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The 4 Bands I Saw @ CHBP
I did intend to catch more than four bands at this year’s Cap Hill Block Party, but after 4-5 hours of insanity I felt I’d experienced enough BP action to feel more than fulfilled. It’s true, each of the bands I saw were fantastic and I definitely got plenty utility out of the 20 bones spent on my ticket. I simply bailed early on Saturday evening (around 9:30, eek) because I yearned to regain my small hemisphere of personal space that had been suffocated for 4+ hours. Too many tickets sold? This is an understatement.
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1) I strolled in around 5:20 or so, and made a break for the Vera Stage to catch Man Plus. I arrived 10 minutes later after squeezing and pushing and squirming past the rest of Seattle compressed within that one block radius separating entrance from Vera Stage.
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Now, I’ve seen Man Plus before (read LB’s spot-on post on the band here), as a 2-man, 1-woman show. However, this afternoon Man Plus showed up in its entirety as a full 5-bodied gig. I admit, both shows - the 3-piece set at High Dive’s Audioasis last month and 5-piece set on Saturday - were equally compelling. This goes to show how f’awesome this band is to pull off such outrageous performances with or without all band-members in tow.
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Here’s why I’m so high on this band: lead-singer Jared has alluring grunge-era vocals and untamed stage presence. Manat creates magic behind his synth or whatever piece of machinery he stands behind. And Ellen provides a lady-like element on vox that adds just the right measure of innocence to Man Plus’ intense and exacerbated sound. Jared comfortably fits the bill as the band’s alt-grunge-electro-punk-rock frontman (or whatever you want to call them). Hints of Cobain when screaming rage in Smells Like Teen Spirit, seep from the kid. Bleak, unmasked lyrics are delivered via heavy, blunt, manic vocals which he vehemently throws his whole (oh so slim) body into. Man Plus’ sound comes as close as I’ve felt in years to reminiscing back to the early 90’s. I’m sure this is far from MP’s intentions, but I can’t help but feel a twinge of that energy. Jared (first name is all I have to refer to) physically and emotionally launches himself into his music when performing. At both shows I’ve attended he’s jumped offstage to join the crowd - sweat flying, limbs flailing, trusting himself to the ways and whims of the audience. I feel like a giddy teen admitting this, but it was a welcome surprise at both shows and all too exciting! Check out the snapshot of how intimate and interactive a show Man Plus deliver!
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2) On to band two of the evening. I have very little to write in review of this band since I could hardly hear them. Granted, I was in the beer garden, just right and perhaps slightly behind the main stage. But this shouldn’t have totally cut me off what was going on up there. Dude, what was up with the sound at the main stage?
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Anyhow - the band was Fleet Foxes. Next time I see them live, and there will undoubtedly be a next time, I will make sure to catch them at an indoor venue so as to soak in every inkling of bliss they pulse. Apparently the Fleet Foxes were themselves weary of how they’d sound outdoors vs. indoors.
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3) Chromeo. I ditched the beer garden in lieu of getting closer to the main stage so I could fully engage in this gig. WOW did they stun. Chromeo are good friends David 1 (older brother of A-Trak) and P-Thugg - an intriguing east-coast Jewish/Arab duo who played a crowd-pleasing, upbeat, poppy electro/funk/rock set that had us Seattle fans clapping, dancing, and unabashedly bopping our heads. Even after they finished playing their one-song encore -bless ‘em - I left wanting to hear more. They definitely set an uplifting mood to the evening.
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4) Last but not least, local crew Velella Velella topped my night at the King Cobra stage. I’d heard VV on JITMAN (read leDoux’s post here if you don’t know what this stands for) some time ago and haven’t forgotten the name since. They’ve got a groovy, sexy, energetic sound happenin’ and they’re a blast live. Fluid, funky, jazzy, and oh so diggable.
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There you have it, my humble CHBP adventures of 2008.
The Upperhand
I confess I’ve been sitting on a particular disc for well over two months now. And I feel quite guilty about it ‘cuz it’s turned out to be one of the most intriguing albums I’ve stumbled upon this year. At long last, I’m hear to spread the word on this lil’ gem of a band, a seemingly unknown local foursome that have literally blown me away over the last few months.
