Pullout - Reverb Festival Guide 2012

OCTOBER 2012 | SEATTLE WEEKLY’S MUSIC REVIEW

SEATTLEWEEKLY.COM/REVERBMONTHLY | FREE

SEATTLE WEEKLY’S REVERB 2012 56 LOCAL BANDS (INCLUDING NOUELA) • 8 VENUES • PLANET BALLARD

PRESENTED BY

3RD ANNUAL

! ee fr | s o m eu n m 8p | 12 er b o t c o

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

2 cultures, 4 bands, 2 authors, 1 night of exciting

2

Apparat Organ Quartet with Ryan Boudinot.

never before heard performances.

The Redwood Plan with Sjón.

Sudden Weather Change Ásgeir Trausti FOR MORE INFOR MATIO N ABOU T A TASTE OF ICELA ND EVEN TS IN SEATT

LE

visit icelandnaturally.com

WWW.ICELANDAIR.US

PANTONE 2747 PANTONE 130 K75

opening acts »October 2012 VOLUME 2 | NUMBER 10 » SEATTLEWEEKLY.COM/REVERBMONTHLY

»EDITOR’S LETTER

Don’t Forget to Tip Your Songwriter

ckornelis@seattleweekly.com

SEATTLE WEEKLY’S REVERB POSTER SHOW features work by local artists like Frida Clements (the Damien Jurado print) and Mike Klay (the reimagined Space Needle). The show takes place during Reverb 2012, Saturday, October 6, behind the New York Fashion Academy stage.

2012»

4 ANSWERS & ADVICE

BY JOHN RODERICK | Nouela, Kato Moody, and Brooke Asbury have their problems solved by our sage.

8 THE WHEELIES

BY ERIN K. THOMPSON | Paying

tribute to Tacoma’s BMX culture.

11 THE FOGHORNS

BY DAVE LAKE | Reinventing Americana

via Brooklyn and Iceland.

12 KITHKIN

BY KEEGAN PROSSER | Moving up

from rowdy ID house parties—even though “the world is sort of ending.”

14 REVERB VENUES 14 | Conor Byrne Pub 14 | Hilliard’s Brewery 14 | Miro Tea 15 | New York Fashion Academy 17 | Salmon Bay Eagles 20 | The Sunset 22 | The Tractor 24 | The 2 Bit Saloon

18 SCHEDULE GRID 19 MAP 27 REVIEWS

The latest from Legendary Oaks, King Tuff, Tea Cozies, and more.

35 THE MONTH AHEAD From Steve Vai to Waka Flocka Flame.

»reverb monthly COPYRIGHT © 2012 BY SEATTLE WEEKLY, LLC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 • REVERB IS PUBLISHED MONTHLY BY SEATTLE WEEKLY, LLC. SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. 1008 WESTERN AVE., STE. 300, SEATTLE, WA 98104. • FOUNDED 1976.

MAIN SWITCHBOARD: 206-623-050 0

»cover credits

NOUELA (SEE PAGES 4 & 17) PHOTOGRAPHED BY RENEE MCMAHON

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

When I graduated from high school, I went to college to study music performance. I told people I wanted to be a rock star. It wasn’t long before I realized how laughably arrogant and naive that was (to state the obvious, a university is a terrible place to pursue a career in arena rock, though not an impossible one). A couple of years and hundreds of hours in the practice room and on the field with the marching band later, I switched my major to journalism. I felt like a sellout. Still do, to be honest. Everything about music is harder—from the college courses to the lifestyle.

If you haven’t noticed, these aren’t exactly salad days for professional journalists. But it’s nirvana compared to what musicians and songwriters go through to feed their families. Sometimes when I feel discouraged or cynical about our industry, I think about the local musicians working two jobs when they’re home and enduring a grueling touring schedule when they’re on the road to make ends meet, and am reminded how fortunate I am to have a steady paycheck, health insurance, and the opportunity to sleep with my wife every night.

I am paid to do what I love, something that gives me a defining sense of self. Too often, that’s not the case for musicians. That’s not just bad for bands, but for anyone who appreciates a good melody.

Fifty-six local bands are playing Seattle Weekly’s Reverb Local Music Festival on Saturday. None of them played the annual event last year. For six years in a row, that’s been the case. We’ve worked with a local booker—the talented and tattooed Kwab Copeland—to curate a festival featuring the best of Seattle’s bubbling music scene, and we’ve rotated the roster every year. It testifies to what a deep talent bench our music scene has that year after year we can fill 50, 60, or 70 spots without repeating bands. Only a fraction of these artists are on labels, and even fewer of them make music for a living.

As difficult as the journalism and music businesses have become, I’d also argue that there hasn’t been a more exciting time to work in either industry in the past 100 years. Everything’s changing; the old barriers are coming down. It no longer takes a printing press or a broadcast license to break news or connect with readers—you barely need a smartphone—and it’s never been easier to make an album, find bands to tour with, and interact with fans. It’s never been easier to pay for music, either—on iTunes, Bandcamp, or Kickstarter, to name just three click-ready methods—but it’s never been harder to get people to do it.

Do me a favor: Next time you’re online listening to an album and there’s an option to pay what you want, shove aside your excuses and throw down a buck.

Don’t just “like” them. Pay them. You can afford it. Anyone who can afford the apparatus necessary to listen to a song on the Internet—and certainly anyone who thinks SOMEONE ELSE’S taxes should be raised—can afford to chip in a dollar for the other one percent.

Is this going to turn the financial tide for musicians? Probably not. But we as a society should want talented musicians to think of music as a career option, ideally a well-paid one, just as we want our sharpest college graduates to consider teaching— not just banking—as a career option, ideally a well-paid one. We want them to have the good fortune of making a living by making a product they love and the rest of us ravenously consume. But we’re never going to get there if we don’t value music-makers with our wallets and turn paying for music into a habit and a priority.

Paying for the music we like is an easy place to start. E Chris Kornelis, editor, Reverb Monthly

3

2012» Nouela: paying her opening-act dues.

ANSWERS & ADVICE

Showbiz Ain’t Friend-Biz And the merits of the butt-peepage clause.

