Seattle Subsonic - November, 2011
Out Like Pluto Video, Bridge, Take Cover
I quite like Out Like Pluto. They’re fun. They err on the side of pop but not in a soft, fluffy way for they do indeed rock quite well at times, and they even took to heart my suggestion for a second guitar player to beef up the sound. They’ve been recording, mixing, and mastering these past few months for a new record entitled Take Cover that will drop early next year with a CD release show/party at the Kingcat on Friday, January 13th. More on that as the date approaches as they’ve been kind enough to promise me an advance copy of the CD tracks.
What they’ve also been doing these past few months is video editing. I wrote briefly about their video shoot and the Men’s Room Original Red back in July, and last night they finally released the video for their first single from Take Cover. The song is called “Bridge”. Check it out.
Good stuff. And a good party. Yours truly can be spotted early on eating a potato chip in the background before all that “research” into the Men’s Room Original Red kicked in and cast a haze over things.
Happy Birthday, Happy Day of the Dead, Julia Massey, Please Forget Me
On Saturday, November 5th, I had two obligations. First, there was a birthday party at the Skylark Cafe for Troy Nelson of the Young Evils. I certainly didn’t have to stop by, but he’d been kind enough to buy a book so I figured it was the decent thing to stop in and wish him a happy one and say thanks. The other thing was at The Crocodile. Julia Massey and the Five Finger Discount were playing for the Croc’s Dia De Los Muertos celebration. I’d met Julia once before, and like Troy, she’d been kind enough to buy a book. I thought, thus, to stop by and catch her band and if I liked them, perhaps jot down a few kind words about the show.
And I did.
I went from the Skylark (“Happy Birthday”) to the Crocodile (“Happy Day of the Dead”) where I had a beer and a gifted shot from the bass player of Sightseer who was there to see the opener, Goat. Julia was second on the bill so another beer and gifted shot later, she took the stage with Geoff B. Gibbs (bass) and Dominic Cortese (drums), and there were light bouncy chords on the piano and some clicking of sticks and cymbols before the rhythm came in and the bodies in the audience that were not scribbling in notebooks moved to the beat. They label themselves as cosmic folk rock, and it’s an apt description. They do use distortion sometimes, but as an effect, not for the overall tone.
They’re poppy and a little spacey. They look like they feel good up on the stage, even when dressed appropriately for Dia De Los Muertos, and that vibe comes through to the audience where it mixes with the beers and the gifted shots that somehow keep coming as I write things like “cool slap groove … big chords in the middle … little bass solo!” during a song called “Back Door Open”. The bass is a driving element in the band, and Gibbs is quite good at taking a dominant role but not overshadowing the others. They mix their sounds well. Massey’s voice echoes much of Regina Spektor, especially on tracks like “Aghodoe” which in moments also reminds me of Pink Floyd’s “High Hopes” in the progression underneath her plea, “Please forget me.”
Please forget me? Can’t do it, Julia.
At the end of “Aghodoe”, another shot arrives for me, and I’m glad I’m taking a taxi tonight, glad I can let the drinks mix with the goodness of songs like “Skatepark” (my favorite) and “Is There Room For Me?” A drunk guy attaches himself to me, asks about the book and how it’s doing, questions that I would normally be happy to answer, but in the moment, I want to listen to that vibe on the stage that makes me feel good like anything labeled “cosmic” should.
The bass goes on, at times distorted, at times on an electric upright with a bow. The gifted shots stop coming so I buy my own, tequila, and give a toast to the band as Julia sings, “You can do whatever you want …” Indeed. The music does give me high hopes, and no matter the pleas in the middle and end of a certain song, I definitely cannot forget it.
After the show, I go backstage, and there are pictures taken of the band. Gibbs shows me his effects board and lets me play his bass a little, and I get the idea that I should do this after every show I like. And later, in the back of a taxi on the way back to the Skylark for more birthday wishes and shots, I think, yes, I will definitely write a few kind words about Julia’s band. Their next Seattle gig is Friday, November 25th at the Musiquarium Lounge. I don’t know where that is, but I’ll find it. You should too.
