Seattle Subsonic - MP3s
New Handsome Furs Record, Sound Kapital, Out 6/28
Get A New Shabazz Track; Black Up Out May 31st
Ya’ll knew I’d be posting this. Can’t get me enough of that Shabazz Palaces.
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The Eerie, Beach Blanket Garage Pop of Webelos
The title kind of says it all, but if you’ve come this far, maybe you’ll come a bit farther. Webelos is a Seattle band who recently released an LP that goes by the name Shadow Seasons. You can listen to/purchase it over at their bandcamp or any one of Seattle’s fine independent record stores. And you better, because it’s pretty excellent. The band, led by guitarist/vocalist Jim Smith and subject to many lineup changes, has been flying under the overground for the better part of 4 sun cycles now and I’d venture to say that this offering is the best I’ve ever heard them (disclosure statement: Smith is an acquaintance of mine).
The term “webelos” is apparently some sort of Boy Scout maxim (I had to Google this because I was definitely not in any sort of Scout organization, Boy or Cub) that stands for something like “We’ll Be Loyal Scouts”. By itself, it’s a fine sentiment that I can get on board with; I am a Taurus after all and I like to scout. But what, pray tell, are Webelos the band loyally scouting? Well, for one, groovy, surf-noirish 60s rhythms; for two, spooky, theremin-thick atmospheric tricks (courtesy of a keyboard, of course); and for three, playfully disaffected deadpan vocals. Their songs are tightly spun ditties—sometimes cheery, often a tilted shade of macabre—that creep into your head space like the hairy spider on that album cover up there and plant their seeds with the high-frequency quiver of the ghoulish, heavily modulated “theremin”. A song like “Jack The Ripper” is a prime example, Smith singing in the first person the savage thoughts of the mythic murderer “I hide behind your apartment door / my eyes are red / and my hands are sore”. Yikes.
In contrast, the little yelps let out in the instrumental “Fire Ant Season”, the quirky sardonic romp of “Hansel and Gretel” and the sprightly beach blanket blast of “Tsunami Season” showcase the quartet’s ability to laugh it up. Keyboardist Cassie Wulfe adds a welcome femininity with her turns on the mic. As long as anyone can remember, musicians have had success melding the happy with the hellish and Webelos have concocted their own tidy formula: jaunty surfboard jingles tempered by an underlying retro-creepiness. Has it been done before? Sure. Are Webelos doing a damn fine job of it? You betcha.
Check out some tunes below or Smith’s impressive stop motion video for “Hansel and Gretel”. Webelos will next play the Magma Festival, March 6th at the HER Studios in the CD.
Webelos – Tsunami Season
Webelos – In My Last Act
Webelos “Hansel and Gretel” from Jim Smith on Vimeo.
Get Thee To Neumos Feb 17: Shabazz Palaces & THEESatisfaction
Of all the burgeoning hip-hoppers in Seattle right now (Macklemore, Mad Rad, Champagne Champagne, Fresh Espresso, ocnotes, Grynch, Khingz, SOTA, everyone on Sportn’ Life, etc. etc. etc.), none are more fascinating, head-shaking or got their shit on straight than the hauntological Central District elder of them all: Shabazz Palaces. By now you (should) know the story of Ish “Butterfly” Butler flippin’ the game on his storied Digable Planets career in favor of a cloaked and clouded existence, releasing an “anonymous” double EP to widespread exaltation, becoming the first musician to win The Stranger‘s Genius Award, and just generally being a Batman-type musical bad-ass. His unique concoction of intelligent thuggery, deeeeeep window rattlin’ bass, and swirly, smokey crazy-ass electro beats don’t hurt neither.
And to top it all off, the city’s best label signed him and his henchmen to a record deal back in September. Sub Pop’s been doing some odd things lately, and have also rolled out the red carpet for Shabazz Palaces’ BFFs THEESatisfaction. The genre-twisting afro-mystic girlfriend duo puts on a right fine show themselves, as I found out during last year’s Block Party (“two visionary banshees sending their queer and quirky message across the space-time continuum,” is how I put it). Here’s a video I shot in Caffè Vita’s Bean Room:
And here’s a video of Shabazz Palaces I shot during the Block Party just to getchy’all warmed up for Thursday’s show:
Don’t like videos (you Scrooge)? Here’s that free track Palaceer Lazaro sent out several months back:
“Barksdale Corners” on palaceer pusher beat circa now – by Shabazz Palaces
And some other tracks, the mindfuck, too-clouded-to-be-conscious trifecta that closes Of Light:
n.splendored_find out (part 2)
NEUMOS.THURSDAY.$15.I RECOMMEND THIS.
