That’s Digital Rights Management.
As a refresher, DRM is coding built into media files that limits the number of users that can access/play that file. Sometimes, as in the case of iTunes music store, a song I buy can be played on up to four other devices that I “authorize”. For instance, I have three Macs, an iPod and now an iPhone. I can’t send you an iTunes Music Store purchase with my iTunes password, as my devices use up my 5 licenses. Bummer, right? Apple and others set this up their music stores like this so they’d play nice with the captains of the music industry.
But what if you could play music in your friend’s iTunes library without ever having to take possession of those MP3/AAC files? Uh oh. DRM doesn’t mean jack all of the sudden.
I found an app this week that allows me to stream the music library of up to 30 other users to my computer or phone, and I immediately began to think of how irrelevant DRM had become. I’ll spare the sales pitch of this program, but it works in the same way as opening your notebook in a coffee shop and seeing the shared libraries of other people in the room. Except now, those shared libraries belong to up to 30 of your friends, and they don’t even have to be in the same time zone as you. And I can play songs from those libraries whether I am on my Mac at home or using my iPhone. Yeah, suddenly battling for a 16GB iPhone over an 8GB model doesn’t seem to mean jack, either. Having potentially 30 other libraries from which to stream tunes, in addition to the power of services like Last.fm and Pandora, makes a pretty strong case for the music industry to declare DRM dead.
They’ve played the KEXP BBQ - they rocked down at the Capitol Hill block party - damn, they even hosted a donut eating conpetition at Top Pot donuts. The Saturday Knights have been every friggen place there is to be unleashing the latest and greatest from their new album “Mingle“. Hell, we’ve sat here and ranted about the album until we were red in the face and peed out pants a little. But have you gone out and bought the album… HMMM?!?! OK some of you have, and to you I say kudos and congrats at having the summer’s official theme music fully pumping through your systems while rollin Broadway in your whip lookin for freaks and flippin your switches. I also say sorry for what’s coming next.
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Light in the Attic is releasing the entire TSK Mingle album for FREE!
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Indeed, it’s true. and after tax that comes to $FREE.99. For those who didn’t get that, let me reiterate. Reach in your pocket, grab your wallet, throw it in the garbage, cuz you don’t need that isht. (that’s radio edit for feces) Just click here and you will soon own what DJ100Proof calls ” something different. And believe me when I tell you…different is good. As in the best Seattle release of 2008 good.”
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On another note (that is if you’re still here and not busy downloading) you can come hang with some of the LITA folks and grab some cool schwag at the Seattle Subsonic Happy Hour this upcoming Thursday Aug 21st 5-8pm at MOE Bar (attached to Neumos) There’ll be cheap drinks so bring your cheap dates. More on that coming very soon.
The Let Go is a group comprised of emcees Type and Kublakai, and backed by beatsmith Captain Midnite. Kubi and Type have been around the block performing and putting out albums in the city for a number of years. Kublakai’s official ‘debut’ The Basics is a stellar introduction to the artist, and a great example of where hip hop is going in Seattle. Type’s work has included dropping some solid, yet hilarious, albums entitled Mustache Immaculate and Well Known Secrets, as well as being the official tour mate and hypeman for Grieves over the years. Not to mention the fact that he is often mistaken for the guy in the Vern Fonk commercials (sorry Type, had to).
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I must say this LP is a pretty ambitious project. The theme of the album is moving on, getting over, and pretty much just letting go of all the bad we may have come across in our lives and focusing on the good. The first words sung on the intro pretty much sum it up, “All of the struggles and troubles and pain you could possibly know, just let it go.” Hence the group name and their albums title ‘Tomorrow Handles That.’ Time heals all wounds. Chin up…life really ain’t all that bad people! So how does one make an enjoyable album out of a subject that could easily be a downer? By using assloads of witty wordplay, one-liners, comedy, great guest spots and incredible production from Midnite. That’s how!
