As most of you know … Seattle is a hot bed of music. And with the current surge of Americana/Folk scene at an all time high, the Seattle Folk Festival has just the “ticket” to get it all in at once (for the most part). Saturdays line-up of talent is incredible, and is showcasing some of Seattle and even some of Portland’s brightest and most talented musical acts. One of those most promising up and coming musicians bar none is Bryan John Appleby. His new album “Fire On The Vine” is undoubtedly one of the best albums I have heard in 2012, and to hear it play out live is something that could very well leave you breathless. We asked Bryan to partake in our new featured called “Song Dissection” We pick the song, and he tells us the inspiration behind writing it. We selected one of our favorites “Honey Jars”. For ticket information please click on the Seattle Folk Festival above (in bold letters), and come out to Columbia City Theater tomorrow for some incredible music in the best sounding venue in town. Read below:
Honey Jars came together, both lyrically and musically, as a sort of collection from a variety of sources. I’d been playing around with that finger-picking pattern after a friend showed me Jackson C Frank’s Blues Run the Game. There is a bridge portion in my song that borrows Frank’s (and many other folk songwriters of the 60’s and 70’s) hammer on technique. Change some chords and add some chords and presto! That’s it.
Sometimes when I write a song, I’ll come up with the beginning lines first without having a plan or narrative in mind to follow. I may just like the sound of the words or the line. Once I have that, I begin the arduous task of filling in the story behind it. As with Honey Jars, this was also the case with songs like Boys, The Road, Backseat, and a lot of them actually. So, many months before I wrote the song, I had written in my notebook the words “Broken Comb.” I just liked where that image might lead. I listened later to Paul Simon’s Obvious Child and was really moved by the character of Sonny. He is so sad and alone in the third verse. But there’s also something about him that is rich in experience. I don’t think I realized it at the time, but the feeling that I picked up from this character is the same feeling that I wanted my character to have. Additionally, I was confronted constantly by a painting of an old man who I had hanging in my living room. So the character was there, and the “broken comb” was there. The final element was personal. I was living in an apartment by myself that had previously been occupied by my girlfriend for a few weeks before she moved to L.A. After she left, the place seemed very vacuous. So all the images of a former life turning into rust and cobwebs found their way in.
I hadn’t thought to make the character literally blind until a friend, Brad Duncan, suggested it. I had already written, “though I’m, blind my dear, I see” but I had intended the line to be figurative. Once Brad, after listening to the song, asked me if the old man is actually blind or not, I really liked the idea. I only had to change the line “Let the snow fall on my knees” from “Watch the snow fall on my knees.” But it makes lines like “well I should have seen this coming” seems more layered. So thanks to Brad for that thought.
Bryan John Appleby-Honey Jars
Seismic Rad-Libs With: Cristina Bautista
Cristina Bautista …. remember that name, cause she’s not only that gorgeous little powerhouse bassist from Visqueen; but a solo artist as well (Pick up Gold Parts EP..it’s pop-rock perfection). I predict this woman is headed for much bigger things, and this will be your last time to see her before she heads into the studio to record her full length, so catch her while you can this Wednesday at The Sunset Tavern with Mike Bloom and Miracle Parade. Doors at 9/21+/$6. Enjoy her Rad-Libs and click on her name above to check her out!
I like it when a man: is from South Dakota, has a mohawk and plays an orange Gretsch.
You will never see: the video of me ice skating dressed as a Teenage Mutant Ninja Turtle, which is a real shame because I made an adorable four-year-old Donatello.
I have no shame in: my new life dream of covering Bikini Kill’s “Rebel Girl” with Nicki Minaj. Somebody please tell her who the eff I am?
My best feature would be: dual side airbags.
Music gets me in the mood to: ruin my life and forfeit any semblance of normalcy or financial stability, apparently.
I could never: have known how good ruining my life and forfeiting any semblance of normalcy or financial stability would feel.
I wish people would: stop punctuating sentences with “bitches!” (Example: “We’re going to Applebee’s, bitches!”)
My last meal would consist of: an Olympic athlete’s right calf with a side of Totino’s pizza rolls.
There is never enough: time to find bigger, stretchier pants right before I become the Incredible Hulk. I’ve ruined so many good jeans.
Seismic-Sound.com’s Featured Artist: Lakefight
Finding a special band is a rush for me, a thrill, like morning wood belly down on Egyptian sheets with a threadcount of 1200( I think you get the picture.) Finding Lakefight was a rush to find at 2 a.m. Upon pushing the little digital arrow there was a bit of confusion at first, but it was as if you were looking at a beautiful discernible abstract painting that spoke to you, you got it, but you weren’t sure if anyone else would because of its complexity. It was brilliant, this stuff was genius! I couldn’t help but listen to the song in its entirety and every song after. The music was “smart” it was art in the truest sense of the word and I thought it may even be over most people’s heads, but one thing for certain is that I had to see this band live to see if it would even remotely sound the same……was it possible?. Lucky for me….the band played that next week at the Rendezvous on a Friday, and despite other plans I was going to see this band, and I did. To see the band was inspiring, it gave me even more faith in the Seattle music scene. It was refreshing to see this young band not only create such beautiful and intricate music, but do it with such flair. It was like finding that abstract piece of art you loved so much and seeing it in real life, and it was everything you’d expected…. “how could people not understand this?”
Here is a bio of the band as well as some footage I shot, of that very night at the Rendezvous. Stay tuned for more coverage of this band right here, cause we have them on our radar and we are paying close attention.
Lakefight is a four-piece from Seattle. Using a pair of keyboards, a guitar, and two and a half drum kits, they screech through feverish Bowie mini-epics, caroming off into schoolyard chants from doo- wop surf meltdowns and fractured pop-music-with-rabies, marred with lyrics yelped, sung, screamed, and mangled as if by a crazed doomsday preacher. From reeling seasick waltzes to noise pop rushes, ultimately there is passion and energy and (shockingly) hope.
The singer of the song invites the listener to embark on a vision quest where new things might be discovered. The lyrics “in the misty morning I’ll be here with you” bring to mind an open field in the countryside covered with fresh mist, where one finds his connection with the world’s timelessness and beauty. The singer’s words are comforting, like a friend who will stick with you to the end. He is a guiding light who helps pull us through when we get lost in a desert of madness.
The chorus states a simple truth, “poverty is the wise mans gold/ he throws his riches to the open road”, meaning that our possessions weigh us down, and it is only when we are not attached or hung up on things that we find real joy. Our minds are constantly plagued by crazy thoughts running around inside our heads (“theres too many wheels turning round”). In order to return to a child-like state of wonder our minds need to become still.
