Oberhofer and Seismic-Sound share special space in each other’s time capsules. In 2010 a young music blog stumbled across the glistening, clattering howls of a Tacoma teenager who had cannonballed into the bigger pond of NYC (Read 1st interview here). A very short time (and hours of listening) later the first interview with 19 year old Brad Oberhofer (as well as the VERY first interview for Seismic-Sound) was in the books and Seismic-Sound was sure Brad would find the big time in The Big Apple.
Fast forward to 2012 and Oberhofer is a breakout artist breaking big. Feathers in the 21 year old’s cap include love from MTV, David Letterman and a shiny new album produced by Steve Lillywhite (of U2, Dave Matthews Band, and Travis fame) deals with Sobe, Spin Magazine and Samsung. Fear not hipsters, he’s not packing out Key Arena…yet.
Time Capsules II is Oberhofer’s first cohesive body of work, a blend of fresh tracks and fresh takes of hallmark cuts from previous releases. This album is a must add to summer playlists, a play it from beginning to end, wind in the hair ride that makes you wish you’d bought that convertible.
Under Lillywhite, the lo-fi bedroom studio sound that defined previous Oberhofer tracks has been deftly tightened up. The music vehicle is still a jangly jalopy of angst and euphoria but now there’s a finely tuned racing engine under the hood.
From the slow cinematic curtain lift of Heart to the barbaric yawp hooting of Oo0o, Time Capsules II is road trip theatre mapped by new school text message track titles and enough nostalgia to include a Landline . Oberhofer is a lovable protagonist, a trendsetting old soul with enigmatic sincerity. We trust his story because he doesn’t say too much and his reckless hijinks remind us of life before worry. The brilliant stroke is the recurring theme of wistful weight, italicized in Haus, that balances whimsical freewheeling with emotional gravity.
Oberhofer displays the control of a wise-beyond-his-years musician who understands good drama. Tight gear shifting is effortlessly precarious and fueled by an endless reservoir of nervous teen energy that threatens to spontaneously combust. Yr Face depicts a sacred dirge gone wild as litany disintegrates into tribal drums circa Lord of the Flies. His broad range sweeps from devolution to evolution. The whistling I Could Go kicks harmlessly at a rock before unleashing a lush, anthemic roar. Don’t let the tinkling music box fool you. This guy makes BIG music.
As an artist Oberhofer’s fluttering style reflects his personal aversion to being pinned down. The butterfly movement of Gold mirrors his flightiness in interviews when grilled about musical influences. If you hear Animal Collective, MGMT and The Beach Boys you’re not the first. Just let Brad be his own man. That’s clearly working very well.
In a parallel universe the 2012 summer movie blockbuster features Buster Keaton, Teen Wolf and the ghost of Brian Wilson on a butterfly hunt at the beach…in Technicolor…the soundtrack is Time Capsules II. Purse string theory cost of admission is only $8.00. See you at the show.
DO NOT miss Oberhofer’s return to the Pacific Northwest (with band in tow) when he plays the Sunset in Ballard on April 5th! Seismic- Sound sees big venues in his future.
92
I.S.
Seismic-sound Introduces New Writer: Ian Stephens
My chest bumps like a dryer with shoes inside. I am an opera singer. My favorite venue is the shower. My second favorite venue is anywhere with big speakers and a music bath. Right now I can smell my son’s dirty diaper. The city is my muse. Music is my mitochondria. My wife has incredible style. My playlists make no sense. I miss my father. And the best advice I ever heard was from Richard Strauss, “Never look at the trombones. You’ll only encourage them.”
Seismic-Sound Commentary With: Sister Crayon
The night started out with Terra Lopez (vocals) stepping up to the stage and shouting to the crowd “Hi! How are you?” smiling, with no mic. Her sweet and friendly demeanor is an unlikely contrast to the haunting electronically-induced music that bled through the speakers for the rest of the night. Although the music is dark, it is not heavy and is often extremely sensual.
Terra’s voice walks a fine line between ghostly and angelic and completely blew me away when she belted out her talent throughout the night, giving the small audience everything she had. With every song, her passion grew, which led to dancing through the entire set but never compromising her vocals. She absolutely crushed it with their song “(In)Reverse” which starts out sounding like a broken lullaby and slowly drops in the percussion, organ … and finally vocals.
The brilliant artistry in which new sounds and instruments were layered into each and every song, was magical and something that I don’t hear often. It was almost as if they were giving me a quick glimpse into how the song was constructed. At times, pieces of the music were unexpected but made so much sense in the overall sound. They have found the perfect balance of weird and talented. This is a group of artists that are clearly experimenting with sound and have totally found their niche doing so.
Sister Crayon made my work week bearable by giving me a not-so-typical-Tuesday. Meaning: I don’t typically head out to Ballard and
fall in love with a little-known Sacramento quartet that is dropping by the Emerald City to play for less than 60 people at a red-lit dive bar.
Yeah… It was my fucking dream Tuesday, PBR’s included.
Sister Crayon was AH-MAZ-ING. I can’t wait to see them again.
And a quick shout out to the imbecile in the front row that interrupted the show to ask the band name, where they were from and some bullshit about Church’s fried chicken: Shut up! And Herbert West, can I get some back-up here? ~Sara Johnson
Seismic-Sound.Com Video Review With: Night Beats, Drew Grow & The Pastors Wives and Jay Reatard.