So, There's Some New Fleet Foxes Song?
Sub Pop‘s most coveted signing of the past 10 years dropped a bomb today on all their fans. A pretty, guitar-driven folk-rock bomb that explodes into confetti and smiles. A new song, a new album release date, and tour information were the real goods from Fleet Foxes, however. Pretty much every blog/news outlet has this covered, but I’M posting this .mp3 for anyone who has trouble with Soundcloud. YOU KNOW WHO YOU ARE.
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“Helplessness Blues” is the title track to the much anticipated second record from Seattle’s favorite sons of 2008. It comes out May 3rd on the aforementioned bit-champing label. It seems like forever since I wrote about these guys, but that’s because they took some well-intentioned time to work on their follow-up to the EP/LP that can only be categorized as a “left-field musical blitzkrieg”. Or something. Not many bands take three years to continue their sweet ride, you have to admit, but Fleet Foxes (and more accurately frontman Robin Pecknold) are not your standard outfit. Pensive, resistant and swimming against the tide seem to be cogs of their thoughtful work machine.
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The song is good and I have little doubt that the band will trump the sophomore slump, but out of all this menagerie of news, the most interesting piece I heard? Past Lives guitarist Morgan Henderson is apparently the newest member of the band. Veddy, veddy eenteresting, endeed.
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Here are the first three tour dates:
04-30 Vancouver, British Columbia – The Vogue Theatre
05-01 Portland, OR – Crystal Ballroom
05-03 Seattle, WA – Moore Theatre
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Fleet Foxes – “Helplessness Blues”
Toro Y Moi's New Single Will Be Your Friday Song, Today And Hereafter
SRSLY. So stoked for Chaz Bundick’s new LP, Underneath The Pine, out February 22nd on Carpark Records. The one man chilltastic Toro Y Moi slowly captured my soft n’ groovy side last year with the excellent Causers Of This (more on that here). Word on the ‘net is the two records are divergent from each other. Dudes…DIVERGENT.
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The indelible first song has buckets of liquid soul, vintage 80s cheez steez, and a dope-ass bass line. Watch the bespectacled nerdlinger shake his groove thing in this retro 8mm Hipstamatic music movie below. You can catch TyM at the Crocodile March 27th.
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Here’s the mp3:
Check Out Some New Songs From U.S.F.'s New EP/Album
All sorts of new music from local chillwavers U.S.F. The duo currently has a new EP out, Jamaica Plain, on Seattle label Highfives and Handshakes and you can listen/grab one of the mp3′s from that release below (thanks to Pitchfork). As I ardently argued many moons ago, U.S.F.’s sinuous shoreline soundscapes can be the perfect release from THE DREADED LA NIÑA (Spanish for “the Niña“), and this EP is no different. The guys seem to be ever expanding their ever-expanding decoupage of warm, wandering electro-trop. The EP comes in either 12″ vinyl or mp3, by the way, and purchasing would go a long way towards helping the band replace a bunch of gear they had stolen a few months back.
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You can also preview (or buy) the whole thing thanks to the bands’ bandcamp page:
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As well, USF also has their second full-length in the works, The Spray, to be released sometime in 2011. They put up a few tracks in August to preview.
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Portland 2010: Five Albums You Shouldn't Sleep On
As you know, it’s not “All Seattle, All The Time” here on Seattle Subsonic. We broaden (and shrink) our palettes like any other discerning, in-the-know music fan. Lucky for us here in Worshington, 180 miles downward is the perfect excuse to test our tastes. It’s no secret that Portland (the OREGON one) is a hip, emerging town with more to offer than bicycle lanes and breakfast spots. A vibrant music scene is a keystone to any desirable city, and our sister town to the south has one of the best. If you slept on the Rose City this year, here are 5 albums to get you back up to speed, without, you know, actually TAKING SPEED. OH GOD DON’T DO (shitty) DRUGS.
