The Stranger: Line Out

Tonight in Music: Mad Rad, Team Gina, Jesse Sykes, Coldplay

Chris Govella — Sat, 11 Jul 2009 09:13:00 MST

Mad Rad, Sex Symbol, Tigerbeat, Marty Mar

(Chapel) Lemme take this time for a couple birfday wishes: First, my man Kevin, liquor rep and good dude extraordinaire is throwing himself a b-day bash at Chapel on July 11 with Mad Rad, Sportn' Life's Sex Symbol, and DJ's Tigerbeat and Marty Mar. Also, Mr. Songs for Bloggers (download that!) GMK is celebrating his own born day at Nectar on July 15, where he'll be rocking with a three-piece band. Also appearing are the State of the Artist crew and the Gem City Committee, the combo of MCs Peoples, Philly Alto, and R.O.B., who've teamed up to construct a free three-act mixtape, The Sound, which you can get on Peoples' MySpace page (/gotpaid). I'm sure in both cases that your presence is presents enough.

In West Seattle, Über Alles:

West Seattle Summer Fest: Caspar Babypants, Thee Sgt. Major III, Team Gina, more

(West Seattle Junction) This year, the West Seattle Summer Fest will celebrate its 27th year with two stages of music, hundreds of artists, food, an old-school video-game gallery, skate demos, a Rat City Rollergirls dunk tank, and more.

What makes West Seattle Summer Fest so great is that it really does feel like a neighborhood celebration.

"It's all about the community," says festival director Oliver Little. "Everything we plan is based on what West Seattle residents say they'd like to see. Our primary goal is to show off the neighborhood and get people out on the street together. Musicians and artists seem to dig this message and think of this as 'their' neighborhood festival. It's pretty incredible how many Seattle musicians live in the West Seattle area and are willing to play on the street."

In Stranger Suggests:

A Drink for the Kids: Robin Pecknold, Throw Me the Statue

(Neumos) Tonight's concert marks the culmination of the Vera Project's seventh annual "A Drink for the Kids" fundraising campaign, in which Seattle's 21+ supporters raise money for the rad all-ages venue simply by drinking. Doesn't philanthropy feel awesome? Or is that the booze? Not only less annoying than a pledge drive, tonight's is a hell of a lineup: Headlining is Robin Pecknold of beardo darlings Fleet Foxes performing a rare solo set. Opening are Throw Me the Statue, whose forthcoming Creaturesque continues their fine take on catchy, clever indie rock laid out on last year's arresting debut, Moonbeams. (Neumos, 925 E Pike St, 709-9467. 8 pm, $15, 21+.) ERIC GRANDY

Also in Up & Coming:

The Advent & Industrialyzer, Jerry Abstract, Travis Baron, 214, PotatoFinger, Greg Skidmore

(Chop Suey) British techno producer the Advent (Cisco Ferreira) has been pushing techno's hard-line since around 1994, originally in a duo with Colin McBean, then solo from 2001 onward, and now with Industrialyzer (punchy Portuguese DJ/producer Ricardo Rodrigues). His productions have been massive, will-to-power affairs, combining finesse and aggression, and constructed for the most headstrong (and legstrong) dancers. The Advent is up there with techno warlords like Surgeon, Regis, and Cristian Vogel. Local pummelers Jerry Abstract and Travis Baron are the ideal choices to support the Advent & Industrialyzer, while Seattle's PotatoFinger is the wild card of the bunch, an eclectic producer whose "Pixilated Mayhem" is too unruly to be described in the space allotted. Just see him. DAVE SEGAL

Coldplay, Kitty Daisy & Lewis, Amadou & Mariam

(Gorge Amphitheatre) What do Coldplay have to do to earn your fucking respect? Refuse million-dollar endorsements from Gatorade, Diet Coke, and the Gap? (Check.) Devote countless hours and dollars to supporting Amnesty International and international free trade? (Check.) Work with Brian Eno? (Check.) Shove Gwyneth Paltrow off a cliff? (Pending.) Whatever the case, Coldplay continue their quest to be the most imaginatively principled rock band whose music I couldn't care less about, granting a splashy opening spot on their Viva La Vida tour to world-music superstars Amadou & Mariam. Go to see "the blind couple from Mali" rock the fucking house, stay for the perfectly respectable Grammy-winning Radiohead-lite to follow. DAVID SCHMADER

No Depression Festival: Gillian Welch, Iron and Wine, Patterson Hood & the Screwtopians, Jesse Sykes & the Sweet Hereafter, Justin Townes Earle, Jessica Lea Mayfield, Seattle All-Star Revue, Zee Avi

(Marymoor Park) Holy God. I hate festivals, but are you fucking kidding me with this lineup? Gillian Welch and Jesse Sykes & the Sweet Hereafter on the same goddamn stage on the same goddamn day? Which is not to say that Iron and Wine are anything to sneeze at, but seriously: If you're going to make a sandwich with Welch and Sykes as bread, you don't need anything in the middle. But there are plenty of reasons to hang out for the whole day: Zee Avi is a cute, promising young musician, and Justin Townes Earle is definitely on the way up, too. As the kids used to say back in the frontier days of the internet, this lineup is made of win. PAUL CONSTANT

Andy Werth, Open Choir Fire, Bad Dream Good Breakfast

(High Dive) Seattle rock trio Open Choir Fire are the sore thumb on tonight's lineup. On their new record, Dirt Bathed and Quilted (released this week), the Tacoma transplants experiment with everything from sharp, post-rock rhythms ("You Should Take the Bus") to more fluid indie-rock melodies ("Get in Line"). But billmates Bad Dream Good Breakfast and Andy Werth both boast strings and piano and a vaudevillian vibe. Weird, right? Maybe OCF did that on purpose. Maybe it's like a wedding—when you choose bridesmaids' dresses, you want them to look nice and all, but they can't be at all like your dress because you're the bride—it's your night. Well, tonight, with their new record in hand, is Open Choir Fire's night, and tonight they will shine. MEGAN SELING

Emerald City Soul Club

(Crocodile) For too long, the lines to get into Emerald City Soul Club at the Lo-Fi Performance Gallery have been, well, too long. Show up at even just 10:00 or 11:00 p.m. for the well-loved dance night, and you'd frequently find fancied-up, would-be revelers lined up down the block at a standstill. With the Lo-Fi undergoing some redesign issues, the last couple of months have been especially tough, with Soul Club split between Lo-Fi's little front room and the Victory Lounge next door. So cheers to ECSC for moving the night down to the higher-capacity Crocodile starting this month. Expect all the same rare soul 45s to be spun, all the same dressed-up dancing, but maybe just a little less of a line (and pizza from Via Tribunali instead of that one guy who shows up at last call with $5 pies of dubious origin). ERIC GRANDY

For more live music and shows, check our searchable online calendar.

