Seattle Subsonic - July, 2010
CHBP Sunday: THEESatisfaction
Prior to last weekend, I was merely a casual fan of the jazzercised bohemian musings of local eccentri-rappers THEESatisfaction. I’d listened to their LP Snowmotion several times, heard a few other .mp3′s, read countless internet accolades, and even copped out on a few of their shows. It never quite grabbed me. Their fractured take on the hip and the hop was weird and cool, yet without teeth sharp enough to cut into my consciousness. I certainly appreciated their unique, pro-everything au courant feminist stance and all the bizzaro business they were loopin’ into their “challenging” records. But it never quite grabbed me. With their Saturday set at Neumos, I had the perfect chance to hear the hype (indeed, their live shows have been given great reviews), and I would make a more informed decision. Trouble was, pretty much everyone else had the same idea. Neumos was straight packed; couldn’t see shit. With the place feeling like a crusty, alcohol soaked sauna, me and my trusty CHBP companion hit the exit. We found a handful of spill-overs drinking and bobbing their heads on the sidewalk on 10th Avenue. The sound was good, so we decided to stay too.
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Over the next 20 or 30 minutes, my view of the divergent dating duo totally transformed. The beats hit hard, the keys and the horns wafted wearily, and the voices floated out the door like two visionary banshees sending their queer and quirky message across the space-time continuum. There were rim-rattlers and crowd-pleasers. Thought-provokers and dance numbers. I was impressed. So impressed, in fact, that we made a point to hit up their Caffè Vita Bean Room performance for KEXP the next day (excellent show space, btw). They played 4 songs for Street Sounds, and the crowd was ample, if not overstuffed. There was free coffee and this new tune from the ladies they call Cat and Stasia. It’s called “Do You Have The Time?” and has a Roots-y feel-good vibe with some dope (-smokin’) overtones. Color me converted.
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CHBP Sunday: Real Estate
New Jersey’s comfy chill-rock act Real Estate is easily one of my favorite finds of 2010 (they’re self-titled record came out in November 2009 on Woodsist). Not one but TWO of their songs somehow became my concurrent Absolute Jams, “Beachcomber” and “Fake Blues”, back during a particularly bitter winter season. So when I’d heard they’d been recruited to play the third day of the Capitol Hill Block Party, I emphatically rejoiced. I mean, I made comments on Facebook about it and everything.
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Theirs was a late afternoon set around 6pm when the sun is just coming off its 5 o’clock peak performance. A slight breeze blew through the Pike corridor, cooling our skin and drifting our hair. There was no shoving or jostling in a (cheerful) crowd where elbow room was a surplus rather than a shortfall, and Real Estate’s easy, breezy guitar jangle came out from it’s submerged state to dance in the sun. “Beachcomber” was played first, then the crystalline waltz of the nostalgic “Pool Swimmers” and a real revved up rendition of the sweet ditty “Green River”. They played pretty much their entire self-titled LP (plus one groovy new one!) except for the Matthew Monandile-written instrumentals “Atlantic City” and “Let’s Rock the Beach”. Monandile, who moonlights as Ducktails all by his lonesome, unfortunately was absent. His replacement did an admirable job, despite frontman Martin Courtney’s frequent instruction (mostly via example, eye contact and word-mouthing). Bassist Alex Bleeker particularly enjoyed, and remarked on, all the weed smoke wafting up into his face. It was one of those perfect afternoons.
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As for my Absolute Jams, if “Beachcomber” sounded a bit placid, then “Fake Blues” certainly sounded a bit more peppy than usual. It was the highlight of one of my favorite sets all weekend, and lucky for me, I can relive it whenever I want:
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Streets For All Seattle Kickoff Party @ Nectar TONIGHT [July 29th]!!!