Here is some live video footage that we shot, both older and new. Have a look!
The Night Beats at Rendezvous
Drew Grow & The Pastors Wives at Valentines in PDX.
Jay Reatard at The Crocodile
Assuming you’re an adult, you should know how to behave in public. It doesn’t seem like a foreign concept to me, but five to six nights a week I watch perfectly sane people acting like complete jackasses. What’s to blame? Alcohol? The excitement of being out of their houses/apartments? That they aren’t really sane, but escaped mental patients out for a romp before the hospital finds them?
I really have no idea.
Regardless of why people find it necessary to lose their minds as soon as they walk into a live music venue, I think it’s high time you’re all
subjected to a refresher course on how to behave at a show.
When you first arrive at a venue, there are two people you are going to meet: the security guard and the ticket taker/door person. Fucking with a security guard as soon as you arrive is a great way to put a target on your forehead for the rest of the night. The easiest thing you can do is hand over your ID when they ask for it, without any smartassery.
“You don’t think I’m over 21? Look at me.”
Are you trying to say you look old? Most people would take that as an insult.
If you forget your ID, don’t argue with security about gaining entrance. It’s your fucking fault that you don’t know how to properly store your identification on your person before going to a 21+ establishment. You can’t blame the staff for your stupidity. Security isn’t going to let you in, no matter how much you beg. That would be breaking the law. You see, boys and girls, there’s this thing called the Liquor Control Board. They’ve been known to show up at venues and do surprise inspections. In some instances, they’ll card random people (or everyone) at the bar. On the ultra rare occasion that something like this could happen, if one person doesn’t have their ID, the bar you’re standing in will be shutdown. If the bar is shutdown, all the employees lose their jobs. If you think we should take the risk, then you’re a selfish prick and your parents should disown you for growing up to be such a horrible human being.
There are many things you should know about the ticket taker/door person. First, they are not your friend. They don’t want to talk to you. They don’t want to hear about how you went to high school with the bassist of (insert shitty band name here). They don’t want to answer your stupid questions about where the bathrooms are or if the drink specials are tasty or what planet you’ve dropped in from because you are unsure about how venues on Earth operate. They especially don’t want to make conversation when there’s a line of 200 other concertgoers behind you. They just want you away from them as quickly as possible.
If you have a will call ticket, have your ID ready so they can find your name on the list, stamp whatever wrist is standard at the venue you’re attending and send you on your way. Don’t approach them and say, “I have a will call ticket.” The door person has no idea what your name is because they aren’t a mind reader. Also, don’t become irritated if the door person asks to see your stamp at any point. No, they aren’t going to remember you out of the hundreds of other faces they’ve seen that night. You aren’t special.
Lastly, when dealing with a ticket taker, if you see that the show is sold out, that means it’s sold out. No, they’re not going to wait and see if
someone on will call doesn’t show up, because they’re not going to sell off someone else’s ticket. The person on will call had the forethought to buy a ticket. If you really wanted to attend the show, you should have done the same. It isn’t the door person’s fault you’re too fucking stupid to know how pre-sale operates.
Now you’re in the venue, what’s next? Being an adult, you should know your limit on how much alcohol your can consume so you won’t be so drunk that you throw up on yourself, fall down stairs or end up licking walls (I’ve seen it happen). If a bartender cuts you off, it’s for good reason. Don’t have one of your friends buy you more alcohol. If you do, you’re probably going to meet your old pal the security guard again. This time security isn’t going to want your ID. They’re going to want you to get the fuck out.
If a security guard approaches you and asks you to leave, oblige them. It’s a hell of a lot easier than having them grip you up and toss you from the building.
Something I’ve noticed a lot about shows in Seattle, is members of the audience telling others to be quiet during a band’s set. This is completely asinine. You’re at a show not in a fucking library. If someone is talking near you and you don’t appreciate it, move. Now I understand that there are certain shows where the crybaby on stage is lightly strumming his/her acoustic guitar while the crowd stands silently, arms crossed, making sure they look just as cool as every other boring stooge in the room. In these instances, that person being a loud dickhead is in the wrong. If you see everyone else shutting the fuck up, then you should probably shut the fuck up too. However, if you’re the only person shooshing a venue of hundreds of people, then you’re the asshole.
So you’ve made it through the entire show. You’ve downed just enough alcohol to have a nice buzz. You’ve seen the headliner play their expected encore where everyone in the opening bands joins in, banging on pots and pans, running around the stage like a bunch of decapitated chickens. You’ve purchased the band’s latest offering on vinyl (with download code because it’s impossible to listen to records in your car thus proving the worthlessness of this outdated medium). Now it’s time to clear out of the venue. Do everyone a favor and make your way to the exit. Chances are the staff you see working all night were at the venue for hours before you showed up and they really want to go home. If anyone on the staff asks you to exit, don’t ignore them. If you do and they are more stern about asking
you to leave, don’t get pissed off. They asked you once. They shouldn’t have to ask you again. No one at the venue cares about which guy/gal you’re fucking in whatever band, they just want you to leave so they can do the same. Do you like being at your job any longer than you have to?
What people really need to understand about going to shows is that the ticket you bought doesn’t mean the venue is your home. The venue is the home of the people who work there and keep it running on a day-to-day basis. You are a guest. Show some fucking respect.