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No Depression About the No Depression Festival

Sam Machkovech — Fri, 10 Jul 2009 17:27:29 MST

Since I'm apparently Line Out's marquee alt-country whatever, I'll be posting impressions and reviews live from the No Depression Festival tomorrow. Used'ta be, the Austin City Limits Music Festival trafficked exclusively in the deliriously blurry line between country, folk, bluegrass, and rock, but ever since that event was co-opted by the guys who book Lollapalooza years ago, us pearl-snap-wearin' sad sacks have been plum outta luck. ACL's loss—Redmond in July has to be more tolerable than Austin in the dead of September.

Patterson Hood'll be on hand to play with a spin-off of Drive-By Truckers. Iron & Wine will appear with equal parts pretty songs and beards. And Gillian Welch will put on a great show until I rush the stage to profess my love. Just you watch.

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Every (Nearly "Liberated") Picture Tells a Story

Dave Segal — Fri, 10 Jul 2009 15:44:09 MST

Blue Moon talent booker Jason Josephes relates this incident involving the Abodox after last night’s show with Diminished Men, Wah Wah Exit Wound, and the Abodox:

You probably noticed the painting behind the stage, the one with all the beer cans. It was done by our bartender Mary McIntyre.

So I noticed the Abadox drummer admiring the painting during load-in. It's a frequent occurrence, given the nature of the artwork.

While the band is loading out, I notice their drummer trying to smuggle something out the door behind their amps. Turns out it was the very same painting. I busted him on the spot and got nothing but a bunch of smart-ass conjecture. He told one of our regulars that he loved the painting and, since no one else could possibly appreciate its majesty, he decided to liberate it.

He put his time into it — the painting was secured to the wall via a mounting. His unleashing involved unscrewing the painting from the wall. This was not a drunken grab. It was a painstaking labor. I admit that I was not paying attention to the stage at the time, but it's rare that a band tries to steal from us. We run a good ship.

When accosted outside, I was met with nothing but a smart-ass attitude. "Yeah, I tried to steal your painting and I got caught," he said. "I don't know what the big deal is."

The other band members weren't much help. I gave them the benefit of the doubt — they didn't steal anything — but surely they must have been aware of their drummer's doings. And the more I and some of our regulars laid into him about it, the more flip and sarcastic he became. It took a lot of resistance to not make things physical, especially as the harangues kept on coming. He just plastered on a shit eating grin on his face and continued to flaunt his transgression.

What sucks is that he ruined an otherwise fantastic night of music. What sucks even more is that I paid the band before one of the members decided to go all jackass on us.

When I told him word would be getting out about this, he smiled even bigger and said to yes, by all means, let people know what he did. So here you go.

I’ve contacted Thomas-Kennedy to get his side of the story, which I’ll report as soon as he responds.

UPDATE: Here is Benjamin Thomas-Kennedy's response to Josephes' recounting of last night's post-gig incident:

First off, yes there was an attempt to free the painting from the venue; but I, Benjamin Thomas-Kennedy the drummer from the Abodox, was not present at the venue when this occurred. I had already gone home to get some sleep as I had to go to work in the morning at my day job at the Frye Art Museum. That's right, I guard art for a living. I will not throw any of my band mates under the bus though as it is our policy to stick together and support each other's actions...and mistakes. None of us did anything to stop this, so I guess you could say we are all to blame.

Its true that time and care was put into the heist. We respect the work and did not want to damage it. A "drunken grab" would have been much worse as it may have hurt the art which would have been a huge tragedy. We had no intention of getting away with it or damaging it. The painting is fucking huge and to think that it could be easily removed and walked out with is a ridiculous notion. I guess you could say that it was our way of showing our appreciation. we had no intention of keeping or hurting the art which, again, we fully appreciate.

When confronted, we owned up to it and returned the painting. Then in a moment of severe overreaction, we were violently threatened with physical accosting. The specifics of what was said are vague at best, but we did not resist or require this aggression at all. The venue even took some of our gear to "teach us a lesson." Thankfully, they returned it, just as the painting was unresistingly given back to them.

Also, we would like to confirm and defend what was perceived as our "smart ass-attitude" in the face of the staff's aggressive behavior and words. After apologizing repeatedly, it seems nothing more could be done to calm the situation as escalating threats were directed towards us. We are not liars.

JJ is also right that it was a great night. it always is at the Blue Moon and we understand how our actions soured it as such. We have been playing there for over 8 years and we would hate it if last night was our last set there. We are sorry for all the fuss. It was a fucked up thing to do and it won't happen again. We love the Blue Moon and we are sorry for being dumb asses. We have nothing but respect for the venue, the art, and the artist. We sincerely apologize.

As for the show itself, I had to leave before headliners the Abodox played (and thus obviously missed the drama), but Diminished Men acquitted themselves well without their bassist Simon Henneman, deftly moving through smoky, chiaroscuro-enhanced instrumentals that sounded as if they could be gracing Sergio Leone spaghetti westerns and Quentin Tarantino crime thrillers.

Wah Wah Exit Wound followed, playing songs that were so serpentine and knotty, they must have taken 10-hour rehearsal days to master them. Seriously. These labyrinthine pieces sound great—especially sans vocals—while they’re happening (thankfully, they aren’t fooling about the wah-wah part of their moniker), but they’re very hard to retain in your brain afterward. They dissipate like passages from a book written in a language you only half understand. But during them, it’s like riding a roller coaster in a forest full of pine trees. Compliment.

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This Week in the Music Section

Chris Govella — Fri, 10 Jul 2009 15:34:42 MST

Dave Segal on Portable Shrines:

After witnessing Wooden Shjips' awesome concert at the Comet in April, local musician/author John Gillanders of the band Black Science e-mailed promoters Aubrey Nehring and Darlene Nordyke to gush: "I was actually practicing some magick rituals during their set and felt like I was kind of floating around the room and transforming my field of consciousness into predesigned sigils. Great experience."

