Seattle Subsonic - June, 2008
Mass Bands @ Capitol Hill Block Party
| Friday, July 25, 2008 | ||
| 3:00 pm | ||
| Saturday, July 26, 2008 | ||
| 1:00 pm |
Whether you love this two-day, center-of-the-city’s-music-scene extravaganza (I’m pretty sure I use that word too much), or the logistical nightmare of too many stages and too many people gives you the willies, you can’t deny that this year’s lineup is top-notch. From Les Savy Fav to Past Lives, Fleet Foxes to Chromeo, DeVotchKa to Truckasauras, the Hold Steady to the Physics (and on and on), there’s something for most everyone.
Plus, (as in Man Plus) there’ll be some of the best people-watchin’ since your ex-brother-in-law dragged you along—quite literally—to the Mullet & Wife-Beater Convention in Greenbo, Alabama where the untold amounts of moonshine you consumed resulted in a freakishly bizarre scenario aboard a garbage barge putzing through the Hudson River. Holy moly.
Lineups after the jump…NOW WITH SET TIMES! (Update 7/16)
The Intelligence @ the Funhouse
| Saturday, July 19, 2008 | ||
| 9:30 pm |
I briefly mentioned the Intelligence in my post about the Wild Rose’s Pride celebration that took place this past weekend. Due to the surplus of margaritas I ingested, I regrettingly avoided seeing this lo-fi electro-garage band for a second time. I hope to NOT repeat that again (though, for the record, I will never avoid margaritas. NEVAH!).
Led by Lars Finberg, former drummer of the A Frames, this band churns out quick, spastic pop songs, often drenched in guitar fuzz and decorated with the quirky Mod stylings of a MicroKorg. The guitarist has one of those mustaches and simply dares you to look at him while he’s playing (or maybe he dares you to NOT look at him; I’m not quite sure). If you’re a fan of the Fall, or maybe even Devo, you’ll likely find a place in your heart for this dizzying, avant garde rock band. Finberg sings/moans about a lot of weird shit, but hearing a cultural reference or two on each song that you can “relate” to is inevitable. See this band, they are my new favorite.
Also on the bill:
Witch Hats (Australia)
Telepathic Liberation Army
The Broken Knives
$7
21+
RATATAT @ Neumos
| Monday, July 7, 2008 | ||
| 9:00 pm |
Lucky for us, the weirdos in RATATAT are coming through Sea-town twice (!) this summer, once here in July and again in September (the 5th of that month, I believe). I would urge you to see this 21 and over show at the more intimate Neumos, as opposed to the all ages turn at the Showbox Market (sorry Kids who don’t read this blog!!).
The instrumental electro-rock twosome (Evan & Mike to close friends) are releasing their 3rd LP, entitled LP3, July 8th on XL Records. Had I had a “best of” list from 2006, Classics would have been on it. They rock.
Update 7/1/08: this show has moved to Neumos. All tix will be honored there.
+ Special Guests
$16 adv / $18 dos
8pm // 21+
PartMan PartHorse @ West Seattle Easy Street
| Saturday, July 5, 2008 | ||
| 9:30 pm |
This show, which takes place “after hours” at my beloved West Seattle Easy Street, is being billed as ‘Easy Street Employee Night’, as in, employees with bands. PMPH’s Gary Smith, he of the pink underwear and sweaty torso, works at the Queen Anne location. I will always recommend PMPH because they are rad.
Ivan the Wheel (not too shabby) and Black Daisy will also be there for your entertainment.
$5
21+
Aqueduct, Man Plus @ High Dive (KEXP Audioasis)
| Saturday, July 5, 2008 | ||
| 6:00 pm |
Here’s yer details. Hot air balloon not included (I agree, it should be).
Man Plus is cool, Aqueduct is popular; nuff said.
$7adv / $8DOS
21+
Ryan Montbleau Band Take the Stage
Ok, he’s not from Seattle, or anywhere close to the northwest for that matter. But he’s too fucking good not to spread the word, if in fact the word hasn’t been spread already. Massachussets’ Ryan Montbleau and band blew me away at the Tractor Friday night. My buddy from Boston had been pitching Montbleau’s upcoming Seattle show for months. I had an inkling based on Nick’s musical interests I’d be walking into some sort of funk, jazz, and/or bluegrass scene. Not necessarily my favorite (the funk and jazz aspects), but hey, I’d committed to the show and I wasn’t backing out.
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I briefly myspaced the Ryan Montbleau Band at work Friday. Halfway through one song, I switched back to the M83 album I’d been listening to before (indeed a music critic faux-pas). I’m not kicking myself for this, because some artists simply must be seen live in order to be fully appreciated. Montbleau is a prime example. If you aren’t initially captivated by his inherent sound or genre on disc, I promise you’ll be spellbound if you catch him live. He’s not just a radical guitarist and brilliant lyricist, he absolutely shines as a performer. And with an equally outstanding 5-piece band to boot, my $12 ticket felt worthy of $50+.
