Seattle Subsonic

Seattle Subsonic - Show Critic

Flexions, Secret Colors, M. Women @ the Rendezvous

Been meaning to get this up all week, but haven’t been able to. YOU understand. Last Friday (2/11), my BFF and I went down to Belltown to check out the Rendezvous-slash-Jewelbox Theater for the first time. I know, I know, I don’t get out as much as I used to. Luckily, there was a sweet lineup playing the tiny historical back room: ambient guitar noodler Matt Lawson as Secret Colors, cacophonous proto-punk trio M. Women, and dub-punk groovemeisters Flexions.

It had been awhile since I’d last seen Flexions, and I was eager to hear their sound with a live drummer, Tyler Swan of Truckasauras fame. Throughout the set, two things became clear: 1) Swan is a highly inventive and interest-piquing drummer and 2) the band is demonstrably better with him behind his kit. And I was a fan of the band when they were just two dudes and a machine. Swan didn’t add booming brawn or robust fills, but his clever textures and frisky beats were lively and mercurial. His flexible rhythm only helped to augment the new found dance vibe the trio has integrated into their shady, syncopated sound. Their set morphed into a mischievous electro-wave hip-swagger session with the coy crowd bubbling about the cozy confines of the Jewelbox. I’ve been a vocal fan of Devin Welch’s guitar work with Past Lives for awhile, and his slinky, snaky approach within Flexions is not so different. He and bassist Robin Stein play well together and I’m glad to see that their sound is evolving well. I believe the band has recently finished recording an album, but I’m not quite sure when they’ll release it to world. I will sit here and wait.
Video!

I really enjoyed listening to Secret Colors cascade the room with drowsy, anti-focus song impersonators. Lawson does a nice job with adding blurry visuals to the screen behind him, making it almost like watching a silent film with a live score. Below is video of the last piece he played, and it was a welcome warm-up to M. Women’s no-frills dance off/dance on punk racket.

More photos here.

Gram Parsons "New Fallen Angels" at Columbia City Theater

February 11th

Country Dave and the New Fallen Angels picked The Columbia City Theater this year to pay tribute to the late great Gram Parsons, whose music has lived on famously since his death in 1973. The theater proved to be an ideal fit last Friday for an evening of cosmic Americana, which featured a smashing line up of local country greats. Along with Country Dave Harmonson, (who is an exceptional guitarist) Zoe Muth, Tom Bennett from The Rolling Blackouts, Melissa Nyffeler, Gaye Winsor, David Russell and Jon Hyde all helped to channel a flawless re-creation of Parson’s influencial country rock.

The New Fallen Angels lovingly dove through records like Sweetheart of the Rodeo, Grievous Angel, and The Gilded Palace of Sin, with a set that lasted over 3 hours. The vocals were all faithfully handled, and interpreted by multiple singers. I’m not sure who he is or what band he’s from, but the bass player with the handlebar moustache sounded amazingly just like Gram, while standout vocalist Gaye Winsor provided ample amounts of Emmylou Harris harmonies. Stunning instrumentation highlighted the evenings gorgeous songs, including that kind of desert-sky pedal steel playing that beckons you to climb the pearly gates of sin city! Standout tracks included A Song for you, Return of the Grievous Angel, Sin Cityand a nice rendition of Wild Horses, written by The Rolling Stones, but originally recorded by Parsons.

A loyal, cowboy hat ‘n boots adorned crowd sang along and actually square danced throughout the night.

I was really impressed with how hard core these fans were! I witnessed several people singing EVERY word to EVERY song. The conjuring of Gram Parsons spirit on CCT’s beautifully lit stage became a bit intense, with Country Dave admitting that he actually felt chills at one point. I don’t know if I got chills, but it was definately a moving and fun celebration of a landmark musician.