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Each song has it’s own story, yet all seem part of the big picture thanks to the production and sing along choruses. The second track ‘Sun don’t shine’ throws you head first into Seattle, its hip hop scene, and all the BS that can come along with it. Midnite builds an epic beat that paints a perfect picture of a rainy Seattle evening as Kublakai spits “I love my city, but the weather is shitty, so we sit inside and be bitter. Sit inside all the winter.”‘Standing back’ is a great cut about letting go of a relationship because its for the better. ‘Booty fiend‘ is a hilarious take on the drunken Casanova that tries to show itself when us guys have one to many alcoholic beverages. ‘Party Crasher‘, featuring Louis Logic, gives you a play by play on how to fuck up someone’s house party. “As a matter of fact I’m gonna go in your bathroom and do an upper decker in ya toilet tank!”‘Moodswing’ makes a great case to avoid dwelling on the negative. “Today we cry, and tomorrow we sing. It was the worst day of your life, tomorrow you’re king.” Sleep on it! Then we have, ‘No I don’t,‘ which is my favorite track on the album, and features Josh Martinez, an uber talented rapper/singer from our neighboring city to the south, Portland. This track is all about the pitfalls of trying to hump a girl friend (notice the separation of the words) and why it’s almost always a bad idea, even though it often takes us a while to figure that out. “So if we’re just friends, do you wanna just fuck each other??”
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All the songs on the album are backed by great beats and have really catchy sung choruses that will stick in your head from the first listen. Rep your city and support a quality local hip hop crew…buy this album.
The Let Go are currently on tour with Louis Logic and will be having their record release party at Nectar in Fremont on August 27th. Opening for them will be Animal Farm, the Kid Espi and yours truly on the wheels of steel.
Georgetown, Seattle, WA. 5am Thursday.
I have a crappy job that causes my alarm to go off well before sunup most mornings. Because of this, I’m an NPR-in-the-morning kinda commuter. But this week I decided to tune in because I was on the road just before 5am, and JITM wouldn’t be on ’til 6. DJ Chilly was spinning a battery of politically- and spiritually-likeminded songs, starting with “One Armed Scissor” from At the Drive In (RIP), then a familiar-sounding vocalist on a song I’d never heard before. “One Day as a Lion” was the song, by an artist of the same name, he reported, before firing up “Welcome to the Terrordome” by Public Enemy.
A collaboration between Zack de la Rocha of Rage Against the Machine and Jon Theodore, formerly of The Mars Volta has resulted in a five-song EP that was released 22 July. It’s on iTunes and available through their site, too. I immediately snapped it up after getting home from work.
It’s a bit of a rough mix, with two of the five songs featuring the same basic instrumentation. But for supporters of Rage, and Texas legends AtDI, it is great that they have “delivered this warning”. The powerful and angry lyrics are here as with Zack’s better-known project, but not rapped exclusively so much as sorta… sung. The guitar wankery of Tom Morello is …. er, not present here either. With their erstwhile bands so strongly and clearly defined, it’s tough to listen with an unbiased ear. (Wasn’t that the case when Audioslave was formed from the remnants of Rage? Who didn’t wonder if Chris Cornell was going to try to fill out their first tour appearances by performing RATM songs? Chris rapping? Yeesh.)
Despite this EP, One Day as a Lion is in limbo right now as Zack is touring with a reunited Rage, but a full-length is in the works for release later this year. So no touring yet, no videos, just a website, MP3s and a limited vinyl pressing.
In the off-chance that you’ve been getting jealous from all the recent admiration and accolades showered upon Portland’s percolating art and music scene (and what true Seattleite wouldn’t?), one based on the ever-growing grass-roots, bottoms-up, do-it-yourself aesthetic, the Carousel Festival gives you reason to raise your Emerald City fist and pump it emphatically. I ask you: does nationalism apply to cities?
Yes, I would consider Portland a second home, but nobody likes second place, really, so let’s examine our own backyard, shall we? Not that our blog really needs to ask that particular question. You may or not be aware of the plethora of music venues “hidden” within various neighborhoods around the city. Most are not-for-profit house-types, many are good, clean, alcohol-free fun, proceeds often benefit local charities, and all have their goals set in one direction: artistic exposure and audience participation in a low maintenance and community-driven way. An art collective, if you will, that focuses on music, but offers so much more from rummage and craft sales to lodging for out-of-town bands to simply appreciating such things outside of a commercial location.
The Carousel Festival—in its third year, I believe—will take place over the third weekend in August (22nd-24th), and features at least 36 bands at six different locales. Honestly, I’ve only heard of a handful of the bands (with Kimya Dawson, Starfucker and Nazca Lines being the most prominent; also now with CHAMPAGNE CHAMPAGNE, the Pharmacy, and TacocaT!), but I imagine there’re quite a few good musicians out there I know nothing about. Especially in this town. And in an obvious nod to the festival’s intrinsic value, all proceeds go towards Communities Against Rape & Abuse (CARA) and Home Alive. Holy Cow! Check out Carousel’s link above to get more details on each place; usually locations are handed out upon friendly request. Plenty of shows abound every night here in Seattle, but if you want to really get into the guts of Seattle’s creative scene, I suggest you start here.