That phenomenon has become more common in the last year thanks to Portable Shrines, a collective dedicated to fostering psychedelic multimedia events in Seattle. Started last year by Nehring and Nordyke, Portable Shrines is shifting the city's psych scene into a higher gear—subliminally.

Megan Seling on West Seattle Summer Fest this weekend:

Festival booker Jason Fitzgerald takes full advantage of the musical talent residing on the other side of the city when curating the festival. "West Seattle affiliation is important to me," he says. "It seems like a lot of festivals—especially community festivals—just book whoever applies, whoever is the cheapest, or friends of friends, and that makes for a dull festival experience. I think it reflects poorly on the community in the long run. So I say no to bad bands. I care about West Seattle and Summer Fest and try my hardest to persuade good bands to play, even when other festivals offer them more money." For this year's festival, at least half the bands have ties to the neighborhood, including Mudhoney, Super Sonic Soul Pimps, We Are Golden, Pillow Army, and Westerly.

Mudhoney may be the biggest name in the lineup, but they're not the only talent in the pool. Black Panties—featuring members of the Cops, the Presidents of the United States of America, and the Heavy Hearts—play quintessential rock and roll about makin' out and screaming in authority's face. Thee Sgt. Major III, featuring Kurt Bloch, deliver super-sunny and sing-alongable pop anthems.

Charles Mudede on Cage:

The story of Cage's struggle with mental illness and abusive parents shaped the content and mood of his second full-length album, Hell's Winter, which was released in 2005 by his current label, Definitive Jux. However, his first full-length album, Movies for the Blind, was shaped by hedonistic and self-destructive drives. He rapped about lots of sex ("They try to kill me through my dick with these hos too much"), lots of drugs ("Had a PCP overdose, and I still smoke"), and lots of horror gore ("My whole career been a upstream kayak through blood"). But those shocking images and themes did not capture or match the true spirit of the underground, which is more about the mental—be it the metaphysics of Scienz of Life, the futurism of Cannibal Ox, the surrealism of MF Doom, or the skills for skills' sake (hiphop's version of ''l'art pour l'art'') of Eyedea & Abilities.

Check out Up & Coming for this week's concerts and points of interest, such as No Depression Festival:

(Marymoor Park) Holy God. I hate festivals, but are you fucking kidding me with this lineup? Gillian Welch and Jesse Sykes & the Sweet Hereafter on the same goddamn stage on the same goddamn day? Which is not to say that Iron and Wine are anything to sneeze at, but seriously: If you're going to make a sandwich with Welch and Sykes as bread, you don't need anything in the middle. But there are plenty of reasons to hang out for the whole day: Zee Avi is a cute, promising young musician, and Justin Townes Earle is definitely on the way up, too. As the kids used to say back in the frontier days of the internet, this lineup is made of win. PAUL CONSTANT

Fucking in the Streets on the Vera Project fundraiser 'A Drink for the Kids':

If you are gonna feel the blues and inject your rock with a little rudimentary boogie, though, you could do a hell of a lot worse than Unnatural Helpers. The band is led by singer/drummer Dean Whitmore and features Brian Standeford (ex—Catheters, Tall Birds) on guitar and Kimberly Morrison (the Dutchess and the Duke) on bass; sometimes Charles Leo Gebhardt IV joins them as well, but not this night. The Helpers' brand of garage-y rock and roll is more straightforward than TLA's, but they steamroll ahead (and swagger side to side) with an energy that's as undeniably catchy as it is concise (most of their songs clock in at under two minutes). "This is about as close as we've come to playing an all-ages show," quipped Morrison between songs, and indeed, theirs is a sound that practically demands a little (preferably philanthropic) drinking for proper enjoyment. The band recently signed to the reliably awesome and always busy local label Hardly Art, so expect to be hearing plenty more from them in the future.

A Drink for the Kids continues this Thursday at Linda's, Friday at Solo Bar and the Funhouse, and culminates Saturday at Neumos with a show from Fleet Foxes' Robin Pecknold and Throw Me the Statue. recommended

Read reviews of new singles from the Game, the Fiery Furnaces and more in It's a Hit:

"Lost at Sea"

by the Fiery Furnaces
(Thrill Jockey)

I'm Going Away, from which this is the track that won't let go, is the most immediate, song-oriented album they've made since 2003's Gallowsbird's Bark, but they haven't so much gone back to normal as reinvented themselves again, this time as something approaching a simple rock band. "Lost at Sea" is the simplest song, with the simplest chorus, but it won't stop nagging you: "Baby, I'm... maybe I'm not me."

Data Breaker on Wisp:

New York's Wisp (Reid Dunn) headlines this month's event. He's been making strangely contoured waves in electronic music's IDM sector with his most recent full-length, The Shimmering Hour, on England's seminal Rephlex Records (he's also released on Sublight and Terminal Dusk). The Shimmering Hour sounds like an archetypal Rephlex effort; in fact, some thought Dunn was behind the Tuss, a once-mysterious Aphex Twin production that caused a stir in 2007.

On this disc, lustrous synths twinkle and swell with orchestral grandeur while manic rhythms skitter and splat in a manner familiar to anyone who's followed elite producers like Squarepusher, µ-Ziq, Plaid, and Richard D. James over the last 15 years. This is electronic music that bears the compositional complexity and integrity of jazz-fusion masters like Return to Forever and Weather Report, but it's leavened by a giddy spirit. Wisp's music proves that you can simultaneously stroke your chin and cut a rug, and not look too ridiculous in the process.

My Philosophy on Grynch:

The hits just keep on coming. Blogland's favorite 206 MC, the (man who hates being called the) King of Ballard, Grynch, has blessed us all with his latest and greatest, the Chemistry EP. Just like that awesome Physics EP from last week, it's up for free download; hit www.getgrynch.com to get yours. Eight tracks deep, this record finds Young G nailing his formula, as laid out on the title track: "Good beats, good rhymes, good chemistry."

Okay, so it's a little deeper than that. For one, Grynch really put together a great palette of beats in which to find inspiration, with contributions from longtime collaborator Scenik, bicoastal Myx Music artists/producers Keelay & Zaire (cop that Ridin High), Red Bull Big Tune Philly contestant CsD (whose beat on the opener "Right Now" is an attention getter), as well as up-and-coming locals like DJ Nphared and Ill Pill. The biggest smash on here comes courtesy of the biggest name, New Jersey's celebrated slap-champ Illmind; the song in question, "A Dream Undeferred," captures the heart of go-forth perseverance rap, its verses detailing the MC's rise through the ranks.