BY JOHN RODERICK

is out now. She plays the New York Fashion Academy at 9:30 p.m. Sat., Oct. 6 as part of SW’s Reverb Local Music Festival.

Dear John: Should I audition for The Voice? —Nouela Roderick: Is there a voice telling you that

you need to audition for it, Nouela? Listen to me, that voice isn’t real. You’re wonderful the way you are, you don’t need to audition for anything! Whatever that voice is saying is just your own insecurities, and that’s really common. But we love you, and you don’t have to prove your worth. Stand up and say, “The Voice, you are a worthless piece of shit and I renounce you!”

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

I have to stand for 12 hours at a time for a job. The only shoes that don’t hurt my feet are Crocs. But people are so mean to the Crocs. What should I do?

4

I’d get a pair of wooden shoes from the Netherlands in an extra-large size and then wear my Crocs inside the wooden shoes. People are mean to Crocs because they look like shoes you’d wear to clean out an execution chamber, but wooden shoes are universally acknowledged as the COOLEST and most FAR-OUT shoes in history. People will be tripping so hard that you are wearing wooden shoes, they won’t even notice that your gross Crocs are tucked inside. Plus, it will make you look like you have huge feet, which is something everyone desires.

I recently started practicing guitar for the first time in 10 years. I think tabs are stupid hard. My brain would rather picture me playing on piano, then picture notes on a grand staff, then try to find notes on the guitar.

How do I change this?

I think your method is the best. If you translate music through one instrument, then through imagined sheet music, and then into a second instrument, you will inevitably make enough small errors and transpositions that you’ll teach yourself the new instrument in a way unlike anyone else’s way. This is how I taught myself to play the “glass harp,” an instrument made of half-full wine glasses.

You’ll be so busy trying to make sense of how your brain sees music you’ll probably end up inventing a whole new style of guitar playing.

My only suggestion is that you add one more format. Like, envision the tabs as MIDI files, then piano parts, then sheet music, then guitar, and pretty soon you’ll be playing like Robert Fripp.

Recently a member of a headlining band I was opening for walked in on me in the bathroom. He saw my butt and everything. What would you have done in this situation?

For every tour I’ve ever done, either as an opener or as a headliner, there’s been a clause in the contract that says the headliner has a right to see the opener’s butt(s). It’s just one of those bits of music-business boilerplate that keeps making it into contracts, even though most people don’t remember it’s there and almost no one ever invokes the clause. It’s a good idea to read every contract thoroughly.

Still, I would chalk it up to experience, and consider yourself now a fully initiated member of the Guild of Openers, an organization that admits only artists who have worked their way up in the touring game according to the strict traditions of our profession. When you start doing major headlining tours, you may find that a butt-peepage clause is something you want to retain.

Kato Moody ’s band, Side Saddle, plays the Tractor Tavern at 7 p.m. as part of Reverb.

Dear John: Brooke is in Nashville right now, so I get to ask you whatever I want. What else should I try to get away with while she is gone? —Moody

Kato, I shouldn’t have to tell you this, but every time your songwriting partner leaves the room, you should always assume she is consulting a lawyer to cut you out of the songwriting royalties. Especially if she goes to Nashville. That’s basically all they do in Nashville these days. So as soon as Brooke left, you immediately should have set about changing all the passwords on your shared computers and the settings on all the gear, and then change your percentages on ASCAP or BMI as a defensive precaution. It might be too late now, but remember: It’s not called show-friends, it’s called show business.

Lexi is moving away, and we may be looking for a new harmony singer. Are you available?

What the hell did you guys do to Lexi to make her have to MOVE AWAY? I think you need to all sit down together and have a heart-to-heart, and say, “Lexi, we know you got a good job working at the White House, or met the man of your dreams and he’s a millionaire feminist astronaut, or joined a apocalyptic religious cult, or

RENEE MCMAHON

Nouela’s debut LP, Chants,

decided to just get a job somewhere that pays actual money on a regular schedule, or whatever, but you can’t BREAK UP THE BAND!” I work for the ACLU, but I am in a country band. Can you help me?

You sound like exactly what this country needs. Will you help us?

Old country is cool now, but new country gets a bad rap. Do you know of anywhere around here I can listen to my Brad Paisley CD without getting a mustachioed lecture?

There are plenty of Ballard dopes who will lecture you all day about the brilliance of Bob Seger and John Cougar, but turn around and dis on young country, oblivious to the fact that Brad Paisley is indistinguishable from Bob Cougar Mellensegercamp.

Then they’ll wax all philosophical about old-fashioned country music, forgetting that fully half of old country is hokey comedy music designed to make hayseeds spit chewing tobacco through their noses by making racist jokes sound like nursery rhymes.

The lessons here are threefold: First, the more seriously someone takes country music,

the more of an idiot they are, unless they’re German and can’t help it; second, Young Country is just Classic Rock with someone singing in a fake Southern accent, which basically describes the Rolling Stones; and third, you can listen to whatever dumb music you like IN YOUR CAR, which is where everyone listens to the dumb music they like.

Brooke Asbury is also a member of

Side Saddle.

What started the vintage country/ honky-tonk scene in Seattle? When and where did it start, and what bands and/or scenes or groups contributed to it getting popular? —Asbury

Many years ago there were men and women, young folk, who walked the land in cowboy shirts and horn-rimmed glasses, back when you could find those things only at Goodwill. It was a long time ago, and no one knows when they first arrived. They weren’t being ironic—there was nothing ironic about them. They believed in music, American music, and they liked their hair greasy and their beer in cans. They worked on their own

» CONTINUED ON PAGE 7

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

5

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Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

CITY ARTS FEST 2012

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OCT 18 • SODO

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RODRIGUEZ | OCT 12 | MARKET • FALLING IN REVERSE | OCT 12 | SODO • CIRCA SURVIVE | OCT 13 | MARKET • DEFTONES | OCT 13 | SODO • JEFF THE BROTHERHOOD | OCT 14 | THE CROCODILE •

