and me home while playing another one of his songs, this one with a glazed, tinkling piano/guitar combination that sounded like the Velvet Underground. As he gunned up a hill, his voice warbled over the speakers: "You say you want something wholesome... Well, I'm reading your letters from a prison cell. Is that wholesome? I'm stuck in Folsom."

At that moment, he made a hard but smooth left turn, cutting in front of oncoming traffic that a nonprofessional might have paused for. "Nice," my friend said. "My turn?" Ted asked, grinning into the rearview mirror. "Or my turn of phrase?"

OCnotes Live on KEXP's Street Sounds

Dave Segal — Thu, 20 Dec 2012 15:22:35 -0800

Better late than never... if you missed this segment on Street Sounds, KEXP's hiphop-centric weekly Sunday night show, you can catch host Larry Mizell Jr. (the super-productive columnist/blogger for The Stranger) interview OCnotes and watch him perform four of his tracks. The mercurial producer shows some of his range of styles over these 17 minutes of air time, playing “Morgan Free & ODB,” “Red Alert Song,” and “Kitty Kat” from Pre Future Post Modern Love Song aka AlienBootyBass and the previously unreleased “Number 7." Also check out OC's mother lode of sweetness on his Bandcamp, too. Hairy Kwanzaanukahmas to you and yours.

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Five Questions for John Darnielle: The Mountain Goats Frontman on Mental Health, Baking Bread, and Hockey

Megan Seling — Mon, 17 Dec 2012 10:12:59 -0800

DL ANDERSON
Darnielle (middle) likes boxing, roasting, and crying it out.

Transcendental Youth is a pretty dark album, but really lovely, too. I appreciate it when songwriters can approach things like depression or mental illness without sounding insincere or one-dimensional. It's strange that in 2012, there's still a huge lack of understanding when it comes to mental health. Is that something you're passionate about?

Yes—I worked in mental health for a long time, and I have demons of my own. I don't think I'm special in that or anything, though; there's more demon-plagued people than non-demon-plagued people, as I explained in my popular tract The Coming Demon Plague. I don't really think I'm possessed of any special understanding on the subject, either, so I always fret about saying, "Well, here's what I'm thinking about directly." I just remember people who lost their way, people I know or knew, and I think about some stuff I've been through, especially in the last five or six years, and then make up stories with those areas as starting grounds.

The Mountain Goats song "This Year" is the song I listen to whenever I need reminding that shit will pass. What song do you listen to when you need a reminder like that? Or maybe you need something other than music at those points?

That's not how I use music when I am suffering, when I'm in a hard place: I use it to suffer more. I listen to stuff that makes me feel worse—that is just sort of how I am. You know, the "cry it out" style of sleep training that some people use? (Not us, I want to point out.) I am still crying it out, and someday I hope to get some sleep.

The Mountain Goats play the Showbox at the Market tonight with Matthew E. White.

Dancer and Prancer: The Interview!

Bree McKenna — Sat, 15 Dec 2012 16:00:48 -0800

Listen, you couldn't possibly be doing anything more awesome than going to Arabica tonight! Seeing Dancer and Prancer play awesome surf-rock covers of Christmas songs is nothing short of being a Seattle institution. Plus Cinnamon Girl, the world's greatest Neil Young cover band, is opening the show! Drummer Pete "Sticks" Capponi shells out some gossip about Seattle's hottest holiday surf-rockers:

How and when did Dancer and Prancer start?
About 6 years ago Santa asked Ian to put together a band of some real rock n' roll bad boys for the best Christmas band of all time. Naturally, he asked us to be a part of it, and soon after Santa picked us up in the sleigh and took us to the North Pole for rehearsals. Santa still helps guide our creative vision, and gives us input about stuff like the coolest stage moves and the latest Christmas fashions. He’ll say: "Ho Ho Ho!! Gotta keep my boys lookin good! Ho Ho Ho!" Then usually a lot more "Ho Ho Hos" after that.

Tell me about this Arabica show tonight.
It's gonna be a major rager!! We played there a couple years ago and the place was PACKED. During “Here Comes Santa Clause” Santa himself appeared from the bathroom, jumped on the counter, and started crowd surfing! Everyone was losing their minds, especially us! We were stoked because we had all just finished our Christmas lists together right before the show, so we were able to sit on his lap and give them to him in person.

How far in advance do you guys get booked up?
We've got shows booked through 2019 so far. We felt comfortable making the long-term commitment, despite all this mumbo jumbo about the Mayan calendar. We have it on pretty good authority from Santa that all that stuff is a buncha hooey. I mean, who are you gonna listen to: a buncha weirdos who forgot to finish their day planner, or the guy who knows when you've been bad or good and can fly around the world in a sleigh pulled by reindeer in one night? It's a no-brainier if you ask us!