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1. Dark Light – Lovers
Badman Recording Co. (10/12/2010)
“Shepherd of the Stray Hearts”
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This record is one of the best to come out of the Northwest this year, and KEXP-heads will recognize the art-electro balladeers from a recent in-studio session with John Richards. Crafty songsmith Cubby Berk floats her consciousness amongst digital magic-making mates Kerby Ferris and Emily Kingan to the tune of melting heartstrings and harmonized hooks. A video from their blood-rushing show at the Sorrento Hotel in October:
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2. Hard Dream – Copy
Audio Dregs (9/21/2010)
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Marius Libman has an alias. His alias is ‘Copy’. Do not copy his alias. That would be lame. Portland’s dancefloor answer to Truckasauras’ monster-sized jazz jams, Copy released his latest LP in September to little fanfare. Hard Dream, however, is full of smart, square-shaped beats and unwavering electricity, fist-pumping through 8-bit veins en route to some serious (nervous) breakdowns. These instrumental adventures are ripe for restless legs and wandering eyes.
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3. Hearts on Hold – Tu Fawning
Provenance Records (10/5/2010)
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Dismal, distant trumpets, a spooky, forlorn ghostliness, and tribal gypsy folk all define this bone-chilling debut album from Portland’s Tu Fawning. Led by Corrina Rep (who tours with Viva Voce) and Joe Haege (who tours with Menomena)—both profane multi-instrumentalists in this outfit—the quartet doesn’t so much write songs as exorcise them from the dark recesses of its soul. There are plenty of bands doing “eerie” and “macabre” these days, but this one actually sounds like it would have zero qualms about playing a creepy forest séance some day.
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4. American Gong – Quasi
Kill Rock Stars (2/23/2010)
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If there’s one veteran 90s band who deserves a bit more public attention, it’s Quasi. Are they bitter? Not likely, but the raw, rowdy piano-power-punk trio came back with some sort of vendetta, given the ravenous nature of American Gong. Oh sure, Sam Coomes is still gonna try his troubadour hat on and swoon you into the bottom of a bottle, but there’s an underlying ferociousness here that can’t be quelled. Janet Weiss’ ramblin’, rumblin’ skin torching only helps to feed the urgency and the result is a beautiful mess.
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5. Blue Giant (self-titled)
Vanguard Records (7/13/2010)
“Gone for Good [ft. Corin Tucker]“
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I know “southern rock” was a bit more trendy in, say, 2006, but Blue Giant has one distinct advantage here in 2010: the Robinsons. Kevin and Anita, to be specific, are terrific songwriters, excellent musicians and have been showcasing as much in their first band Viva Voce for years. On a lark, they decided to countrify their psychedelic tendencies and came up with some good ol’ fashioned guitar Americana. The native Alabamans just couldn’t hold their true colors back and the influences are easy to spot: boot-stomping rock rhythms, down-home lyrics and tart, twangy banjos.
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The Year In Hazy Electro-Pop (aka Chillwave, aka Hipstergogic, aka YOU DECIDE)
If there was one “scene” I watched with great intent this past year, it would be the seemingly unprecedented barrage of hazy electro-pop releases that made their way onto the internet and into people’s hearts/portable media devices. I’ve literally never listened to so much non-rock music as I have in the past 8 or 9 months. “Chillwave”, as the genre has become known, was a divisive, early year buzz topic, created and championed the year before by (those danged) writers and bloggers to the dismay, chagrin, and annoyance of many. To others, it was simply a cozy conduit by which delectable new records were discovered, enjoyed, and shared. You probably read about it on Hipster Runoff or Stuff White People Like, but I wouldn’t really know because I don’t pay much attention to that sorta BS. Someone coined the phrase “hypnagogic pop”, which was predictably corrupted into “hipstergogic pop”. Funny, but, whatever. So, much like the music itself, the definition of the fledgling genre was—and remains—nebulous at best (see this article for a cynic’s definition, or this one for an optimist’s take). The fundamental elements are these, from the first article:
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They’re solo acts or minimal bands, often with a laptop at their core, and they recall electropop from the 1980s, when synthesizers and rhythm machines sounded dinkier and less flexible. Instead of electropop’s dynamic, future-soul vocals, they have indie-rockers’ diffident voices, which are often made even more remote because they’re veiled in reverb. The songs come across like geek daydreams: half-remembered Top 40 songs and dance hits sung by guys too shy to leave their rooms.