Place, time, cost and lineup details after the jump…NEW UPDATES AS OF 8/19! (In bold. But not italics.)
According to the Suicide Squeeze website, Spin Magazine has recently leaked album artwork, tracklisting and a few juicy details regarding Seattle-based, These Arms Are Snakes‘ newest long player and follow up to 2006’s criminally underrated, Easter.
Set for release October 7th, Tail Swallower and Dove, marks their 3rd full length and first for Suicide Squeeze, home of Minus the Bear, Crystal Skulls and Human Highway, among others. According to Spin.com, “the disc will be packed full of the hard-hitting hooks, somber tones, and brooding subject matter (as indicated by track titles like “Lucifer” and “Long and Lonely Step”) that These Arms Are Snakes fans have become accustomed to banking on.”
Just in case that little tidbit wasn’t enough to whet your insatiable urge for those sexy, serpentine, synth dudes, the fellas in TAAS will be on the road, mowing down West coast venues with labelmates sBach while presumably playing songs from said release. Tracklist and tour dates below:
08/31 - Bumbershoot - Seattle, WA
09/05 - Dante’s - Portland, OR
09/12 - Big Dipper - Spokane, WA
09/13 - Hell’s Kitchen - Tacoma, WA
09/16 - Center for the Arts - Grass Valley, CA
09/17 - Bottom of the Hill - San Fransisco, CA
09/18 - Spaceland - Los Angeles, CA
09/19 - Elks Pomona Lodge - Pomona, CA
09/20 - La Jolla - Che Cafe, La Jolla, CA
09/12 - Muddy Waters, Santa Barbara, CA
09/23 - Tonic Lounge - Reno, NV
More than once I’ve fallen in love with a song, only to find out that the band I’m giving all this recognition to for creating such a masterpiece, isn’t even the band who wrote it in the first place. Sometimes the song has been pried out of the archives from decades past for a deserved resurfacing, and sometimes it was last years pop chart topper, just with a totally different take. I’m not sure what the draw to the cover song is, maybe I’m just confortable with the little things are familiar to me. Regardless, in my rotation of all-time-favorites, I’ve been seeing more and more cover songs making the chart.
Here are just a few:
Pale Pacific - Walking on the Moon (Police)
Pale Pacific -formerly the Pale (from Bellingham) created this for the Police tribute album album Policia: A Tribute to the Police released in 2005. As much as I love this cover and consider it one of the Pale Pacific’s best works, let’s pretend that the rest of this tribute just doesn’t exist. Let’s just say it’s less than awesome. Far far less.
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Mark Ronson - Just (Radiohead)
From the album, Version - which is absolutely chock full of incredible remakes (not really even covers as he’s removed almost all the original instrumentation and replaced it with mixing and orchestral tracks) of songs from all over the map including Toxic by Britney Spears which, I must admit, is incredibly catchy but I’ve got another place for that one…
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Portland Cello Project - Toxic (Britney Spears - well at least it was performed by her.. it was actually written by Bloodshy & Avant, Cathy Dennis, and Henrik Jonback)
This version by the Portland Cello Project is off their upcoming self-titled album, due for mass consumption Aug 12th. This unique ensemble from our sister city in Oregon plays with anywhere from 8-12 Cellists with past contributors including John Vanderslice and john Darnielle. If you want to catch this act live (and you do..) they play the Triple Door, Sunday Aug 10th.
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The Gourds - Gin and Juice (Snoop Dogg)
Not to be confused with Phish or the Dead or whatever other labels this song has been given out there on the internets. I’m not sure if this ever made it to an album, but they are notorious for getting a room jiggin’ when they pull it out at shows.
