Seattle Subsonic - October, 2010
Sufjan Stevens at the Paramount
Sufjan Stevens is the most talented artist of our time. No joke. His performance last night at the Paramount is the factual reference I am using to back up this bold statement. This conceptual genius put on the most amazing display I have ever seen, he appealed to my visual just as much as my aural senses, as well as played with my emotions for the better part of roughly 2- 2.5 hours. I have always been a fan of Stevens way of creating music, his method of creating conceptual pieces off of an aforementioned topic took his music to another level. He creates to conjure up a feeling, a memory, a state, whatever. The Age of ADZ has nestled itself in my heart as perhaps Steven’s magnum opus of conceptual albums. All love stories that take place throughout history and the future. His ideas probably expanded beyond any time-space continuum I could comprehend, but thats okay because anyone can appreciate the theme, love, heartache, and madness.
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For his latest album Stevens drew upon many different sources, from his own heartache (which made this show particularly personal, and quite emotional to watch), to a schizophrenic southern gentleman who painted apocalyptic scenes from different eras from images that would appear to him. Sufjan would create a love-story during the apocalypse of the future and he would do it perfectly. Keeping the entire sold out audience on the edge of their seats the entire time.
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There was so much that went on during his performance that I feel like I will fail miserably trying to explain it all because I will miss some little subtlety that made the show just that much better. The light show which created a 3D effect whenever a mesh screen would come down in front of the band was such a great effect. There was one song of “jumping into the mouth of the volcano” as Stevens would put it, and the screen effects conjured up this rising lava that pushed the feeling of sinking into this epic death, complimenting the arrangement so well.
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The back screen had a range of visuals from a cartoon city being attacked by aliens with t the buildings moving in time with the music to a 80s style dance party where it was clips of what looked like an American Apparel ad girl on dancing on acid- but tastefully. Whenever the dance screen came on I think it was Stevens way of letting the crowd know that they could dance on these songs and it was okay- no judgment.
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Every part of the evening was perfectly orchestrated. Stevens came out and performed Seven Swans first, taking the audience to hell then heaven right from the start. Incorporating spooky Halloween noises throughout. He moved into all new material and told his stories. Towards the end he set the plot of him being a patient and the audience his therapist and he was letting go of all his demons- and it was this stretch of about 4 songs flowing into one another that really showed what a conceptual artist Stevens was. He took the audience threw a tale of heartbreak to madness and I was right there with him understanding and feeling all that he had wanted to convey with his music. The songs ranged from an 80s style rap video dance off with hype girls (with whom Stevens danced out some solid steps) to the mellowest kind of folk that was reminiscent of his style in Seven Swans. Oh yea and that was on the same song- he showed the audience that he could make it grand in two completely different ways. The limits this guy totally expanded last night really blew my mind. I felt like my brain was working out the entire time because of all the senses he engaged in just one show. He kept me enthralled from start to finish.
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After playing all of his new material, Steven said he had one more, throughout the entire show I kept thinking- in the spirit of epic love songs I really hope he plays Casmir Pulaski Day, I mean love doesn’t get any more genuine than that. But he ended on Chicago, and I wasn’t going to complain. A standing ovation ensued and finally Sufjan came back out by himself and walked up to the piano to played Concerning the UFO Sighting just breathtakingly. He was then joined onstage by a few of his band-members and captured my heart when they played Casmir Pulaski Day… perfectly, better than I could have ever imagined. Next he dedicated That Dress Looks Nice On You to one of his trombone/trumpet (I cant remember which) who wore a dress as part of his halloween costume. Just when I thought that was it, Stevens wowed me one more time by playing the most epic song of madness, keeping right in with his theme of the evening, ending with John Wayne Gacy Jr, haunting the crowd one last time.
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By the time I walked to of the beautiful Paramount Theater my head was spinning. I just couldn’t stop thinking about what an amazing show Sufjan Stevens put on. And this might be because I just saw Amadeus recently but I kept making comparisons of Stevens to Mozart- yea I said it- and I’ll back it up. Both of these artists talents being encouraged and nurtured by their [step]fathers from an early age they both have expanded the limits of music of there era. Mozart writing his music for the conceptual themes of operas and even composing his own death. Count Orsini Rosenberg once critiqued Mozart saying his music had too many notes- as though his brain could not process all of the notes that Mozart presented to him. This is exactly the kind of limits that Stevens is pushing today- incorporating new sounds into music making his concert not only about the aural but the visual and the emotional. He is a walking genius and I hope that he gets the kind of recognition he deserves.
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They picture- meh, its from my point of view at the show, and a broken camera- deal with it.