What is Dancer and Prancer's favorite Christmas song?
"We Wish You a Merry Christmas" because, well... We do!!

Do you guys have recordings yet??
Yes!! And we're very excited about them! Look for them on our Bandcamp: www.dancer-n-prancer.bandcamp.com

Mariah Carey's Christmas album: yes or no?
We officially endorse any and all Christmas songs—except Michael Bolton's record. You just can't polish a turd, man. Even if it’s a Christmas turd.

How does it feel to be in a band made out of Christmas magic?
What's the whole reason we celebrate Christmas? Santa's birthday, of course! Every winter, it's just a kick in the pants celebrating the big guy's special day in the world’s greatest Christmas surf band. For the whole month of December, it feels like we have magic coursing through our veins—but that could also just be the keg of ‘nog we keep on ice in our practice space.

With The Little Elves by Dancer and Prancer

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Sound Check: High On Fire with Jesus Christ's Twin

Trent Moorman — Fri, 14 Dec 2012 10:13:00 -0800

T. COUTURE.
HIGH ON FIRE: Sober, but still on fire.

High On Fire's sixth studio album, De Vermis Mysteriis (The Mysteries of the Worm), has an accompanying story written by newly sober singer/guitarist Matt Pike. The Oakland metal wise man tells the tale of Balteazeen—Jesus Christ's twin—who sacrifices himself to give Jesus life. Balteazeen time-travels, hunting his way through the cesspool of existence in search of answers and meaning. He can see the past through his ancestors' eyes and continuously wakes up in other people's bodies at the wrong time. In the psychedelic roadhouse-tinged video for "Fertile Green," Balteazeen guides his motorcycle through highway portals, wields a rifle, and gets a hatchet to the forehead from a four-armed oracle he's having sex with. On De Vermis Mysteriis, Pike, Jeff Matz (bass), and Des Kensel (drums) spatter and maul—Pike's guttural, rasp-throated vocal ode to Lemmy has never sounded better. His guitar is both a stylus chiseling phrases into granite and a needle injecting docile, frantic oracle-fucking commands. Pike spoke from Buffalo, New York. He was having problems with his amp and was looking for a new transformer.

Where are you all headed now?

Cleveland. I'm dealing with an emergency amp repair. I have to put an order in and coordinate where, who, and how this thing's going to get fixed. I have to set up another amp to play tonight and a bunch of other shit. Can I call you back in a bit? Sorry about this. I hate this shit. [Calls back in an hour.]

High On Fire just recorded a couple shows in New York for a live album. How were the shows? Were you nervous because it was being recorded?

Yeah, I was very nervous. The shows were different; there was more at stake because they were being recorded—everything seemed more charged, more was being risked. We played a little longer than normal, especially the second night. The first night, of course, I had some equipment fuck up, so I was freaking the fuck out. The second night, I was nervous because the first night didn't go exactly how we wanted it to, but the show went well—something came over us, and I thought we just killed. Overall, between the two nights, I think we got enough stuff recorded.

What was messing up with your equipment?

We had a stack go out like right before when we went on. Everything I had worked out in sound check was wiped out, gone. There wasn't enough power. I can't plan or prepare for a fuckup like that.

High on Fire play Neumos tonight with Goatwhore and Lopan.

An Interview With Health Problems

Brittnie Fuller — Thu, 13 Dec 2012 12:20:19 -0800

In this week's Underage column, I say you should go see new Seattle band Health Problems right now. I sat down with them recently at their incredibly hangoutable chillzone/practice space at Crybaby Studios and asked them a few questions as they passed around a mason jar larger than my head full of coffee.

You're not from around here, are you?
Ian Kurtis Crist (howls): None of us are from the Northwest. I guess I'm from the North Northwest. I'm from Alaska, so. And he's from...
Dan Shaw (bass): I'm from Massachusetts, and I moved out here two years ago for graduate school.
David Dempsey (drums): Me too, I moved out here exactly two years ago.
Dan: But I didn't know you guys... Ian does a solo project called Bat, and I had seen one of his performances in a basement at a house show in the U-District. His performance was pretty nuts and I just thought 'I need to start a band with this guy.'
Ian: We used to have a different drummer, Zach. [Health Problems] started when Zach and Dan were jamming and then I showed up, it was super nonchalant. They had a recording of what our song "Homophobic Father" is now. It was just bass and drums, but it was like, "you're here, you wanna add anything to this?"

