Bang Your Head the Black Rock

A little bird told me about the imminent arrival of the Black Lips at Neumo’s and was kind enough to let me a get a test drive of their new record, Good Bad Not Evil. You’ve likely heard Veni Vidi Vici on 90.3. A lite-hearted little song:
Mirror mirror/ on the wall/ who’s the greatest/ of them all? / My man Mohammed? / Or Jesus too?/ Whose Messiah / Is good for you?” If you don’t have The Kent 3, The Dirtbombs, Mudhoney, (gasp!) or Let It Bleed by the Stones in your collection, this is new noise for you.

Black Mountain’s In the Future also appeared here in the mailbox at NWMBWHQ (That’s our World Headquarters.) By chance, my music player first shuffled to track 4, Wucan, and before the song was over, I had removed the t-tops from my Screaming Chicken-bedazzled Pontiac and was out doing brodies in the parking lot at Eckstein Middle School. (This posting is being made from King County Jail. Incarcerated, but I have free wi-fi! -ed.) This track is definitely a standout but like What Ever Happened to my Rock and Roll? from Black Rebel Motorcycle Club’s first effort, not representative of the sound of the entire record. This afternoon KEXP played Black Mountain’s Evil Ways which could easily be an outtake from Wolfmother’s catalog what with its call and response between the organ and the fuzzed-out guitar. This album is not for acousticophobes.

To round out the theme here, those that have been asleep at the wheel will want to snatch up some Black Keys tickets ASAP. Though you’ll save $6.10 (!!!) per ticket by going to the Showbox Market ticket window with cash money. As of 6:30pm today, (Jan 21) they are still available.

Men on Hiphop: A Co-Authored Review

A few words about the Cancer Rising/Saturday Knights/Dyme Def show at the High Dive; these three acts each appeared recently in support of the Blue Scholars’ five-night stand at Neumo’s:

From Kevin: I personally think Cancer Rising performance was a let down. After listening to their studio work, they just fell miles short of their potential talents. So much yelly yelly not enough rappy rappy. Picking out lines in their songs and shouting them at each others face as if they were excited to have remembered the lyrics. Plus, in their defense, the sound was way off at High Dive. Treble and vocals (screaming) were all there was to hear in the front of the venue with a slightly more balanced sound in the back of the room - tho pretty muffled as we ARE talking about the backity-back, right near the door. On a positive, there was a lot of momentum being drummed up DJ TilesOne on each song, drum sticks being busted over the cow bell, tambourines gettin slapped (not in a Joni Mitchell way either)… Just gotta dial back that hollering fellas.

The Saturday Knights followed and I thought they killed. They were throwin’ in samples from Chicago and Band of Horses, getting the crowd all kinda of lathered up. The sound-thankfully- had gotten back on track for the beginning of this set. Tilison and Barfly were cool and collected even with the layers of doo rags and knit caps and huge jackets with “patches on the elbows”/ They play so well off of each other’s complicated styles while never stepping on each other’s toes. They thoroughly engage with the crowd and ruled it right up until their last song “45″ where again… they just got too effin screamy and spat all over it. I could have gone home happy if they ended a song before that. Overall though, the show did not leave us wanting.
As a side commentary… what is it at hip hop shows that makes so many artists think that yelling is the proper way to perform their songs? Being that good hip hop is all about the inflections and rhythms, slight variances in tonality and seeing that it is most usually without melody - some would call that singing- why the fuck would they want to go and curb all that by getting all excited and screaming their way through their songs. C’mon people. Relax. Perform. We have stacks and stacks of amps to cover the volume.
OK, that’s out of the way…
Dyme Def, well, I had to head out before getting much into that show. 6:00 am for snowboarding comes quick early these days…