BETH ORTON | OCT 15 | MARKET • TAKING BACK SUNDAY | OCT 18 | MARKET • A$AP ROCKY | OCT 21 | SODO • WOLFGANG GARTNER | OCT 22 | SODO • CRYSTAL CASTLES | OCT 25 | SODO • MENOMENA | OCT 26 | MARKET • RISQUE HALLOWEEN PARTY | OCT 27 | MARKET • THE ALL-AMERICAN REJECTS AND BOYS LIKE GIRLS | OCT 27 | SODO • TOADIES AND HELMET | OCT 31 | MARKET • SAINT ETIENNE | NOV 1 | MARKET • BLUE OCTOBER | NOV 2 | MARKET • BENNY BENASSI| FRI JAN 20 • ALL AGES NOV 2 | SODO • THE AFGHAN WHIGS | NOV 3 | MARKET • CAT POWER | NOV 3 | SODO • STARS | NOV 8 | MARKET • LECRAE | NOV 8 | SODO • THE HENRY CLAY PEOPLE AND JAIL WEDDINGS

SAT JAN 21 • 21+• ELDRIDGE GRAVY & THE COURT SUPREME AND THEORETICS | NOV 9 | MARKET • DATSIK | NOV 9 | SODO • THE DEVIL MAKES THREE | NOV 10 | MARKET • GWAR | NOV 10 | SODO • RICHARD CHEESE | NOV 8 | CHOP SUEY & LOUNGE AGAINST THE MACHINE | NOV 11 | MARKET • THE GREEN | NOV 13 | MARKET • BENJAMIN FRANCIS LEFTWICH | NOV 15 | TRACTOR TAVERN • MINUS THE BEAR | NOV 17 | MARKET • ASKING ALEXANDRIA | NOV 20 | SODO • WALK THE MOON | NOV 23 | MARKET • DETHKLOK | NOV 23 | SODO • WALK OFF THE EARTH | NOV 26 | MARKET • RNDM IS JEFF AMENT OF PEARL JAM, JOSEPH ARTHUR AND RICHARD STUVERUD | NOV 27 | MARKET • BLUE SCHOLARS | NOV 30 | MARKET • THE CAVE SINGERS | DEC 7 | MARKET • THE TRAGICALLY HIP | DEC 7 | SODO • LAMB OF GOD | DEC 16 | SODO • PENTATONIX | DEC 19 | MARKET • PICKWICK | DEC 31 | MARKET

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2012» Side Saddle: Now hiring a harmony singer.

Showbiz Ain’t Friend-Biz » From pAge 4

Does vinyl really sound better than digital?

Well, try saying the following sentences aloud and tell me which sounds better: “Our

What groups or publications are the movers and shakers on the Seattle music scene right now? Who’s got the credibility to be pushing things forward in Seattle and then outside of Seattle?

Stephen RuSk

motorcycles. The real ones drove Fords. They listened to old-fashioned music and made new music that sounded old-fashioned but as if it was powered by a harsher cut of trucker speed. These folk blurred the line between punk rock and cowboy; they were both and neither. They were The Outsiders.

Then the great fashion drought hit the Americas. All the fashions had been done, so younger kids just started taking fashions from everywhere and glomming them together.

Pretty soon all kinds of people were wearing cowboy shirts and horn-rimmed glasses, ones they bought new at American Eagle Outfitters. Very few of them worked on their own motorcycles, and they were all strumming acoustic guitars and making old-fashioned music that sounded like city folk taking turns farting on a banjo. The “lifestyle” went out of it, and pretty soon it was just another style.

Somewhere on the outskirts of Georgetown, a few old stragglers are hanging on, but they can’t hold back the tide. Every third kid on Capitol Hill looks like a sharecropper from Oklahoma now, and none of them would even consider driving a Ford.

someone says “I’ll be there in 10 minutes wearing [whatever],” it’s a safe bet they’ve got a halfway decent night planned for you, and even if they’re speaking half gibberish, it’s probably a good idea at least to have them show up so you can look at them through the peephole.

So anyway, to recap: Yes, vinyl almost always sounds better than digital, except in certain instances where you’re just throwing caution to the wind.

new record is only out on vinyl.” “Our new record is only out on digital.” Vinyl sounds better in that context, doesn’t it? Vinyl wins.

Let’s try another: “I’m breaking up with you and taking all your vinyl.” “I’m breaking up with you and taking all your digital.” That second one doesn’t even make sense. Vinyl wins again!

One more: “I’ll be at your house in 10 minutes wearing all vinyl.” “I’ll be at your house in 10 minutes wearing all digital.” Even though the last one makes almost no sense at all, it’s somehow more intriguing. Like, what the hell are they talking about? I think I’d go with “digital” on that one, just to see if they show up dressed all in fingers. I mean, when

Brooke, this is the type of question you should never ask anyone, even in jest. As a musician, you want to do everything in your power to avoid ever talking like this in real life. The “business” side of the music business can be accomplished just by being honest and thorough in all your dealings, just as you would in any business, including crime. If someone ever uses the phrase “credibility to be pushing things forward” while discussing an artist, you should spray them with mace and run. E jroderick@seattleweekly.com

John Roderick is the singer and songwriter responsible for Seattle’s The Long Winters. He tweets @johnroderick.

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

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7

2012»Festival Guide

presents at

DIMITRIOU’S

Fathers, hide your Mustangs.

SW: What are some similarities between BMX riding and playing in the Wheelies?

Doherty: Hanging out with your best

friends, creating your own path, and just having fun with it.

Describe the Wheelies’ sound in three words.

2033 6th Avenue (206) 441-9729 j a z z a l l e y. c o m

Best Friends Forever.

Visit us Online!

How does the landscape and culture of Tacoma influence the Wheelies’ music?

The drinks are cheap, the bars are dim, and our music history is deep. We all grew up here, and still see it as a place to run wild and free in.

Wayne Krantz Group

Spontaneous, Exhilarating, Improvisational Jazz Guitarist

October 3

Would you rather receive as a gift a new bike wheel or a wheel of cheese?

Why?

Kurt Elling

It would be pretty fun to throw a party with a big block of cheese . . .