How did your name happen?
Ian: Here, let me show you. [hands me an empty bottle of Old Rasputin] This is beer. Look at the last two words on that label [Surgeon General's Warning]. This band started very drunk. Dan is very clearheaded and has no issues with substance and things, but Zach and I struggle with alcohol, and we were incredibly drunk at that period of our lives, and the music sounded drunk.
Dan: At one of our first practices, we said "this band sounds like beer." We were sitting around practice drinking beer and kinda looked at the label and were like "this is everywhere!" It's a good name, you can interpret it all kinds of ways. There's personal health problems, societal heath problems...
Ian: Everyone has health problems. Everyone can relate to it.

So you met in Seattle?
Dan: Yeah this was in March this past year, so we've only known each other since then.
Ian: I moved here a little over two years ago, when I was seventeen. I was in a couple bands around here... [Which bands were you in?] The biggest one really was this project called Get Mean. It was more of a "friend thing", not like a serious project that I wanted to carry out. And then Bat, but I came up with that in Olympia, because I lived there for three months before I moved here.

How do you like Olympia?
Ian: I fucking love it. I didn't move here by choice, I ran out of money and couldn't find a job. It's really hard to find a job there...
Dan: I feel like there's a lot of Olympia respect or worship going on in this band. I'm the only one who hasn't lived there.

What have you released? Just a split with Pores?
Ian: Yeah, that's the only release right now. That was the last thing that we did with the old line-up... [Dan] left while it was being mixed and Zach left shortly after that... and that was the end of Zach.
Dan: I had my wedding midsummer and Zach was one of the groomsmen at my wedding, and I flew out there and flew back but he hopped freight trains across the country, and it took him a long time to get back here. Months. That's why we had to make a decision of how we were gonna move on. We wanna be a full-time band, dependably doing this.

When did this new line-up form?
David: In September.
Ian: Zach was gone and is gone a lot around the country, so it became a variable. So we kinda had the intention of well, when he's not here, at least David will know the shit. He showed up when we came up with the name.

Let's talk about your influences.
Dan: I always say Lungfish is my favorite band. And then Fugazi is always a favorite of mine. And then yeah Joy Division... And since we started the band, Ian has shown me a lot of bands that could potentially influence us, and I've gotten really excited about Pissed Jeans, No Trend, Flipper...
Ian: Essentially it would be the 80's. I like hardcore punk and stuff that came around in the 80's, but specifically anti-hardcore, just the sarcastic, noisy, fucked-up drunk music, but I also fucking love corny ass 80's like Duran Duran and Genesis and shit like that, and then I really like gothic rock and death rock out of the 80's like Christian Death and Bauhaus. And then a little 90's you know, sprinkled over the top.
David: I listen to a lot of drum and bass and breakcore, and that's completely electronic. It's weird, but that's a huge influence.

How do you feel about David Yow?
Ian: I love the Jesus Lizard. That's one of my favorite bands. That dude is badass, too. He is like 40 or 50 now and is still taking his shirt off...
Dan: I have a friend who when asked what Health Problems sounds like, he just says "Jesus Lizard". That's an oversimplification, that's not really true, but if I don't feel like having a long conversation...
Ian: I hear that the most of what we sound like.
Dan: We do wanna record with Steve Albini someday.

Are you planning on recording soon?
Ian: The idea is hopefully this month. Right now we have a lot of material, and so we've been planning on just going in and recording all of it, and then out of that will probably come an album and a few singles. I would hope that we would potentially have something come 2013 in January or February. I would like to do a full-length.

You've talked about your music being sarcastic. Where does that come from?
Ian: A lot within what I would consider the attitude of the music, like in our song "Androgeny". It's this really driving, macho, testosterone-fueled, crazy powerful punk song but the whole meaning behind it is questioning your gender and questioning your sexuality. So it's kinda like where all the dudes would come out and mosh, and then the lyrics are like "Man or woman/ What do you see in me/ Androgeny". I like when I write lyrics or write anything to kinda be sarcastic and slap myself in the face with what I'm saying to just kind of make a joke out of myself.
Dan: I think we're forced to live in a lot of complete absurdity. There's a lot in life, that it's just important to highlight the absurdity of...
Ian: There's a definite lyrical vibe of talking about the mundane with everyday, and the systematic ideal of family life and life of like 9-5 job and your 25 year mortgage plan and mom and dad's 3 or 4 bedroom suburban home and going to work. Just mundane bullshit. It's almost mocking that but speaking about it from a first-person perspective. One of these songs that we don't play much anymore is just like "We oughta get married and squeeze out a coupla kids/ Love our lives and careers just like our parents did." Just kind of a sarcastic take on that every day life you're supposed to live. Like go to college, get a degree, get a job, get married, have children, retire, and do nothing with your life.
Dan: I think that attitude is important when performing. Since we have this sarcastic front, this kinda weird attitude, if shit gets fucked up at a show, it's sorta like we're safe to fail.
Ian: I think we feel best after shows when people are awkwarded out, rather than... yeah, if people are into it and stuff, that's cool, but when we hear about people feeling really awkward or super weird, it's fulfilling. We want to make people feel uncomfortable.