The Score on music from Final Fantasy, the video game:

Given the elasticity of Final Fantasy's music in practice, it may seem strange—and staid—for the Seattle Symphony to devote a weekend (Thurs July 9, 7:30 pm and Fri—Sat July 10—11, 8 pm, Benaroya Hall, $17—$85) to fixed, closed-form selections culled from 11 editions of Final Fantasy. The audience will watch images from the game on a giant video screen while the symphony and the Seattle Choral Company perform an evening-length suite, including the ominous "Liberi Fatali," "Fisherman's Horizon," and the game's opening theme. There's even a premium-priced meet 'n' greet afterward with the composer.

Nonetheless, this is a risky, almost experimental concert. In addition to plumping up the thin MIDI- and sample-based sounds of the game's score with a live orchestra, the symphony, by freezing the open-form Fantasy music, may enunciate something new out of the familiar.

Underage on Seahouse's new record:

From their first, sloppy shows at the Old Fire House in 2007 to the first time they destroyed a party at now-defunct Central District DIY house the Ark, Issaquah's Seahouse have always been something very special, as evidenced by the unanimously stoked crowds that meet them everywhere they go. Their simple, lo-fi sing-alongs encompass all that it is to be a suburban teenager—but on their first full-length album, PNW, they elevate their poppy basement jams to full-on summer-soundtrack material. The inhuman beat of Nick Leumpert, flat-out the city's best young drummer, lays the groundwork for the band's grimy guitars and the blooming teenage lyrical prowess of vocalist and frontman Max Smith-Holmes. Whether being hopelessly lost in love, anticipating the end of school, or welling up with hometown pride, PNW is a raw and honest trip through Smith-Holmes's hang-ups and enthusiasms.

Party Crasher gets down with people turning 30! Also check out Poster of the Week! If you're having trouble getting your evening started off right, you can search our online calendar for more music, shows and DJs.

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They Live! - "Whitney"

Eric Grandy — Fri, 10 Jul 2009 14:10:50 MST

A new track from local hiphop cartoons They Live!, aka Dro Boy (Gatsby of Cancer Rising/the Stranger's Larry Mizzell Jr.) and Bruce Illest (DJ BlesOne). All conflict of interest aside, these guys are just tearing shit the fuck up right now. This track, "Whitney," comes from their forthcoming EP, They LA Soul, and it's a perfect intersection of cracked humor, iced-out, reverby production, and playfully aggro rapping. "I be smoking that Whitney/so come and get with me":

They Live! - "Whitney

They Live! play the Capitol Hill Block Party, Friday July 24th.

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Alan Lee Keyes's History of Hiphop

Charles Mudede — Fri, 10 Jul 2009 13:53:22 MST

Here you will find this list: "The greatest hip-hop albums of each year for the past 25 years."
There is much on this list I do not agree with, particularly after 1997. As for Ready to Die in 1994? How can you compare that crap to Illmatic? How?

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Hollow Earth Radio: House of Streams

Trent Moorman — Fri, 10 Jul 2009 10:55:00 MST

Hollow Earth Radio is an online, streaming, DIY radio station based out of a Wallingford mothership house. They champion local and Northwest music with live house shows and in-home performances, and they feature indie / underground music from around the world. Hollow Earth Radio is interested in what they call the “human experience.” They want to know the stories behind the songs and musicians. They want connection of internet to souls. Hollow Earth also airs audio oddities such as found sound, field recordings, paranormal story-telling, and dream analysis. Hollow Earth broadcasts twenty-four hours a day seven days a week.

Co-founder / director Garrett Kelly broke down the station’s make up:

How does Hollow Earth Radio broadcast its signal online? What is the technology used?
Kelly: We broadcast from an iMac computer at our central station in a Wallingford attic. We use software for the Mac called Nicecast that costs $40, and while not free, it’s really easy to setup and use. Using Nicecast, we broadcast our 'signal' out to a Shoutcast Server that is hosted by Rockandrollhosting.com and that server handles all the bandwidth of multiple people connecting to the radio at once. When you tune in via iTunes, you're actually connecting to that Shoutcast server which is being fed the stream by our attic computer, The Mothership.

Another piece of the puzzle is the service called LoudCity.com, which is how we pay royalties. LoudCity has an interesting way of dealing with the DMCA (Digital Millennium Copyright Act) laws which basically say that royalty fees must be on a domain by domain basis. Instead of small broadcasters having to pony up a bunch of money in order to even get started, LoudCity has found a way to share the costs. Basically, they have a huge user base who all host their streams at the same website and each pay a small fraction of the bulk royalty rate. When you browse to the 'Listen' page of Hollow Earth Radio site you are technically on LoudCity.com but it looks fairly similar to the rest of the Hollow Earth site so most people would never know.

Walk us through your setup? Gear wise, what equipment do you run the station with?
We have the main iMac computer that is sadly in the shop right now after a hard drive failure. Right now, we're on a backup machine that someone donated. We have a small mixer next to the computer, a compressor, and a huge mic that Alex from 20/20 Cycles donated to us. He called it the 'Donkey Dick' mic. I saw Howard Stern using one. We also have two PC's tucked away in the corners for volunteers to upload new music and do behind the scenes stuff on. One of the PC's has also recently been setup to handle transfers of old reel to reel recordings - someone donated about a 1000 old reels to us and we're going through and digitizing them all.

What's the most embarrassing thing you've accidentally played on the air?
Eek. Maybe Rachel's drunk Georgetown / Capitol Hill Block Party interviews? Although, we didn't play those on accident. Sometimes DJ's don't realize they still have the mic on and you can hear what they are doing and talking about. But I like to listen a while before I tell the DJ’s they can still be heard.

Have you ever had a Canadian man on the air who claimed he was reptilian?
Sasha, Amber's sister, did in fact interview a man in Canada who said that he was a reptilian being, and he meant it. I was convinced of his reptilian-ness. Shannon Perry had a good show last weekend where she did two hours without playing any music - totally just winging it. She called up her friends and shot the shit. Forrest's Star Wars / Star Trek nerd show got simulcast by a terrestrial radio in New Jersey — very exciting!