Daring and Dynamic GrammyWinning Baritone Vocalist

October 4 – 7

If you could have any celebrity come onstage and do wheelies on a bike while the Wheelies played, who would it be and why?

Strunz & Farah

Dana Carvey as Garth from Wayne’s World; we all look up to Garth.

Grammy-Nominated, Billboard Chart-Topping Acoustic Guitar Duo Fusing World Music and Flamenco October 9 - 10

What elements make a great Wheelies show?

ANASTASIA DIXON

Leela James

Raw and Fiery Neo-Soul Singer Touring in Support of her New Release “In the Spirit of Etta James”

October 11 - 14

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

Captain Smartypants: A Benefit for Healing the Children

8

Seattle Men’s Chorus Ensemble Performance October 15

Candido 91st B’day Bash featuring Larry Harlow, Pete Escovedo, Frankie Figueroa & more!

Salsa, Mambo and Afro-Cuban Beats

October 18 - 21

ON SALE NOW Manhattan Transfer Taj Mahal Trio

Walk-ins Always Welcome!

All Ages • Free Parking • Gift Certificates Military, Senior and Student Discounts

Jazz Alley is a Supper Club

Patrick Doherty.

QUESTIONS/ANSWERS

Rough Riders

The Wheelies’ Patrick Doherty talks BFFs and BMX.

BY ERIN K. THOMPSON

I

n University Place, a small town situated on the Puget Sound waterfront near Tacoma, it’s not uncommon to see teenage boys riding bicycles so tiny their knees almost touch the handlebars.

That’s because in U.P., BMX biking, more

“It would be pretty fun to throw a party with a big block of cheese . . . ”

November 1 – 4

November 16 – 18 & 20 – 25

Hanging out behind the club and some old guy comes and starts talking about how he played in a band back in the ’80s and how wild it was, then asking if we have a dollar.

than football or skateboarding, is a young man’s hobby of choice. Patrick Doherty, who is from there, happened to be better at it than most. At 19 he started receiving sponsorships to ride competitively, his photos appeared in BMX magazines like Dig and Ride, and he was able to make a modest living off of the sport. (It should be said that I also grew up in University Place, and for a time Doherty and I lived across the street from each other. My

mom drove us to junior high together, and we brought him soup and lemonade when he was sick. On prom night he got his crutch stuck in the droptop of my date’s red Mustang convertible and shattered the back window.)

In 2009, when Doherty started a band with three friends he’d met at the Tacoma School of the Arts—Thomas Crow, Rusty Trusky, and Joseph Yohann—it was only natural to call it the Wheelies. The band’s impetuous brand of guitar rock—jumping party anthems fronted by Doherty’s languid vocals, which occasionally lag and then unexpectedly pitch upward into a scream—has become a hallmark of Tacoma’s music scene. They’re currently recording a full-length follow-up to their first two EPs, Don’t Be Shy and Pizza Party.

Doherty took time to answer a few questions (via e-mail, where his name appears as Wheelies Neverdie) to acquaint our readers with the Wheelies before their Reverb performance.

Complete this sentence: The Wheelies would make great background music for _______ .

Remembering what you did last night.

What wild animal do the Wheelies most relate to?

Mankind.

Who is the sexiest member of the Wheelies?

Rusty [the drummer]. He has the longest hair and a cat named Booty. E

music@seattleweekly.com

The Wheelies play the 2 Bit Saloon at 8:30 p.m.

Sat., Oct. 6 as part of Seattle Weekly’s Reverb Local Music Festival.

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

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Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

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2012»Festival Guide The Foghorns are always searching for new flavors.

ANDREW IMANAKA

Buckets and Mops The Foghorns pull from bluegrass, Brooklyn, and anything under the kitchen sink.

BY DAVE LAKE

of the Foghorns’ original lineup, and that spirit of musical camaraderie remains part of the Foghorns’ DNA. The band worked hard, releasing two independent albums and playing as often as they could. But in 2003, Cameron, then an aspiring writer, headed to Iceland on a Fulbright.

“I wanted to write a book like the Icelandic fiction I’d become obsessed with,” he said.

“At the time, there weren’t a lot of people traveling there, but it fascinated me.”

Overseas, Cameron put together a version of the Foghorns that was more in line with his original vision: an anti-folk group that utilized accordions, French horns, buckets, and anything else they could get their hands on. The band did several trans-Icelandic tours, played some major festivals, and released several more independent records before Cameron graduated and relocated to Seattle in 2006, where he’s been ever since.

Over the past few years, the band has become a celebrated local act, with regular gigs at the Comet, the Blue Moon, and the Tractor. Last year the band issued To the Stars on the Wings of a Pig, the first release

“I know we’re working on good songs, but we’re not spending too much time on the haircuts.”

Despite the band’s recent momentum, Cameron remains cynical about the music business and cautiously optimistic about future success, saying he doesn’t know any bands that have gotten popular nationally that haven’t had to compromise artistically.

“It’s been strange times,” he said. “We keep watching bands we play with end up on TV. I have no idea how popular music works,” he added. “I know we’re working on good songs, but we’re not spending too much time on the haircuts.” E music@seattleweekly.com

The Foghorns play the Tractor at 5 p.m., Sat., Oct. 6, as part of Seattle Weekly’s Reverb Local Music Festival.

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

N

ot many Seattle rock bands have a history that includes transIcelandic tours, Brooklyn bluegrass acts, and Fulbright scholarships, but most bands aren’t the Foghorns.

Founded by Bart Cameron in 2001, the band’s history is as colorful as their music, a folky Americana hodgepodge that includes a variety of instruments and just as many surprises.

Their story starts on the shores of Lake Michigan in Cameron’s childhood hometown of Racine, Wisconsin, where he traveled after 9/11 and wrote some songs with friends— songs he brought back to Brooklyn a few weeks later, and which eventually made their debut in a bluegrass style, which wouldn’t be so weird if the Foghorns were supposed to be a bluegrass band.

Cameron had become enmeshed in the bluegrass scene on Atlantic Avenue in Brooklyn. Though it wasn’t a genre he had a particular affinity for, there was a rich musical community in his neighborhood’s bars and clubs.