If you were an animal, which one would you be and how would you live your animal life?
Dan: I would be a combination of a monkey and an octopus. An octopus has rudimentary problem-solving abilities, but then it dwells at the bottom of the ocean with eight arms. If it had the opposable thumbs of a monkey and the ability to scream and traverse the trees, it would be terrifying, everyone would respect it.
Ian: You would be an utmost respected animal.
Dan: I would spend my life just gliding through the trees shrieking at other creatures, then die of old age happily.
Ian: I would be a moose and I would spend my time grazing and thinking and shedding my antlers and spending time with my moose family. I grew up with moose in Alaska a lot, they were in my front yard, they were on the highway, everywhere. Everyone is like "moose are fucking stupid, they graze like cows and do nothing." But to me, witnessing a moose is kind of like a wise fool who thinks a lot, who just slowly goes through life smelling all the roses and experiencing things and I think slowly being happy by going through life and enjoying each bit of grass and bark that it munches on and losing its antlers and spending time with its family. A moose mother is insane— you can't go around the moose cubs— because it's so protective, so there's this whole other side of the moose. It's a very calm, reclusive individual, it's very happy and nice, but you fuck with the cubs and that shit comes out. It gets real and it will stomp the shit out of you. I would probably live my life being thoughtful and then I would probably die of old age, and doing not very many things, probably overthinking.
David: A platypus/mountain goat hybrid. A platypus because you have the best of both worlds— you can swim on water and go on land at the same time. You look fucking insane— you have these poisoned barbs at the end of your heels. And mountain goats for kind of the same reason [nods to Ian] except I would live in the deep bogs. I would just lurk. Almost like, do you ever look at deep sea beasts? They don't look like they belong at all. They look like aliens.

Ian, how many Flipper patches do you own?
Four. [laughs] I really like Flipper.

Health Problems playing the second half of "Boy Problems" & "Homophobic Father" at Chop Suey 12/05:

Health Problems play tonight at the Josephine with Freak Heat Waves (BC), Thousand Statues and Slashed Tires. Go see them right now.

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Moon Duo's Dance and Doom

Trent Moorman — Sat, 08 Dec 2012 10:21:00 -0800

Moon Duo: Thinking with portals.

Moon Duo's Ripley Johnson and Sanae Yamada play at the nexus of he/she psychedelic doom and dance. Ripley's guitar is a buzzing, gyratory spiral that heads out on possessed trajectories. Yamada's synths are go-go-drone palpitations. Together, with their bubbleglum™ vocals, the San Francisco/Portland duo billow out an oxidized and ritual trance-party cynosure. To write their most recent album, Circles, Yamada and Ripley secluded themselves within the bright glare of a house above the clouds in the Rocky Mountains. Six months later, they moved into an apartment above Lucky Cat Recordings on Mississippi Street in San Francisco to work with Phil Manley (Trans Am, Les Savy Fav, Life Coach). The finishing touches were mixed and prodded at Kaiku Studios in Berlin. Moon Duo know and open portals; their sounds of psychedelia have eyes if you let them. A sewer drain in the street becomes a window to the Mojave. The full moon is a medallion hanging off the necklace of a celestial hippie Orion. In the eye of their koi, you can see and hear the inner workings of outer space. Johnson spoke. He was extremely calm.

There's an element of drone that you hit on and do so well. I wanted to get your thoughts on the drone side to your music. I'm probably picking up on Sanae's elongated keyboard parts. Where does it come from?

I'm big into La Monte Young's Theatre of Eternal Music crew, but especially Angus MacLise and Terry Riley. Angus is my favorite because of the bongos and the general hippie spirit of his music—it doesn't suffer from the overly intellectual vibe on a lot of the minimalist classical stuff. John Cale's early experiments as well, which of course all seeped into the early Velvet Underground sound. Later "rock" groups like Pärson Sound and Träd Gräs och Stenar have been a big inspiration.

Moon Duo play the Sunset Tavern tonight with Life Coach.