And don’t piss on the floor in the bathroom, you idiots. That’s why there’s a fucking toilet.
If you’re a drunk asshole and want to argue with me about how you should be able to do whatever you want at a show or if you’re still mad about my column on promotion, feel free to email me and tell me all about it at: ihateherbertwest@gmail.com
Sandrider (Good to Die Records)
12-6-11
Like a hemi-engine revving up, “Children” drops the clutch right off the starting line. With the blood curdling vocals of Jon Weisnewski entwined with Nat Damm’s drums, you can almost feel the rattling in your guts. The tempo of “Corpse” leaves you feeling like a necrophiliac, and keeps you coming back for more … it’s just a matter of catching your breath when you feel the downshift at the 3:30 mark, but it doesn’t take long before you’re boned up again and enthralled in the “corpse” again. “Voices” and “Paper” give you more hard-charging rock and roll for thought, but Paper give’s the spotlight to bass player Jesse Roberts, who seemingly has fingers any female would love. Nat Damm’s drumming always seems on the verge of taking over on several tracks, ’cause his skills scream for the
attention. “The Judge” basically is the band kicking back for 10:07 and telling us all to suck their sweaty nuts while they play anthemic effortless kick-ass metal, all the while smoking cigarettes and grabbing the back of your head for control,just in case you forget who’s in charge. Bottom line… this album hits all the right spots. Hard.
8.6
J.F.
Memoryhouse (Sub pop)
Release Date- 2-28-12
Immediately upon pressing play, I am reminded of a modernized Sneaker Pimps on the first track “Little Expressionless Animals” electronified with a nice slow groove, which as much as I liked it, had me a bit concerned; but that was quickly put to rest when Denise Nouvian’s silky smooth vocals went head to head with the upbeat beach-soaked vibe of “The Kids Were Wrong” and its pulled off beautifully. With track “All Our Wonder” Abeele and Nouvion switch gears and bring you one of the most beautiful singles thus far in 2012. Nouvalis voice shines beautifully along the wonderfully constructed whines of lap steel and wonderful taps of the xylophone, this song left me in a ethereal coma. The album continues to weaves its way in and out of beautiful majestic musical landscapes, all the while keep in mind, this was a mixed media art project which was initially Nouvion’s photographs, and then Evan Abeele’s musical compositions to be built around those photographs (Miranda July, eat your heart out). While the albums flow seems to be a bit unsettled, the shear beauty of other tracks like “Bonfire” and “Kinds of Light” leave me weak in the knees. This album is a beautiful listen in it’s entirety, and I wouldn’t hesitate one moment to purchase the current LP “The Slideshow Effect”. Sub Pop done good!
8.8
J.F.
Vacant Fever– Kill Kill Kill (Self Released)
3-6-2012
Hit play and I think…. “doe’s Josh Homme have a new side project”, because he certainly could with the initial listening of vocals on opening track called “Restless and Young“; musically it has this mysterious tinged dark-psyche, synth-rock vibe to it, which I enjoy. What Vacant Fever brings to the Seattle scene is some more of that dark musical goodness thats picking up speed via Crypts, Nightmare Fortress and Golden Gardens. Second track “Kill Kill Kill” still maintains that dark vibe , but with the overbearing message of kill kill kill, which kind started to take on a creepier message every time I heard it. Track “Yeah Yeah”is a bit redundant, but takes it sound in another direction, which caught me off guard. “Like It or Not” is the poppiest track on the album, and I really fucking liked it, but at 1:22, it was like a premature ejaculation….I was bummed it was over already and wanted more. Frankly this is a good EP, but I am dying to hear a whole body of work to really get a feel for how this band may stretch it’s wings….. 5 songs is great, but I think I could come down with the “fever” with a few more tracks.
6.9
J.F
If you haven’t heard The Twilight Sad, you’re doing yourself a disservice. Originating from Kilsyth, Scotland and consisting of members James Graham (vocals), Andy MacFarlane (guitar), and Mark Devine (drums), and now just releasing their third album No One Can Ever Know on Fat Cat records. Its seems as though this band is here for the long term.
Every album evolving and morphing into a little something different, but yet maintaining that “Twilight sound”. When asked about their sound, they replied “Folk with layers of noise. All of our songs are based around our hometown, personal experiences or people we know.”
When asked about influences, the range goes from Daniel Johnston, Leonard Cohen, Arab Strap, to Public Image Ltd, Autechre and Liars as key inspirations. I certainly can hear a little of The Editors in their sound as well.
Where the band’s recorded sound is well layered with many melodies involved, their live sound is a lot more intense experience with a bit more visceral wall of noise, which is something the band has apparently strided for. Graham stated, “We like having the contrast between the record and playing live. There are a lot more instruments on the record. There’s only four of us in the band, so we have to keep it as simple as possible. I don’t know about you, but I don’t like going to see a band that sounds just like their album. That’s what we try not to do.”
Although I feel the band’s music is generally described as “anthemic” and “arena-friendly,” the band has been quoted as saying their ambition is quite simple: “We don’t want to be festival headliners, we just want to make enough money that we can stay in a band and keep making music.”