He explains its initial appeal: “It was easy to borrow an instrument,” which allowed him to sit in on guitar or bass with a slew of bands on virtually any night of the week. One of them, the Cobble Hillbillies, became the backbone

from local label Knick Knack and the first the band didn’t have to finance themselves. SW music editor Chris Kornelis called the record “one of the most substantially listenable local albums of the year; easy to access, and hard to put down.” The album is warm with vintage instruments and hummable melodies—which makes sense given Cameron’s occasional gigs at a local studio, where his job is simply to coax great sounds out of the mikes, amps, and recording equipment of decades past.

11

2012»Festival Guide

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Bandmates, scamps, fire-starters.

DAVE LICHTERMAN

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Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

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12

Kithkin is one to watch (but view at your own risk).

BY KEEGAN PROSSER

“

W

e will be the extremely skinny, short, young dudes with one guy who looks like Heath Ledger had a child with Janis Joplin and Jim Morrison,” says Kithkin’s Alex Barr.

Comprising Barr, Ian McCutcheon (said Ledger look-alike), Kelton Sears, and Bob Martin, Seattle woods-rock act Kithkin has been on the steady rise since releasing their debut EP, Takers & Leavers, in January.

Built around their love for Magic: The Gathering and Dungeons and Dragons and an appreciation for creatures of the woodland variety, the act’s Where the Wild Things Are personas have become just as much a part of their image as the delightfully messy, percussion-driven party rock they create. “I think every show should be an experience on a visual and emotional level as well as musical,” McCutcheon says. “And I think that having that mystery or fantasy kind of does that.”

Dorky? Yes. Effective? More than you would imagine.

The band members got their start playing now-infamous house parties in the International District, where shenanigans included Barr tomahawking a girl in the face with his guitar (it was an accident), Sears lighting his drumsticks on fire (not an accident), and a close call involving a rowdy set on the not-so-sturdy floor of a second-story apartment. This summer they graduated to the local festival scene— the Catapult Musical Festival in Anacortes, the Capitol Hill Block Party, and most recently a highly acclaimed Doe Bay set that found them collaborating with local hip-hop outfit Kung Foo Grip (watch the video, it’s badass).

Next on the agenda is finishing writing their full-length debut—a project the Kith-clan describes as more thematic and cohesive than the thunderous Takers & Leavers. “On our EP, it was our first chance to get out there,” Sears says. “So we were like, ‘Let’s make these songs really, really big.’ ”

Drawing inspiration from the psychedelic and world-music albums frequenting their headphones as of late, Kithkin’s new material is expected to be more stripped-down, with a focus on tighter, more emphatic world beats. “I like the idea that [psychedelic bands] can do an epic 15-minute song as well as a two-minute pop song—and they both fit on the same album,” McCutcheon says. They hope the space of a full-length and an expanded variety of percussion instruments, including bongos and a digital drum pad, will provide this opportunity.

“It’s still as energetic as it was before, but maybe without as much layering—and I think it will be easier for people to catch on to more immediately.”

“I always say that we are kind of living in the apocalypse right now . . . the world is sort of ending.”

From the funky, tribal-inspired clothes they wear onstage to their highly charged, participatory tuneage, the men of Kithkin are set to be one of the most excitable and entertaining bands at Reverb—ironically, considering the dark, somewhat apocalyptic nature of their music’s subject matter.

“I always say that we are kind of living in the apocalypse right now,” Sears explains, citing global warming and the dichotomy of life and death as main inspirations.

“It’s not going to happen all at once—but the world is sort of ending.”

Until then, they’ll keep Seattle dancing. E music@seattleweekly.com

Kithkin plays the Salmon Bay Eagles at 8 p.m.

Sat., Oct. 6 as part of Seattle Weekly’s Reverb Local Music Festival.

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2012»Seattle Weekly’s Local Music Festival»Saturday, October 6 the Long Winters’ John Roderick (who also produced the record) that our Mike Seely called “an early front-runner for best song put out by any artist in 2011.”

HILLIARD’S BREWERY (all ages) BY ERIC GRANDY

Mike DC, 6 p.m. This Canadian-born, Port

Townsend–based MC does that earnestwhite-rapper thing that’s so popular around these parts, spitting it hella sincere whether he’s snarling about his hip-hop cred or Slugishly mourning some doomed romance.

Brain Fruit, 7 p.m. For sure one of the more

out-there bands playing this year’s Reverb Fest, this Seattle drum-and-synth duo applies muscular live drumming to hypnotically evolving synth arpeggios, with results that can range from motorik-krautrock cool to fully unhinged noise jams. If all those words sound like nonsense to you, just trust and go get your mind blown.

SHERRY LOESER

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

(21 and over) BY JULIA MULLEN GORDON

14

NoRey, 6:30 p.m. Since the “dogmatic, coked-up, llama-killing, Esperanza Spalding– boning, Michael Pollan–scolding, überlocavore Cascade foothills chef” Lou Kohl appeared on SW’s cover last year, it’s been a challenge to separate him from NoRey frontman Alejandro Garcia, who portrayed the fur-coat-clad spoof on the cover. By day, Garcia may masquerade as a culinary outlaw, but by night his distinct accent is put to use in NoRey, whose globally influenced, edgy pop wouldn’t sound out of place in an Iñárritu film.

Lifestyles of the Poor and Unknown, 7:30 p.m. Not many bands call Port

Townsend home, but this one makes an exception. Led by Spencer Tucker (a tugboat deckhand and high-school classmate of this writer), LPU isn’t far from the whimsical, off-kilter style of early Modest Mouse, while Tucker’s deep vocals recall Wolf Parade’s Dan Boeckner.

Gabriel Mintz, 8:30 p.m. If you’ve been

traumatized by one too many Bumbershoot drum circles, you’ll naturally be apprehensive of Gabriel Mintz’s socks-with-sandals style.

But give a listen to 2010’s Volume 1, which proves him a highly skilled player whose pop sensibility shares equal space with insightful songwriting. We promise it sounds nothing like the Dave Matthews Band.