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Shawn Lee’s Ping Pong Orchestra - Hey Ya (Outcast)
Thiis version is fully re-composed by Shawn Lee’s peeps and can be found on the album Hits the Hits. Thanks to DJ 100 Proof for turning me on to these guys. Fits right into the fold with his Summertime BBQ mix
Rodrigo Y Gabriella are an acoustic guitar duo from Mexico City heavily influenced by the deep dark metal-yeah metal. This is released on their self-titled album. I’ve caught these guys a couple times, once by chance as they opened for Gomez at the Moore Theatre and I (for some reason) decided to forego the obligatory overpriced beers and see who was opening. They completely and totally upstaged the headliner. I was amazed at how much sound came from 2 guitars. The second time I saw them was at Chop Suey after they had gotten a ton of airplay on “The Mountain” and the place was infested with tie dies and soccer moms. It was a weird vibe, but the place rocked nonetheless.
- Jeff Buckley - Hallelujah (Leonard Cohen) - Cohen’s masterpiece of writing was made absolutely heartbreaking on Jeff Buckley’s Grace. I have been seeing a large resurgence in this songe lately. It has been covered neumerous times. Some might say that the best version of this was by John Castro on American Idol but then again, some people should have the right to think revoked.
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And my current favorite would be
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LCD Soundsystem - Into the Fire (Harry Nilsson)
This is a bit of a rarity, found on the B-side of the Daft Punk is Playing at My House single. You might know the Harry Nilsson version from Good Fellas.. near the end when they’re being followed around by choppers, making marinara, and transporting lots of guns and coke. I know the LCD Soundsystem version it from the soundtrack I wish I had playing with me every time I entered a room. Now if I can just get my slow-motion strut down, I’m gold.
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There are probably a billion others great covers out there. I must stop here now that the floodgates are open or else I’ll be compiling this for a month. I mean, there is still Dolly Parton’s White Stripe’s Jolene (Dolly Parton) , and TV on the Radio’s masterful - Mr Greives (The Pixies) and.. and.. and..
Friday night after $1 PBRs at the Nitelite, I found myself stumbling into the Paragon to see Brazilian electro-pop trio (usually duo) Telepathique. TheParagon you may be wondering, well I was wondering too. I pretty much associate the crowd at the Paragon as where the Belltown scene was born. Guys with stripey shirts (why???) and girls with halters were there galore. However mixed in was a handful of the hipster persuasion, all in slight denial that they were actually hanging out at the Paragon.
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Not really conducive for any type of rock show to take center stage, Telepathique came out around 10 or so and crammed themselves into a corner of the packed Paragon with their computer gear, turntables and drum kit. As soon as the beats sounded, the belltown-like scenesters made their way to the back of the bar and the hipsters crowded around giving their full attention to the band. Telepathique, from Sao Paolo, Brasil, is normally just 2: Mylene with her sort of a disheveled Courtney Love meets Belinda Carlisle appearance on vocals and Erico Theobaldo, manning the drums, turntable and programming.Plus in attendance on Saturday was another Brazilian guy playing the guitar.
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Telepathique put on a pretty good show, one that would make many (even a Seattlite) get out to the dance floor with their mix of electro-pop, rock, and baile funk. You know, I’m beginning to love more and more the integration and blending of electronica into different genres of music (especially after seeing The Helio Sequence in July) . And I’m starting to figure out that the key to great live electro-<insert your genre here> is to create a seamless sound where computer beats mesh perfectly with the live instruments. This would be one of the critiques out of this past Friday’s show – when Erico kicked it on the drums, it distracted from the overall sound. Also, the vocals were sort of drowned out. But this could have been a problem with the venue too. Overall I’m glad I caught their act. Aside from the sound problems—they were there to please and have fun. Their attitude was infectious, well with the hipsters anyway.
Seattle (or, actually, maybe Portland) band Jaguar Love has finished a new video for “Highways of Gold”, from their first album Take Me To The Seaon Matador. In my opinion, it’s not the best song on the record, but it IS high-fidelity, supposin’ you’re a fan of this band. I say ’supposin’ cuz A) I’m a back-country hillbilly and B) I’m pretty sure this band is creating some diverse opinions. I’ve heard people say it’s too grating (sometimes; though, what’d you expect from Johnny Whitney?), some people like Cody Votolato’s classic-rock riffage (me), others appreciate J Clark’s jazzy, cross-over drum skills (me). Only time will tell.