With that said, taking the opportunity to see these Scotish lads in a venue as small as The Tractor Tavern in Ballard is going to be one hell of a show, because across the pond, their audiences would die to see them in a intimate setting like this.
The Twilight Sad– “Another Bed”
It all started out in a Canadian home: Evan, a music composer, and Denise, a photographer and singer, had an idea for an art project. At conception it was a multimedia project which incorporated their photography, short films and music… But surprise! Out came the dream-pop duo Memoryhouse with their layered sounds, poetic lyrics and my personal fave: a perfectly placed pedal steel guitar! This accidental band is an art project gone incredibly right! Their first EP, “The Years”, brought them to light in the music world with 5 home-recorded songs. In 2011, they were picked up by the local Sub Pop record label and on February 28th they released their first full LP “The Slideshow Effects”.
Recommended by Seismic-Sound.com and KEXP, the show will consist of their band and a slide show of photographical inspirations that guide you through their wistful adventure. You can expect an easy-going night of music that only a classical music composer and an artist could create. The standout songs on the album “The Kids Were Wrong” and the twangy but not country “Bonfire” are sure to be on their set list. Well, I am hoping…
After blasting “The Slideshow Effects” in my office all day (no seriously, my day job sucks… I mean ALL. DAY.LONG.) and learning about their art project turned band, I am clearing my Friday night and heading to The Crocodile to catch this show. See you there! ~ Sara Johnson
Memoryhouse-“Bonfire”
Live performances by some of Seattles finest! You be the judge. Kicking things off with one of our new favorites!
Sundries
My Goodness
Sera Cahoone
Seismic-Sound: Something Not So Cool by Scott Wagner
We’ve all known that person. In fact, if you’re reading this, there’s a good chance you are that person — possessed of an insatiable appetite for live music, a desperate need to be in the place to be, in the know, in the now. You’re a show ho. It’s simply not good enough to hear about it, read about it, or put a band’s next gig on your calendar in all caps. If you missed it, you’re afflicted all day long with an itch you just can’t scratch, a deep pocket of musical remorse that rattles around inside your skull like a mosquito trapped in your pup tent. You can curse it, slap at it, or try to ignore it, but the only thing that will fix your affliction, or afflict your fix, if you will, is the sound of a guitarist tuning at sound check or a singer’s “1, 2, 3 check, check,1, 2, 3.” The next show starts, and the one you missed is mercifully forgotten.
Over the years, I’ll admit I’ve been accused of being a show ho. It’s at once a badge of honor and an unbearable burden, but one I wore/bore with a full glass and uncommon zeal for the better part of two decades. However, somewhere along the line, there comes a tipping point, and you just can’t maintain that pace – or at least I couldn’t. Age and career, tin ear, liver spots, and the sheer flood of bands, names, faces and places becomes simply too much to fathom. You wake up one day, and it’s OK to just hear about the show, second-hand reports and status updates confirm that the world you left behind is indeed alive and well. So you pick and choose, whittle it down, de-friend, and unplug.
Don’t get me wrong, I still get out there and represent – and when I do, I like to leave a mark. I wouldn’t have taken Jason Friendt (see: show ho extremis maximus) up on his offer to contribute to this burgeoning blog if I didn’t feel that my insights still contain some merit or perspective. I’ve been a rock critic all my life, whether that’s with written words or simply bleating unsolicited opinions above the fray, I’ve made it my business to love ‘em or leave ‘em since my first box of mail-order records from SST, or my first record review in The Rocket back in ’96. Now, a little older, and to all who know me, clearly not much wiser, I’ve decided to dive back into the pit, elbows out, PBR stains on my (slightly tighter) t-shirt, eyes wide and ears open.
In short, this shit is very much ON.
Now, if you’ll allow me a digression. Before I moved from Portland to Seattle to work for KEXP a few years back, I had a traumatic experience. I lost a job I loved, in part due to my own stubborn obliviousness and nocturnal indulgences, and in part because of an economy that couldn’t support an extravagance the size of my salary. There were some salad days there, brilliant stretches I’ll never forget and as time passes those moments outweigh what was an undeniably bitter end. In the year between that unexpected career change — from King Shit Atop Fuck Mountain to Unemployed Rudderless Sloth — I rekindled a very special friendship with one of the Northwest’s preeminent show hos. She too had lost a job she loved, and in that time and place, we were perfect partners in crime. She was Joe Perry to my Steven Tyler. My kid Sis. My bestie. Her name is Jaime Cooley, and now she’s gone.
As the Assistant Program and Music Director of Portland’s KNRK 94.7 FM, and the host of her own show “Something Cool,” everybody knew Jaime. I met her when she was 17, just a bubbly young radio intern, when I was working for The Rocket’s Portland edition. Even then, she had that special something. You knew this girl was going places. Over the years, I watched her ascend the ranks, her popularity and notoriety blossoming in synch with her career. She became sort of a big deal, kickstarting the careers of local bands, rubbing elbows with celebrities (During her wake, a co-worker of hers told a story about being in a room with a handful of household name rock stars. He leaned over to her and nervously said “we’re the only radio people here.” Jaime’s response had been “Because we’re fucking cool” and I’m certain she said it without a shred of irony). It seemed she was everybody’s best friend, and that she could do no wrong. Her pure, unabashed love of music is what defined her most, that thrill of discovering a new band, finding out what made them tick, and championing them with every waking breath. Not to mention the fact that Jaime was effortlessly beautiful, with a smile that could give a pasty white boy like me a tan. It appeared she had captured something magical, and to the outside world she had “it.” Though riddled with self-doubt and flawed as we all are, for a time she was the very picture of shiny success. She was shameless, and in some ways fearless. Jaime owned every venue she ever set foot in, and whether the room was ready for it or not, this force of nature was going to do what it damn well pleased. With her posse in tow, it was like watching a hurricane or the Tasmanian devil — a vibrant, violent burst of shmooze and booze, the confetti of drink tickets and handbills, bad band-boy haircuts, broken hearts, the iPhone paparazzi. With her hustle and flow, saggy jeans and stocking caps, she was the “Queen Of All Show Hos”. A scene unto herself. And I miss her.