Shannon Stephens plays Conor Byrne at 9:30 p.m., Saturday October 6, as part of Seattle Weekly’s Reverb Local Music Festival.

Shannon Stephens, 9:30 p.m. “Faces Like Ours,” Shannon Stephens’ duet with Bonnie ‘Prince’ Billy from this year’s Pull It Together, is a strange take on the country lament, calling attention to white privilege with its slant lyrics. Stephens’ secret weapon is her ability to twist traditional forms, making topics like rent and dishes vessels for philosophical exploration.

Julie C, 9 p.m. On the cover of her Sliding Scale EP, Julie C looks more like a cool librarian than a battle-tested rapper, but her 206 Zulu affiliations profess a love for hip-hop culture both progressive and traditionalist, and her rhymes are nimble and sturdy enough to stand on their own.

OCnotes, 10 p.m. Otis Calvin “Notes” III is

currently reigning as this city’s most inspired beat-maker and maybe most promising all-

Whitney Ballen, 10:30 p.m. When Ballen

turned 21, she didn’t drink a sip of booze.

Her album, White Feathers, White Linens is similarly pure; from its very title to Ballen’s childlike vocals to the tinkling music box that marks the album’s beginning, her songs come from a place of innocence and wonder.

Rachel Harrington, 11:30 p.m. From the

opening twangs of slide guitar on Harrington’s new record, Makin’ Our House a Honkytonk, it’s clear this is party music. Harrington proves herself a charismatic and commanding vocalist whose songs are perfect for a twirl around the dance floor—hat and boots required.

Shelby Earl, 12:30 a.m. On her debut

album, last year’s Burn the Boats, Earl proved her chops at intelligent country, showing she could compete with genre masters like Neko Case on songs like “At the Start,” a duet with

LUCIEN PELLEGRIN

CONOR BYRNE PUB

Chocolate Chuck, 8 p.m. Little brother of queens THEESatisfaction, Chocolate Chuck would be, what, like an archduke among Seattle hip-hop royalty? Lineage aside, the young producer has plenty going for him in his own right, with a sample-flipping style that’s simultaneously breezy, bass-y, and based.

OCnotes performs at Hilliard’s Brewery at 10 p.m.

around musician. In his solo productions and those with heady, freestyling duo Metal Chocolates, he sways from jazzy and glitchy hip-hop instrumentals to soulful not-quitehouse tracks to tropicalia-inflected singer/ songwriter material. His tastes and talents are boundless; watch where he goes next.

Brothers From Another, 11 p.m. On their

recent Taco Tuesday EP, this Seattle hip-hop duo dedicates a song to artisanal-ice-cream queen Molly Moon, extols the virtues of love (worth changing your college major for), and praises their 206 elders in “Sonic Boom.”

If it wasn’t clear: This is one profoundly pos-vibing, town-friendly rap act.

Soul Senate, midnight Forever subordinate to the whims of the Funky President and hemmed in by the decisions of the Jazzy Judiciary, Seattle band Soul Senate nonetheless delivers a traditional suit-and-tie soul revue—including a loungey cover of “You Can’t Always Get What You Want”—that both sides of the aisle can agree upon.

MIRO TEA

(all ages) BY KEEGAN PROSSER Darren Loucas, 6 p.m. The veteran blues

rocker who brought us the Jelly Rollers and Juke steps into the limelight as a solo act.

Weaving simple melodies, a mean falsetto, and intricate guitar riffs, Loucas channels the honesty of the ’90s, bathed in raw folk tradition.

Eugenie Jones Quartet, 7 p.m. This sassy jazz vocalist delivers soulful tunes in the same vein as sultry mamas Sharon Jones and Nina Simone, backed by a stellar lineup of seasoned musicians. Don’t be surprised if she name-checks Beyoncé and Angelina (she has before), or drops a sexy, piano-driven rendition of “Cry Me a River” (she’s done that too).

Prom Queen, 8 p.m. Churning

out sickly sweet pop tracks inspired by pinup girls and 1960s housewives, Celene “Leeni” Ramadan is, naturally, everything Lana Del Rey tries too hard to be. A multiinstrumentalist with sultry vocals and a killer retro style, Ramadan pulls you in with her sugary disposition—and keeps you with her edgy girl power.

The Crow Quill Night Owls, 9 p.m. Think old-timey string music

of the 1920s and ’30s variety. If you’re a sucker for a good washtub bass, this act, which fluctuates from a duo to a six-person collective, delivers the goods. It’s the stuff you dance to drunkenly when your lady (or man) is fussin’—and all you want is a stiff drink.

New York FashioN academY (all ages) By Ma’Chell DuMa laVassar

Charlie ainslie

Spoonshine, 10 p.m. Playing bouncy Americana jams of the bluegrass persuasion, this act had a rowdy group of hippies stomping at Folklife earlier this year—and are bound to bring the same mischief to Ballard Avenue. Also of note: Their new EP, Song of Sockeye, was produced by Soundgarden knob-twister Adam Kasper, and features George Schwindt of Flogging Molly.

prom Queen plays Miro tea at 8 p.m.

Secret Colors, 5:30 p.m. Secret Colors, aka Matt Lawson, combines experimental sound and visual art for a multisensory musical experience meant to lull you into sweet submission. Using meticulously placed random sound bites and heavy effects perpetrated by both guitars and synths, Lawson does not directly push you down the rabbit hole, but serves as more of an enveloping, seductive spirit guide who tinkers with your senses in a way both pleasing and a little disturbing.

Haunted Horses, 6:30 p.m. We could

Grave Babies plays the NY Fashion Academy at 8:30 p.m.

Perpetual Ritual, 4:30 p.m. Mitchell

Saulsberry is one of those enigmatic types who like to operate under a moniker. By keeping it undercover, this musical Svengali (who can also be heard in his very different project Grave Babies) recruits a hefty number of talented collaborators who keep each of his tracks extremely fresh. His blend of lo-fi, electro-chill, and melodic choruses make for a sound fans of “the chill room” can get behind.