A revelation comes to the wanderer. His transformation is symbolized in the flaming vision of the Phoenix. The mythological creature is at once majestic and terrifying. There is a sense of destruction and delirium. The initiate must pass through hellfire before awakening to pure consciousness.
The traveler returns from his vision quest and must embrace life again. Things appear the same but he has a new way of looking at them. The lyrics, “you can walk with me anytime you want cause theres really no place to arrive”, suggest that we often have a future destination where we seek to arrive. But the truth is that we never arrive at any final destination. We only have this present moment. Another aspect of the wanderer’s heightened awareness involves his recognizing that it isn’t necessary to assert his opinions or make judgments. There is one corner of the universe that you can change and that is yourself. When we look at ourselves we see that we are all broken. The journeyman returns with a greater sense of sympathy and understanding. His illusions have been shattered and he is free to love.
Make sure to keep and eye out for the new LP to drop on Februaury 14th, 2012, and the record release show on January 21st with Karl Blau and Joseph Giant (Genius bill!) at The Sunset Tavern. In the mean time, here is the song this whole “disection” is about. Listen to the track below.
The Soft Hills–Phoenix
Seismic-Sound.com’s Brief Chat With: Lizzie Huffman
Seismic Rad-Libs With: Adra Boo of Fly Moon Royalty
If you have never had the oppotunity to see Fly Moon Royalty, well then do yourself a favor and head down to the Sunset Tavern tonight for Kexp Audio Oasis at 9pm. Now enjoy our Rad- Libs with Seattle’s own Diva … Miss Adra!
Don’t ever tell me: I ain’t sexy as hell! I’ve had my skills tested on the west AND the east coasts! I know what’s good, love.
Sometimes you just gotta: break em off with that Running Man! Like you didn’t know we was here to party… BOOM!! Don’t let the thickness fool ya- I’ll get the dance floor jumpin’ off like I was a skinny heffa!! And you know this kinda thick is where it’s at!!
One thing I will always do before performing: is go in on some tea with honey. Mama’s pipes are on display and my best is first on that agenda. Period. Mike (Action Jackon) makes sure I’m on it. AND I usually try to get in an Incubus song in my headphones. Brandon Boyd’s voice is beyond the bizness, duh!! Sometimes, I’ll bounce around a bit, and naturally, a warm-up is required!
Performing for me is: like being the kid who wakes up on
Christmas to EVERYTHING he asked from Santa, incuding a new bike!!! You
know… extra sparkley and new!! Its that!! I love the stage, and all the
things you can do there.
I can’t imagine: where I would be without Mike (Action
Jackson) and the McRib! Mike is the maker of magic with Fly Moon Royalty!!
He produces quality tracks, makes me sound amazing, and has the best
impressions!! And well… we had to menton the McRib at least once. Duh,
hahaha!! One day, you gotta see Mike do Dave Chappelle’s Calvin routine
about the McRib!
If people only knew: how much I appreciate the support and
the encouragement of friends and family and work!! I couldn’t even be where
I am without that! And of course, thank the Heavens for sexy people who
drive you absolutely insane… from them, the best songs are written.
The best feeling in the world is: when I’m on stage and I
see people singing my words! And even better is when they know what I’m
talking about! Betty’s Kitchen is a great example of that- hells damn yes,
I want folks to get up in my kitchen… especially the very single
individuals.. its warm in my kitchen on these cold Seattle nights!! 😉
Success to me: will be not having to work 40+ hours a week
while trying to be 25 again. It’ll be ballin’ out of control! Red carpets
coast to coast! Tuesday’s with Hoot and Howl at Havana without having to
get up for work the next day!! But to be honest, I’m feeling successful
right now- the past year and some change have been something GREAT!!
I’ll never leave home without: this cell phone, my charger, and
my DL! I gots to have ways to reach folks and you know these phones are
crippling, haha!! Damn you, Android technology, for being the new heroin!
Facebook, Twitter. And now, Tumblr!! Not to mention my addiction to these
Polaroid-style photos!!
Seattle is: home. My stepping stone. The launch pad. Full
of good hip-hop soul and rockin’ bands, and great musicians! Blowing up
your spots! Wind blowing your mind. Beautiful in the summer! Rain and rain
boots. Super dope vegan delicious donuts (and y’all know I love my meat)!
Where I met Mike and his beautiful michigan crew, and Jen and DeVon- our
management/label, Sportn’Life Records… and where we begin this amazing
journey called Fly Moon Royalty!! “Come fly with me… come fly- let’s fly
away” (Those are the words, yes?!)
Seismic-Sound.com’s Brief Chat With: Sean Wood of The Spits.
So we are in over 15 years now, are you happy with where that band is at?: yes we are very happy we’ve created timeless hits and have traveled the world and met our heroes.
Is there a worst time you can remember for the band?: the worst was in Oklahoma getting paid 20 bucks then having to drive out and spend the night in our van on the side of the highway, only to make it home to your girlfriend telling you she cheated on ya, and getting a call from your boss saying you’ve been fired!
And what about the best?: The best I think is when we could tell our bosses and girlfriends to fuck off!. No… one of the best was at Vice magazines anniversary party in Mexico city for 2000 people in a huge ancient cathedral, then having about a hundred guys storm the gates and run over the security so they could come up on stage and rock with us.
Besides the incredible roster they have…what was it about In The Red Records that made you want to work with them?: In The Red is great and Larry Hardy rules, and we got a fat check! JOKING!!!!
Everyone’s a critic and your fan base is pretty harcore….do you give a shit what people have to say? Even if it’s those hardcore fans?: We have the most loyal and hardcore fans than any band out there, of course I care what they say! but in the end the decision is ours!
When you write … is it lyrics or music first?: sometimes its the music and sometimes its an idea of a topic but never lyrics.
Your tour is basically already started… any new masks or stage pyro we can expect?: I can’t reveal that info!
If you could change the Seattle music scene, how would you do it?: I would bring back the fun! I hate the fucking beard rock and soft songs. I mean c’mon lets see some puss and hear a good tune man! Oh and we’re sick of baggy pants and hats turned sideways. Nickel and Dime sucks! Long Live THE SPITS!
CD Release show at Chop Suey on Friday, November 4th. Doors at 9!
Out Now!!! Album number 5 (Self-Titled)
1. All I Want
2. My Mess
3. Tomorrow’s Children
4. Electric Brain
5. Fed Up
6. Fallout Beach
7. My Life Sucks
8. I’m Scum
9. Brick By Brick
10. Acid Rain
11. Wanna Be ADD
12. Last Man on Earth
Seismic-Sound Featured Artist: The Glasses
We really feels it our job to showcase what we think, is some of Seattles finest and sometimes freshest talent. We stumbled across this band The Glasses and fell in love instantly. Read a little about them, and check out their sound. We likey!