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Before I delve into just how fantastic he is, I’ll share the inside scoop on Montbleau prior to his musical outbreak. I can’t promise the details are exactly correct (turns out a friend of a friend’s ex-boyfriend used to live with this guy… something like that), but it goes something like this. Several years ago, for one reason or another, Montbleau and his girlfriend were residing in different cities. Montbleau, the romantic he is, struggled deeply with this and fueled his depression and bitterness towards learning the guitar. He’d never played before, but over the course of two years became quite good. Within the first year, he’d sing and pick and strum his guitar to the dismay of his roommates. Apparently he was so terrible they’d tell him to shut up, shut up, SHUT UP. But one day, close to two years later, one of his roommates realized Montbleau sounded quite good. In fact, he realized, Montbleau sounded fucking brilliant.
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The rest is history (Montbleau has 4 albums out to date, his first was released in 2002 and his most recent in 2007).
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Montbleau has a phenomenal voice. It’s strikingly similar to indie pop-rocker Eric Hutchinson, who, strangely enough played in town Friday night as well (Neumo’s). However, I’m compelled to reverse the order of comparison here. Montbleau’s voice is far more powerful, and as a result far more compelling. It’s striking, stable, soulful. He sings sweet, light-hearted, sometimes silly romantic tales with outright determination.
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His music is a melange of genres. Soul, funk, jazz, pop, acoustic, bluegrass, roots, hippy, folk. Sunny melodies you can’t help bop your head and stomp your feet to. Last night, the band was comprised of a drummer, a second percussionist, a cellist, a violinist, a keyboardist, and Montbleau of course. Perched on a stool, guitar in hand, Montbleau sang and plucked and tore through aesthetic, complex harmonies, both electric and acoustic. Individually, the rest of the band were equally mindblowing. Their product is a rich, complex and powerful sound.
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In addition to being an outstanding artist, Montbleau’s a charmer to top things off. Oblivious of his own charisma, he has stage presence few artists can fathom. His adorable boyish looks, crooked smile, short mop of hair, grassroots style and genuine character do no harm in propelling his humble but goofy persona. And the passion he displays on stage is gravitating.
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Check out Montbleau here. My favorites from what I’ve been exposed to so far are “Stretch” off One Fine Color (2006) and “75 and Sunny” off Patience On Friday (2007). And next time he rolls into town, CHECK HIM OUT!! You won’t be dissapointed.
Coffee? Tea? TSK?
The Saturday Knights continue to amaze. This is quite possibly the greatest thing I’ve ever heard. Local acts take note:
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“There’s a personal quality that’s so unique. As a label, that’s the frustrating thing. How do you show that to the world?”
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The answer Light in the Attic has found so far: by matching creativity with creativity. In April, when it came time to present local press with promotional copies of the album, rather than mail generic CDRs, Spencer and Tilson personally accompanied reporters on a listening drive around the city in Tilson’s Land Rover. National media types were recently sent “The Luxury Pamphlet Coloring Book,” an absurdist press release packaged as a 12-page coloring book; TSK-branded, tree-shaped air fresheners; plaid elbow patches (the key to sophisticated, sexy appeal as described in the song “Patches”); and a TSK-branded in-flight meal tray, stocked with a TSK barf bag and towelette, a bag of peanuts and a spork.”
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From the Seattle Times.
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P.S. The Saturday Knights CD Release Party is TONIGHT(!!!) @ Nectar.
*New* Video from Feral Children - “Spy/Glass House”
One of our preferred local bands here at SS, Feral Children, has once again benefited from their signing to Sarathan Records earlier this year. With the free-ness with which they’re offering the teaser EP, and now a music video (!), the label is really trying to get the word out; and for good reason. And that reason is that the music’s really good.
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Directed by local comedy duo Black Daisy (KEXP dj Troy Nelson is one half), the sequence of the guy shooting ballpoint pen arrows towards the end is pretty cool. Here’s said video for “Spy/Glass House”, one of the more, shall we say, murderous songs in their catalogue. Hmmm, yes, murderous.
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The newly-minted Second to the Last Frontier will get it’s proper label release July 8th (but, of course, all us real fans know you could’ve got it last year).
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HT: KEXP Blog
“No, YOU Listen!” — At Mount Zoomer by Wolf Parade
I still remember the first time I heard “Disco Sheets”, randomly one morning in the car on the way to work. After frantically searching through KEXP’s playlist, I discovered Wolf Parade. When Apologies to the Queen Mary came out later that year, I was shocked that the track list didn’t include that bombardier of a song—tells you a little something about the quality of the Montreal band’s debut.
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That Apologies went on to critical and sustained success was a surprise to virtually no one. Not only was it produced by one of the most explosive songwriters of the past decade—Isaac Brock—but the band had, and has, binding ties to another rocket to recently soar out of Montreal: Arcade Fire. I’m not sure if I’m astounded or simply content that the inception of Wolf Parade came about because Spencer Krug just needed somebody to help him out in supporting one of Arcade Fire’s initial tours; or that drummer Arlen Thompson and AF guitarist Tim Kingsbury each did time on the other’s debut record; or that Wolf Parade recorded half of At Mount Zoomer in the very same church-cum-studio as Neon Bible. Truth is, it just makes sense that these two brilliant bands are undeniably linked.