From Misterlevitan:
I am in concurrence with the synopsis of the Cancer Rising and the Saturday Knights’ sets, and I DID stick around for the anticipated appearance of Dyme Def.
I’m not very familiar with Cancer Rising’s songs, and the shouting and the poor sound mix made them even harder to get into. (Maybe the sound was worse for them on stage and they shouted as a result? Give me a mic and I’ll go find out…) I thought this way during their appearance at The Program last month–”Whoop dee doo.”I feel obligated to check out their studio recordings, so I can get a fairer test drive. So far, though, they are oh-for-two in Da (all-important) Club. In regards to the yelly-yelly, I also agree. It’s not for me. There is too much talent out there confidently laying down smooth and melodic numbers to keep me from wasting my time at a mediocre show.
The Saturday Knights have a big rep about town and an even bigger following. Therefore I thought they’d be at the top of the bill. (I stil can’t figure out how they are continually overshadowed by the omnipresent Blue Scholars.) I grabbed their “45″ right after I first heard it and think this single’s the jam. Good thing they built up to tonight’s performance of “45″ with a full set of crowd pleasers. I was stoked: Someone must have slipped the sound guy a message, because it definitely improved in their act.
Now how was the headliner going to improve on this act?
Well, Dyme Def came out swinging. They had an energized audience and (largely) fulfilled our expectation of them. Surprising, because their album, “Space Music” sounds a bit amateur, heavily seasoned with the kind of brag-rap that leaves me feeling on the defensive as an audience member. Their Southern-influenced beats are also a hard sell. However, their sound is thick and has been successfully road-tested. Their single “Clap Clap” is a smash in my book, and they performed it with the kind of enthusiasm that is essential in winning over new fans.
Chicken or the Egg: Were SEV, Fearce and Brainstorm feeding power to the crowd - givin’ us what we came for, or we were throwing the energy their way. No matter, overall it was a great night for local MCs, beats and their makers.

Fleet Foxes sign to Pus Bop–er, Sub Pop

Following lock-and-step with their recent trend of delivering folk-and-harmony inspired pop-rock (see the Shins, Band of Horses, Grand Archives, Tiny Vipers, Blitzen Trapper, etc.), Seattle label (in case you forgot where it was) has signed the much-coveted local outfit Fleet Foxes to a lucrative deal worth tens of millions of dollars. Actually, I’ve no idea what the terms are, but I DO know, however, that they plan to release both a 5-song EP and an 11-song LP in the near future. The tracks on both will be mutually exclusive of each other. The EP, entitled Sun Giant, is currently featured over on their myspace page and looks to be released in the next few weeks. The self-titled LP—which at one point was named Ragged Wood—should be out in the springtime. Labels do funny (read: stupid) things with release dates, so don’t quote me on those.

Led by the 21-year-old Kirklandite Robin Pecknold, Fleet Foxes have capitalized on a growing infatuation here in the NW with baroque and mellifluous folk music, and with those who cite Crosby, Stills, & Nash, Neil Young, Fleetwood Mac, Bread and the like as their influences. As for what the sound is, let us turn to Mr. Pecknold himself:

If we had to define the music I guess we are trying to be traditional with instrumentation and unconventional with song structure and vocals. Few songs have lead vocals, most are fully harmonized. There are baroque pop elements and some folk elements, though there’re no Country or Americana elements. We found inspiration from Trees, Judee Sill, Fairport Convention, Fleetwood Mac, hymns, the Beach Boys, and CSN. [myspace]

Fair enough. But, you ask, is it good? After seeing them play around town a few different times, and giving the digital tunes quite a few spins, I can confidently say YES. Course, if none of the aforementioned influences are really to your taste, then chances are the Foxes won’t be your thing either. I will say, however, that the first time I saw them, opening for the sublimely excellent Malajube—from Montreal—I initially was not affected by their music. In fact, I passed it off rather flippantly as too derivative. However, as their set continued, the songs progressed in such a way that I was a bonafide fan at the end. Pecknold’s voice is spellbinding, and the rest of the band (whose names I obviously don’t know that well) focuses on cascading waves of diverse arrangement and vocal synergy. Yowza!

So, coupled with their upcoming tour supporting Portland’s (!) Blitzen Trapper, and a spot at SXSW in March, I’d say these dudes are pretty stoked. You should be, too—if you’re into it, that is. You can help send them on their way at the Vera Project 2/15 with the Pharmacy.

North Twin-Riffbrokers and Dirty Birds at Sunset EARLY

Sunday 01/27/08 North Twin will be at The Sunset Tavern with The
Riffbrokers and The Dirtybirds.

It’s an early show, the first band is
on at 4pm, we go on at 6. Thanks to some fancy footwork from their good
friend Jenny at The Sunset, this show lands smack dab on Tony Fulgham’s  birthday. (North Twin singer) So we are having a rock show/birthday shindig. Maybe once the rock is
done we’ll go hit the lanes at Sunset Bowl. Who knows? Don’t bring
any presents, just show up thirsty.
Hope to see ya down there.

Bre Loughlin opens at Comet Tavern

Beehive, The Stereo Future, Breaker Breaker and Bre Loughlin

About Bre Loughlin…

If the name sounds familiar that’s because she’s a veteran on the Seattle music scene. Former front-woman for bands such and Kuma, and Daylight Basement she brings the energy and creative musical writing style to this new project with equal enthusiasm. Modern American Photo Album is full of catchy pop hooks, well written lyrics and smart rhythms. And her voice emanates a strong feminine prowess that is reminiscent of Natalie Merchant’s early years. Live, her performance not only captures the energy of the album, it surpasses it.

thursday Jan 31st @ Comet Tavern

9:00 21+

I’m guessing the cover will be aourd 5-8 bucks, usually true for the Comet.