Long-time allies to their LGBTIQ peeps, The Glasses decided to bring their electro-pop sensibilities with the message of acceptance in their third full-length Indie-Pop album, “Love Is Queer”. Their witty lyrics will make you smile and perhaps even pause for reflection. Lines like: “We love just like you / only in better shoes” and “Love is Queer my dear / affection is mighty gay,” showcase the playfulness that is evident in every song.
The Glasses’ are comprised of three long-time friends who have as much fun when they are not playing music as they do while rocking on stage. The sweet boy-girl vocals are provided by Becky Cote and Will Wagler, who also plays jangly guitar. Richard Visick of Touchdown Eagle fame fills out the sound with animated bass lines. All three members take turns on the synth … add a dash of propelled electro- beats and this album is sure to be a hit for any occasion! Take a listen below!!
Seismic-Sound.com Video Review: The Long Winters & Campfire Ok. City Arts Festival 2011.
Song Dissection with Artist: Shelby Earl & Song “Beloved”.
The new feature you are about to read is a simple question, in which we ask the artist, “Whats this song about? Where did you write it?. A “bio” if you will. Shelby Earl is the first official contributor, and we are so happy she is involved. Please make sure to check her out while she plays the City Arts Festival with The Felice Brothers at The Crocodile on October 20th. Here is the bio of her song “Beloved”: A couple of years ago I started looking around at relationships in my life; at my friends’, my family’s, my acquaintances’, and I noticed a trend. I noticed that in many cases the dude seemed to be working overtime to please his lady, but rarely succeeding or getting the credit deserved for the effort. It wasn’t necessarily that the men in these relationships were doing everything perfectly and the women were just being difficult and saying “not good enough.” It was more that the men were fumbling through their attempts to meet the extremely high, high expectations their ladies had and continually falling short. It made me sad. It made me think … maybe that silly book “Men are From Mars, Women are From Venus” had some credibility. And maybe it does? I don’t know. But I do know that it made me consider what relationships between men and women could look like if a woman regularly looked her man in the eye and said “Thank you for everything you do. You are wonderful.” I considered how much a man’s pride comes into play with these things. Women have pride too, but not the same kind. That is where the “You’ve been fighting so hard. For your name, your coat of arms” comes into play. It’s about a man protecting his good name, his honor, his masculinity. If someone continually tells you, you aren’t doing things right or doing things well … you will ultimately abdicate and say “forget it then, you do it.” So what happens then? Women end up feeling like they’ve been abandoned or un-supported and the whole thing becomes an ugly cycle.
Obviously all relationships are difficult and this song is not about blaming women for men’s downfalls (I’m a lady myself for god’s sake!). And ultimately it isn’t even about just male/female relationships. It’s about any two people who are partnered and struggling to make it work and who desperately need to tell each other how loved and appreciated they are. It’s also an apology of sorts. It’s a way of someone saying to their person “I see you working hard to make me happy and I’m sorry I don’t acknowledge it often enough.”
Most times when I play this song live I tell the audience what it’s about and the whole room will fall quiet. It’s a very emotional experience and the weight in the room is often palpable. I know there are couples standing there together, dealing with this very issue, who are in need of healing. I usually preface it in a light-hearted manner by saying “I know men are out here working hard for their ladies and not necessarily getting the credit they deserve,” and more times than not, the men in the audience will cheer. Obviously I can’t be inside people’s relationships, or pretend to know what works for everyone, but its clear that this is a shared experience among
men.
Ultimately, I wrote this song because I want women, myself included, to remember to say “You are good. You are loved. You are enough.” to their dudes – often. Imagine how different things could be for couples if they remembered to do just that. *Listen to the track below*.
Shelby Earl–Beloved
Seismic-Sound.com Featured Artist: VibraGun
A loud surge of noise with fuzzed-out guitars, droning synths, and reverb drenched harmonies. Lulling hypnotics mixed with the jagged
pulse of garage rock.
VibraGun is a band which formed in late 2011 in Seattle, Washington,USA. The band consists of Joel Bergstrom (vocals, guitars), Amber Joy Smith (vocals, synths), Brock Johnson (bass, guitars) and Kevin Malik
(drums).
The beginnings of the band started when Amber met Joel at a T.Rextribute show. He was playing “Planet Queen” on solo electric guitar
and drum machine. By the end of the night, they had bonded over a shared appreciation for underground alternative bands of the late 80’s
and early 90’s, illicit substances and Berlin-era David Bowie.
They started getting together to drink, and began to write songs that combined the perspectives of both sides of the stories about sex,
loss and love. Inspired by the seedy romanticism of The Kills, the lush squall of My Bloody Valentine and the ambient punk of Deerhunter.
The first batch of songs was assisted by James Smith (Film School) on drums and recorded with Matt Brown (Trespassers Williams).
Adding Brock and Kevin in the short summer of 2011, they have released their first singles “Willing Sacrifice” “Happy To Be Sad” and
“Snowblind”. As the band begins to play, it’s a loud surge of noise with fuzzed-out guitars, droning synths, and reverb drenched
harmonies. VibraGun embrace lulling hypnotic states and the jagged pulse of rock in a way that it describes the rough beauty of the
Pacific Northwest.
Melody over limit, set your controls to the heart of the gun. Check out one of their tracks below.
Seismic Rad-Libs: Damien Goyenechea of Panama Gold
If you’re not aware of Panama Gold, well then your missing a good time. Damien is busy working on Panama Gold’s new EP, his side Project Clucks EP, and also a EP by Zoe Wick. SO when I asked him if he wanted to do a Rad-Lib, I was surprised he jumped at the chance. If you’re looking for a well rounded bill this evening, then this is a show you want to check out. Make sure you get there early, cause Eastern Grips and a band I have high hopes for called Freighms will be getting this party started at The Tractor.
My ultimate fantasy would be: to conduct a 40+ piece orchestra.. Gustavo
Dudamel is my recent hero, he put the Rock-n-Roll back into classical music.
Dont ever touch: me when I’m sculpting my facial hair. Manscaping is an
art form, one slip up and it all falls apart.
My last supper would consist of: Carne asada tacos with cilantro and lime,
tortilla soup, a bucket of coronas, and valium ice cream. (hey its my last
meal!)
My biggest obsession is: recording music. It sounds like an easy thing to
do, but It’s not.. I’ve taken years off of my life; obsessing over drum
sounds and vocal takes, while chain-smoking and God knows what else.. I’ve
recently learned that balance and patience go a long way.. .