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So where does that leave us today? Eager fans have patiently (read: impatiently!) awaited the second record from this multifarious and sidetracked band while its two principle members have wandered in and out of various side projects. And despite what you may be thinking, I’m not going to sit here and tell you that At Mount Zoomer is superior to Apologies, because it’s probably not. But I will sit here and tell you that it is a damn fine record.
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Where Apologies is rife with spectral and brooding imagery, tinged at times with unabashed optimism, the moods on Zoomer are consistently more upbeat, if not more progressive. Wolf Parade retains what they do best, however, and many of the songs still come off sort of weird and distant, yet all together heartfelt. Dan Boeckner, to be sure, retains his derision for modern amenities when he sings “All this work and / just to tear it down” in “Language City,” easily one of the most affecting and inspiring songs on the album. The lead guitarist later does his best interpretation of the Cars’ 80s romanticism on “Fine Young Cannibal”, a twisty turn of piano-woven balladry. And if Krug tends toward extravagance and complexity, Boeckner has refined and perfected his own songwriting. His lyricism, in particular, is on point during album opener “Soldier’s Grin” when he soulfully declares “And I rode horse-shaped fire / draggin’ stereo wire”.
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The band has stated that Zoomer’s songs were written more collaboratively this time around (I read the word “Marxist” somewhere), but I’m not sure I believe them, quite frankly. Yes, Dante DeCaro’s impact is palpable, along with the knob-twistings of Hadji Bakara; but Krug finds himself ensconced in a truly decadent period of his own composition, à la David Bowie during the Aladdin Sane/Diamond Dogs era. His highly wrought contributions to “An Animal In Your Care”, “Kissing The Beehive” and “California Dreamer”—probably my favorite of Zoomer’s nine tracks—exhibit as much. The great thing about Wolf Parade as a singular unit, however, is its ability to tighten the reins on his sometimes-laborious Sunset Rubdown-type escapades to create a succinctly wonderful piece. “Kissing The Beehive”, you may have heard, is an 11-minute opus that sounds more ridiculous than it actually is. Savor the moment both vocalists share the spotlight on that one.
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In the end, Krug’s voice remains a defining element of Wolf Parade’s sound, along with Boeckner’s “hearts on fire” temperament and Thompson’s above-the-fray drumming. Please don’t make the mistake of chalking this up to self-serious prog-rock. Put on the headphones and discover for yourself.
Mt St Helen’s Vietnam Band DEBUT @ Neumo’s
| Thursday, July 31, 2008 | ||
| 8:00 pm |
Thursday, July 31st @ Neumo’s
8pm
$8
All Ages
This is Mt. St. Helens Vietnam Band’s debut. MORE THAN WORTH YOUR TIME TO CHECK OUT. They’ve got a rockin’, upbeat vibe, and plenty fun stuff happening on guitar. Playing alongside are BOAT - a crowd-pleasing, light-hearted indie/pop trio who play happy, catchy tunes that literally, float your boat.
Joshua Morrison, FENCES @ Triple Door
| Monday, July 14, 2008 | ||
| 7:30 pm |
Monday, July 14th @ The Triple Door
7:30pm
$10
All Ages
Outstanding lineup at the Triple Door on July 14th! While on brief leave from the military, Washington native Joshua Morrison will be back in town to grace us a soulful acoustic gig at The Triple Door. Opening for him are the FENCES, a brilliant new catch on the Seattle music scene NOT to be missed (read SeattleSubsonic’s lil blurb on FENCES here). Also on the bill is Kristen Ward, who I’ve heard quite a bit of buzz about lately….
FENCES….vs Wolf
Local bookers/management group Expanding Brooklyn (Joshua Morrison) have hold of yet another outstanding local singer-songwriter, the FENCES. Genre: indie/shoegaze/grime according to their myspace page. Shoegaze. Perfectly fitting for this acoustic solo project. Their melancholic tunes launch me into my own introspective world, where I indeed find myself staring down, not-so-blankly, at my shoes. FENCES is essentially Chris Mansfield, stamped in tattoos and surprisingly much rougher-looking on the surface than his music suggests. Which makes him all the more appealing, in my mind at least. A refreshing diversion from most singer-songwriters. And for an artist that leans toward the mellow end of the spectrum, he distills plenty grime to draw a versatile crowd. Mansfield’s vocals are gruff but gentle, soft-spoken and a little shy. His thoughtfully simple lyrics and reflective stories are tainted at times (The Boys Around Here) and hopeful at others (The Same Tattoos).
I’m ecstatic to have been introduced to this talented folk-rocker, and will no doubt follow his outbreak onto the Seattle music scene. For now, FENCES myspace page is all we have to refer to. Check it out here, and keep a lookout for the ‘Ultimate Puke’ EP, due for release on August 22nd. FENCES will be playing the Triple Door on July 14th alongside fellow singer-songwriter Joshua Morrison (another SeattleSubsonic fave - you can read more about Morrison here).