How often does nudity occur during broadcasts?
I'm not so sure about this one, although one of our DJ's did have a first date while on air and we have the whole thing recorded. Amber and I went up to check on them and caught them kissing so we left them alone.

Run us through the setup for your remote broadcasts.
This is something I'm really excited about. I wrote some scripts and instructions for people so that they can use this program called 'ssh' to login to our Mothership remotely via their terminal window. It's all like War Games and shit. Anyway, they can login and there are these scripts I wrote so that they can stop the main broadcast and fade out the music and then as that's happening, they can start the broadcast on their computer. If all goes right, people listening will have no idea that the broadcast just switched from our Wallingford headquarters to say, Billy Joe in Albaqueque, New Mexico (who DJ's on sundays'). We've done live remote broadcasting from What The Heckfest in Anacortes, Wa, Folklife at the Vera stage, various house shows, and events around Seattle. Just this weekend we setup a remote broadcast system at YMCA Camp Colman over in the South Sound so that they can broadcast their 'campfires' over the summer. We're hoping to have a few more substations set up around the Washington area so that we can get more diverse voices and small broadcasters all hooked in together and sharing the same Hollow Earth Radio infrastructure.

Campfires? Internet campfire broadcasts? Will you be close mic'ing s’mores? Ghost stories? Ghost stories scare the ever living shit out of me.
I think it's going to be mostly skits and singing. Our first test run was with the Camp Counselors doing their version of American Idol. It was out of control.

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Skeleton Witch, Saviours, Trap Them, and Black Breath @ Chop Suey

Jeff Kirby — Fri, 10 Jul 2009 09:31:04 MST

After Black Breath’s first song, somebody yells, “Bellingham Youth Crew!” at them, to which singer Neil McAdams responds, “Straightedge, fuck you!” This sentiment is not surprising, as Black Breath’s riffs seem to be held together by beer and pot smoke. I mean that in a good way. They are thrashy and punchy and sound faster and tighter every time I catch the band live. If you’ve ever been around Crybaby studios, chances are you’ve probably seen these dudes hanging around down there, and it shows that they spend so much of their lives in their practice space. They’ve been putting in years of hard work, and it would appear they’re right on the edge of breaking through to the next level. They just recorded a new record in Massachusetts with Converge guitarist Kurt Ballou, who is one of the best metal engineers alive, and they are talking to (but haven’t finalized a deal with) a prominent and exciting national metal label. Hard work pays off, these dudes are proof.

One example of how awesome Kurt Ballou can make a band sound is Trap Them, who, like the last few times they've been through town, are still totally pissed off about everything. They sound like Converge’s younger, angrier, less progressive brother who doesn’t have his shit together and probably never will. Their set was mostly cuts from their 2008 record Seizures in Barren Praise, which, unsurprisingly, is not getting any less brutal with time. I will continue to see this band every chance I get, they are never a disappointment.

Saviours led off their set with this reminder: “There are bands that make a lot of money doing this, and we’re not one of them.” This is an unfortunate truth, because if the music world were a just and noble one Saviours would be making a mint off their songs. This band seems to perfectly understand how to balance melody and technical proficiency in a riff, creating metal that is at all times interesting and evocative. Their music is aggressive but never angry, wildly adventurous but never crossing the threshold into cheesy fantasy. They played several new songs and all of them were intricately constructed, galloping war cries - masterful metal from a band that seems to be getting better with every song they write.

And then Skeleton Witch came on. I can’t dog on these guys for their musicianship, they were more than up to snuff. But after the first three bands (as well as just in general) their shtick seemed so uninspired, so unoriginal. They rock the big spiky leather arm bands and do the more aggressive Iron Maiden thing, but unless you’re doing that in a new and interesting way I’ve been down that road too many times now to care. I appreciated that the singer seemed tongue-in-cheek about it, and the crowd was lapping it up, but after four songs it became clear that this band was a less fun version of Three Inches of Blood, so I went home content from an otherwise excellent bill.

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Tonight in Music: Mudhoney, Wisp, Tears for Fears

Chris Govella — Fri, 10 Jul 2009 09:00:00 MST

In West Seattle, Über Alles:

West Seattle Summer Fest: Mudhoney, Mark Pickerel and His Praying Hands, more

(West Seattle Junction) This year, the West Seattle Summer Fest will celebrate its 27th year with two stages of music, hundreds of artists, food, an old-school video-game gallery, skate demos, a Rat City Rollergirls dunk tank, and more.

What makes West Seattle Summer Fest so great is that it really does feel like a neighborhood celebration.

"It's all about the community," says festival director Oliver Little. "Everything we plan is based on what West Seattle residents say they'd like to see. Our primary goal is to show off the neighborhood and get people out on the street together. Musicians and artists seem to dig this message and think of this as 'their' neighborhood festival. It's pretty incredible how many Seattle musicians live in the West Seattle area and are willing to play on the street."

In Data Breaker:

Bonkers!: Wisp, Relcad, the Naturebot vs. MC Anton Bomb, Dopelabs

(Re-bar) New York's Wisp (Reid Dunn) headlines this month's event. He's been making strangely contoured waves in electronic music's IDM sector with his most recent full-length, The Shimmering Hour, on England's seminal Rephlex Records (he's also released on Sublight and Terminal Dusk). The Shimmering Hour sounds like an archetypal Rephlex effort; in fact, some thought Dunn was behind the Tuss, a once-mysterious Aphex Twin production that caused a stir in 2007.