The Truth is that: I’ve never really been comfortable in my own skin. I
used to wish that I was black. Now I’m finding that I am Jewish at heart.
I’m trying to get Panama Gold-stein to convert with me.
Halloween is: the shizz. Love dressin up, gettin into character, blaming
everything you do on Halloween on said character. Then waking up and
staying in character until someone tells you its a problem.
I can’t believe that: Sub Pop hasn’t signed Ravenna Woods yet. They’re by
far the most interesting band in town, and have been making waves for over a
year. It seems that SP would rather sign a french-pop-disco-duo than 3
badass folk-punks rockin’ in their own backyard.
Crabs are: tasty little creatures… They are secondary to Lobster in the
culinary sphere, but still damn delicious.
Rock out with your: shishkabob kraut. I don’t know, I say rock out no matter
what. In the grocery store if you hear some Cyndi Lauper jammin, do a little
side swoop, tap on some cereal boxes, throw something at the produce guy.
People seem a little wound up and detached these days. The rock lives in
all of us, it’s just a matter of letting it take control. Let your guard
down, you’ll be happy you did.
Fountains Of Wayne’s long-awaited new album, Sky Full Of Holes, was released in the US on August 2 via Yep Roc Records, their first release on the NC-based indie label. This is the acclaimed band’s first new release since 2007’s Traffic And Weather.
Recorded in New York City, Sky Full Of Holes features 13 new songs by Chris Collingwood and Adam Schlesinger, ranging from high-energy power pop to intimate, acoustic-driven ballads. Songs like “The Summer Place” and “Richie And Ruben” showcase the band’s renowned storytelling abilities and flair for creating memorable characters; elsewhere, they take a more impressionistic approach, as in the shimmering “Someone’s Gonna Break Your Heart” and the elegiac “Cemetery Guns” (a lyric from which provides the album’s title). In signature FOW fashion, the album manages to be simultaneously witty and wistful, imaginative and personal.
Formed in New York in 1996, Fountains Of Wayne took its name from an iconic garden store in nearby Wayne, NJ (which, sadly, closed recently). The band has received steady critical accolades since its inception; “Dean Of American Rock Critics” Robert Christgau has called them “lyric poets” and “true art heroes.” The group’s line-up, which also includes guitarist Jody Porter and drummer Brian Young, has remained unchanged since they toured in support of their 1996 self-titled debut album. FOW were nominated for two Grammys, including a slightly belated Best New Artist nod, in 2003, after scoring a hit with their third album, Welcome Interstate Managers.
Sky Full Of Holes is the band’s fifth full-length release, not including 2005’s two-disc B-side compilation Out-Of-State Plates. Produced by Collingwood and Schlesinger, it was mixed by longtime collaborator John Holbrook, who also worked on Welcome Interstate Managers and Traffic And Weather.
Sky Full Of Holes was be released by Yep Roc in North America and by Warner in Japan, where the band will play the legendary Fuji Rock Festival in late July. Other international release dates will be announced shortly. The band returned to the stage with shows at legendary New Jersey clubs the Stone Pony (July 23) and Maxwell’s (July 24 and 25th); they are touring extensively in support of the new album, beginning with a string of US dates in August and September.
So don’t miss them October 7th at The Crocodile Cafe.
Seismic Rad-Libs: Joel Cuplin Of Constant Lovers
Rad Libs are back, and what better way than to kick it off with none other than Joel Cuplin of Constant Lovers. They are throwing an amazing CD release party for the new LP “True Romance” at The Comet Tavern on October, 1st … and a shitload of incredible talent will join them, but not only are we doing Rad-Libs, but we are also going to be starting a separate segment called “Song Dissection”, which allows the artist to describe the writing process behind one of their most current songs…we think its a great way to get some insight into the artists writing process as well as possibly connect with the song itself. We will be doing a feature of “Song Dissection” at the bottom of the Rad-Libs, then at a later will be doing them separate with a little twist.
Now read on, and enjoy Joel’s fucked up “Rad-Lib” answers .. they’re very entertaining, Enjoy!
Sometimes I never: don’t like to ever not do nothing
occasionally, unless I’m not doing anything, in which case I sometimes
do some things, but usually not that much. Not! J/k.
There was once a time when I: was handcuffed to a bed at
Harborview and had a lubey finger jammed up my butt from a hot doctor. It
was not as sexy as it sounds.
I can’t imagine: living without candy or tequila. I’d have an
especially hard time living without candy.
The name Constant Lovers came from: a six pack of Rainier and
a heap of LSD. All you have do do is change both t’s to i’s, trade the c
and n for an m, lose one s and take out the v and add a g. It’s an anagram
for Mojo Rising.
People tend to think that I am: a woman from the back. I
don’t really get it. My hair is long, but my butt is flat as a board.
If I didn’t have music: I would feel like a guppy in a fish
tank. My girlfriend said if I didn’t have music she would turn me out like
the little slut that I am.
People would never believe that I: am not joking about my candy
obsession. The best gummies are made by Kasugai and are individually
wrapped to keep me from devouring fistfuls at a time. I also love
chocolate. Duh.
I will never be able: to hug John Peel. There are several folks
alive today that I would like to hug.
The most guilt I ever felt was for: pooping my pants while cross
country skiing in the third grade. I just left my soiled underwear on the
floor of the bathroom stall. My classmates wondered why I was skiing so
fast.
“SONG DISECTION” With Constant Lovers Joel Cuplin.
Describe the ideas and process of writing “Open Toe Heels”: Lyrically I
think it started from something I stole from Gavin (Tull-Esterbrook, our
bassist). I don’t really remember for sure though. I vaguely remember him
talking about fingernails, and also maybe thighs. The song evokes the pure
joy of spring time in the Northwest, when the sun comes out, the skirts and
dresses start arriving, and no one can refrain from grinning from ear to
ear. Then of course it delves into a love lost and a deep desire to guzzle
oneself into oblivion. It’s a common theme on Capitol Hill. The song as a
whole was thrown together rather quickly. We wrote it the day of our first
appearance at the Capitol Hill Block Party. That was 2009. Needless to
say, it took way too long for us to get this record released, and we are
super excited to get into the studio to record some new tracks. Thanks for
asking!
Check out: Constant Lovers(CD Release)/The Absolute Monarchs/See Me River and Naomi Punk with DJ-GooGoo at Comet Tavern on October 1st, 2011-$7@9pm
Seismic Review: Davila 666 Rule The Rendezvous!