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When the Upperhand reached out to us here at SS back in April, I wasn’t yet a minute into “Oceans in Kansas” on their myspace before I called our editor, Mr. leDoux to jump on a review. Sure, whether it be positive or negative, it can be stupefying to judge a band this quickly. But as I continued to listen, the Upperhand kept incrementally astounding me. The more I absorbed, the more gravitating and fascinating they became. Coming from someone who was already taken upon first listen, the Upperhand has not ceased to grow on me.
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“Oceans in Kansas” and “Day” were the only two tracks I had access to before I received The Sailing and Sinking of the S.S. Ridiculous in the mail. Little did I know these two tracks would be a mere introduction into the breadth and depth of their music. Yes, the album title is fantastically quirky, and if you’re able to access a physical copy of the album (buy it here), the cover art is as creatively outlandish in nature. This, and the fact that they are for the most part unheard of, speaks to how curious the Upperhand are. They have only 8500 or so hits on their myspace page, and this count includes the significant number I’ve inadvertently contributed thus far. I’m still scratching my head, the Upperhand have serious potential to cause a stirring here in Seattle.
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Lead singer Nate Hill’s vocals are brilliantly memorable and one of the main draws to the Upperhand without doubt. The closest comparison that comes to mind is Ryan Adams, inclusive of the interspersing alt-country twang, though all in all more distinctively folk rather than country. Resonating deep from his chest, Hill’s voice also exudes a pleasant nasal quality as well. These attributes, in addition to the peculiarly alluring grumbling of lyrics that pepper his predominantly soothing and fragile vocals, produce a uniquely appealing and versatile sound. This may sound comical, but at times Hill almost sounds like a roaring Oscar the Grouch. Regardless, I’m certainly not doing justice in simply saying his voice is aesthetic and striking. You must take a listen for yourself.
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Having soaked in the beauty of Hill’s voice, the underlying instrumental flow is the next equally remarkable feature unique to the Upperhand. Guided by piano-based melodies, alt-country, blues and jazz undertones creep in to form a mesmerizing and fluid soundscape. Drum, bass and keys repeatedly shift in momentum throughout their tracks, creating a rhythmic ebb and flow throughout. Breaks in song are commonly introduced, and always smoothly transition from one to the next. Eight of the Upperhand’s 9 tracks on The Sinking are lyrical, with the final track, “Aggressive Positions”, purely instrumental (well, save for the Aaaaaaaaaah Shit that pops out of someone’s mouth at the end). Plenty buffer time within each of the lyrical tracks amplify instrumental and jamband elements to the quartet. Their music is a melodic adventure led by acoustic keys, a unique rolling beat, and compelling play on guitar and bass that all come together to produce a textured and refreshing sound.
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And I’m not done - the Upperhand show plenty girth in the quality of their songwriting. Hill is a talented storyteller and whether his tainted tales are true or fictitious, they are powerful, thematic and metaphorical. Delving into the intricacies of adulthood - family, responsibility, human nature, internal struggle, the search for meaning, and the quest for freedom - one can’t help but relate to and feel compassionate for Hill or whoever the main characters are within the Upperhand’s mortal and lyrical journeys.
In “Oceans In Kansas” and “Mariana”, the following excerpts provide a representative sampling of how introspective and narrative Hill’s songwriting is.
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In “Oceans In Kansas”:
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I left my wife and kids back in Kansas
Far away from the ocean’s edge
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I promised I would be back just as soon as I finished
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My descent into the abyss
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…Bags packed, the Mrs. admits that she hopes
I come home empty handed
‘Cuz adventuring is not for fathers,
See my place is here with them, back in Kansas
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…Get this shit out of your system’ she says
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In “Mariana”:
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I don’t know what it was I expected
To find here in the darkness…
Dont’ know what it says about me as a man
Leaving my kids so far away back on the land
I dont want to have to tell you just what it is
Its magnificent and i’m never coming back
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All in all, the Upperhand cover all their bases. I’m still sitting here, baffled at how they hover completely under the radar. Their sound is unequaled and surely cannot get washed away in the over-saturated realm of music dubbed as indie.
See them live at the Rendezvous (also known as the Jewelbox Theater) on Tuesday, August 5th. I missed them play at the World Famous Bob’s Java Jive in Tacoma last month and will surely not make this mistake again.
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.
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).