Naomi Punk, 7:30 p.m. One of the great

things about our fair city is that you can get your punk rock in any flavor you choose: Brit, garage, grunge, or gutter, we have a band that fits the bill. However, it’s been a while since we’ve heard a band successfully marry a slurry Oly ethos and sludgy Seattleness like Naomi Punk has. These boy wonders appreciate bastardizing the basics, taking 1, 2, 3, 4 to another level, and have created an

» CoNtiNued oN pAGe 17

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

emily Denton

spend hours and countless words trying to get you to wrap your head around the awesomeness of demonic, druggy electro-duo Haunted Horses, or we could just let the band’s Web tags for their February release, Live at the Embassy, do it—“Tags: punk, dark noise, rock, post-apocalyptic satanic space jams, true-exorcism-fantasy, Seattle.”

Yep. Why go on? We know we had you at “post-apocalyptic satanic space jams” . . .

15

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Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

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16

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2012»Festival Guide posse plays Salmon Bay eagles at 9 p.m.

We Make It EASY!!

Jonathan Moran

» from page 15 earworm with their track “Voodoo Trust,” one of this year’s gems, which somehow simultaneously screams “new” and “Northwest.”

Grave Babies, 8:30 p.m. Sweet local label

Nouela, 9:30 p.m. Reminiscent of some

other forceful ladies behind the keyboard— namely Fiona, Chan, and Tori—Nouela Johnston’s classical training comes through not only in her stellar ivory tickling but also in her dramatic vocal delivery. The former frontwoman of People Eating People can take her voice from subtle to symphonic in just a few bars on her latest, Chants, a record that simultaneously explores and celebrates all the dark, moody places love-gone-wrong can take you.

Arrington de Dionyso, 10:30 p.m. You will never forget the first time you experience Mr. de Dionyso. Sensual horn solos, Tuvanstyle vocals, and lyrics in Indonesian make for music as weird as it is raw, as sexy as it is spiritual, and truly unlike anything you’ve

UniversityVW.com

Salmon Bay EaglES (all ages) By ERIN K. THOMPSON

Baby Guns, 5 p.m. This duo, singer/

guitarist Neil Giardino and singer/ keyboardist Erin Shannon, makes scuzzy, funereal music inspired by classic noir films, complete with heavy synths and eerie vocals.

Their black-and-white-toned songs can be heard on this year’s Kingdom Come cassette and on an upcoming 7-inch single from the local Flatfield Records.

No One Gives YOU More!!

Sweet Pups, 6 p.m. This surf-pop quar-

tet (three gals and one dude drummer) is fronted by bitchin’ singer/keytarist Prisilla Ray, formerly of the Cute Lepers. The band’s chanty, girly melodies and riffing guitars owe as much to sweet ’60s girl groups as to tough ’80s lady rockers like the Runaways.

So Pitted, 7 p.m. Their Facebook page states “RECORDING SIT TIGHT SEATTLE.” In the meantime, there are just two rough demos by this punk outfit on Bandcamp.

Which is fine, because both “Party Boyz Anthem” and “Heaven Sent” are the type of thrashing, devilish, heavily distorted stuff that’s best witnessed live anyway.

Kithkin, 8 p.m. Following exuberant performances at the Capitol Hill Block Party

» Continued on page 20

4701 11th Ave NE Seattle 17315 Hwy 99 Lynnwood

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

Hardly Art’s signing of Grave Babies is kinda reminiscent of that good-natured couple who take in a child whose parents disappeared under mysterious circumstances in every B movie ever. Because, as with that sweet-faced child, you never know what’s brewing under that appealing package. They are the label’s Orphan, if you will. Hope you didn’t burn through your stash during Haunted Horses, because the trippy, brutal, sexy nightmare on Ecstasy which is the Grave Babies begs to be appreciated on the not-so-sober tip. Songs like “Eating Babies”—and even the title of their EP, Gothdammit—show they have the smarts to approach themselves as one would any good B movie: with tongues firmly in cheek.

ever heard, which in this day and age is saying a lot. Much like all good things of a kinky nature, the first time you hear it you won’t know what to make of it, but once you give in to the rhythm and let yourself get caught up in it, not only will you like it, you’ll find yourself craving it again and again.

4724 Roosevelt Way NE Right off 1-5 in the U District

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2012»Saturday, October 6 REVERB GALLERIA 4:00 5:00 5:30 6:00 6:30 7:00 7:30 8:00

Poster Show (All Day) • Merch and Wristband Sales (All Day)

SALMON BAY EAGLES

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Baby Guns 5:00

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Chastity Belt 5:30

Perpetual Ritual 4:30

Gold Records

Secret Colors

5:30

Sweet Pups Cristina Bautista 6:30

Full Toilet 6:30

12:00 12:30

5:00

7:00

7:00

Assfuzz 7:30

8:00

The Wheelies 8:30

7:00

Eugenie Jones Quartet

Chocolate Chuck

Prom Queen

Brain Fruit

8:00

9:30

Boat

9:30

Deadkill 10:30

Midday Veil 11:30

Erik Blood 12:30

Ticktockman 10:30

Ayron Jones and The Way 11:30

The Missionary Position 12:30

Lifestyles of the Poor and Unknown 7:30

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Gabriel Mintz

8:30

Wayfinders The Shivering Denizens

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6:30

Grave Babies

Posse Brokaw

6:00

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Opens at 6 p.m.

Darren Loucas

Naomi Punk

Kithkin Monogamy Party

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No Rey Side Saddle

7:30

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6:30

So Pitted Spaceneedles

Opens at 5:30 p.m. Wristbands on sale.

Haunted Horses

10:00

11:30

The Foghorns

6:00

9:00

11:00

Opens at 4:30 p.m.

Country Lips

6:00

9:30

10:30

CONOR BYRNE PUB

MIRO TEA

5:30

8:00

10:00

HILLIARD’S BREWERY

Opens at 4 p.m.