Mash Hall Using T2, Retirement Gimmicks, & Hilarious Butts To Pump Their Columbia City Show Tonight
How could I not post this? It’s the end of the Terminator for cryin’ out loud! OR IS IT…?
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You can listen to pretty much every single Mash Hall song here.
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Mash Hall
with Butts!!!!!!!!!!!!!!!!! (exclamation points mine)
& SST (huh?)
Columbia City Theatre
21+
$7
Deerhunter (with Real Estate!) Tonight At The Showbox
I don’t have much time today, but it’d be a big fat FAIL if I didn’t mention the Deerhunter show tonight at the Showbox Market. The Athens, GA band is touring in support of their latest album, Halcyon Digest, whose little throwback poster promo idea I fell victim to back in July. The band’s 4th LP is not quite on par with previous releases Microcastle/Weird Era Cont. or Cryptograms, but that’s mostly because the band took a slightly different route this time around. Eschewing the veils of smeared noise and ambient interludes, Halcyon Digest is much more straightforward in its method. “Revival”, “Don’t Cry” “Memory Boy”, “Fountain Stairs” are all fun, soulful pop ditties and the band’s love for that 50s bubblegum sound is tightly tethered throughout. It’s not without it’s weird moments, thankfully, with the noisome, shaky “Earthquake”, the eerie ghoul-pop of “Basement Scene”, and the richest, most emotional song they’ve penned yet: “Helicopter”. Watch the psychotropic faux-claustrophobia video for that one here.
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On the weird spectrum, their albums have definitely progressed from more to less, especially when you consider the Rainwater Cassette Exchange EP from last year. Which isn’t to say Halcyon Digest is bad—I quite like it, even if it feels stunted and incomplete. Deerhunter’s shows can also be, uh, contradictory. I’ve seen them their last three times through town, with varying results: The Microcastle tour back in November of 2008 was exquisite and their set at the Capitol Hill Block Party in July of 2009 was hamstrung by technical difficulties and a general lack of concern. They took the cake, however, during their show with Spoon back in April (which I never did a write up for). They ended up pissing off a lot of middle-aged Spoon fans by playing the Moore and not giving a fuck. The crowning moments during that (wonderful) train wreck were sometimes-guitarist Whitney Penny coming on stage to tackle and tickle Bradford Cox mid-song, and a 20-minute “version” of “Wash Off” that Cox altered the lyrics for and related to Cobain’s death anniversary. Cox was 27 at the time, the same age Cobain was at his death, and Cox couldn’t believe the irony that he was playing in Seattle at the age and on the date his hero died. It veered off into uncomfortable, ranting-about-grade-school-bullies territory, and completely deflated the crowd. Except for the few of us who stood and applauded afterward.
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I’d also like to recommend getting there early tonight for Real Estate. I reviewed their s/t album earlier in the year:
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If I may gush, “Fake Blues” is my absolute JAM right now. I simply can’t get enough. I replay it, and then I replay it, and then I switch to “Beach Comber” (my other absolute jam right now) and then replay it again. The former is a peppy and ironic take on a classic formula, Courtney confessing that he’s really got no business writing the blues. Life is good. The up and down rhythm of Matthew Mondanile’s high pitched Strat is hypnotic while the deep “timpani” drums gallop in the background. The latter is thoughtful twang, easy and breezy, gussied up for a waltz-y shoreline jaunt and laid out in the sand to bake. The album isn’t all catchy ditties, though, as the foursome wanders in and out of its own bliss to explore their tunes with a mature naiveté.
I also caught ‘em at the Block Party this year, and I can’t wait to hear what new stuff they have up their sleeve(s). So incredibly stoked!
Lovers At The Swanky Sorrento
Last week, in advance of their show, I publicly geeked out on the new record from Portland’s Lovers. As planned, the show went down this past Sunday at the Sorrento Hotel on the corner of Madison St and Terry Ave. Apparently, the hotel has been recently booking shows devised for their “Hotel 503″ series “where musically talented bands from Portland join us for an intimate acoustic set in the Fireside Room.” (503 is the area code for Portland, duh.) The Fireside Room is a swanky, old Seattle-era lounge not really set up for viewing music: listening, fine; viewing, not fine. There’s a huge circular bench in the center of the room and tables, chairs, and sofas scattered about the perimeter. It’s kind of an intimate, awkward venue set up for piano singers and other mellow, mild musicians where hotel patrons kind of stop in and gawk for moments at a time before opting for the soiled tavern stench of the tapless Hunt Club. That said, if you’re there to simply hear the music and have a cocktail, it suits just fine.