Monday night is a difficult night to get people out. Most are recovering from the weekend and back in work mode, but leave it to the garage-punk band from Puerto Rico … Davila 666 to entice weekend party-revelers to spill their beer one more time; or was it the secret but not so secret band Dirty Tiger (AKA My Goodness), that brought out Seattle’s garage punk elite. Although Seattle loves My Goodness, chances are it was more or less Davila 666. Upon looking around the place I was noticing that some of Seattle’s garage-punks finest were in attendance …. members of The Spits, Coconut Coolouts, Watch It Sparkle, and others. I also over heard someone say “this band attracts some of the hottest hipster-rock chicks in town.” Hmmmm…. Ok.
The night got off to a slow start with the band Zis Kis, and after a couple of songs into their set, we decided it was a good time for drink break, but made it back with plenty of time to get front and center for one of Seattle’s most talked about bands My Goodness, who went under the moniker of Dirty Tiger! (Due to a show they had at The Neptune). As most of you know … this 2-piece band can create as much sound if not more than a “full on” band, and this night was no exception. “Pretty Boy” Schneider was on point and in complete harmony with his axe, and created that front man loveliness, that makes him so fun to watch, while Ethan was having another stand-out evening on the skins, just killing it. The fans wanted more of My Goodness, but tis was not going to happen this evening, because the boys from Puerto Rico were geared up next to wrap up their current tour in the tiny confines of the Rendezvous, which is quickly becoming a favorite venue, due to the amazing acts that have been booked by Nathan Chambers.
In a packed out room of what seemed like a 100 plus people (borderline uncomfortable), the troupe from Davila 666 took stage and instantly created a tide pool of people, which only grew more intense through-out the night. Ripping through a set with songs averaging about 2 minutes and 50 seconds, it was the best recipe possible for malay, sweat, moshing and a shit load of Rainer beer being thrown all over the place. While the band passed out beers to the audience in between sets, they also did head butts with front row attendees while playing trying to show their gratitude for Seattle’s amped up energy through the raucous set (dodging beer cans and people being pushed onto the stage). This band put on an epic show. The stage was soaked in beer and the crowd just a bit “ripe” from sweat … all was right in the world.
Seismic-Sound: Needtobreathe … Quite Possibly The New Kings of Leon. Whether We Like It Or Not.
Well not to say I told you so …. but I told you so. A couple of years ago, I went to see a relatively unknown band that I had come up with in one of my late-night searches scouring the internet for some fresh new talent, both local and national. I stumbled up on this band that was from South Carolina known as Needtobreathe , and was instantly taken a back with their ridiculously tight sound, and not going to lie …their “Kings Of Leon” sound.
Sure I had heard that they were Christian, but I still try to keep an open mind when it comes to music . I sat and listened to a couple of their tracks and was dumb-founded by the quality of their music overall. Was it a authentic sound? I guess that all could be argued, but very little out there is. Not long after , I purchased a download of the album … I was hooked. I also noticed shortly afterwards ( I read the small print in The Stranger) that they would be playing in Seattle at Chop Suey (video is below) with Serena Ryder, so I jumped on the opportunity to see them and invited a couple of skeptical friends along.
Well quite simply … I was impressed and have never really looked back. I gloated that these guys were an incredible cross-over band and had “everything” that those shallow money hungry labels look for….. looks, talent, and some really good, radio-ready appeal (Atlantic had their eye on them, but wouldn’t truly pull the trigger back then). About a year and a half later, a fresh face and uber-successful Taylor Swift found them and fell in love and brought them on tour (still currently touring), and the rest is now history. Their star is rising, and the Christian messages are getting more eschewed, so you can’t really tell what their reference point is …. you know it’s easier to sell those records to the “secular” public, but nonetheless; while Kings Of Leon flounder and struggle with their successful demons, there is a new band on the rise to take their place. I guess it’s true when they say that “everyone’s replaceable”(maybe not everyone). Look for their new album “The Reckoning” to drop on September 20th, 2011.
Seismic-Sound Video Review: Doe Bay Fest 2011.
There were certainly a fair share of moments to catch a lot of live and unfolding music performances, both scripted and the unscripted. But I told myself that I wanted to experience things (since it was my first) , and not from behind the lense; so I tried not to hold my camera up to my face at all times of the day … but I did manage to catch some pretty cool stuff from time to time and these are a few of my favorites.
“Holy shit!” yeah, you know that’s what may have spilled out of your mouth when you read this years City Arts Fest line-up, and it’s alright cause so did we. I am still nursing the blisters on my feet from the Capitol Hill Block Party, as well as working on all the footage we captured, and now I’m reeling about this years City Arts Fest. I mean c’mon is it possible that they have outdone themselves after last years line-up? Some may say yes, others may say no, but we say “hell yes!” I mean where do we start even on a local scale? The Long Winters, Campfire Ok, Cobirds Unite and Cataldo (may I kiss your feet whoever put this one together). Fences, William Elliot Whitmore(yes Iowa we know, but still), Black Whales and Daniel G. Harmann (Good christ!). Mudhoney, Fastbacks, Thee Emergency and Lovesick Empire (WTF!? is all I can say), or for some of that local soul, r&b hip-hop flavor …. Fly Moon Royalty and Allen Stone (be prepared to get your groove on, cause you wont be sitting still).
Now that’s not to that say we aren’t completely stoked to see some of our personal local favorites open for national acts such as Crypts and Nightmare Fortress open for Crystal Castles. Grand Hallway and Lemolo open for Thao And The Get Down Stay Down, or Bryan John Appleby, Joseph Giant and Smokey Brights open for Sons of Warren Oates and the list goes on….. cause we are. But I think you’re getting the picture.
So basically what we are saying is that from October 20-22nd … City Arts really has all the cultural bases covered and for little or no money($69). You have music, music, music, as well as authors, poets and filmmakers all gracing our cities stages for 3 days. Tickets for this incredible event go on sale August 5th, and yes 3-day wrist bands are like I said … $69 dollars! Line-up is below.