Campfire Ok's Album Release

[SinglePic not found]Saturday night’s show at Columbia City Theater is the stuff dreams are made of. With a line up of some of my favorite bands in Seattle right now and a sold out crowd that was actually listening, it was damn near a perfect night. Koko and The Sweetmeats opened the night with a cover of Campfire OK’s “Strange Like We Are” doing it solo and on a electric guitar. It was a pretty rad move. After Koko, one of my favorite musicians and voices right now, Bryan John Appleby, came out and played one hell of a set. Doing a few of his songs solo he captivated an audience. When he brought out his full band he blew the room away. During “Cliffs along the Sea” Tony Kevin Jr. graced the stage to sing back up. It’s great seeing this community of talented people come together on stage. I predict big things from Bryan this year. He is set to release a full length album later this summer and I for one am really looking forward to that.
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As Campfire OK came out on to the stage the the room filled. This was the first time many people would be seeing this band. Having played almost no shows as they worked on this album there was excitement to finally see this band. With KEXP playing the title track from the record and a few videos floating around the internet, the buzz behind the band was a lot to live up too. They exceeded all of my expectations. They had this set nailed down. It’s rare when a band can take the sound from the album and translate it to the stage or vice versa, but Campfire OK has done it. They played one hell of a tight set, and enjoyed every minute of it. This is a band that has worked very hard for a night like this. Even going as far as setting up a whole new lighting set up for their performance.

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They did an amazing job and it showed, the crowd was hanging on every song always ready for more. They ended the night with an acoustic performance even going as far as to sing to the room without mics. This is really one of the only places in town that you could see something like this. Not too many other venues or crowds for that matter can handle someone singing and playing guitar with out being plugged in. It was truly one of the best nights of the year. I look forward to seeing more of Campfire OK. Who knows what they have up their sleeves next.

Sera Cahoone at Columbia City Theater

Great show last friday at The Columbia City Theater featuring Sera Cahoone. Ghost’s I’ve met led by Indie folk artist Matt Watts, opened the night with some delicate and beautiful songs backed only by Faustine Hudson’s unique and eclectic percussive sounds.(washboards ,floor tom, bird caller…ect) The set remained appropriately sparse and intimate. From what I’ve heard of Watts latest release Payphone Patience E.P, I’d say it’s worth checking out. He’s at the top of his game in this particular genre. It features Darren Jessee of Hotel Lights, and can be found at Yerbird records.

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The consistently impressive and talented Sera Cahoone pulled off yet another stunning execution of intimate, and moving folk songs. Maybe I’m just getting soft in my old age, but this lady never fails to sqeeze a few drops from my jaded tear ducts. Accompanied by a nearly perfect band, including violin, and one of the best pedal steel players I’ve ever heard, Jason Kardong, Sera Cahoone’s extraordinary live set was nothing short of breathtaking.

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Damien Jurado, Widower & Tony Kevin Jr @ Columbia City Theater

Friday nights line up at Columbia City Theater (CCT) was the stuff dreams are made of. The night started off right with Tony Kevin Jr. Tony really commands a room with his large folk songs and heartfelt lyrics.

He handled himself well in front of the sold out crowd when he broke a string in his first song with his full band. Having to borrow a guitar, which was then a left handed guitar belonging to Kevin Large. It didn’t seem to faze him at all. Once it was all sorted out the show went on.  He was joined for a few songs by Melodie Knight, She is an amazing singer. I have a feeling that she will be one of the singers most collaborated with in 2011.
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Next up was Widower, Which is Kevin Large playing some of the best and saddest country songs you will ever hear. Kevin played an amazing set, even having the lovely Kaylee Cole on stage to help him sing “Come Monday Morning” and a few others. When Damien Jurado confessed that the first two songs he played he had just written that day I was blown away. This was my first time seeing Damien and I was completely drawn in by his songs. Playing with his full band, which  was  just about all of Kay Kay and his Weathered underground, and Sam Anderson. He played through most of his Saint Bartlett album. Damien talked a bit about how nervous he was to be playing for Seattle. “Playing in Seattle is like your first kiss. What if my lip gets caught in her braces?”  The rest of his set it seemed like he truly enjoyed it though. Pretty much rocking out from the chair he was seated on.