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I admit I wasn’t taken with the first few spins, but after hearing it on a few different levels (sober, inebriated and live), I’m more than warming up to it. There are a few hits (”Jaguar Pirates”, “Antoine & Birdskull”), a few misses (”Georgia”, “Bonetrees And A Broken Heart”), and enough weirdo moments to make you reconsider (”Humans Evolve Into Skyscrapers”, “Vagabond Ballroom”). Whitney might remind you of Alvin (yes, that Alvin) at times, but seeing him rock the stage is enough entertainment to fill a boat and take me to the sea. Sorry, couldn’t resist.
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The video is quirky and cartoonish, has a nice lovelorn feel to it, and features a few local musicians of note (Steve Snere from These Arms Are Snakes and Andrea Zollo from Pretty Girls Make Graves and Triumph of Lethargy…). The band is currently touring with the Faint on their Fasciination tour (the Seattle date was cancelled—boooooo), but they’ll stop off at Redmond’s Old Fire House tomorrow night, August 2nd. They’ll play with Talbot Tagora, who have recently entered my ‘watch list’. So I’m watching them. YOU watch out for the kiddies at the show.
The National are coming to the Moore Theater 9-9-08 with the sensational Menomena from Portland. Tickets go on sale tomorrow, Aug 1st, but if you wanna get a jump on the crowds, you can hit up the pre-sale happening NOW.
Unfortunately you have to go through Ticket-Bastard, and I don’t condone it, but if you just HAVE to have those killer seats,
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Otherwise, head over to the Moore tomorrow between 10 and 6 and get tickets at the window without having to pay out the butt for “convenience fees, and handling charges.
So, apparently, the best way to save Marshall is tocatch the Mt St Helens Vietnam Band show TONIGHT (Thurs July 31st) at Neumos. This is the big Seattle debut for the band who is differentiated from many bands primarily by the fact that they are dedicated to improving their community and the world. This effort is no better proven then by their Public Service Announcements on some hard hitting topics like Homiostasis and Borin’ (which are absolutely hilarious). Another - more concrete difference - is the band’s unique elements. Namely, the band is comprised of family and best friends. A husband and wife, with the husband’s adopted younger brother serving as the band’s drummer (and he’s 13…really). Plus, 3 of the 5 band members (the husband and his two best friends) spent time together in another Seattle band, In Praise of Folley, and decided to put all their eggs in one basket and focus on promoting the crap out of their first show. That includs carting in a bus-load of their friends - literally - they chartered a bus and are trucking in some BIG fans. So you can expect the place to be lit up with excitement tonight.
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Oh, and before I forget to mention, and the music is killer too. Fans of Man Man, Wolf Parade and the Kinks will eat this stuff up. Have a little listen to Who’s Asking from their upcoming EP, Weepy, for yossef.
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So tonight, in their freshly sewn uniforms, Marshall (the 13 year-old) along with the other 4 members of Mt St Helens Vietnam Band will be bringing you the hit, you now know and love, and make their world debut!
Continuing on with our “coverage” of the weekend, here are my experiences (straight from my eyes and head—spooky) from Day 2 at Ye Ol’ Block Party. The day was highlighted by an even bigger crowd full of people doing their darnedest to look ugly, several more first time encounters with a band (6 out of 9!), the ridiculous amount of trash produced by all the free garbage being given away (Jones Soda, Monster, Kettle Corn), and a delicious Polish sausage to accompany my High Life. To the music…
Fresh off several months of massive globe trotting, the local boys from the Cave Singers played to a hot and humble crowd, who was eagerly awaiting their ghostly folk tunes. Fudesco busted out an electric-acoustic and played first fiddle on a new song more akin to set-closer “Dancing On Our Graves” than the more protracted and chilling ”New Monuments”. If the second album has the up tick in tempo and improved craftsmanship the band employed on Saturday, look for it to be highly anticipated. Kinda like Pete Quirk after he ate that pot brownie and had to escape his ceiling fan the night before. True story.
Huh. Coulda swore the Physics were supposed to play the Vera Stage at 4:15. Turned out to be these dudes, bent on gettin’ us to make some nooooooooooize.
Ah, Kimya Dawson, the feel-good set of the weekend. My primary exposure to her up to this point was from the release of Juno, so I didn’t quite know what to expect. Not only did her quirky, innocent-auctioneer delivery complement her eccentric and candid story-telling, but she also invited her little bro “Junglefoot” up on stage to perform for the first (or near-first) time one of his own equally individual songs. My heart is warm with affection and blood. I am an animal, after all.
