Seattle Subsonic - May, 2008
Tapes ‘n Tapes Play It Off, White Denim Sticks
Oh, I almost forgot to mention that I went to the Tapes ‘n Tapes show at the Showbox last Wednesday (5/14). That was pretty sweet. I’m a big fan of the Minneapolis garage-pop band, and was eager to see them during their latest tour for the recently released—and repeatedly maligned—Walk It Off. While not quite the overall success of the widely acclaimed debut, The Loon, the album is not without its own victories. I really enjoy the insistence of “Hang Them All” and the filthiness of “The Dirty Dirty”, the latter of which I incessantly yelled for the band to play. Which they did, of course, as the finisher to their close-to-90 minute set.
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The crowd that showed up at the Showbox demonstrated that maybe it isn’t quite yet the venue for TnT. A bit too large for the band’s (apparent) following here in Seattle, they might’ve been better suited to play Neumos or even Chop Suey. They played the Crocodile a few years ago with the Cold War Kids. I can’t help but think the attendance was a bit of backlash for the new record, which is unfortunate. Grier implored adamantly to the booze hounds in the bar to come join the all ages crowd up front; eventually, many of them obeyed. I will say that the set started off a bit flat, however. The crowd was sparse and evidently the awesomeness of opening threesome White Denim wasn’t enough to pump people up. But the dudes of TnT exploded during a rousing performance of “Demon Apple” and the second half of the show was first-rate. All your favorite hits were played, with added polish to songs like “10 Gallon Ascots”, “Insistor” (obv), “Jakov’s Suite”, and “Cowbell”. Erik Applewick is a big, goofy mess of a bassist—I mean that in a positive way—and he and songwriter Josh Grier kept the crowd engaged with their back-and-forths.
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Back to White Denim. I’m not sure I remember being blown away so thoroughly by a band I’d never even heard of. They sounded like a mix between the Black Keys, the Stooges and the Band of Gypsys. I know, right?! Anyway, the vocalist had a howling classic rock voice and brandished a crunchy Gibson, but it was the rhythm section that ultimately stood out. The first four songs were played without pause, with the drummer looking like a man possessed by the devil himself. THE DEVIL HIMSELF. I was amazed that the bassist was able to keep up with him so well. Keep these guys on your radar, for sure.
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As for TnT’s album, I’ve heard arguments against the way it was produced (a reference to the already-common knowledge of producer Dave Fridmann, who has worked notably with the Flaming Lips and notoriously on the sophomore record of Clap Your Hands Say Yeah, among many others). I understand where it might put some people off; Grier’s vocals are difficult to discern at times, which is too bad because his vocals are one of the strongest assets TnT has going for them. The bass is overbearing on a few songs where it seems it shouldn’t be. I’ve found that tweaking the “equalizer” on my car stereo and turning the bass down has remedied that issue fairly well. What I don’t get is when people have ripped on the songwriting and guitar work. Where’s the loyalty? Walk It Off sounds exactly how I would expect it to sound from this band: they’ve kept the roughness and boisterousness of their punk jams (”Le Ruse”, “Blunt”), they’ve expanded and improved upon their saloon ballads (”Time of Songs”, “Demon Apple”) and they’ve maintained that summertime Beach Boys charm (”Conquest”, “Say Back Something”) that amassed such a huge following in the first place.
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Here’s to hearing more tapes ‘n tapes ‘n tapes ‘n tapes ‘n tapes ‘n tapes from these talented guys from the Land of 10,000 Lakes.
The Greenhouse Show (w/ Feral Children, Dead Confederate, Loving Thunder)
So, a friend and I decided to head over to the Greenhouse last night to check out an eye-popping lineup—for a house party, anyway. Honestly, it turned out to be the best show I’ve been to all year. Props to the Greenhouse for supporting local music in an awesome way.