For all of her bluster, privately she was of course a very different person. The pressures of maintaining a high-profile persona wore on her. She wrestled with demons, and with relationships that came and went too easily, as disposable as the three-minute pop songs she spun from the DJ booth. Over time, her image and reputation suffered consequences, the inevitable backlash we all levy towards those who are quite clearly having too much fun enjoying the spotlight; in part, of course because it’s a spotlight we’re not in. But to truly know her was to love her, to live in awe of her, and to instinctively want to protect her from the world she’d created. The real Jaime Cooley wasn’t simply a media fabrication — she was a vulnerable kid, a sweet and thoughtful friend, and a fun-loving burst of sunshine, a light. She impacted thousands of lives, and reminded us all not to take ourselves too seriously.
I want to remember her this way. I want to remember how she was there for me during my fall from grace, just as I was there for hers. She had sent me a message a few days before she passed. She wasn’t happy with her job. And something terrible had happened with an ex. And could she come visit. “I’m here for you”, I had written. These, the last words we would ever exchange. “I’m here for you.”
And I’m here for her now. I’ll apologize to all of you for using my inaugural column for Seismic-Sound as a forum for a eulogy of sorts, but I wanted to dedicate this one to my dearly departed, taken from us far too soon. As I explore Seattle’s dark corners in search of the almighty riff, a bald, chatty affront to sobriety, I’ll channel her spirit and her passion. I won’t reference her again here, but she’ll be with me.
That said, I promise you that I’m not going to dwell on the morose, the shitty or the sad very often. I plan on bringing you writing that reads about like a 99-cent value item eats right after last call; you’re going to devour it quickly, it’s going to hit the spot, and you might feel like complete ass afterwards. But for a moment, you’ll be satisfied. And, if satisfaction is indeed the death of desire, I’ll leave you wanting more. Stay hungry, friends. There’s plenty more where this came from.~W.Scott Wagner
Seismic-Sounds Newest Writer: Scott Wagner
W. Scott Wagner is a born-again writer based in Seattle. He has worked in print media for over 15 years, and currently serves as VP over at City Arts Magazine. He’s also been known to rock the mic — YouTube “High Tone Son Of A Bitch” if you dare. When not in relentless pursuit of the perfect riff or putting a hurting on a barstool, Scott is a big sports fan, master comfort food chef, and cultural consumer – devouring any and all movies, TV shows, books, magazines, video games and technology that he can get his hands on. He is not a particularly fancy dresser. His grandfather was a famous pro wrestler, and he accidentally named his puggles Penny and Marshall, though he swears he is not a Laverne and Shirley fetishist. Scott has written for all of the newspapers and magazines he’s worked for, and he continues to produce essays, fiction and rock and roll as time allows. He is single, charming, and should be considered very dangerous.
Seismic-Sound’s Featured Band: The Royal Sea
The Royal Sea moves Seattle even closer to Southern California with a chimerical blend of guitar pop, jangle, and lovelorn sentimentality.” (Adam Costa, adequacy.net)
The Royal Sea is a Seattle based up and coming band local to the Pacific Northwest. A quartet formed in early 2011 by front man Timmy Sunshine from the Bellingham based band The Conductors.
Band members include Timmy Sunshine on vocals and rhythm guitar, Theo Krantz as lead guitarist, Evan Kuykendall on bass, and Jettie Wilce on drums.
With a California 60s surf and garage rock vibe, their latest self-tilted album “The Royal Sea” encapsulates nostalgia of summertime and love all around. “Seattle band The Royal Sea’s debut album finds reverberating lines fusing with the swell and tower of guitar done up in implications of surf and other freeing backdrops.” (parasitesandsycophants.com) The 6-track album was self released, recorded in Bellingham, WA with music producer Jeff DenAdel.
When describing their album, “The inspiration behind the project was to try something different. It was my first time picking up an electric guitar and the point of it all was to try out a new feeling reflecting on a 60s beach sound,” says front man Timmy Sunshine. Their goal is to give their audience something to relate to lyrically by telling stories of summertime adventures and California Dreamin’.
Currently playing shows around the Seattle area, they provide a unique live experience with an upbeat environment, leaving the audience with an anticipation of what they are going to do next!
The Royal Sea– Summer
If you haven’t heard of the name Luke Messimer, there is a good chance you have seen him share the stage in the PNW with The Head and The Heart, Campfire Ok … amongst others. But more than likely you would have recognized him as a former member of Bryan John Appleby’s backing band on his latest project “Fire on The Vine“. But like many artists …. Luke felt the need to create, and share is own message; and from what I’ve already heard, I couldn’t be happier that he did. We were able to catch up with him and find out a bit more about Luke himself, his new band Northern Youth, and if he’s coming back to Seattle.