Introducing Joshua James
Well over a year ago, I remember stumbling upon a gorgeous voice while perusing Itunes. Yes, evil Itunes, who charge a reasonable fare for music, though punish buyers by locking it to 5 computers. Usually, scouring for artists under the ‘Listeners Also Bought’ feature is a hopeless venture and ends in a futile waste of a couple of hours. However, during one specific Itunes journey, I distinctively remember finding folky singer-songwriter Joshua James.
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James was born to sing. His voice has a unique tone and once you hear it, you won’t forget it. It’s gentle, airy, calming, sometimes ghostly, sometimes somber, but all in all distinctively his. His music is comparable to Damien Rice and David Gray in terms of its charming and catchy quality. He provides pleasurable guitar and piano-based songs, often layered with various other acoustics. Beautiful full-bodied harmonies resonate throughout the length of his debut album The Sun Is Always Brighter, which will be released on June 3rd. His ballads are perfect rainy day and/or mellow evening sonic stimulus.
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Nebraska-based James, now 24, apparently first picked up a guitar four years ago. A surprising fact given the caliber of his disc. Naturally, one would assume he’s been writing, singing and strumming for years. He is currently touring with popular duo The Swell Season. It’s nice to see James receive attention and exposure in the broader music community. I had first heard this same album (The Sun Is Always Brighter) in early 2007, and was confused when I heard the upcoming June release pitched as his debut. As it turns out, the same songs were remixed/remastered for re-release.
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James’ captivating and unique vocals surely make him a worthy contender for commercial radio play. However, regardless of whether he’s launched into commercial airwaves or whether he hovers the indie-music plane, equal respect are due.
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Check out his stuff here. My favorites are Commodore, Tell My Pa, and Lord, Devil and Him, though the entire album is solid front to back. James’ current tour does not include a stop in Seattle. We will keep you posted when he ventures this way.
Locals Colby Imus and the Good Lieutenants
A few months ago I stopped by Greenwood’s Wayward Cafe to check out Bay area transplant Colby Imus and The Good Lieutenants. I was informed they were a loud rock band, but under strict guidelines by Wayward, were limited to playing a hushed acoustic set that evening.
Though I’m a pushover for mellow acoustic gigs, this particular down-tempo set left me mesmerized. In fact, I couldn’t fathom Imus’ gorgeous vocals being swept away in any heavy electric drone.
Fast forward a couple of months. Colby Imus and The Good Lieutenants now have their music on disc, their first release titled The Good Lieutenant. Not surprisingly, it sounds vastly different from my recollection of Wayward. But despite a harder sound - think early nineties alt-rock infused with garage and blues - Imus’ deep, luscious vocals remain the cardinal draw, and in no way get lost in the added density of sound. His music is raw but heartfelt, his writing nostalgic and sentimental, and his sound refreshingly oblivious of any indie-rock influence so superfluous in music today. Backed by a band of polished musicians, Imus’ first release is engaging from beginning to end.
The Good Lieutenant begins with the dark, catchy track, Waterfall Mirage. Though the first few songs set a predominantly hard-rock tone, Imus presents his versatility by veering towards a gentler and more reflective place midway through the album. One of my favorites, Follow Me Down the Road, is seductive and sultry with its blues-y undertones.
In Parting, the listener is drawn into Imus’ grief as he sings “gone now all but washed out memories, it took a parting quest to find out what I need…”. And in the heavy electric thrashing on Cherry Flavored Morphine, catchy phrase “..you swore you were fine…in summer time and barley wine”, repetitively lingers in my head long after each listen. Imus’ songwriting is captivating and strikes various moods. He pulls the listener into whatever emotions seethe from his lyrics.
Colby Imus and the Good Lieutenants are working on a second album and look to play more shows in the Seattle area. High Dive, Comet and/or Sunset Tavern - we are anxiously awaiting to see these guys already!
Click here to listen to their current stuff.
Colby Imus and band are comprised of Imus on lead vocals, guitar, theremin and harmonica, Brian Seifipour on guitar, synth, keys, and sax, Tim Romain on bass, and Steve Fox on drums.
Speaking with Craig Minowa of Cloud Cult
It’s a grey Monday morning in Seattle, and I’m waiting by the phone. At 10 o’clock sharp, it rings. It’s Craig Minowa. He’s in the midst on his spring tour, and I have fifteen minutes on the line with him.