I think this band won LB’s fabled “Best Band Seen That I Previously Knew Little About”. Oh sure, I’d heard about their wave-making down in Portland over the past few months, but hadn’t really had the chance to delve into their music. As we decided to head into their set at Neumos on a whim, we were met with a rollicking set of gritty, unwavering, Mountain Goats-meets-Zeppelin-via-Beirut folk-rock. This band has a lead mandolin player, for chrissakes. And a Frank Zappa lookalike on acoustic bass to boot! Egad! The perfect excuse for a road trip down to P-town.
I suppose the sound directly in front of the main stage was adequate, but hanging in a beer garden packed to the gills with drunkards, the gentle harmonies and plaintive guitars of the city’s current favorite sons were simply lost somewhere along the way. When people shut up, you could actually hear Robin Pecknold’s voice penetrate the cool summer air and Sky Skjelset’s strings shimmer with the cloud-covered sun. But since I’ve made a habit of seeing this band over the past few years, we went to abuse our eardrums listening to…
Another Portland band I’d heard little about prior to this day, Black Elk fuckin’ rocked the Vera Stage like it was CBGB’s circa 1978. So much so, that the band’s drummer had to replace his broken kick pedal for the final song with that of following act Akimbo. Vocalist Tom Glose shimmied and contorted his body to the blistering bass lines of Don Capuano as if he hadn’t been doing the exact same thing for the past 15 years (I suspect he has). Think These Arms Are Snakes without the fancy keyboards and goth-poetry lyricism, and you might get yourself closer to the dark, rip-roarin’ anthems of Black Elk.
Chromeo is all well and good. They’re two fun-loving guys who really know how to use a vocoder, a few different keyboards, and a call/response with the crowd (not sure about the guitar, however). I actually like Chromeo’s escapist dance music—and boogied just to prove it—but for some reason, I kept feeling like I should’ve been inside a thumping, sweaty Chop Suey to get their full effect. Crappy Sound 2, LB 0.
I’ll be honest (since I mostly lie), Craig Finn’s voice really kind of bugs me. But I went into this performance with an open mind due to The Hold Steady’s obvious musical talent and wealth of energy—mostly channeled through Finn’s barefaced geekiness and hometown lyricism. The man would absolutely not stop moving back and forth from one end of the stage to the next, pleading with the people. But it all fell into the right place as the crowd couldn’t get enough of their bloozy, innocuous punk rock.
In all truth, I’m not sure there’s another band I would’ve rather ended my Block Party experience with than Feral Children. You might have noticed that I’ve written about this chaotic drum-fest AD NAUSEAM, but it’s only because they keep getting freakin’ better. Every time I see this band, their songs and performances are fleshier, more frenzied, more obsessive, and altogether affecting. This is not feel-good rock for the masses, it’s menacing and malicious noise-rock that’ll blow yer socks right the fuck off.
Each song has it’s own story, yet all seem part of the big picture thanks to the production and sing along choruses. The second track ‘Sun don’t shine’ throws you head first into Seattle, its hip hop scene, and all the BS that can come along with it. Midnite builds an epic beat that paints a perfect picture of a rainy Seattle evening as Kublakai spits “I love my city, but the weather is shitty, so we sit inside and be bitter. Sit inside all the winter.” ‘Standing back’ is a great cut about letting go of a relationship because its for the better. ‘Booty fiend‘ is a hilarious take on the drunken Casanova that tries to show itself when us guys have one to many alcoholic beverages. ‘Party Crasher‘, featuring Louis Logic, gives you a play by play on how to fuck up someone’s house party. “As a matter of fact I’m gonna go in your bathroom and do an upper decker in ya toilet tank!” ‘Moodswing’ makes a great case to avoid dwelling on the negative. “Today we cry, and tomorrow we sing. It was the worst day of your life, tomorrow you’re king.” Sleep on it! Then we have, ‘No I don’t,‘ which is my favorite track on the album, and features 
Set for release October 7th, Tail Swallower and Dove, marks their 3rd full length and first for Suicide Squeeze, home of Minus the Bear, Crystal Skulls and Human Highway, among others. According to Spin.com, “the disc will be packed full of the hard-hitting hooks, somber tones, and brooding subject matter (as indicated by track titles like “Lucifer” and “Long and Lonely Step”) that These Arms Are Snakes fans have become accustomed to banking on.”
Friday night after $1 PBRs at the Nitelite, I found myself stumbling into the Paragon to see 