Mood-rockin’, drum-crazy Seattle band Feral Children organized a show at the Central District “venue” that included their good friends in Dead Confederate, a long way from home in Athens, Georgia. Bass and drum duo Loving Thunder (fans of Karp will appreciate these guys) opened with a mighty set of progressive metal and pounding drums. Colin Roper, of Cobra High fame, plays a DEEP, synth-like base that grinds and pulsates along with the spastic drumming of Sterling Callier. The space was limited, but that didn’t limit this band from giving this performance their all, as they played about 6 or 7 songs and pretty much every single one had my head bobbin’. Roper’s high-pitched vocals were reminiscent of Ozzy, but also dampened as if the deranged Black Sabbath chief was singing from under water (due to a combination of both sound and style).
Catch them at the Comet Friday May 30th with a trio of other local hard-rock studs: Lozen, the Heavy Hearts, and the Valley. Awesome fucking lineup, if you ask me.
Loving Thunder
Next up was Dead Confederate. As I mentioned, I’d seen them once before at KEXP’s Yule Benefit in December. At the time, I was impressed with their musicianship but their sound was eerily evocative of grunge bands that came before them (i.e. Mudhoney, Smashing Pumpkins, the more contemporary The Music). Lead vocalist Hardy Morris even sounds a bit like Kurt Cobain. This time around, however, they’ve officially gained a new fan, and likely many more (there were about 100 or so people in attendance, I’d say). The quintet played a passionate array of torrential guitar rock, both melodic and dissonant at the same time. Morris screams like the most beautiful velociraptor in Nashville (that’s a compliment), while guitarist Walker Howle treats his instrument with the toughest of all loves. I was doubly impressed at how the live rendition of DC’s songs became more abstract and psychedelic—propelled nicely by the rhythm section—as their set wore on. If there ever was a wall of sound, this band created it for a small crowd willing to climb it.
You can hear them live on KEXP today at noon, and also at Sasquatch! this weekend before they head out on tour with All The Saints and Drive By Truckers through the great American frontier.
Dead Confederate
I gotta say, I really love Feral Children. The band shuns the idea of convention, and boldly gets away with it. If you haven’t listened to Second to the Last Frontier, you’re missing out on one of the more fearless and defiant records to come out of Seattle in some time. Angst-ridden, thumping, and harmonious, it’s like listening to TV on the Radio, Modest Mouse (whose “Dramamine” was covered midway through the set, validating every Feral Children reviewer up until now), and, well, feral children, all mashed together and screaming in the back woods. The dual drum kits, the punchy bass, the volatile guitar, and the smoldering synthesizer all merge into a jarring and convoluted listening experience.
The folks who made it out to this show were also treated to a few new songs that sounded excellent. The new tunes were different enough from their existing catalog but definitely had FC’s paw prints all over them. Not sure what Sarathan’s plan is for their next record, but they better decide quick, cuz the people wanna hear it.
You can further engulf yourself in the band when they play the recently downsized Neumos on the 14th of June (w/ Matt and Kim, YACHT, and No-Fi Soul Rebellion), in addition to the much anticipated Capitol Hill Block Party July 25th and 26th.
Feral Children
More photos after the jump.
Feral Children with Dead Confederate TONIGHT! And FREE!
Wow. This will be a damn fine show. I saw these guys play together back at the KEXP Yule Benefit and, despite my criticisms, it was definitely worth it. Feral Children have only gotten better, and Dead Confederate ain’t too shabby either.
However the best part about this show—which takes place at the Greenhouse in Seattle’s Central District—is that it’s frigging free. Show starts at 8 pm and is all ages. Apparently you boozers will have your cake as well; just gotta show ID. In the CD.
Loving Thunder, a progressive, hard rock project featuring Colin Roper (ex-Cobra High) and Sterling Callier (ex-Death Wish Kids, the Golden Ticket) will also be playing. The address: 2515 S. Charles St.
Georgetown Music Fest Lineup Announced!
You’re favorite local block party music extravaganza is happening once again, and we’ve got all the juicy details (forget, for a moment, what you’ve read on all those other blogs).