October 20
ROBYN w/ special guest tba
CRYSTAL CASTLES w/ Picture Plane, Crypts, Nightmare Fortress
THE LONG WINTERS w/ Campfire OK, Cobirds Unite, Cataldo
THE FELICE BROTHERS w/ special guests tba
ALLEN STONE w/ Fly Moon Royalty
CULTURE CLUB: Washington Film Works Event and Happy Hour
SEATEETH: Premiere performance from Seattle’s Jose Bold (John Osebold of “Awesome”)
POGO w/ That 1 Guy, Daydream Vacation
CULTURE CLUB : Visual Art
HORDE and the HAREM w/special guests
THE COPS w/ Birthday Suits, Strong Killings
CULTURE CLUB: Celebrity Karaoke
HEDWIG and the ANGRY INCH: Movie Sing Along
SCHOOL of ROCK: Laser Grunge Show
October 21
BUILT TO SPILL w/ Disco Doom, Seapony
AN EVENING WITH RYAN ADAMS
ERIN LEDDY (Hand2Mouth Theatre) performs My Mind Is Like An Open Meadow
SHELBY LYNNE w/ Special Guest tba
GENRE-BENDER w/ Karen Finneyfrock, Rainbow Fletcher, Joanna Lepore Dwyer, Mark Haim, Wes Hurley, Amy O’Neal, Mike Pham & more
FENCES w/ William Elliot Whitmore, Black Whales, Daniel G Harmann
CULTURE CLUB : Visual Art
BOXER REBELLION w/ Pickwick, Yuni in Taxco, Kris Orlowski
USF w/ Big Spider’s Back, Blue Sky Black Death, Brainfruit
SON OF WARREN OATES w/ Smokey Brights, Joseph Giant, Bryan John Appleby
ALL STAR TRIBUTE TO THE REPLACEMENTS
NW HIP HOP REDESIGNED
COLOR ME OBSESSED: Replacements Documentary
THRILLER DANCE CLASS w/ Waxie Moon, Inga Ingenue and Lou Henry Hoover
PURPLE RAIN: Movie Sing Along
October 22
OZOMATLI w/ Theoretics, Picoso, Dyno Jamz
BLACKALICIOUS w/ Freestyle Fellowship, Hi Life, Don’t Talk to the Cops
MUDHONEY w/ Fastbacks, Thee Emergency, Lovesick Empire
THAO AND THE GET DOWN STAY DOWN w/ Grand Hallway, Lemolo
MALE BONDING W/ Unnatural Helpers, Virgin Islands, Fuckin Eagles
SO YOU THINK YOU CAN DANCE: Show (+Tell)
ERIN LEDDY (Hand2Mouth Theatre) performs My Mind Is Like An Open Meadow
THE ECSTACY OF INFLUENCE w/ Heather McHugh
STEVE CUIFFO IS LENNY BRUCE
SEAPONY w/ Tea Cozies, Midday Veil, Witch Gardens
WHALEBONES w/ special guests tba
GREASE: Movie Sing Along
CULTURE CLUB: Pie Life
CUTLURE CLUB: City? Arts? Festival? A Creative Conversation by Arts Leadership Lab
CULTURE CLUB : Visual Art
SEATEETH: Premiere performance from Seattle’s Jose Bold (John Osebold of “Awesome”)
DANIEL BARROW: EVERY TIME I SEE YOUR PICTURE I CRY
COLOR ME OBSESSED: Replacements Documentary
Seismic-Sounds Interview with: Shenandoah Davis
Photo By Jason Friendt
Last year I put her on my list of one of the top 10 bands to watch in 2010, and those sentiments are still intact. She is a marvel, she is a chip off the late vaudeville movement gone by; and in the first part of August her new full length LP “The Company We Keep” drops, and you would be a fool not to pick this piece of musical mastery up at your local record store( inSeattle), Itunes, or at one of her shows coming up at a city near you this summer and fall…because you guessed it, she’s doing an extensive tour of the U.S.
I was able to sit with Shenandoah and a nice bottle of French red wine, and discuss the past, the current and possibility of whats to come for this incredible artist.
So where are you originally from, and are you from a family of musicians or artists? Born on the East coast and we moved to Colorado when I was 13, where I was home-schooled with three younger siblings. My parents weren’t really into music, but I got a toy keyboard for Christmas when I was 2-or-3, and I really liked it, and then when I was about 6, we finally got a piano and they were always supportive of me playing it, so then I started going to high school in Colorado and that’s where I got involved with choir there and that was really fun, cause I had never sang before. Then I went to college there and studied opera performance and started playing piano for the other opera majors, which was a really sweet job.
So no musical influences in your family so to speak? Not really…I mean one of my dad’s sisters grew up playing the French horn.
And what was the gravitational pull to Seattle? How did that come about? Summer before my last year of college I moved to Portland for the summer and I had never been to the PNW before. But I had the best time in Portland and really loved it. Portland is similar to Colorado in attitude and all, and I love it, but I wanted something bigger. I had gone to Seattle a few times while living in Portland and really liked the city.
Once you got to Seattle, were you already in the music scene, gigging and what not? No!…I hadn’t gigged at all or even written a song yet. I was living in a loft in Pioneer Square, and working at Zeitgeist coffee shop about 40 hours a week;and then started writing songs and casually putting them up on a MySpace page, and my friends were like “oh cool you wrote a song…cute”, then Megan Selig wrote in the Stranger when they had the column for bands of the week and she randomly wrote the column about me, and my picture was in there and I had no idea, and all of a sudden people started emailing me and asking me to play shows, and I had never played a show.
So obviously your first shows were just you and a keyboard? It was obviously a nerve-wracking time for at least my first 50 shows.
So it was just a natural progression for you to gradually get a backing band instead remaining solo? I played with a cellist for a whole year now, but before I met her, there was only the occasional show, when there was a guitar player, or a drummer or violin player, but it never really gelled right and I am a super crazy control freak, so just the idea of having another element on stage, I was always worried what they might mess up and it made me really nervous.
So how is the process different, now that your “seasoned”, you must have some sort of comfort? It works well with my cellist Danah for instance is because she’s extremely talented and can quickly come up with cello parts that compliments my music. So working with her has given me more confidence in working with other people.
Well given all the talent out there in Seattle, are you ever tempted to go out on a limb and work with people who may do stuff that sounds very different from what you do? I am interested in experimenting with other sounds, but I can’t imagine like having a space rock band, back me up or anything, but I would love to play keyboards in a space rock band *both laugh*, that would be awesome. Its kind of funny you ask me that because I am producing a record right now with a girl named Zoe Boekbinder, and we will be recording every day for the next week and a half, but her record is going to be full synths and beats and strings, so it’s giving me an opportunity to experiment with more electronics and stuff.
So is this your first producing project? and is it something you always want to do, how did it come about? We have known eachother for a few years and have played shows together here and in California and she really liked my first record that I made three years ago, and was also up here listening in on my new record while recording and was blown away by all my string arrangements and the instrumentation of everything; so I think she just picked me as a trusted friend that she had a relationship with.
Is that a lot of pressure? Ummm…when I agreed to do it, it was a lot of pressure, but now I am not so worried about ruining it. *giggles*, cause she definitely does a different style of music that I do.