So give us a little insight into who Luke Messimer is about, where you come from?I grew up in Westminster, CA – a smaller city in Orange County. Much like most of Orange County, there’s nothing to do there. It’s just strip mall after strip mall with an endless amount of Walgreens, Subway Sandwich shops, and Starbucks’. Definitely a place where creativity isn’t encouraged or supported. However, my family is awesome and I always had a good group of friends, so it really wasn’t too bad. I went to a small homeschooled group run by BIOLA university. It was at a church in Garden Grove. That’s where I met Kyle Zantos (BJA & Damien Jurado) and Josiah Johnson (The Head and the Heart). It was an interesting experience.
So you’ve abandoned the PNW, why did you leave?
I didn’t abandon the PNW. I left on tour with BJA, and thru a series of different situations and conversations with people I really respect in music, I decided it was best for me to come to Northern Arizona to live at my families cabin up in the forest. It would give me some time to do some soul-searching, write some music, and save up some money.
Are you collaborating with anyone in Seattle from afar? I mean you
probably have a couple talented friends here who’d love to work with
you.
I’m not collaborating with anyone. I’ve been in a lot of bands. It was always some sort of collaboration. I wanted to see what I could do by myself. No influences. No one saying what works and what doesn’t work. Just me making the music I want to make.
So the song “Broken Minds” completely floored me. You couldn’t punch the
smile off my face while I listened. You have the ability to take two
different genres and make them flow effortlessly, I mean it’s a
brilliant song. Is this the direction of the album? Or is it more along
the lines of “Los Angeles”? Bit more somber and guitar driven.
Thank you for saying that! That song means a lot to me. It’s probably one of the most honest things I’ve ever done in my life. I’m trying to do that more. Honesty is a good thing.
The sound of album is kind of all over the place, but lyrically and melodically, it all ties together. It’s a pop album. No matter what genre specific songs may fall under, the bottom line is that it’s pop.
Whats the timeline for Northern Youths debut?
I’m hoping to release the LP by the end of May, but certain issues with recording have made it a much longer process than planned. It might be June or July. I just really want to make sure that this is he absolute best product I can put out. No short cuts or settling for anything. I want every song to be my best song. I’m being way more picky with this record than anything else I’ve ever done.
You coming back to Seattle?
Yes sir. You can expect me back home by the end of the year with Northern Youth in full force.
Northern Youth– Broken Minds
Seismic-Sound Album Reviews: Shearwater, Busdriver and Black Marble.
CB
Some of Seattle’s finest bands……. you be the judge. Better yet, next time you get a chance, go check them out for yourself.
Seismic-Sound Commentary: Charles Leo Gebhardt IV, Craig Extine & The Exiles and Dean Johnson (2-16-12)
So far, all of my assignments have been “blind” shows, which is to say I have never even heard any of the bands that I am tasked with seeing (because I’m an old lady who never leaves my house, hell, I hardly ever even leave my bed). This gives each show an extra dimension of awesomeness because I get to be surprised. Tonight’s show was no different. I was extra surprised to see my neighborhood buddy Dean Johnson (I never knew his last name until tonight!) is playing tonight. For eons my friend Mindy has been talking up a certain song that Dean plays called “Muscle Relaxin’ With Michael Jackson” and its been kind of killing me that I still haven’t heard it. I was deeply hoping he’d play it tonight.
Dean’s voice is lovely and sad…much like his guitar playing. I never knew he was such a tender dude. No wonder he drinks. The song that stood out the most was “Feeling So Much Better Now”. It sounded like he was trying to convince himself AND everyone else that everything was going to be okay. I sort of believe him. As Dean plays one last song, he tries to take his guitar off and leave the stage but everyone demands one more song. Mindy and I shout out Michael Jackson! I shout I’ve never heard it and sweet Dean plays it for me. What a magically fucked up song. You can generally surmise the content of the song from the title but hearing it is so much better.
Between sets, I have the weird experience of seeing my first-ever boyfriend, Gabe. It’s nice to see him, but weird since I wasn’t exactly prepared for it. It’s making me feel tender and young again. Which is now the perfect time for Craig Extine and The Exiles to play. They have a few more energetic jams but for the most part they play sad and slow songs. Extine is formerly of a band I love, The Old Haunts, the set ends with a song that has a Daniel Johnston warble in his voice. My favorite of their set is the more punk-ish “Ransack”, the almost Kinks-y “She Is Free”, the slow-building “Lightning Strikes”, and the jangly “Not Worried”. The drummer is definitely the lady boner of the night, with his Dead Moon shirt and cool drummer attitude.
Last up we have Charles Leo Gebhardt IV, or as I know him “Leo” (everyone in Ballard fucking knows each other, okay?) who is basically the Jonathan Richman of Seattle. You simply must love a guy who starts his set with a Bruce Springsteen cover…. times two if it’s Nebraska or any song off of that particular album. It’s math, bitches. Leo’s songs are charmingly old-fashioned, some with old standard sounds, a Rufus Wainwright-esque feel. He also must have extremely strong lower arms, as he has no guitar strap. My favorite song of the set, “I’ll Stand Behind You”, reminds me of Lou Reed and is stupendously romantic. I’m a fucking girl, okay? This shit gets me. My only complaint: his set was not nearly long enough. I guess maybe his arm was getting tired?