It’s gonna be goin’ down the weekend of June 13th and 14th, with lineups for both Friday and Saturday. And—guess what—HELMET (basically Page Hamilton with a bunch of new dudes) is the current headliner! WTF? Personal highlights from last year were Voyager One, Tiny Vipers, the Trucks, BOAT, Earlimart, Iceage Cobra, and Skullbot.
Most townies will tell you that this is the TRUE local music festival, done by the artists, for the artists, in the last outpost of blue-collar DIY ethic in the city. They even had a contest to design this year’s poster. If you want to volunteer (bartend, setup, cleanup), you get free tix for both shows. Anyway, Georgetown is awesome, and the lineup looks equally grand:
Thee Emergency / Aqueduct / The Hands / Slender Means / The Lashes / Cancer Rising / Carrie Akre / Helms Alee / Little Pieces / The Kindness Kind / Megasapien / Skullbot / Spanish for 100 / Leeni / Lords of the North / The Hanks / Skeletons With Flesh on Them / Denelian / Kaylee Cole / Daguerrotypes / The Oregon Donor
The Bad Things / Reporter / Nazca Lines / Bronze Fawn / The Globes / Ms. Led / Danny’s House / Pwrfl Power / Emblematic / Shim / Tennis Pro / The Upside Down / Le Fleur / Levator / Pink Snowflakes / Hypatia Lake / Panther Attack! / Godspeed / Helmet / more to come…
**Update: From the band itself—the Valley has been added to Friday’s lineup!
KEXP VIP Club presented… Tapes N Tapes
Last Wednesday afternoon, two of us were dispatched to The Triple Door to check out Tapes N Tapes, a Twin Cities pop band performing at 1 o’clock for the VIP Club. Hosted by KEXP and MC’d by Doctor Evil-lookalike Doctor Leon Berman (I am not kidding - this blew my mind), the band got started about 40 minutes late. Not a big deal if you’re a slacker like me and got off work at noon, but more than just a little annoying to those that have to report back to The Cubicle. And while they tried to explain that they had had an “early start” getting out of BC, I wasn’t the only one put off by this display of GPT. (Guitar Players’ Time) The band launched into some new tunes, part of an album described to me by another audience member as “just OK”, and trudged along for a four or five more songs before I felt them hit their groove. (What was that lengthy warm-up for?) The final three songs were quite rockin’ and clearly good and road-tested. Overall, however, Pitchfork, er, misterlevitan gives this one a 4.4 out of 10.
My Weisenheimer Report Card:
Attendance: D (let’s get ‘er going, people.)
Effort: B- (Canadians should had inspired them the night before; alternately, maybe Canadians overserved them at the jump off)
Audience participation: D (it’s the Triple Door where the seats grab your ass like a tractor beam)
Host/MC: C+ (Berman’s intro was shaky and supplemented by notes.)
Aptitude: B+ they were in time and the drummer was especially proficient.
Bar Service: D- (For Chrissakes, this is the fourth show in a row with sh*t service at the bar. I know this must make me sound like a grouchy lush, but jeez. This is my preemptive “no tip for the next guy” message. Trust me.)
Pleasureboaters at Wild Rose
| Saturday, May 24, 2008 | ||
| 9:00 pm |
Spaz-rock threesome Pleasureboaters headline a show at the Wild Rose, Capitol Hill’s fastest growing rock venue.
Read my review of Pleasureboaters debut, ¡Gross!, here.
w/ Betelmire(djset), Strong Killings and Flexions
21+
$7
Ladytron, Datarock at Showbox (Mkt)
| Saturday, May 24, 2008 | ||
| 9:00 pm |
If you need to be reminded about the radness of Liverpool’s Ladytron, then perhaps you’re a bit helpless. If you haven’t been turned off by my presumptuous elitism, then make sure you keep reading and head to the Showbox (Market) for an ultra-sleek dance party, augmented by the Nordic machinations of Datarock. Grooooooooooovy.