I could probably out myself and evangelize further with some nuanced descriptors and pedantic dithering, but that’s not necessary. Plus, below. Whatever it is, though, I certainly am one of its proponents. Here I present my favorite fey electronic releases, chillwave or otherwise, from 2010, along with a standout track. If 2009 was all about Neon Indian’s Psychic Chasms, Washed Out’s Life of Leisure and Memory Tapes’ Seek Magic (albums that all still get regular playtime in my ear canals), then this year was all about these dudes:
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Fight Softly – The Ruby Suns
Sub Pop (2/15/2010)
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A portion of what I wrote back in April: “As the universe would have it, I’m unable to ignore Fight Softly, the third overall LP from the electro-trop-entranced globetrotter/daydreamer Ryan McPhun … focusing more on elastic synths, positively persistent percussion, a sky-creeping swirl of digital headspins and McPhun’s R&B-style falsetto… it reminds me of a busier, more ambitious Family or a caffeinated, wider-eyed Person Pitch.”
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Before Today – Ariel Pink & His Haunted Graffiti
4AD (6/8/2010)
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A portion of what I wrote back in July: “Pink has a tantalizing way of creating artsy, fucked up pop songs with choice smatterings of found sound … Unexpected changes, undeniable hooks, and a well-intentioned way of making the familiar sound unique. “Round and Round” may just be the jam of the year, a soft-rock groover that illuminates at the same time it teases.”
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Surf Noir EP – Beat Connection
self-released (7/6/2010)
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A portion of what I wrote back in September: “Consider “In The Water”, an ebullient dance cut that shimmers and shimmies with crystalline guitar stabs, a chopped up reggaeton beat, bleached vocals and an 8-bit bass line. A flock of seagulls welcomes you to its beachy scene, and a solar-powered synth explosion bridges the gap. I am seriously addicted. Also consider “Theme From Yours Truly” a sultry South Beach neu-disco techno tune. The first half is woozy and anticipatory, the second half is high-wattage sex-rave.”
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Causers of This – Toro Y Moi
Carpark Records (1/4/2010)
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I didn’t actually expect this album to penetrate my satisfaction as much as it has (a late push in November did the trick), but I really have come to adore Chaz Bundick’s scatterbrained R&B electro stylings. I had mixed feelings about his Chop Suey set last April, but Causers of This‘ “bubbly font of electrified disco-soul and cheerful chillwave, mixed and smeared with deep bass” is more than worth the acquisition.
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7AM – Teengirl Fantasy
True Panther Sounds (9/13/2010)
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Teengirl Fantasy’s 7AM is a ominously blissed-out discotronic blur of an album, perpetrated by a couple of American dudes currently twiddling away their best years baked in Amsterdam. Are they stoners? Who knows, but if a nostalgic turntable dance record with a healthy back(bass) bone were to be slowed to a sagacious, syrupy speed like 7AM is, you’d really have no choice but to believe they were.
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Settings – Tanlines
True Panther Sounds (3/9/2010)
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Electronica and tropicalia become one to form the elusive electrotrop sound in this EP with a big bright positive vibration. I gotta give props to my buddy Ty for turning me onto this little-heard-about gem, which has no doubt inspired a multitude of mai tais to be gulped across the globe. Similar to the Ruby Suns record, this is pretty fringe-y when it comes to “chillwave”, but also like Fight Softly, you’d be crazy not to feel utterly overjoyed with life after all that tribal percussion and those brazen, blazin’ shimmering synths.
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Unrecognize - Cock & Swan
Dandelion Gold (3/30/2010)
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A portion of what I wrote back in April: “Johnny Goss and Ola Hungerford are the sidekicks behind the sounds and the two make fine use of soporific, squiggly synths, blurry and beguiling vocals, lonely guitar pluckings, patchwork electro touches, and the omnipresent ghostly undercurrent … cozy and eerie all at the same time.”