Photos by Sandy Lane.
More photos on our Facebook Page
CORRECTION: Julia Massey and the Five Finger Discount will next be playing December 1st at the Hard Rock Cafe. The Musiquarium gig, it seems, is not happening. See you at the Hard Rock.
The Young Evils at the Tractor, Denied Again, More Evil and Less Young
Note: Here’s another post that was neglected because of my own book. My apologies, thus, to the Young Evils for being so slow in writing about the show.
I had the opportunity to see the Young Evils on October 1st at the Tractor, and I was a little excited for two reasons. First, I do like the music. I’ve listened to Enchanted Chapel a number of times, and I’ve seen them a couple of times as well. They play a fun, soothing pop about as straight ahead as it can be played. Makes for a good evening of listening and beer drinking and scribbling notes in a notebook.
The second reason I was excited was because even though I’d seen them twice and written about them once, I’d never seen the full on Young Evils. I’d only ever caught the stripped down acoustic shows. Thus, I’d never seen Faustine Hudson play drums. I’d heard she was good, and being a bass player, I’m always curious to hear good drummers, meet them, talk a bit about music and rhythm and slow grooves. I was even denied seeing her play with Shelby Earl at the Bourbon and Broads show in mid-September. Just like the Young Evils, Shelby played acoustic. Faustine played a tambourine. I wanted drums. Damn!
So I got to the Tractor, gave my name at the door, “I should be on the list.” The guy working the door looked over his papers, flipped one, then another. “Uh, your name’s not here.” My first thought was, of course, Denied Again. Damn! I wasn’t on the list. Young Evils’ frontman, Troy Nelson, had assured me that I’d be on the list, that they’d get me in, that I could see the full band with drums and all. “Are you sure?” I asked. The guy looked over the list again. “Your name’s not here. Sorry, dude.”
I went outside wondering what to do. I could buy a ticket, of course, or I could take it as some kind of sign that I just was not meant to see Hudson play, but the band walked up then. They’d been up the street enjoying a drink before the show. I spoke to Troy, “They don’t have me on the list.” He laughed, “Yeah, man, we’re just messing with you since we knew you hadn’t seen Faustine play.” There was some general laughter. “We even thought of having Fasustine play only tambourine the first song or two and see how you reacted.” I smile and laugh too. I have to admit that would have been funny, and their intentional forgetting to put me on the list is too. “Come on,” Troy continues, “We’ll get you in.”
And they did.
And when they took the stage, Hudson was there behind the drums drumming quite well. The things I’d heard were true. She’s very good. They played songs from their CD and some new songs. The new stuff was good, a little edgier, a little darker. In my mind, it was more evil, less young. They have a solid line up now. They’ve toured. I look forward to next record and the new songs like “The Devil’s Barricade” which I noted as starting with clapping, clicking sticks, an alternating vocal, more rocking tune. There was big applause after that one. Another new one was “Somebody that Nobody Knows” which had a slower kind of groove than usual for them. Perhaps, it was the blond in the see through white shirt that was grooving on her own, but that tune struck me. The groove was good. Again, I thought and then wrote, “More Evil and Less Young.” Good stuff.
They’ll be at the Rendezvous on Saturday, November 19. It’s a small venue so get your tickets now. See you there.
Starving Artists on Parade, Noc Noc, Horse Bite
I’ll be at the Noc Noc on Monday, November 21 with a few of my books. I’ll be signing and sipping a few beers and listening to and watching the variety of performers, artists, and musicians. Come say hi, especially if you’re in a band and want a SeattleSubsonic review of an upcoming show.
Taken straight from the Facebook Event page:
Starving Artist on Parade is a true variety night like no other. This month we have burlesque, bellydance, music, magic, mayhem and more! Come out and see what your friends have been talking about. Show starts at 8 and with only a $3 cover and Happy Hour ALL night, you cant lose! See you there!