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I asked synth savant Kerby Ferris before the show if their electronic foundation would be pared down for the venue’s acoustic leaning, and she simply pointed to the band’s gear and retorted, “Uh, no.” But as I pointed out in my Dark Light review, the real force behind the band’s power is not some sort of in-your-face blastoid beat rave, but rather an acute emotional tug that comes from Cubby Berk‘s endearing voice and irresistible lyrics, a carefully dense electronic soundscape from Ferris, and Emily Kingan‘s attention to detail rather than brawn. Their music suited the space simply splendidly. The art-electro balladeers played most of the songs from Dark Light, plus a subtle version of “Igloos For Ojos” from I Am the West. They sounded practiced and polished—even taking a jazz club intermission—and the merch table absolutely blew up afterward. One young lady who missed the 7pm set still decided to pick up two albums on her way out and one couple came back three separate times for more souvenirs. People are sweet. Hearts were touched.
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If you check the band’s myspace, you’ll notice a US tour in the immediate future, so if you happen to be reading this in another city (I know, a reeeeeeeeeal long shot) check ‘em out. Below is a video of “Figure 8″, their blood-rushing #1 hit single.
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Elliott Smith: Wish You Were Here
John In The Morning always keeps me in the loop on musician birthdays and anniversary deaths (see: David Bowie), and today was no different. Seven years ago today (10/21), the great Elliott Smith took his own life (or so the story goes). He’s considered to be one of the great solo songwriters of our generation. What—you didn’t know that?
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I had only casual knowledge of Smith and his music back in the 90s. I wasn’t cognizant of his sound and style until he received an Oscar nomination in 1998 (how embarrassing!) for “Miss Misery” on the Good Will Hunting soundtrack. It was an excellent song choice for an excellent movie. Earlier this year, I noticed my CD shelf was severely lacking in Elliott Smith titles and ended up bolstering my collection with Roman Candle, Elliott Smith, Either/Or and the posthumously released From A Basement On A Hill (disclosure: Kill Rock Stars had a sale; so sue me). As I’ve never been one who veered towards quote/unquote singer-songwriters—I often prefer a good band and its instrument interplay—Smith holds a special place in my heart as one who easily transcended that personal bias.
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As such, I find his full-fledged, full-fleshed songs more appealing than most die hard fans. To each his own, right? The flawless Either/Or fits this mold and is the album of his I hold in the highest regard (they’re all good, of course). With songs like “Ballad of Big Nothing”, “Pictures of Me”, “Rose Parade” and “Cupid’s Trick”, he actually manages to sound upbeat. The Beatles meets Neil Young, I saw someone write, which is kind of a lazy comparison but it works. I know many of his fans relate to his music on a despondent or tragic level, but I’m different. I love his rollicking, carefree moments. There’s also his voice, though; that perfect voice that sounds like a peaceful wraith in constant agony. And maybe that’s what made him so beloved: that unique talent to touch his fans’ hearts in a variety of ways.
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Wish you were here, Steven “Elliott” Smith.
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Dark Light Is The Labor Of Lovers
From my little knothole, music intelligence seems to flow quite freely between PacNW hubs Seattle and Portland nowadays. Bands from each city frequently pogo back and forth for shows. Blogs and weeklys situated in one cover the scene of the other, and extensively. Musicians commonly relocate from one to the other. All this is to say that very few bands fly under the radar anymore. Except for some; and one I bet you might’ve overlooked in your failed quest for a four leaf clover is the art-electro balladeer triumvirate Lovers, currently heating up the PDX scene. For a band who’ve named themselves after the penultimate human emotion, who carry love as a central lyrical theme, and hail from a town that’s refreshingly simple to love, it’d be a shame not to focus on that one HUGE aspect of their music.
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Originally the brainchild of songwriter/vocalist Carolyn “Cubby” Berk, Lovers has evolved to also include drummer Emily Kingan and synth-maestro/back-up vocalist Kerby Ferris. Dark Light (Badman Recording Co.) is the band’s first release as a trio and its weighty, electro-based love songs will dig right into your heart, powerfully pull the strings, and then stick around long afterward to comfort your pain or conjure your spirit. The phrase ‘dark light’ is one of both hope and despair, and this album balances those two feelings well. The song compositions are protracted and multi-textured, the lyrics are dense, yet still Dark Light manages to be incredibly infectious: the conventional understanding of “catchy” has been completely challenged. This is not a record of dude-centric party-rock, simple pop ditties or even mindless nu-rave—conventional examples, I guess—but an intense emotional roller coaster set upon a warm, oscillating current. It’ll make you sweat, not from glossy dance floor high jinks, but from the goosebumping pinch to your nerves.