Also in Up & Coming:

Tears for Fears

(Chateau Ste. Michelle) Wrapping the primal-therapy indulgences of John Lennon's Plastic Ono Band in secretary-pleasing synth-pop tunes, Tears for Fears followed their wounded inner children to freakish international success in the '80s. From debut The Hurting to the Sybil-inspired Songs from the Big Chair to the stupidly eternal "the dreams in which I'm dying are the best I've ever had," Tears for Fears have comported themselves like a pair of Morrisseys with no sense of humor and endless therapy funds. Are Tears for Fears emo's unsung forefathers? Who knows, but it's only fitting they're playing the Chateau Ste. Michelle W(h)inery. DAVID SCHMADER

Schoolyard Heroes, the Pharmacy, the Whore Moans, Black Houses, Keg

(Vera) Since leaving Seattle for New Orleans last year, the charmingly messy psych-pop-punk band the Pharmacy have, as they usually do, gotten into some shenanigans (this is a band that has been arrested, broken down and stranded, and injured on tour multiple times). For example: Singer Scott Yoder is still recovering from hand surgery. "I severed the tendon in my pinkie while butchering swine at my job," he says. "I had surgery just a couple weeks ago to harvest tendon from my wrist. It was an eight-hour procedure!" Even so, the Pharmacy are not only ready to play a couple shows while in town, but they'll also be recording some new material with Calvin Havnaer of the Raggedy Anns. Cuff 'em, cut 'em, move 'em across the country—the Pharmacy will never stop. MEGAN SELING

Pterodactyl, Man Party

(Comet) Brooklyn's Pterodactyl (they must be like the 37th indie-rock band with that name, if maybe the first to break into mass subcultural consciousness) peddle a raucous version of the kind of noisy neo-psychedelia that has lately been made into big things by the likes of Animal Collective and, say, Yeasayer. Pterodactyl play guitars, bass, and drums, but they wring out of those standard instruments a loose-limbed, untethered racket that is far from ordinary; all four guys sing, but it's not folksy harmony as often as it is wildly overlapping, echoing outbursts. Nothing from their wide-ranging sophomore album, Worldwild, immediately lodges itself in my brain, but repeat listens are proving the album to be a subtly insistent suite of songs. ERIC GRANDY

The Tallboys, Slimpickins

(Tractor) I haven't heard the newest Tallboys album, but I can tell you this: The Tallboys are the best old-timey/bluegrass/square-dance band in all of Seattle. Maybe that proclamation doesn't mean as much in these post—O Brother, Where Art Thou? soundtrack-madness days; maybe way back at the turn of the millennium, they'd get the respect they deserve from fickle scenesters. But even without the faddish followers, the Tallboys are one of the hardest-working bands in Seattle, and they consistently put on a great show. Every other band in town would kill to entertain as often and as skillfully as these guys. Watch and learn, and they'll show you how to hootenanny like there's no tomorrow. PAUL CONSTANT

For more live music and shows, check our searchable online calendar.

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Thank You Showbox, That Was the Most Fucked Up Show I've Seen in Forever

Kelly O — Thu, 09 Jul 2009 22:21:13 MST

I was a little worried that yesterday's show starring WWF wrestling legend Jake The Snake, and sideshow freaks, the Jim Rose Circus, might be, well, a little boring. I mean, dudes have aged. I worried for not. Maybe because I got pulled up onstage and got to stand on Jim Rose's head, while he pressed his whole face into a pile of broken glass, maybe that's why I had a amazing time. Or maybe it was because the show also had these 10 other things...

1. Genuine Non-Ironic Superfans

This guy told me he met Jake 20 years ago, and last night, meeting him again, Jake remembered his name (it's "Junior", BTW).

2. A Great Big Scary Snake

They performed for a long time before he went and finally got it. Then the show ended a little abruptly because they couldn't get it under control, or back in the burlap bag.

3. The Human Dart Board

Watching 30-some drunk people take turns throwing darts at this guy's back made everyone squirm. I saw him wipe a tear from his eye too. Crybaby.

Lots more after the jump...

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Win Tix to Psychic Ills' July 13 Show

Dave Segal — Thu, 09 Jul 2009 16:56:14 MST

Local psychedelic-arts collective Portable Shrines is hosting the Psychic Ills/Indian Jewelry/Backward Masks show Mon. July 13. The organizers are holding ticket give-aways (guest list spots) at Wall of Sound and the Capitol Hill Sonic Boom. Portable Shrines will draw winners' names Sun. July 12. Enter! This shit's going to be amazing.

My Stranger Suggests blurb is below.

Psychic Ills, Indian Jewelry
MUSIC
Local psychedelic-arts collective Portable Shrines has hit the jackpot tonight, landing two of America's finest mind-warpers. Indian Jewelry, from Texas, excel at both erecting majestic drones and forging a sort of tantric garage rock that makes a thrilling virtue out of repetitive, distortion-saturated riffing. Brooklyn's Psychic Ills have morphed from 13th Floor Elevators/Spacemen 3 acolytes into a much stranger beast, a kind of lysergic dub unit. On the recent Mirror Eye, their tracks throb, glow, and drift in a disorienting haze. (Funhouse, 206 Fifth Ave N, 374-8400. 9:30 pm, $7, 21+.)

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LITA's Betty Davis Reissue Campaign Continues

Dave Segal — Thu, 09 Jul 2009 16:17:31 MST

If Nasty Gal and Is It Love or Desire are half as good as Betty Davis and They Say I'm Different, which contain some of the most outrageously lascivious funk ever, they'll be worth the long wait.

LIGHT IN THE ATTIC TO RELEASE LOST BETTY DAVIS ALBUM, REISSUE CLASSIC THIRD RECORD

On October 6th Light In The Attic Records will release the never before heard (and never bootlegged) lost album Is It Love Or Desire, as well as reissue the classic third release Nasty Gal, by unparalleled funkstress Betty Davis.

Betty Davis was a musical maverick with a vision. Imagine substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets.

Ahead of it’s time in 1975, Davis’ unapologetically uncompromising, self-referential album Nasty Gal showed her digging deeper into her musical and cultural expression that ever before. Riding high with a new record label, a series of high profile relationships, and an intensely sexualized live performance, Davis was poised to take the world by storm. From the title tracks mutant groove to the ballad co-written by one-time husband Miles Davis, Nasty Gal is Hendrix and Sly Stone inspired funk-rock at it’s finest.

Is It Love Or Desire (1976), on the other hand, is a little known gem in the Davis catalog. After cutting Nasty Gal for Island Records, Davis recorded her most personal and expressive record to date at Louisiana’s remote Studio In The Country. Unfortunately a creative difference with the label caused the record to be unexpectedly shelved and was never released to the public... Now, thirty-plus years later, Light In The Attic is proud to announce that Betty Davis’ time has arrived!

Both mastered from the original tapes, Is It Love Or Desire features detailed liner notes by Oliver Wang (Soul Sides), the originally intended risqué artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House; while the Nasty Gal re-release features new liner notes by John Ballon (Wax Poetics 2007 Davis cover story), original album art, complete lyrics, rare photos, and interviews, all housed in a beautiful foil-stamped digipak.