All this tenderness coupled with an ex-boyfriend sighting equals mama needs a fucking drink! I went to Hazlewood and found lots of people I love dancing with. What a perfect way to end my night. Thanks, Leo! Thanks, Craig! Thanks, Dean! Thanks, friends! Thanks, Hall and Oates! ~Chelsea Robinson
Seismic-Sound Review: The West Kick-Off Party with Showstopper ReignWolf
Those lucky enough to score a invite to a mysterious event called “The West” on Saturday night at the West Seattle’s Eagle Club #2643 were treated to a performance from Jordan Cook (AKA Reignwolf) that was mind-shattering. Opening the event (which also featured My Goodness, Brent Amaker and the Rodeo and DJ Cherry Canoe) solo with just his guitar and a kick drum, Cook might have been lumped in with all of the other minimalist rockers who have followed in Jack and Meg’s wake, but he has a certain ability with his guitar that sets him apart. The guy is, at heart, an amazing guitarist. He’s tuneful, understands tone and above all really loud…but not too loud.
He played a couple of tunes by-himself and these were all virtuosic and bombastic, he even played standing atop his kick drum and behind a trap set. It takes some serious chops to overcome the “look at me, I’m fucking awesome” douchebaggery that follows “guitar god” types (remember the Blakes?) and Cook brings it. By his second song, he had the crowd in his thrall and didn’t let go once for the next thirty minutes.
While Cook playing solo was awesome, when he was joined by his brother on a de-tuned electric and a drummer, the sound was huge, dark and awesome. This is some of the best loud, intimidating and fun guitar based music I have seen for a while. Make no mistake, in a genre where nothing, absolutely nothing hasn’t been done before 100 times over, it is really, really hard to stand out. Judging from the wide smiles and bopping skulls, Reignwolf totally rose to the occasion.
The West is a project that brings together many West Seattle nightlife and music movers and shakers to showcase the cultural riches of Seattle’s second city. Hoping to prove that “The West” has as much to offer as Cap Hill or Ballard, organizers hope to sponsor an event every three to four months throughout the year. According to event producer, Oliver Little, “It’s all about community. It’s all about bringing the best people, musicians, sound people, bar and restaurant owners together and seeing what you can do.”
If Saturday’s event at the West Seattle Eagles Club #2643 was any indication (free booze!), we will all be heading West much more this year.~Dan Thornton. Live Reignwolf Footage below! Don’t miss his April 7th in-studio at KEXP or even better yet, catch him playing this Saturday Feb.25th at The Sunset.
Seismic-Sound Album Review: Maraqopa by Damien Juarado. Neptune Theater Feb.17th 2012
You are walking through a museum. You stop into a dimly lit gallery. There are two paintings in this gallery. On the wall facing the entrance is a giant painting. You walk up to it. The painting is all white and the only way that you know that it’s a painting and not part of the wall is by the slim wooden frame around it and the mark of the brush strokes that fill the canvas. The painting is all white but a shade of white that is slightly darker than the wall. You turn around and look at the wall behind you. On that wall is the other painting. It is exactly the same size and it too is white. The only difference is that this painting has a large black square painted in its’ middle.
Black square surrounded by white.
You look back at the other painting.
All white.
Listening to Damien Jurado is like being in that gallery. At his best, Jurado is inscrutable, abstract, unsettling and challenging. When it’s just Jurado, his voice and his guitar can take you places. Like an abstract painter, he makes you work with the starkness. He demands that you find yourself in his art, making you work a little for it. You leave the experience better for it and a little baffled by how you got there.
Jurado’s Maraqopa often lives up to these traits. It’s a solid album and Jurado might just be his generation’s best lyricist, managing to weave lyrics through beautifully simple and affecting melodies. But at times, the instrumentation and the over production detract from Jurado’s core strengths. I found myself wanting to clear away the instruments, hear the words, hear the voice and the song. Give the band the night off.
The album starts darkly with “Nothing is the News”, a psychedelic rave up that would be at home on an Al Kooper Super Sessions album. It’s all swirly guitar, organ and distant vocals. It’s the latest addition in the mini-trippy revival heralded locally on Jesse Syke’s last record. Unlike that tour de force, the guitar solos on this track are noodly and shapeless. Despite its reach for atmosphere, this song sounds like a garage jam with a made up vocal.
The next song is closer to the real deal and hints at the album’s core theme. All guitar and sparse keys over an R&B groove “Life Away From the Garden” starts promisingly until a kid choir shows up echoing Jurado’s verses…kind of creepy actually.
The next song is a gem. “Maraqopa” sounds like something off of Van Morrison’s lost classic Veedon Fleece. The R&B groove has been replaced by a loose shuffle. The instrumentation is nicely sparse. This is the kind of decoration that really works for Jurado. His voice and lyrics are front and center and the backing vocals are spot on. This is the kind of song that gets stuck in your head and never leaves. The best part of the song is the unexpected coda that comes near the end-one of those left-turns that can really make a song stick.