On July 29th a bunch of great local bands, the Mayor, members of the City Council, and a lot of people who believe cars aren’t the only way to traverse the city will be partying at Nectar Lounge. The Kickoff Party and Fundraiser is for the Streets For All Seattle non-profit campaign, which seeks to make walking, bicycling and transit the easiest means of transportation in Seattle.
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This blogger and avid biker/bus rider has been volunteering his time and passion for local music to get some kickass bands involved with the event. If you haven’t checked these groups out, I highly recommend seeming them live.
They are all pros at moving a crowd:
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Hot Bodies in Motion
(http://www.facebook.com/hotbodiesinmotion)
To the Sea
(http://www.myspace.com/totheseaband)
C-LEB
(http://www.myspace.com/c-leb)
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Come support a great organization and relish in the fact that your money will go towards supporting and growing alternative transportation in your own city (don’t let Portland keep showing us up). Plus, you’ll get to see fun bands, who are generously donating their time, while drinking beers alongside your local government; and that’s pretty rare!!! Better make sure you don’t say something dumb (leave that to me).
Say “Hi”, if you can find me [hint: check the bar].
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When: July 29th @ 7PM
Where: Nectar Lounge
Cost: $10 Suggested Donation
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For more info check out the Facebook event!
EXTEND BAR SERVICE HOURS POLL!!
The Mayor has released his new Nightlife initiative. He is getting feedback on it via an online poll. Please make sure you voice is heard!
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Take it HERE! It takes 5 minutes. If you want extended service hours, tell them here!
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Filling out this survery WILL really make a difference. PLEASE do this. And pass it on to other supporters of nightlife you know.
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It takes 5 minutes. If you want extended service hours, tell them here!
Who's Gonna Steam Up All Your Dancehalls?*
Why, Wolf Parade, of course. Is the downtown Showbox a true dancehall? No, probably not, but the Montreal quartet was in a surprisingly nightclubbin’ mood Monday night in Seattle as they continued their ticker tape parade for Expo 86. Arlen Thompsen, drummer, and Dante DeCaro, bassist, completely tipped the scales during the band’s second song “What Did My Lover Say (It Always Had To Go This Way)”, locking LOUDLY in step like rhythm soldiers on a dancefloor march. I’m not sure I ever appreciated the consistent bass thump on many of their songs, but maybe Thompsen, the band’s producer, had something special in mind when he cranked the level on his kick drum. The all-ages crowd absolutely ate it up and it turned the show into a bona fide dance party.
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Of course, the stimulating sweatfest came about not only because of the undeniable thump behind the band’s relentless tunes, but also because of its two-headed frontman. Spencer Krug introduced the show by saying they’d “play a mix of old and new songs”, to which Dan Boeckner augmented, “like a Royal Dinner Buffet”. They were, of course, telling the truth, as the 15-song set consisted of four songs from their debut, four songs from At Mount Zoomer, and seven from their latest. I was a little surprised that they skipped “Little Golden Age”, one of their best new songs, but they atoned by playing “In The Direction of the Moon”, an ominous and operatic rendition of one of Expo 86‘s most elaborate and tangled tunes. Hearing that one live (especially Boeckner’s pristine opening guitar riffs) made for a welcome surprise. Both Krug and Boeckner were gracious to no end, and Boeckner noted how much he appreciated the “house party vibe” going on in the front rows.
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Maybe he knows this and maybe he doesn’t, but he is responsible for so much of that intensity and pure energy that transfers to a crowd during a Wolf Parade show. The guy probably sings about the heart so much because that’s what his fabric is made up of. He’s all passion, all spirit, and all heart. Never was this more clear than during “This Heart’s On Fire”—a real fist pumper, literally—and on “Palm Road”, where he made his line “You said it’s killing me / it’s killing me” appear as if it actually might be. I’m sure I wasn’t the only one who thought his Muppet-like herky-jerkiness was its own little fascinating sideshow. I guess Krug gave him a run for his money, though, by disappearing constantly beneath his keyboards, as well as pumping his neck muscles like the queen of the Headbanger’s Ball.