Speaking of styles of music…where do you see yourself in this local Seattle scene, I certainly don’t lump you in with the whole local folky-americana thing that’s happening, you really have a style all your own. I personally do hear sounds of like Edith Piaf, have you ever been told that? No, but I love Edith Piaf and I thank you for that.
So speaking of possible musical inspirational figures, where do yours come from? Certainly performing in the operatic style, and singing as an opera singer has been a great influence, but once you learn to sing like a opera singer, and you have that bigger sound and warble in your voice and vibrato, it’s really hard to get rid of it, unless your going to be singing in the musical “Rent” or something. So what I saying is that the only way to not sing like an opera singer, is sing like you’re in a musical.
You must pride yourself on the fact that you don’t sound like anyone else, and not even just that, your musical arrangements and so on, are very unique, but are there any modern artists that you can draw inspiration off of? I really do love like Edith Piaf and like the ladies of the 1940’s, and all of those like cheesy but beautiful like World War II, “come home soldiers” kind of songs are my inspiration for a lot of the sounds that are on my new record. You know very melodramatic, romantic and over the top with some lushness and a little bit cheesy.
Did you go into making a record with other people’s input nagging at your psyche? No, I just go in and make the record I want to make. I feel like my music is a bit different, so I don’t go into the process hoping to come out with something like The Head and The Heart achieved, that’s just never going to happen.
Why would you say that? the genre or I am not even sure what to call it, of classical or art-pop isn’t a hot commodity. People like Joanna Newsom or Zoe Keating or someone who is doing truly different doesn’t really appeal to what the general public likes, they are in their own category.
But they have made it:Yes, but they haven’t made it by the standards of mainstream success.
Have you ever thought about working in film, short film or just scoring? Yes it’s something I have thought about. I would love to write a musical. Things like that really interest me. And as far as not thinking that I will never have mainstream success. I’m certainly not trying to sell myself short. I am glad that people enjoy me and I do respect what I am doing.
When did you start respecting what you’re doing? I suppose it was about a year and a half ago. After the first year and a half I had first written songs that I really wasn’t embarrassed about.
Do you remember the first song you wrote that you were proud of? I think the song “We Camera” was the first song that I really thought was good. I remember I had just finished recording it at my house and I had put it on my Ipod, and I was just going to take a walk around and listen to it, and I ran into Jack Wilson, and he was sitting outside of Victrola and we didn’t know each other well at the time, but we were talking and I mentioned that I had just finished a song, so I gave him one of my ear buds and we sat there and listened to it; and he was like “this is great.”
So you’re going on tour for 8 months? Now that’s a tour. Well its broken up. The first part of the tour starts on August 14th, and it’s for 3 and a half months, and that’s a full U.S. tour, with exception of like 4 cities. Then we come back and I go to Japan for 3 weeks by myself, but I am going to meet Tomo there (who just moved back), then off to New Zealand and I am going to be visiting my family for a short time on the east coast, so it’s going to be a busy 8 months of touring.
You going to be using the road to write new material, or have you started that process already? yeah I have one song done already, but we are spending most of our time rehearsing getting ready for the tour.
And what cities do you like playing most? I mean there are some weird small towns along the way that are great, but the bigger ones right now are like San Francisco, Chicago as well as Colorado which is where a lot of my friends are, so that’s great. I also love New York, I seem to do well there.
What two songs are the dearest to you? Dearest? wow that’s so different than favorite…. I like that so much. Well I would have to say the last two songs that I finished writing, which are also the most sparse … but the “The Loudest” and “Anywhere”. I had struggled with both of them for a really long time. But the whole record is pretty emotional for me.
I would think picking the order of the songs on the album is pretty important. Do you go by emotional flow or a story? This record was really about emotional flow, but since I have done classical, sometimes I like certain keys next to each other. But every song is individual, and its like hanging an art show. You want to hang the right ones next to each other.
What can we expect for your album release show on Friday at The Fremont Abbey? Well fantastic for one…huge band, and Mike and Matt Gervais from Curtains For You will be singing a couple of songs with me, and playing clarinet and guitar as well, I will have my cello player and a violinist as well as my backing band and a few friends from out-of-town will be coming and playing. Led To Sea is amazing and of course Paleo who is one of my favorite artists from Chicago and I feel so lucky to play with him. I encourage people to come and check it out, its going to be a lot of fun.
What’s the future of Shenandoah Davis? I love producing, I would love the opportunity to work on a film or collaborate on a couple of projects, but I also really like what I am doing….I love touring. If I could tour all the time, I would.
Here are 2 special impromptu performances that Shenandoah Davis provided us with below, so please enjoy. Her album release show is on Friday July 29th,2011 at Fremont Abbey at 7pm.
Seismic-Sound Interview: With Jason Lajeunesse
As many of you know, the 2011 Capitol Hill Block Party is right around the corner, and this years line up is looking better than ever. One of my commitments to the music community is to not only focus on the artists, but also the people who are behind the process of making this city one lean, mean music machine.
Jason Lajeunesse is one of those people who has a vested history within the Seatttle music scene, but the general population doesn’t know that . Not only is he a booker, promoter and club owner, but he’s also a musician. So I was looking forward to sitting down with him and finding out where his passion for the business came from, but also about the festival itself; so we sat down at Moes and got some insight to not only the man who wears many hats in the music community, but some possible new directions the festival could take down the road.
How did you get started in the music business? Istarted booking a friends club in Vancouver around “97”, he had a little venue there and he put on a lot of local shows; but that’s when I started in the music industry, which I did for about 3 years. He subsequently sold the club, and moved to Seattle where he opened up Graceland and another club with a couple other guys. So while the booker at the Graceland took the booking job at Showbox, I was recommended for the Graceland job. It just seemed to be a good fit.
So were you always interested in music?I mean where did the passion for music come from? Well my grandmother played accordion and my grandfather played the piano and violin, I had an aunt that played the guitar, both my little brothers are drummers, so I certainly come from a family of musicians. A friend of my mom’s got me into Sonic Youth, Tom Waits and she was like listening to Husker Du when I was 10 years old. So I guess you could say there was art and music in my formidable stages in the early part of growing up. So I was fortunate to grow up around it, but lucky they had good taste in music too.
So what year was it that you made the leap to Seattle? That was in 2000.I essentially knew that they would be pulling the plug on the job up there, so I made the switch down to Seattle to take over booking at Graceland.
So you obviously acquired a lot of experience working in the music club scene, but when did it dawn on you to open your own rock club? It really happened organically. I was a buyer, when it first opened as Neumos, and it was owned by Marcus, Charles and Jerry. I came in as the talent buyer from Graceland. They approached me about coming to Neumos, and at the time Graceland was going through some changes, so I felt career wise it was the best move for me. So within 2 years of me being a talent buyer, Marcus decided he was going to get rid of his businesses and go back to school, So I was approached by the remaining owners about possibly getting some partners together and getting involved, but they were contemplating selling it. So I approached Steven Severin and Mike about coming in with me, and it just happened.