Bre Loughlin – Modern American Photo Album

I’m pretty lucky, on top of being a musician in the local scene and writing blogs for NWMB, I get to run sound for in-store performances at Silver Platters Queen Anne location. Which gives me a great opportunity to see local, national, and international artist promoting new album releases of all genres. Last Friday I got the pleasure of working with yet another great local artist Bre Loughlin, who is promoting her new album Modern American Photo Album.

If the name sounds familiar that’s because she’s a veteran on the Seattle music scene. Former front-woman for bands such and Kuma, and Daylight Basement she brings the energy and creative musical writing style to this new project with equal enthusiasm. Modern American Photo Album is full of catchy pop hooks, well written lyrics and smart rhythms. And her voice emanates a strong feminine prowess that is reminiscent of Natalie Merchant’s early years. Live, her performance not only captures the energy of the album, it surpasses it.

The dynamics of her vocals along with her backing band was fantastic. Solid, driving choruses that kept your head bobbing and put a smile on your face. Even in slower songs like Porky Pine, the almost a cappella vocals were delivered with finesse that only a group of experienced musicians could execute.

This is the fifth album written by the talented artist, and the first self –release. She was kind enough to give me a copy of her album when she should have been selling it, so the least I could do was give it a listen and my honest opinion. She had no idea I write blogs for NWMB so I know there was no expectation, just kindness and sincerity from her and the band.

If you’d like to learn more about the up and coming artist she did an interview for Keven McDonald Presents on KKNW 1150 am just prior to the in-store and you can hear the podcast here.

This registered nurse by day (and I find that equally impressive) is scheduled Jan. 31st at the Comet Tavern. And I not only recommend her album, I highly recommend her live show as well.

P-Town Props (aka Rose City Respect)

One of my resolutions for the new year was to involve, write about, and generally give credence to (not that I have such awesome power…) the long-since-burgeoned music scene in our li’l sister town to the south, Portland. This is the Northwest Music Blog, after all, not the Washington Music Blog (don’t worry, I’ve no interest in Idaho). I’ve spent a great deal of time down there over the years—even paid rent for awhile—and despite what may be the prevailing notion of “just a smaller version of Seattle”, that’s not really an accurate comparison. IMHO, anyway. It happens to be laden with rivers and bridges that make urban navigation a cinch—or an adventure if you’re directionally challenged like me. Portlanders have great resolve when it comes to mass transit, blowing our collective brain-freeze out of the water. They eat more granola and ride more bikes. They seem to do a better job of supporting local artists. The “big city feel” that some Seattleites claim (myself included) plays as more of an “urban community” in P-Town. I’m decidedly in favor of the Emerald City as a permanent residence, but friends, family, and a vibrant music scene make PDX well worth the short, 180-mile trip.

Speaking of the music, there are plenty of bands worth hemmin’ and hawin’ about—we’re all familiar with the Shins, the Thermals, Helio Sequence and the like—and my goal this year is to give some of my existing Portland favorites some shout-outs, and hopefully discover some new ones along the way. Generally in this here blogostate, I’m mostly interested in live reviews (just sort of a ‘thing’ I have), so travelling south will be of the utmost importance to check out the bevy of venues Oregon’s finest has to offer. Places like the Roseland Theatre, the Crystal Ballroom, and Dante’s I’ve been to, but there are many others—Doug Fir, Berbati’s Pan, Holocene—that I’ve yet to see a live show in.  And in the hopes of gaining some readership outside Washington, I’ll try to keep you (yes, YOU) apprised of any sweet Seattle bands gettin’ their rock on in P-Town.

So, anyway, here’re some recommendations based on the aforementioned criteria I thought you (yes, YOU) might enjoy:

opbmusic.org - experience and express

Oregon Public Broadcasting has recently developed a music streaming site and HD radio stationcalled opbmusic.org The purpose of this site is to showcase popular indie, alternative and other music with special focus on bands from Portland and the North West (that’s us!).

opbmusic can be heard worldwide at opbmusic.org or on HD tuners while in the Portland area on KOPB 91.5-2.

The thing that I see separating this music site/station from the likes of others is that you can make an immediate impact on what is played by voicing your opinion through several channels. You have the option to vote on current and past played songs and thus influencing their rotation, to participate in their blog, and most importantly, you can submit your own music. Seattle bands are absolutely welcome to participate and you can do so by emailing your MP3’s (192k) to
opbmusic@opb.org