These releases cement this bold soul sister’s undeniable contributions to music and popular culture. Long live Betty Davis!

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Sugababes : "Get Sexy"

Dean Fawkes — Thu, 09 Jul 2009 15:46:31 MST

Another year into the void. Another lead-off Sugababes single.

Take that, going-to-split rumor baddies!

As a debut to the girls' seventh full-length album, it sounds —zzz! — American.

The group's just signed on to Jay-Z's label and apparently been working in Los Angeles with producers of Beyoncé, Lady GaGa, and Rihanna, so it's not a whole shock.

THX-like intro? Whoosh. Right Said Fred bits? Plop. It doesn't recall a lot like other Sugababes singles, apart from maybe 2002's Richard X-produced "Freak Like Me," a song we hated. And yet "Get Sexy" only offers more ambivalent feelings.

Which isn't particularly a pop ideal.

The more Sugababes try to sound different, really, the more they start to sound like everyone else.

Is it possible to be loud and confident but unconvincing?

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Burning Question

Megan Seling — Thu, 09 Jul 2009 14:55:10 MST

"What's a good record store that might have less-than-mainstream electronica?"

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Sexy Saturday: Mary Kay Letourneau and Vili Fualaau at Dante's

Bethany Jean Clement — Thu, 09 Jul 2009 13:20:22 MST

In May, Mary Kay Letourneau hosted Hot for Teacher night at Fuel in Pioneer Square—where, among other things, she negotiated with a bachelorette party about whether to autograph a large inflatable penis. The DJ: her former student, her reason for imprisonment, and her current husband, Vili Fualaau, a.k.a. DJ Headline.

They're back, at Dante's this Saturday. No cover.

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Today's Music News

Megan Seling — Thu, 09 Jul 2009 13:08:52 MST

Wax Reunites: The band will play Riot Fest in Chicago in October. (I wonder if that means MTV will play their previously banned video now?)

Shouldn't He Be Concentrating on That Whole Album-For-Every-State Project?: Sufjan Stevens revisits and old record.

Low Bassist Sells Art On eBay: For $1,200 you can own the original painting featured on Low's The Great Destroyer record.

Turning Tragedy Into Triumph: When United Airlines broke his guitar and refused to pay for it, singer Dave Carroll wrote a song and made a viral video out of the situation.

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I've Done Dumber Things

Megan Seling — Thu, 09 Jul 2009 12:46:46 MST

Last week, while listening to Phil Collins' "Against All Odds" for the first time in years, I made some flippant comment about how I could listen to that song forever. It's not the best song ever written, I know that, but I really loved it as a kid and that all came rushing back to me, so whatever.

Well my sister called my bluff. She said that I couldn't even listen to the song once every hour that I was awake for a week, let alone forever. Now I could've said "You're right, Sister, I can't." But instead, being the stubborn (and weird) person that I am, I've dedicated this week to proving her wrong (and I'm tracking my progress for evidence too).

I know. It's ridiculous. But I'm doing it anyway. And as of today, I'm halfway through the week. (I started Monday, my last day is Sunday.)

I'm not that tired of the song itself, really. It's the process of documenting each listen that's getting old. Still, I'm totally going to win. So it's worth it.

I'm just really glad I didn't say anything about "In the Air Tonight" or "Sussudio." That'd be impossible.

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Makin' It

Eric Grandy — Thu, 09 Jul 2009 11:25:20 MST

A local DJ posted the following request to the Euphonic email list this morning:

fresh espresso

I need a copy of their "Diamond Pistols" joint for a wedding. Anyone know where I can cop it?

Cheers,

Fresh Espresso, you have arrived.

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The Balls

Charles Mudede — Thu, 09 Jul 2009 11:07:40 MST

Yes, it's that girl who kissed someone or another. The kissing business, however, is not my concern. My concern is this...
...Cosmopolitan's use of ballsie language: Is it something new or old?

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Today in Annoying Band Names

Dave Segal — Thu, 09 Jul 2009 11:02:05 MST

Low Low Low La La La Love Love Love. Musically, they're okay—shivery, gentle folk rock for those looking to get their pleasant on. But their repetition/alliteration thing has gotten out of control, and it's a huge pain to type. On top of that, it takes up way too much space on a marquee, should this British group ever reach that level. Plus, I don't think Low, the La's, or Love will take very kindly to having their monikers dragged into this.

Are people calling them L9 yet?

Photo from the band's MySpace.

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Celine Dion One-Ups Corey Feldman (As Usual)

Wm.™ Steven Humphrey — Thu, 09 Jul 2009 10:17:06 MST

On second thought, maybe Corey Feldman dressing up like Michael Jackson at the pop singer's memorial wasn't the weirdest thing ever. As things currently stand, THIS is the weirdest thing ever: Celine Dion dressed as Michael Jackson. Sweet dreams, everyone!

Hat tips to Buzzfeed.

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Also Tonight: Extreme Animals, Cousin Cole

Eric Grandy — Thu, 09 Jul 2009 09:58:30 MST

Two more happenings tonight that are well worth your attention even if they didn't make it into the paper:

NYC DJ Cousin Cole is playing Bangers & Mash at the Seesound Lounge tonight. Cousin Cole is one half of the Flagrant Fowl label, along with DJ Pocketknife. His tastes in tracks range from hip hop to indie rock to electro and beyond, and his way with a remix is impeccable. I think my favorite thing of his is his dancey re-edit of Jesus & Mary Chain's "Just Like Honey," but this rework of the Boss' "I'm on Fire" is pretty fun, too:

Also tonight, Paper Rad-related 8-bit thrashers Extreme Animals are at the Hedreen Arts Center (901 12th Ave, call 206-296-2244 for more info). I had the distinct pleasure of catching the Animals a last year at SXSW, and it was awesome—there was a pretty hardcore feedback knob solo and an inspired cover of Archers of Loaf's "Web in Front." About this tour, the duo says:

This summer we are taking a new approach to our tour. We will spend two days in each city we visit. One night we will perform as the Extreme Animals. The other night we will present videos with live performances by Jacob Ciocci and David Wightman (Fortress of Amplitude). These later events will take place in theaters and comfortable galleries, spaces in which the audience can feel free to sit back and relax.