“This Time Next Year” has a lilting almost loungy feel. With its vaguely samba groove and catchy cadences, it’s the perfect head phones-on walking around the city tune. The instrumentation here is unobtrusive which suits Jurado’s voice. Even the light orchestration lends the song a vintage radio feel. If this was buried in heavy rotation on KIXI, no one listening would complain.
“Reel to Reel” is one of the lost opportunities on this album. This song could be such a nice soulful Al Greenish ballad but the circus arrangement is mad making. Its like someone told Jurado that the song was too pretty and persuaded him to make it sound weirder. I’d love to hear him play this solo and unplugged. It’s a sparse valentine gem hiding behind a calliope.
“Working Titles” is one of those lyrical avalanches that has the listener hanging on every word. The stanzas push and push towards some sort of poetic shoot out with destiny. At heart it’s a love letter to the Evergreen State, telling one of the song’s protagonists to “leave me Manhattan, I want the evergreens. Write me a song I can sing in my sleep. As sure as the rain that will fall where you stand. I want you and the skyline. These are my demands.” Magic.
The second half of the album hews closer to the sap. “Everyone a Star” and “So On, Nevada” are sparser and more dreamlike. They are perfect late summer evening songs. Sated, sing-able and soulful, they would be at home in a Neko Case set list.
Anyone who caught Jurado’s set at Doe Bay Music Festival this summer was treated to the haunting glory of “Museum of Flight”. Sparse, catchy and desperate, the song is probably the best one on the album. Sadly, after the first verse on the album version the band kicks-in and pulls too much sunshine out of the clouds. A love song but it works better when it mines the darker vein of the seam. Adding a synthesizer and a weird skip-step beat might have been an attempt to make the song catchier and more upbeat but really just get in the way.
With a lot of pre-release love, Maraqopa deserves all that and then some, Damien earning his local treasure stripes ten times over. Go out and pick it up, but with a lighter producer’s touch, it would have exceeded expectations.
Catch Damien with two, yes two INCREDIBLE openers … Bryan John Appleby and Gold Leaves at The Neptune tonight!( Buy Tix here)
The Dandy Warhols have been a band for 18 yrs.
This Machine is the Dandy’s 8th official studio album and was recorded over the course of 2011 at The Dandy Warhols rock
clubhouse/ entertainment megaplex/studio The Odditorium. The band recorded the album with their longtime engineer – producer
Jeremy Sherrer. Taylor-Taylor describes this record as “stripped down, woody and extremely guitar centric.”
The album was mixed Tchad Blake who also mixed The Dandy Warhols Odditorium or Warlords of Mars and Come Down. Tchad is well
known for his recent work with The Black Keys, Blitzen Trapper and Pearl Jam. The album cover for This Machine was painted by
local Portland, Oregon painter Hickory Mertsching.
Famed Science Fiction writer Richard Morgan penned the band’s official Bio for This Machine. It’s 4 short stories that do a
much better job entertaining than this bullet point list.
Stand out track, Autumn Carnival was co authored by Courtney Taylor Taylor and David J of Love and Rockets. About the album,
Courtney says, “We’ve been told that its our gothiest. I thought it was our grungiest so I’m really hoping its a hit with
goths who are…um, really outdoorsy?”
Tracklisting
1. Sad Vacation
2. The Autumn Carnival
3. Enjoy Yourself
4. Alternative Power To The People
5. Well They’re Gone
6. Rest Your Head
7. 16 Tons
8. I Am Free
9. SETI vs Wow! Signal
10. Don’t Shoot She Cried
11. Slide
Seismic-Sound Album Reviews: Ticktockman, Posse and SharkPact. (2-14-12)
Ticktockman – Self-Titled
Release Date- 2-14- 12
Is that rock I hear? This full length features members of Gatsby’s American Dream and Wild Orchid Children getting their prog-rock jam on. Technically this album is slaying dragons: surgeon precision rhythm, Lum’s guitar crushes, while Van Wieringen vocals serenade your destruction. With tracks like “The Architect” and “Sinister Mystery Cloud Swallows Ships”, TT tip their hats to The Mars Volta in brain cramping song titles and arena sized sound. Hasn’t been anything in the NW music scene this bombastic in quite a while.
CD Release @ The High Dive- Feb. 24
7.8
CB
Sharkpact – Ditches (Rumbletowne Records)
Release Date- Out Now!
Finally, my two piece synth-punk fetish has a new obssession. Upon listening, you can almost smell the wood paneled basement, the wood peeling off the walls with Sharkpact’s loud and pound, screamy sound. But more than that, “Ditches” is solid and made for the repeat button. If you don’t know (then you’ll prolly miss it), this Oly duo will be reppin’ Rumbletowne Records at Slabtown Punk Fest in Portland. Yeah I know, time machine.
7.4
CB
Posse – Self Titled
Release Date- 1.24.12
Posse’s debut speaks the late 90’s punk gospel, with ethereal lip snarl vocals and double time backbeats as it’s weapons of choice. Always in control with an itchy trigger finger, playing like pillow talk between Thurston Moore and Kim Gordon. The lead off “Hey Suzanne” seems to have been getting the play, but deeper cuts like the daringly, snarky “Backrubs” and cooly orchestrated “Viaduct” get me out my seat. Cool. American. Indie rock.
8.0
CB
Seismic-Sound 