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Glass EP – Glass Vaults
self released (6/16/2010)
Listen/download the entire thing here
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This eerie EP from a couple of mates in the Kiwi art enclave of Wellington keels more towards the hauntological aspects of electronica, but I’d be remiss if I didn’t highlight it here. Celestial, intangible, spiritual: however you want to define it, there is a certain otherworldly spookiness to these tracks, all which pulse with the very real sensation of human folk. Also, it might remind you of a cross between Radiohead and Animal Collective; SORRY.
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Does It Look Like I’m Here? – Emeralds
Editions Mego (6/8/2010)
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I only heard this record for the first time a few weeks ago, but I’ve already allowed it to seep deep into my cerebrum. A bit more “heady” than some of the other stuff on this list, this full-length from a Cleveland (of all places) trio will have you gazing at the stars and contemplating your own filthy demise in no time. It’s got a beautiful, instrumental creepiness to it that can burrow itself like a sonic weasel (or Hedgehog, if you prefer) and sojourn to the darkest digital depths. Headphones required.
The Cold Jungle: What Seattle Sounds Like
There’s a small note at the end of the spacey, black and white photocopied insert that comes with the physical copy of Cairo‘s recent compilation album, The Cold Jungle, that reads “This is what Seattle sounds like to us.” As someone who is often listening to local music that no one around him is, I beamed a big smile upon reading this. Reading through the list of artists, and before I even heard the songs, I knew I was going to be nodding my head in agreement. Of course, all of us local music obsessives have some sort of personal interpretation of this particular statement, whether it be the hip hop scene, or the punk scene, or even the dreaded so-called “beard rock” scene. The songs Cairo pulled together, however, really do represent a unique little enclave of artists, in the here and now, making more adventurous and altogether more fascinating strains of sonic satisfaction.
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Cairo, you’ll recall, is a quaint, somewhat spartan gallery/thrift boutique/venue/silkscreen studio on the corner of Summit and Mercer on North Capitol Hill. I’ve not spent a great deal of time there (for shoppers, it’s not a necessity; you can view 90% of its contents from the front door), but they do have a wonderful habit of turning their space into raucously friendly elbow-to-elbow music venue. I took some photos of Stephanie and YellowFever last time I was there that you can view here. The independently curated Cold Jungle boasts 10 original tracks from more recognizable acts such as Flexions, U.S.F., Stephanie, LoVe TaN, and Big Spider’s Back, as well as local up-and-comers like Mongrel Blood, Witch Gardens, M. Women, Wet Paint DMM, and Secret Colors.
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While all the songs are rather choice, my immediate favorite was the nocturnal subway tunnel light chaser from Big Spider’s Back (aka Yair Rubenstein), “Pyramids at Night”. I can’t stop spinning it, it feels like one of those sped up film scenes with bars of light whizzing by and breakneck turns. The music itself breaks no necks, but instead induces an addictive calming effect. Oddly enough, this is one of four instrumental jams featured on the collection, alongside Flexions’ “Half Pint Shuffle”, U.S.F.’s “Lunar Halo”, and “Cruisers” from Secret Colors. “Half Pint Shuffle” sees Flexions perfecting their Clinic-esque jazz punk, now with the added benefit of a live drummer (Tyler Swan of Truckasauras, etc.), who does a fair non-guitar impression of Hendrix’s “Machine Gun” with his snare. I prefer their music with vocals, but this is a welcome substitute.
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“Fuzzy Grave” is another bonus highlight, courtesy of the Craig Chambers-led LoVe TaN. You might remember Chambers from his more popular outfit the Lights and being one of this city’s more under-appreciated rock guitarists. “Fuzzy Grave” is an exhilarating, punkish no-wave moaner that might just hit your devilish sweet spot. Mongrel Blood, Spencer Moody’s newish band, also has an interesting song here by the name of “Oh, Sister”. It sounds like a song the Lights might’ve written if they were calmer or one Flexions might’ve recorded if they weren’t so interested in Miles Davis or world music. Moody drunkenly wails (like you know he can) over sinister guitar and bass. Witch Gardens’ boisterous steam punk sing along “Baby Got A Haircut” is another must listen: a little juvenile, a little carny-rock, and a whole tub of monkey-barrel fun.
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So maybe this isn’t what Seattle sounds like to you, but it sure as hell does to a lot of us. Perhaps this should be your holiday gift to yourself? Hmm? Get the 12″ vinyl here, or at Cairo itself (duh).
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