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Much of this emotional intensity comes from Berk herself. The group’s main singer is a clever wordsmith (“I make alliances / with the appliances”), a sage storyteller, and an enchanting vocalist. Ferris is her right-hand woman, peppering and painting a harmony-laden, digitized backdrop to Berk’s thought-provoking musings. The triangle is complete with Kingan filling the space using subtle skin strokes, mid-tempo rhythmic structures, and an impressive robotic fluency. Dark Light‘s first track, “Barnacle”, is reminiscent of the Postal Service follow up that never happened, particularly when those hand claps and drum clips catalyze the chorus. “You hold on, dear / like a barnacle on a ship of fears”, Berk imagines over a delicate, hovering keyboard syncopation. “Figure 8″ might be the hit single of the bunch, a real blood-rusher that hearkens back to the dark discos of decades past. Buoyed by Ferris’ MicroKorg rubber band undulation, Berk slyly pokes at religious bigots: “They try to shame us outta lovin, darlin’ / but they don’t pray as hard as I ache”. I guarantee you’ll ache right along with her.
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The album’s centerpiece is the slow-paced groove “Peppermint”, Kingan displaying her hauntological drum skills while Berk offers an alternative to the traditional sense of spirituality: “Redefine god / as something that you want”. As any agnostic can attest, this is a very liberating and moving idea; Berk is fully convinced in her proclamation. The left to right “laser” during the intro sears the ears and is one example of the top notch production bestowed by Badman label owner Dylan Magierek. The ramble of “Boxer” rumbles along, portraying lovers as vagabonds and drifters: “Boxer, don’t knock me down / Writer, don’t write me out / Stranger, let’s not stay estranged / Lover, are we goin’ separate ways? / And don’t I get a say?” Chillwavers will rejoice with “Shepherd of the Stray Hearts”, the one song with a guitar and a killer crescendo. I really have fallen for this album and these ladies, and I see no reason why you won’t too.
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Lovers will be embarking on a US tour this week, and the Seattle stop is this Sunday, October 24th, at the Sorrento Hotel (of all places). It’s free, all ages and will provide quite the glamorous backdrop for these DIY popsters from Portland. It’s okay to be square, just as long as you’re there.
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The Head and The Heart @ Neumos
This will be the first time that “The Head and The Heart” will play the Stage at Neumos. After an amazing rise to the top of the Seattle music scene over the last 6 months they will be playing an all-ages show to what i am sure will be a very packed venue. Make sure to come out to this as I am sure that it will be harder and harder to see them in this type of smaller venue. (since they have already played the Paramount) Come sing, Dance and feel the love in the room with The Head and The Heart.
Tue.Nov.02.10
STG Presents: Avi Buffalo, The Head and the Heart
:: Doors at 8pm :: $12 ADV ::
Advance tickets on sale at: [ticket locations] :: All Ages, Bar with ID
New Collabo DL: State of the Artist + Champagne Champagne
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SotA‘s latest album, Seattlecalifragilisticextrahelladopeness, came out in April. Uh, didn’t Mos Def already cop that Mary Poppins shiznit? Whatev, you can download the track over at Bandcamp. They at Chop Suey with Mad Rad on Thursday night. RSVP for free kinda deal.
Who's The Boss?
I dunno about you guys, but I’ll take Westerberg over Springsteen any day of the week. Good lord, I love the Replacements.
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Author’s note: I haughtily reserve the right to make comparisons based on personally pleasing sonic aesthetics and little else.
Seattle Weekly's Reverb Fest in Ballard
While most of the Festivals this year were more about national acts with a small side stage for Local. Seattle Weekly’s Reverb Fest is all about the home town bands. Happening this Saturday in Ballard the festival will cover every damn venue in Ballard with killer local music.
Heres a few you should catch
The Tractor Tavern
10pm: The Young Evils. Think Pop Rock thats not boring with clever lyrics and better music.
11pm: Ravenna Woods. Think of three guys with no electric instruments beating on whats ever available and picking at a guitar like its nobodies business.
12pm: Wild Orchard Children. If Rage Against The Machine and The Mars Volta took Peyote in the desert and made music together.
The Sunset
1030pm: Whalebones. Come out and hear one of the most amazing female drummers in Seattle, Her beats will rock you.
The 2 bit Saloon
530pm: Hobosexual. What a way to start out the night. These guys will Rock your fucking face off.
Salmon Bay Eagles
630pm M. Bison more local Pop Rock that is still really fucking good.
There are sooo many good bands to See. Its only 10 bucks! for the whole day!! what else you gonna do on Saturday?
yeah. thats what i thought.