Minowa is the mastermind behind experimental-rock-indie band Cloud Cult (you can read more about Minowa and his band in ‘A Deeper Dive Into Cloud Cult’, posted in anticipation of their 2008 release, Feel Good Ghosts). Minowa’s work is ingenius, and as I’ve encountered with artists like Sufjan Stevens and Bright Eyes, engaging in anything Cloud Cult is engaging in something philosophical, spiritual and esoteric.
Minowa’s work has been primarily fueled by grief and loss. Since 2002, the underlying theme in his albums stems from the unexpected and accidental death of his two-year-old son, Kaidin. Though his music is brooding, his personality is upbeat and gracious, and he’s easy to talk to. What’s fascinating about Craig, like many extraordinary artists, is that pain and suffering have been the driving forces in unleashing his brilliance. Minowa’s poetry is open and honest, and when stitched together from album to album, reflect his progressive journey through time. Minowa says that all of his albums reflect a paradigm shift in his life. Starting with They Live On the Sun (2002), each subsequent album has been a process of grieving and healing, each a step along the path to recovery. Thankfully for Minowa, Feel Good Ghosts exudes a light at the end of this tunnel. Recovery and reawakening are exactly what we get from this release. The album still has Minowa’s signature existential and eccentric nature (it wouldn’t be Cloud Cult otherwise), and it continues to shell out plenty color, character and imagination (one look at the cover art confirms this). However, Feel Good Ghosts explores a newfound energy compared to previous albums. It reflects the closure of one life chapter and the start of another.
It was the final track in Advice from the Happy Hippopotamus (2005) where Minowa began the awakening process. In The Meaning of 8 (2007), he taps into this process more fully. The meaning of life, he laughs, is not found in secluding oneself from the world and obsessively grieving in solitude. The pursuit of life and happiness is found in family and friends. He states it was track “2×2x2″ on The Meaning of 8 where he finally pulled his head out of the water. While it’s fitting to assume 8 serves as the climactic point in his grieving, Minowa points out the album introduces his gravitation towards aliveness, a concept he realizes much more fully in Feel Good Ghosts.
What’s fascinating about Cloud Cult albums is that they heavily revolve around universal symbols and metaphorical meanings. For example, among the themes within The Meaning of 8, the most obvious one centers around the infinite nature of the number 8. Minowa shares his comprehensive study of this cosmic symbol on the inside sleeve of the album jacket, where various cultural, religious and scientific interpretations are printed. It’s one example of how his albums are each an ambitious endeavor, and reflective of his struggle with the meaning of existence. Minowa comments the themes found in his albums aren’t contrived in advance. During the inward process of his writing, which takes place quietly and alone on his farm, the universal and/or metaphorical principles found within his albums are secondary attachments. He states that creating an album is very much a hermitic experience for him. Each a journal of his feeling and thinking at a particular point in time, and each a means of relaying the types of encounters and intense periods of grieving he’s undergone.
When I ask him about his environmental roots and the drive behind his eco-consciousness, Minowa remarks his natural way of living has been a process of evolution for him. At around 19, he felt a need to become more environmentally aware. The steps he’s taken since have been a nagging reflex for him. Craig and wife Connie live on an organic farm, Cloud Cult tours on a biodiesel bus, and all Cloud Cult albums are produced from 100% recycleable materials and recorded using geothermal power. In addition, Minowa has declined signing with any major or indie labels (he has his own label, Earthology Records), and he predominantly listens to NPR, jazz and bluegrass. It goes without saying that Minowa is thoughtful and conscientious not only in his work, but also in his everyday living.
What’s in store for Cloud Cult next? Minowa says the future holds positive change, which comes as no surprise, given the uplifting and joyous energy felt in Feel Good Ghosts. Craig and Connie (who also tours with Cloud Cult as a performing artist and painter) plan to start a family again and focus on their farm. Music is most certainly in the picture; however, touring will focus more specifically on major market areas to better accommodate band members’ family lives, as well as the Minowa farming schedule.
As we enjoy the buoyant energy in Cloud Cult’s most recent release, we will no doubt continue to look forward to whatever touching journeys they embark upon next.
Cloud Cult will be in Seattle on May 9th at Neumo’s, and performing at Sonic Boom in Ballard at 5pm the same day.