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The whole night was a testament to the local folk/indie music scene in Seattle right now, it felt like a huge community on Friday, loads of familiar faces and a crowd that was completely respectful of the music. Not a soul could be heard talking during any of the nights three acts. That’s something that very rarely happens.

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See all the photos HERE

Two Bands That Got It Right Last Saturday

Anyone who made it out of the bleak and dismal onslaught of rainy weather last Saturday night, and into the Crocodile Cafe, had been temporarily revitalized by Hacienda from South Texas. This Mexican American family band has the power to instantly administer pure San Antonio sunshine (to a very sun deprived crowd). Dan Auerbach struck gold discovering the band to back him on his solo tour, and has since produced both of their albums, including their 2010 release Big Red and Barbacoa. Groove orientated, and completely in the pocket, the four piece possess bass lines that dig deep, and lush vocal harmonies recalling The Beach Boys, and pure 1960′s R&B. Guitarist Dante Schwebel masterfully wields good vibrations around every corner, and in every hook. Hacienda had me wishing their set went all night.

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The Greenhornes are back, headlining, after a five year hiatus with their new record “****” out on Jack Whites Third man Records. These guys are full blooded nineteen sixties rock’n'roll. No other band tastefully emulates the era as well. Drummer Patrick Keeler is appropriately positioned front and center stage, often leading the band and channeling The Who’s Keith Moon. He is truly exceptional. Patrick, Craig Fox and Jack Lawrence, have been been playing together for a while, and it shows. There is a cohesive feeling about The Greenhornes, something you’d only get from a band who has toured the world three times over (not counting being the rhythm section for The Raconteurs). Like Hacienda, who actually are blood related, The Greenhornes have that genuine and rare quality that is lacking a bit in music today. After delivering a dynamic, full set of songs to a very satisfied crowd on Saturday, they came back on for a six song encore. It was turning out to be a fabulous night of pure rock ‘n’ roll. One of my favorite shows this year.

photos by Justin Braegelmann
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Wild Orchid Children's Blissful Assault At The Columbia City Theater

Wild Orchid Children are currently one of  Seattle’s most exhilarating, high energy, live shows. A notion confirmed by everyone who caught them last Friday at the Columbia City Theater. With the combined intensity of  seven people on stage, they have formulated an all-out psychedelic attack, guaranteed to leave your head spinning. I’m pretty sure guitarist Thomas Hunter has been possessed by the god of rock. The man is absolutely jaw dropping!  The essential role, he alone, plays in Wild Orchid Children is astounding. His precisely executed guitar antics, were backed by hard hitting, rhythmically tight drummer Andy Lum, while the other five members, at times, ditched their respective instruments to beat and shake things in a percussive assault . I have to say, I was a bit aprehensive, after catching WOC at reverbfest where they needed to be  turned way up. A band like this demands to be experienced in a place were you can feel it in your teeth. The Columbia City theater is very much that place. I was pretty blown away. Sonically, and visually you can’t beat this venue.
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Three very different local bands were booked to play that night. See me River, led by Kerry Zettel, played dark folk gypsy songs that, at times, evoked the great Nick Cave.
They were a welcomed contrast in moods for the evening. The five piece possess a striking sound that is quite unique to  Seattle. Bluesy, classic rock outfit, The Magic Mirrors opened the show. The band includes one hell of a rock ‘n’ roll guitarist, and a singer who channels Chris Robinson. Lots of old school southern rock swagger from these kids, plus the bass man hangs a decent sized dream catcher over his amp, which is way cool!