Live band: Pri Prizm
Live music: Ronald McFondle & Billy the Fridge
Singing: Kelly Mother F#
Bellydance: Seraphina Fiero
Magic: Acep
DJ: Stella Vaughn & DJ Nodak
Sideshow/ Host: Twisted Trystan
Vendors:
Haut Under the Collar
Bisected Beauty
La Vie Macabre
Book sale by all local authors: Raven McCracken and Dave O'Leary
It should be a good time, and with happy hour prices all night ($3.00 beers!), what’s not to like?
What: Starving Artists on Parade
When: Monday, Movember 21. 8:00 – 11:00
Where: Noc Noc. 1516 2nd ave, Seattle, WA
Cost: $3.00 cover. Happy hour all night.
Starving Artists on Parade, Noc Noc, Horse Bite
I’ll be at the Noc Noc on Monday, November 21 with a few of my books. I’ll be signing and sipping a few beers and listening to and watching the variety of performers, artists, and musicians. Come say hi, especially if you’re in a band and want a SeattleSubsonic review of an upcoming show.
Taken straight from the Facebook Event page:
Starving Artist on Parade is a true variety night like no other. This month we have burlesque, bellydance, music, magic, mayhem and more! Come out and see what your friends have been talking about. Show starts at 8 and with only a $3 cover and Happy Hour ALL night, you cant lose! See you there!
Live band: Pri Prizm
Live music: Ronald McFondle & Billy the Fridge
Singing: Kelly Mother F#
Bellydance: Seraphina Fiero
Magic: Acep
DJ: Stella Vaughn & DJ Nodak
Sideshow/ Host: Twisted Trystan
Vendors:
Haut Under the Collar
Bisected Beauty
La Vie Macabre
Book sale by all local authors: Raven McCracken and Dave O'Leary
It should be a good time, and with happy hour prices all night ($3.00 beers!), what’s not to like?
What: Starving Artists on Parade
When: Monday, Movember 21. 8:00 – 11:00
Where: Noc Noc. 1516 2nd ave, Seattle, WA
Cost: $3.00 cover. Happy hour all night.
Bourbon and Broads and Shakers and No Bass
Due to the release of my own book, I fell pretty far behind on my writings for Seattle Subsonic so my apologies to our readers and the bands and clubs. Fear not, though, as I’ll get back into the swing of things here today with the first of a few short blurbs and/or photos in an effort to get at least somewhat caught up.
First then: Bourbon & Broads
Here’s the preview I did for the show. I was looking forward to this night mainly for two reasons. First, I wanted to see Faustine Hudson play drums for Shelby Earl. For those who don’t know, Hudson also plays drums for The Young Evils. I’d seen them twice, and written about them once, but both shows were stripped down acoustic sets. She played shakers and tambourines and generally grooved on stage, but she didn’t play drums. Hearing that she’s quite the drummer, I was eager to see but never had. So then, what do I see at the Neptune? Shelby Earl doing her beautiful music with an acoustic guitar, and Faustine Hudson armed again with shakers and tambourines and generally grooving about the stage creating a good vibe, but alas, not sitting and playing the drums. Maybe someday.
The second reason I was eager for the show (well, in addition to all the bourbon to be had) was to see Betsy Olson. She does a bassless, drum and guitar duo that from the video of “Waitin’” that I embedded in my preview article, I thought would be pretty cool. And there she came on late with her guitar and Sera Cahoone on drums, and they did their thing, but maybe there’s something I’m missing with all the bands that seem to be doing this thing of leaving the bass player out of the picture. Some bands do it well (Lemolo and Phantogram come to mind), but some bands leave a big gaping hole right there in the middle between the guitar and the drums. It’s pretty small at first because the musicians are good, and the music does rock, but with each song, it grows. It becomes more obvious that something is missing. That something is bass. It was such at the Neptune. Olson and Cahoone are good, but there was that something missing.
I asked Olson after the show why they didn’t have a bass player, and she said, “Because I like the energy we have. I don’t think we need it.” Fair enough, but then she added, “I had one on the record though.” This surprised me since she was satisfied with the energy without the bass. “Why,” I asked. “Because it filled it out more.” Uhh … my thoughts exactly. If they add a bass player live, I’ll be right there grooving along. Until then, maybe I’ll just listen to the record.
Photos by Sandy Lane
More photos on our Facebook Page