$20.00 ADV / DOS & at the door
Doors at 8pm - All Ages
PartMan PartHorse, The Show is the Rainbow at the Comet
| Friday, May 23, 2008 | ||
| 9:00 pm |
One of the more unique and entertaining bands in Seattle plays the Comet Tavern this Friday with a couple of other upbeat local bands (A Gun That Shoots Knives, 1-2-1-2) and one totally intriguing, seemingly crazy dude/band from Omaha. If you dig PartMan PartHorse, I have to believe you’ll have to dig The Show is the Rainbow as well. Off-kilter punk rock with cheeky spoken/screamed lyrics; a topless frontman might be involved as well. I checked out his myspace page and apparently his desire is to “out-faint the faint”. Word!
21+
I dunno…6 bucks?
CultureMob is sharin’ the love - win tix for DJ ?UESTLOVE
Along with spreading fantastic rumors of Johnny Depp buying the Crocodile, CultureMob is also spreading around some love with a huge ticket giveaway for DJ ?uestlove at Numos.
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-From Culture Blog Thurs May 15th -
CultureMob.com presents THE ROOTS New Album “Rising Down” Listening Party hosted by BLACK THOUGHT and featuring DJ ?UESTLOVE with special guests. It all goes down at Neumos on Capitol Hill Thursday June 5.
CultureMob.com is giving away 70 tickets to the party:
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CLICK HERE to go to contest entry page.
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?uestlove is a gifted producer and an incredibly skilled jazz drummer, best known for his work behind the drum kit for The Roots. He has worked with a myriad of very talented musicians and artists including D’Angelo, Al Green, Zack De La Rocha, Fiona Apple, Erykah Badu, Joss Stone, John Mayer, Common, Eminem, Justin Timberlake, Dave Chapelle, Christina Aguilera and Jay-Z. June 5th he will be laying down fat tracks in his DJ shoes and you can expect a mix of classic hip-hop, funk, soul, and rock; the dance friendly beats will have Neumos poppin’ hot all evening long.
Winners will be selected at random and notified by email on May 30; non-winners can buy tickets at the door or in advance through Ticketswest for $15 (available soon). Doors open at 8PM and sorry toddlers, this one is 21+ only. The Culture Mobsters will be out in force, promoting our awesome website, spreading the good word about the Seattle arts scene, and most of all: enjoying life. Hey, we practice what we preach!
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Don’t miss the party! ENTER TO WIN today.
The Faint Will Rock Your Face (at the Showbox 8/2)
Another much anticipated pre-sale link for all you electro-addicts, closet ravers, and dance-rockers. Ooowww! The one cool band from Nebraska (sorry, Bright Eyes) will be rocking your face—YOUR FACE!—at the Market edition of the Showbox. I saw almost the exact same show back in 2006, when one of the ultimate instrumental duos, RATATAT, almost stole the show. I had to wear shades the entire time; had to.
Subversive lyrics, thumping bass, wrenching guitars, grinding synths and LOTS of lights is the modus operandi of this long-standing rock group. The new record, Fasciinatiion, will be out August 5th.
Update 6/8/08: Jaguar Love will be touring with the Faint this summer! Most excellent.
Click the picture for tickets. Presale goes from 10am-10pm TODAY (22 bones + fees). Get into it.
Black Keys bring it full circle-and more locals at Bumbershoot
Has it been mentioned yet, that I am a huge fan of the Black Keys … yeah..? Good, I thought so. Now we can move on.
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So it has been announced that the Black Keys are on the bill for the “Big Stage” on the 31st of this years Bumbershoot. The very same festival where in 2004, I saw these guys light off the “Blues Stage.” (most likely called the Microsoft Stage or some crap this year) I had never seen the Black Keys - either in person or in a photographs. I had only heard them.. almost every day, ever since grabbing “The Big Come Up.” I remember seeing this stringy white fella with thick black framed glasses setting up the drum kit there just after Sharon Jones cleared the stage and saying to my friend that I can’t believe they (the Black Keys) would ever LET a skinny white boy like this even TOUCH their kit. Granted I was under the assumption, given their complicated Howlin’ Wolf steeped, M-i-s-s-i-s-s-ippi Mud sound, and their name, that the ‘Keys were 3-4 old black guys. Then Dan and Patrick picked up their instruments and these 2 fish-belly white fellas from the basement of their mom’s place in Akron Ohio completely floored me.