Midday Veil & The Arrington de Dionyso Experience @ The Comet

As Wikipedia puts it:  ”The term psychedelic is derived from the Greek words ψυχή (psyche, “soul”) and δηλοῦν (deloun, “to manifest”), translating to “mind-manifesting. Psychedelic states are an array of experiences elicited by various techniques, including sensory stimulation, sensory deprivation as well as by psychedelic substances. Such experiences include hallucinations, changes of perception, synesthesia, altered states of awareness, mystical states, and occasionally states resembling psychosis.”

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The psychedelic experience  has pretty much become a staple  in our American culture. The shear longevity of psych/music has clearly  by now, left it’s mark in our DNA. Rocky Erickson, who came through Seattle recently, has been listed as the first person to actually use the term “psychedelic” to describe music… Anyways, for whatever reason I’m still a fan of the shit. Last Saturday, I made a point of going to the Comet to catch this much anticipated pychedelic line-up
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Starting the evening off, (after some fine krautrock DJing via Mamma Cassarole) was Arrington de Dionyso’s “Malaikat Dan Singa”. Before the music, (perhaps to set the mood, or perhaps to get the band high) Arrington delivered a squirt from a tincture bottle into the mouths of each of his band mates. To say Arrington Dionyso is a multi-talented front man with other-worldy stage presence that borders on demigod, would be an understatement. His voice is an absolutely hypnotic instrument. Using his very low tenor (sounding like a didgeridoo, but better)  he managed to pull a full room of people, very quickly, into the void with him. Their opening number, which began as a song consisting of singing in some strange eastern language, tranformed into a gorgeous jam not unlike something from “Can”. Dionyso frantically strummed an obscurely tuned guitar, while three drummers and two bass players  held down chunks of  pulsating  grooves around him. Wow!.. and this was before the man picked up his bass clarinet. Not since the mid-nineties, after experiencing  local legend Skerritt on  sax,  have I been this excited about a wind instrument. Malaikat Dan Singa very nearly set the Comet on fire last Saturday, and I just felt lucky to have been there. http://www.myspace.com/arringtondedionyso
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Moving onto Midday Veil, who immediately came on as aesthetically intriguing, using a fog machine/laser light/ plus projector as their psychedelic weapon of seduction. It wasn’t all smoke and mirrors though, as the sounds emulating  (particularly from David Golightly’s synths) emerged beautifully in waves until the the drummer found a beat for it. A nice build up for an array of melodies wrapped in Emily Pothast’s pretty and at times, fiercely “going for the jugular” vocals. Nice projection work, and overall drug-inducing experience! There were moments, it seemed, when I felt a little something more than the whiskey I was drinking. I don’t know, maybe it was a flashback.  It was the bands Eyes All Around album release that night, and a celebration indeed! http://middayveil.com/

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Unfortunately, after Midday Veil, I was kidnapped by drunken madmen celebrating a birthday, and was unable to return to the Comet for most of the headliners set. However I did catch Master Musicians of Bukkake’s  grand finale, and was taken back a little. There was this great wall of people, swaying to this massively loud, ethereal noise. Apparently there’s like nine people in the band, but the Comet, at this point was just a blanket of fog. I couldn’t see anyone playing music! Seriously. http://www.myspace.com/mastermusiciansofbukkake

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An enchanted evening to say the least.

Two Nights Of Shows, Three Great Bands

I headed out to Neumos for two nights in a row this week. I caught a few amazing acts. The first night was compromised of joshua Morrison, Sharon Van Etten, and Junip. For those unfimilar with Junip it is the full band project from Jose Gonzalez ( Listen : Heartbeats ) While Joshua Morrison and crew put on a fantastic set, Sharon Van Etten (pictured) took my breath away. She was amazing, not even needing her backing band as she played a few solo songs. Her voice was just incredible. She seemed a bit shy and awkward in between songs, but that all disappeared once she starting singing. Pouring her heart and soul into the songs, it was truly touching.