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Some other observations: Krug continues to be one of the nicest and most sincere musicians working today. His constant smile and soft-spoken demeanor, contrasted blatantly by his aberrant and outlandish lyrics, are contagious. “Dear Sons and Daughters of Hungry Ghosts”, with it’s la la la la la la sing-along refrain, could no doubt be an Irish pub song if someone let it. “Soldier’s Grin” was the perfect first song. My photos all pretty much sucked, but I did shoot this nice little video of “California Dreamer”, complete with cheesy little band introductions and a bouncy floor. Set list after the jump/cut/fold/whatever.
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* From “Oh You, Old Thing”
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CHBP Saturday: !!!
Given the sardine-like state of the main stage this past weekend, I didn’t observe (visually) much of what went on at any of the shows I was present for. And, given the horrendous sound engineering, it’s a wonder I even heard anything (chuckle). The spastic Brooklyn dance-funkers !!! were an anticipated highlight of mine, and, logistical issues aside, it was a good show. The sound snafus eliminated from the songs much of their nuance (guitar, synths), reducing them to the overbearing parts of drum, vocals, and bass. Not necessarily a bad thing, still easy to dance to, but it just felt like being cheated.
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As such, I could really only focus on elastic cabinet-climbing frontman Nic Offer, who dutifully lived up to his restless reputation. The whole show had the feel of one big funky séance, as Offer’s jazz hands repeatedly rose from his feet to above his head, palms up, fingers twiddling, and neck craned backwards. The spirit of the crowd was continuously elevated to funky new heights. And if parts of the show didn’t feel like a religious experience, then maybe it felt like the Sexy Super Bowl of Aerobic Instruction, complete with tantalizing calisthenics, sensual cat growls, and pretty pirouettes from the tension-building teacher in short shorts.
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The set list was mostly culled from their forthcoming album Strange Weather, Isn’t It? and 2007′s Myth Takes. “AM/FM” led off, followed shortly thereafter by a very Prince-sounding “Must Be The Moon”. The thick build up of “Jamie, My Intentions Are Bass” sounded excellent, as did that spaghetti guitar on “Yadnus” (probably the only guitar I heard). I think “Heart of Hearts” was the finale (though I can’t fully remember). Make a note to see these guys if you haven’t already, just make sure it’s indoors somewhere.
2010 No Depression Festival @ Marymoor Park
2010 No Depression Festival
Live at Marymoor Park
Saturday, August 21 – Gates open at Noon
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The No Depression Festival features The Swell Season (Glen Hansgard and Marketa Irglova of the movie “Once”), folk/rock/country singer-songwriter Lucinda Williams, The Cave Singers, Punch Brothers, Alejandro Escovedo (No Depression’s 1998 Artist of the Decade), Chuck Prophet and Sera Cahoone. Tickets are $45 in advance (not including fees) and on sale now at Ticketmaster locations, online at Ticketmaster.com, by phone at 1-800-745-3000, or www.STGPresents.org.
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"Grunge Seattle" Book Release @ Moe Bar
It is well known that Seattle is the Mecca of all things grunge, but was it ever apparent why this was the case? What is it about this area that influenced musicians to create a style of music that, at least at the time, went completely against the grain? Grunge Seattle (written by Justin Henderson and published by Roaring Forties Press) takes a combination of all known Seattle grunge musicians and explains how the music they made came to be.
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If anyone wants to pick up a copy of the book, there will be a release party at Moe Bar (attached to Neumos) this Wednesday, July 28th at 8pm. Author Justin Henderson will be there – bring a story to tell, he’ll probably have a few for you as well!
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Seattle Grunge by Justin Henderson
As much of a cultural impact Grunge music had on the world, it didn’t really last all that long, at least not in its heyday. Then again, The Beatles lasted only seven years, and Jimi Hendrix made music for only four years, and they are considered some of the most influential of all time. Sometimes all it takes is to take a chance and hope your music connects with someone, which is ironic considering the majority of grunge musicians had no aspirations to be famous; they just wanted to make music.