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Now if my count is right.. with Beck, that TWO bands I want to see in the stadium this year. How is this happening?!?!?
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Also on the bill, are a lot of rumors about local bands. ‘Local’ boys Band of Horses, are big on the ticket this year. Our own The Valley are slated to play as well as the bluesy Staxx Bros. Also Partman Parthorse made the self-proclamation that they were going to be headlining the toilets. I’ll let Gary field that one.
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From Portland, !!! are due to play as well as Blitzen Trapper, and Dan Deacon.
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Know any others yet?
“No, YOU Listen!” – Hungarian Suicide Songbook from Man Plus
A quick refresher of the rules: The title must be said somewhat vehemently–emphasis on the ‘you’–while pointing your index finger at the tip of someone’s nose. Don’t say it if you’re not going to do it.
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So, I’ve been carrying around Hungarian Suicide Songbook, the sophomore release from Seattle’s Man Plus, for a few weeks now, hoping to find the time and inspiration to cough up a review of the album. I enjoy the emotional ramshackle-ness of the record, had seen them open up for Handsome Furs back at the end of April, and thought the band deserved at least some attention for a raucously fun and concurrently morose album. For some reason I had, and am having, trouble pinpointing their sound; and for a describer of music, that, my friends, is the quintessential frustration. From the 30,000 ft. level, I guess the music can be described as electro-pop-rock, but doing so would obviously omit many details. I could drop one plane down and say something like, “A turbulent exercise in sugary synthesizers and salty lyrics.” But, again, it doesn’t quite get the job done. Kudos to the band for stumping this listener.
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So maybe I’ll just tell you what I hear and you can make your own genre-bending decisions; sort of a different slant on the title’s instruction (”No, seriously, you listen“). Take, for example, the omnipresent lyrics of lead vocalist Jared Mills, easily the driving force behind the dismal and tormented guise the band layers beneath their catchy pop hooks. Subjects range from the unappealing disposition of crack-slingin’ prostitutes, to the historic despair of Hooverville, to the innocuous nature of ghosts, all in some way relating to the miserable and downtrodden of the world. I hear vocal similarities to Richard Butler (Psychedelic Furs), George Michael (Wham!), and Isaac Brock. Quite the variation, if you ask me.
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“Once in Awhile (Getting High Alone)” is my favorite track and one of the few featuring the guitar more prominently. The guitarist sets the tempo with a methodical rhythm chug, while Mills implores his friends to avoid the same narcotic mistakes he himself could not. The drums follow right along with a tight, staccato snare shimmy, while fluid keys float in and out of the background. The female vocals found throughout the record really mesh well on this track in particular.
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“My Kind of People” is a classic quiet/loud/quiet sentimental two-and-a-half-minute single, utilizing a bubbly synthesizer and lamenting (read: praising) those who share in the personal grief we’ve all felt. Misery loves company after all. “Cycloponomia” is an impressively moody song on an album filled with catchy choruses, using a song structure less familiar than the rest of the cuts. Not all is gloom and doom, however. A touching duet chauffeurs “Mexican Moon”, while the key-man caresses his sound into a tearful yet loving syncopation. “How do you say goodnight to a lover?” the singers ask; the answer is simple: Close the book on a Mexican Moon. Duh.
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In between their first record, We Had No Sex (2006), and Songbook, a lineup change seems to have sparked a creative shift in the band’s sound; so it’s understandable that the record comes off a bit chaotic and frenzied. And while it has the resonance of a young band starting over again (many of the songs fall into the customary pop-song formula of verse / chorus / verse / bridge / chorus), the potential for Man Plus to truly scar the local music scene is something we can all be optimistic about—even if they don’t have much optimism of their own.