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Following her set Junip came out and played most of their new album “Fields” I was expecting a very subdued set as the record is great but doesn’t seem to blow you away. Performed live however and the songs transform becoming so much fuller. At one point during the set they had a musical interlude that lasted a few mins, It was an amazing wall of sound. Jose Gonzalez was great to watch, he is a fantastic guitar player, and that voice! so smooth. If his vocals are not filtered at all I am impressed. It was clear that he had a love for playing these songs to a crowd, always smiling and at times forgetting when to come in on his songs. Though no one seemed to care. It was a great crowd, not too much chatting during the sets save for the few reeeaaally drunk guys near the front. When Junip or Sharon come back through town make sure to catch them. It’s worth it.
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On to Thursday night. There is not to much to mention about  the first two opening bands, other than an extremely long name, not even kidding “Someone Still Loves You Boris Yeltsin”  while I can see a need for them at a Super Sweet Sixteen I was not really into it. The Lonely Forest however came  and rocked the place out. They were kicking off their newest tour here in Seattle, where they haven’t played in awhile. They got a great start, playing through loads of their next album, fan favorites of the night included “turn off this song and go outside” and “I don’t want to live there”  sing alongs were had! We were lucky enough also to get a few songs from “We sing the Body Electric” , “We sing in time” and a very short version of “Stick Upon Stick” since he forgot how to play it.  They were full of energy jump and singing as loud as they could, even a stage dive and a smashed instrument. The crowd was loving it, dancing,singing, and enjoying one of the best bands to come out of Seattle.

The Heavy Hit it Hard

Its been a week since The Heavy came crashing through the Showbox MKT and there’s still a bit of a din in my ears. Even now, thinking about the show, I feel the need to get the album back on and bounce around. They rushed into a half-full venue on a Wed night and erupted with all the energy of a New Years Eve arena show. A pure volcano of soul and rock. If you haven’t heard them before, think of it as if James Brown were to met up with Jon Spencer and kick the crap out of the White Stripes. Toss in a 40′s cartoon Satan with long wiggly arms and you’ve got it. The Heavy’s lead man, Swaby, raced around the stage kept the crowd engaged and hopping throughout the entire set. His intensity and endurance reminded me of slightly more reserved version of Fishbone’s Angelo Moore. In a rapidly dwindling outfit and tight mohawk, Swaby introduced every single song with a meandering tale (one the band had obviously heard a couple times before) that inevitably lead to the chorus of the upcoming tune. A story of his missing girl for ” No Time” a story about dancing with the Devil for “Sixteen”. Hokey? Maybe. Fun? Certainly. They even brought the horn section along this time, a piece I thought was severely missing the first time I saw them play in town. Now it’s hard to claim that the heavy’s sound is revolutionary, but DAMN do they know how to do that hoo-doo. Most impressive is the fact that they got an awkwardly-1/2-full room in Seattle to dance.. all the way to the back.
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The Heavy are touring the US in support of their 2009 effort, “The House That Dirt Built”. The album contains one of the years most recognizable tunes, “How You Like Me Now” known to soccer-moms and sock monkeys across the US as that KIA Sorrento song. The ROCK (sorry.. Duh-wayne Joooo-hnson) is using it as a backdrop for the trailer to his new cheesy movie, Faster, it’s been heard on the FX’s Sons of Anarchy and it’s most commonly known around my pad as the ring tone I’ve been using for over a year or so. I’d say I’m fooled at least once a day between the commercials and the airplay. You’d think I’d have changed it by now, but I just can’t bring myself to do it. The remainder of the album doesn’t ride on the laurels of the “hit” either. There are other booming and bass-heavy greats like “No Time” and “What You Want Me to Do?” that will keep the trunk lid of your KIA buzzing, gua-ran-teed! Then there are the genre busting tunes like “Short Change Hero” that could almost be classified as a Spaghetti Western track. Overall, very little fill on this one.
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As a little tease, here’s my personal favorite off the album.

The Heavy – No Time