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Grunge Seattle (written by Justin Henderson and published by Roaring Forties Press) takes a combination of all known Seattle grunge musicians and explains how the music they made came to be. It is well known that Seattle is the Mecca of all things grunge, but was it ever apparent why this was the case? What is it about this area that influenced musicians to create a style of music that, at least at the time, went completely against the grain? Henderson doesn’t just take this at face value, he does a good job explaining the history of the region, and how its pre-Microsoft isolation from the rest of the world created an atmosphere that was much less expensive to live in. One of the main reasons grunge musicians thrived in Seattle was because in the early to mid 80’s they could afford to!
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There were so many bands in Seattle at the time, and it wasn’t just a hobby, it was a lifestyle! A key point of the era is that the bands supported each other. They lived together, went to each other’s shows, worked day jobs together, and evolved together. Grunge is a rare style of music that can claim self-influence. It was no secret that bands ‘borrowed’ guitar riffs and drum rhythms from each other, in fact, it was encouraged. The grunge era of Seattle really was about community and giving each other support, until eventually the music evolved to a degree that the rest of the world paid attention.
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Grunge Seattle will be a treat to aficionados who have fond memories of grunge, both pre and post explosion. There are several references to ancient music clubs that don’t exist anymore, as well as thoughts from some of the impresarios of grunge: Bruce Pavitt and Jonathan Poneman of Sub-Pop records. There are also some good maps that are handy for reference to the locations of these clubs where it all happened.
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If anyone wants to pick up a copy of the book, there will be a release party at Moe Bar (attached to Neumos) this Wednesday, July 28th at 8pm. Justin Henderson will be there, and if you have a story to tell, he’ll probably have a few for you as well!
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CHBP Saturday: Happy Birthday
I was surprised to hear a few murmurs of Happy Birthday‘s set being “subdued” and “boring” because, well, I felt 180 degrees differently. I’m not afraid to admit that my love for a recorded album might cloud my perception of a live performance, but I just can’t get down with that for this one. Grubby party planner Kyle Thomas was provocatively electrocuting the crowd with BIG, HUGE power metal chords the entire set; it almost felt like his guitar was a monster truck crushing our swooning hearts with one cutesy song after another. Not to mention that his bandmates’ silky smooth backup harmonizing took off like glittering eagles. Especially from the throat of adorable drummer Ruth Garbus, who, to my eyes, looks like Carrie Brownstein, drums like Janet Weiss, and sings better than either. Did the ladies of Sleater-Kinney miraculously master female-to-female procreation?…What? It could happen…
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The Vermont trio started off with the coy, playful (like, uh, all their songs) “2 Shy”; you can peep my video of it below. Not the most (a)rousing tune in their catalog, but it opened the floodgates nicely. A couple songs in, a new tune called “Super Star” opened up in typical slow-rock balladry, but then kicked it into some sort of wacky Buddy Holly/Jerry Lee Lewis gear for the final stanza. “Perverted Girl” was slightly perverted in its live presentation. This is when Thomas, aka King Tuff, really started to lay it on thick with his ‘come-hither’ fancy fingering to the crowd. Most of his lyrics indicate he’s into women, but the sly gender-bending is a big part of his greasy appeal. After “Pink Strawberry Shake” and “Eyes Music”, another new song was unveiled, and at first I thought it was a cover of “Wild Thing”, but it wasn’t; just a friendly approximation of the guitar riff. “Girls FM” kind of felt like an unbeatable high-pop climax, but then came the incredible aftershock with the should-be-a-karaoke-mainstay heart-wrenching of “Subliminal Message”. Aaaaaaaah…
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P.S. Happy Birthday, why no “Cracked” or “Zit”?? Why-huh-huhyyyyy??