So as of currently its Steven and Mike and yourself who own Neumos. And who plays what role?Steven and I do all the booking together … 50/50 give or take. Mike is the actual GM and we do still have our partner Jerry who is still involved in the business aspect , and he was the original founder of Moe and Neumos, but he is pretty hands off overall.
So now…onto the Capitol Hill Block Party. What was the catalyst that brought that about? Can you give us a little insight? David and Marcus own it and they asked me to book it when I was working for Marcus here at Neumos. This festival just takes a lot of time up, so I was approached about 5 years ago now, and it seems that every year I have become more and more involved. But this year is the most I have been involved when it comes to community meetings, marketing and taking care of the staffing side of it.
So you do all the booking for the Block Party? Well yeah for the main stage and the Neumos stage. Tristen from over at Vera Project, programs that stage and I over-see that as well as the Cha Cha stage.
Do you focus on the growth of the festival or has that just been a natural progression? I think it’s just naturally grown, and I think we have hit what we are comfortable with and certainly with what the city is comfortable with as far as size. Last year we really peaked out. a few years ago it was just a visual call on how many tickets we should be selling etc… But it’s really been a learning experience, and trying to make sure the music is set up so there is some what of an even-flow.
So when Booking for you, what is your focus? Is it the hot big indie acts that create a draw or are you really researching the local scene? I would imagine a bit of both? Yeah I mean it’s all relative;you can’t have one without the other. For an example last year one of the mistakes we had was having MGMT on Friday, and it was amazing they wanted to play because it’s a small festival for them to play at this point. But they were into it, and liked the concept of it and did it for a total reasonable price. But what that did to the festival is made it very top-heavy, so it was one band that sold the majority of the tickets. So you just learn by watching the festival play out so to speak and gauge it by that. So I focused on smaller bands and having a broader section of groups, it seemed like a better approach for us, because it should be more about emerging talent;both locally and nationally and I think this year I was really able to stumble upon a lot of that. And the more the festival is established, the more that bands and agents actually route their tours over here this time of year to accommodate us, as well as a handful of other festivals.
What about moving the festival? There really is nowhere to move it. People talk about Cal Anderson Park. That would be great and Cal Anderson is beautiful, but the costs and the things we would have to do to protect the lawn alone of the park would be an issue. Capacity there is an issue as well. The city just probably wouldnt allow it. Several years ago we talked about moving the main stage there and that means shutting down Pine street which is a main corridor for public transportation. It’s just unreasonable.
Have there been talk about moving it anywhere else? No..the idea is just to keep it in this neighborhood. There is no plan to grow or make the festival any bigger. But I would like to refine it, and make the grounds more hospitable, make sure the surrounding businesses are happier and make sure the quality of the programming gets consistently better.
For me personally it seems as though, this is the most well-rounded festival, so obviously you’re doing something right: Well our budget for talent was bigger this year and bands are a bit more expensive. Bands are really counting on festival money to make a living, so peoples expectations continue to grow, but we can in no way be compared to things like Coachella which happens with agents and bands, and I am just like “we are no where close to that” *laughing*. I mean they say “well we got paid this for this”, and I am like we are talking about a $80 dollar ticket versus $240. That’s the reality of the ticket prices for us … they can’t really get much higher except for maybe some general inflation, but depending on what we’re programming , it has to be relative, but I certainly feel like this years is much more well-rounded and that was my intention; from door open till doors close. And of course some years are easier than others. We almost didn’t do a 3rd day this year cause of the lack of talent. We didn’t have a headliner for one of the days until about 20 hours until the line-up was released. It’s always full of surprises. I thought TV On The Radio was not going to happen and things just turned around. There was a whole lot of juggling going around.
As a music lover…booking something like this seems like a thrill. I know I love-making a music playlist for a party, so is this something you really love, or has it just become a job? No I still love finding bands that I can’t wait to ask to see if they will come and perform, like Austra, who I saw at SXSW this past year. The Festival is probably the funnest booking I do, because I get to hand design it. I have the most creative freedom with it.
When you go to other Festivals….local in particular. Do you go and kind of “shop” them so to speak…see what works, what may not? No…I can’t be concerned so much about other festivals, other wise people like Adam Zacks would give me a major concussion. You know how many times I have tried to book bands, but I hear “they are playing Sasquatch“… and I am ok with that, because that’s the reality of it. I feel like ours is a boutique festival, we do 9,000 people a day, and bumbershoot does in upwards of 30,000 people a day. Bottom line is we are not going to appeal to every demographic and if we did, it would be a very watered down festival. We have always wanted to add a electronic stage, but we are limited with space.
So what can you tell some of these local bands who are itching to get booked for the block party and have the talent, the drive and even the draw to do it, but somehow feel overlooked? how do they get booked? Well no doubt you have to be out watching other bands and participating in the music community and meeting other musicians, I mean it’s only good for you in general. But there are so many amazing bands that I remember or whatever after the fact, but its difficult. But certainly I say get out there and get involved in the community. It’s like music 101 to me. But there are a lot of talented people in this city, and the scene is strong, so get out there….
Give me 3 national bands that are booked that you are stoked to see, as well as 3 local bands. Explosions In The Sky is one of my most anticipated shows, and its amazing to have them here…I have tried for a couple of years to get them. Also Austra I am excited to see as I mentioned before; I want to see the response to her. And also Handsome Furs, I think they are incredible live. Local I would say there are a lot, but some I have seen a ton, so I’m trying to see the few I haven’t had a chance to see. But I love My Goodness, and I am excited to see them on the main stage and see how it unfolds. Also I am excited to see Federation X. I was lucky enough that they were playing a little tour in the PNW, and I was able to book them .Who else? Also excited to see both Sports, Craft Spells, live. And He Whose Ox Is Gored, so yeah I am stoked to see them live too.
What may be some things you’d like to do differently or improve upon for next years festival?3 things I’d like to see happen. I’d like to get more visual representation of the main stage on the whole festival grounds, but the cost of that is substantial, so unless we have a media partner that I can work with, it may be difficult to do. So more visual and audio.I’d also like to set up an outdoor chill stage with a Dj set up, where people can just go and kick it in the grass or whatever we would have set up, but we will see. It’s a space issue. And I also would like one more good size stage, but again its a space issue. Even 2 of those things would be great… but again we will see… all in due time.
Seismic-Sound 