Tonight's show is billed as a screening, which means maybe you won't get to see the band do this (but just maybe they'll still bust out a few songs—please!?):

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Tonight in Music: Seahouse, Music from Final Fantasy, Wah Wah Exit Wound

Chris Govella — Thu, 09 Jul 2009 09:00:13 MST

In Underage:

Seahouse, Masters and Johnson, Last Slice of Butter, The Raindrops

From their first, sloppy shows at the Old Fire House in 2007 to the first time they destroyed a party at now-defunct Central District DIY house the Ark, Issaquah's Seahouse have always been something very special, as evidenced by the unanimously stoked crowds that meet them everywhere they go. Their simple, lo-fi sing-alongs encompass all that it is to be a suburban teenager—but on their first full-length album, PNW, they elevate their poppy basement jams to full-on summer-soundtrack material. The inhuman beat of Nick Leumpert, flat-out the city's best young drummer, lays the groundwork for the band's grimy guitars and the blooming teenage lyrical prowess of vocalist and frontman Max Smith-Holmes. Whether being hopelessly lost in love, anticipating the end of school, or welling up with hometown pride, PNW is a raw and honest trip through Smith-Holmes's hang-ups and enthusiasms.

In The Score:

Distant Worlds: Music from Final Fantasy with Seattle Symphony

(Benaroya Hall) Earle Brown, a compadre of John Cage and Morton Feldman in the so-called New York School, would have deemed Nobuo Uematsu's score to Final Fantasy a prime specimen of "open form." Brown coined the term in the 1950s to describe performing a composition by shuffling and joining seemingly separate sections of a score on the spot. Written music becomes like a deck of cards in poker; every deal is part of the game, yet some hands will be stronger than others. Composers for computer games do the same thing, penning snippets (some just two or four beats long) and phrase-length segments able to wallpaper and withstand the sudden transitions, almost endless looping, ambient sound, and omnipresent special effects that pervade gameplay (ka-BOOM!). After I extract myself from the Final Fantasy tutorial to grab a snack, my (in)actions still cocompose the music, which owes equal debts to prog rock and Carmina Burana: Drums and tinkling percussion buttress stomping rhythms, sentimental tunes, and the occasional doom-bellowing choir..

In Up & Coming tonight:

Coconut Coolouts, Mean Jeans, Little Cuts

(Funhouse) The thing to love about Coconut Coolouts is that they're always playing. Not as in they're always playing their instruments; it just feels as though they are always at play, always having fun. (Naming tracks "Party Jail" and "Shotgun Party" probably help to keep the good-times vibe a-comin'.) I don't mean this in a "they're-sure-having-fun-up-there" backhanded slap sort of way; I mean they're always experimenting and pursuing the sound of fun wherever it tries to hide. Rhythmic hand claps? Why not? What sounds like 200 people singing the chorus of a song? Sure! The Coconut Coolouts are scientists in the partyest laboratory on earth, and they want you to be a guinea pig. Say yes. PAUL CONSTANT

Wah Wah Exit Wound, Diminished Men, the Abodox

(Blue Moon) Wah Wah Exit Wound brashly thread abrasive post-rock guitar textures through prog-rock convolutions—sort of like a less-bombastic Mars Volta or maybe Polvo tackling King Crimson's Red. Whatever the case, WWEW do their thing—a thing not many have the skill and guts to do—very well. Seattle's Diminished Men are mainly known for casting surf rock in starkly noirish shadows and infusing it with kitsch-free drama. But they also veer off the reverbed, twangy path into more abstract, chilling territory ripe for scoring classic giallo films, fusing Goblin with Ennio Morricone. The Abodox apply cataclysmic pressure to the metal genre until it becomes spectacular torrents of magma. Technical prowess meets raging fury in the Abodox's creations, and we all go home bruised and drained. Proper loud, complex music from right here. DAVE SEGAL

Skeletonwitch, Saviours, Trap Them, Black Breath

(Chop Suey) Skeletonwitch is a stupid band name. They sound fucking evil—grunting zombie vocals and guitar solos that could pierce your soul—but their name kills the vibe. I picture them sitting around, probably stoned, bantering, "Dude, you know what's scary? Skeletons." "Yeah, dude, those are scary! You know what would be even scarier? A skeleton witch!" "Fuck, man, a skeleton witch? That'd be fuckin' scary!" They might as well be called Mummywolf or Vampirefrankenstein. Openers Saviours are less goofy. Their stoner-rific metal is epic—less monster mash and more "I will punish you by way of thundering guitar riff." And their name doesn't sound like a third grader made it up. MEGAN SELING

Remember to check our online calendar with a complete listing of live music and DJs going on tonight.

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A Completely Dead Celebrity-Free Thing to Do Tonight!

Adrian Ryan — Wed, 08 Jul 2009 18:03:46 MST

Hiya. Sorry I've been so scarce. As you've doubtlessly suspected, I've been in deep mourning—YouTube-ing Thriller or whatever over and over, feathering my rich, leonine mane of sun-colored hair, Bedazzling happy silver and white sequins onto all of my right-hand gloves, wondering WHAT-the-fuck really happened to poor old David Caradine anyway, forgetting all about Ed McWhathisface, thumbing through my collection of Teen Beat Magazines (in a dirty way), weeping. (Honestly! I have!) It's quite emotional, and very time consuming. (Plus, I'm pretty sure I've developed some sort of Jackson-ish form of Turrets Syndrome—SHAMON! HEE!) I wish I had the time and/or wherewithal to go dance my weepy ass of at Hard Times at The War Room tonight:

It's brought to you by those beautiful queers that brought to you things like Hot Mess and so very much more, and it's a new thing, and you should check it out. DJs LA Kendall and Mathematix will be spinning. Drink specials, of course. $5 at the door.

Go. Have fun for me. I can't muster the emotional strength to leave the house just now...hee, HEE! OW!

The War Room (722 East Pike), doors at 9pm, tonight!

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Free Summer Concert Series at Seattle Center, KEXP BBQ Lineup Announced

Dave Segal — Wed, 08 Jul 2009 16:38:58 MST

KEXP and Seattle Center are collaborating on a concert series at Mural Amphitheater running every Friday from July 31 to Aug. 21; the series will also include the radio station's annual barbeque-enhanced show Sat. Aug. 8. The surprisingly revitalized Dinosaur Jr. will headline the latter event.

Press release with full lineups after the cut.

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