8:30 9:00

THE TRACTOR

Julie C

9:00

9:00

9:00

Nouela 9:30

Arrington de Dionyso 10:30

OCnotes 10:00

10:00

11:00

Shannon Stephens 9:30

Cosmic Panther Land Band Sweet Water

8:30

The Crow Quill Night Owls Spoonshine 10:00

Whitney Ballen 10:30

Brothers From Another 11:00

Rachel Harrington 11:30

The Greatest Rock n’ Roll Band in the World

Soul Senate

12:00

12:00

Shelby Earl 12:30

REVERB FEST 2012 OFFER:

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

Show us your REVERB wristband and receive a 10% discount on any room. (Expires 12/31/2012)

18

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

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The Market Arms

19

2012»Festival Guide » from page 17 and Doe Bay Fest, this quartet of Seattle U. undergrads is creating a big local buzz for their noisy, polyrhythmic style and all four members’ joyous, percussion-loving penchant to smash and bang things onstage.

See preview, page 12.

Posse, 9 p.m. The winner of Seattle Weekly’s

Best Garage Band of 2012, this bassless rock trio is dually fronted by guitarist Sacha Maxim and Paul Wittmann-Todd’s charismatic, quirky vocals. The band’s self-titled album and their Bill Callahan covers EP, Some Dongs, stand equally as two of the year’s best local releases.

BOAT, 10 p.m. This jaunty, mischievous

pop-rock quartet, led by Tacoma schoolteacher D. Crane, has been a beloved local mainstay for years, and is preparing the release of its fifth LP, the as-yet-untitled follow-up to 2011’s bold and boisterous Dress Like Your Idols.

The SunSeT

(21 and over) by HannaH Levin Chastity Belt, 5:30 p.m.

Low-Residency MFA in Visual Studies

As sweet and sharp as the onion their hometown of Walla Walla is named for, Chastity Belt traverses territory similar to that mined by Reverb veterans TacocaT: They favor raunchy, mischievous themes of sex and debauchery set to a riotous, party-punk soundtrack, but with an even rawer, garagerock edge.

Monogamy Party, 8:30 p.m. Choosing seminal, drum-and-bass-heavy acts like KARP and godheadSilo as inspiration is a fine starting point, and the ideal launching pad for kinetically charismatic (and often scantily clothed) frontman Kennedy to launch his confrontational audience assault. It’s safe to say the Sunset floor will be sufficiently beer- and sweat-soaked by the time these guys finish one of their signature frenetic sets.

Brokaw, 9:30 p.m. Good to Die Records

founder Nik Christofferson harbors an affection for a certain caliber of sonic shrapnel, which is likely why three of his bands are on this particular stage. However, Brokaw may exemplify Christofferson’s fetish for barbaric bass the best. Fans of Jesus Lizard, Shellac, and nearly anything a modern-day incarnation of Touch & Go Records would sign should get in line early.

Deadkill, 10:30 p.m. Keeping it simple doesn’t have to mean keeping it stupid.

Deadkill knows the line between the two is fine, but not worth fussing with too terribly much. When he’s not bashing the drum kit behind Absolute Monarchs, guitarist Michael Stubz channels his love of the Germs, the Circle Jerks, and Black Flag into this gleefully dark, primal punk valentine.

erik Blood plays the Sunset at 12:30 a.m.

20

8 Week Summer Sessions

reason former Visqueen frontwoman Rachel Flotard plucked this petite powerhouse to be her band’s bassist during their final years (R.I.P. Visqueen). Bautista exudes every ounce of what makes punk-pop its most powerful: confident singing that comes from the soul— and the soles of her feet, evidently, given the arenasized presence she brings to the stage.

Spaceneedles, 7:30 p.m. It’s surprising that

pnca.edu

Portland, Oregon

Brian O’Shea

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

Cristina Bautista, 6:30 p.m. There’s clearly a

this artfully angular postpunk quartet hasn’t been saddled with the “supergroup” tag, because Thomas Wright (Grand Archives, exbestfriends), bassist Jim Cotton (Feral Children), second guitarist Ben Kersten (exbestfriends), and drummer Scott Blue are some of the city’s most accomplished and adventurous players. Expect the exceptional.

Midday Veil, 11:30 p.m. Prior to joining this band, percussionist Sam Yoder described his future psych-rock family as “the perfect soundtrack to an opium den.” While clearly not an inaccurate perception, what makes Midday Veil succeed so gracefully is their shunning of the genre’s more ponderous moments in favor

» Continued on page 22

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

21

2012»Festival Guide » from page 20 of lucid, finely drawn song structures that require attention, not lazy, lysergic detours.

dinner & show

WED/OCTOBER 3 & THU/OCTOBER 4 • 7:30PM 91.3 KBCS WELCOMES

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Erik Blood, 12:30 a.m. Early in Erik

Blood’s career, while watching a member of the Strokes spontaneously compose a song in Blood’s instrument-strewn, zeitgeistchanneling basement studio, SW contributor Ma’Chell Duma LaVassar told me she viewed him as the budding “Prince of Seattle.” That girl is a soothsayer: Between his early work as a multi-instrumentalist in the Turn-Ons and his recent groundbreaking work producing artists as diverse as the Moondoggies and Shabazz Palaces, Blood is well on his way to becoming a defining architect of Seattle’s contemporary arts culture.

The TracTor

(21 and over) by DAVE LAKE Foghorns, 5 p.m. These Ballard locals play approachable anti-folk with creative instrumentation, including accordion, saxophone, and sometimes a bucket player instead of a drummer. See preview, page 11.

Country Lips, 6 p.m. A nine-piece outlaw country outfit with a great sense of humor and a name culled from a Dylan lyric—what’s not to like?

Side Saddle, 7 p.m. A trio of pretty ladies sing pretty harmonies in tribute to their

» Continued on page 24

FRI/OCTOBER 5 • 8PM

star anna & the

laughing dogs w/ kasey anderson SAT/OCTOBER 6 • 7PM

the bad plus SUN/OCTOBER 7 • 7:30PM TRUE WEST PRESENTS

greg brown

MON/OCTOBER 8 • 7PM & 9:30PM

marcus miller Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

22

little green cars next • 10/10 tom rush w/ jim page • 10/11 j. von stratton designs fall fashion presentation • 10/12 the be good tanyas • 10/13 kris orlowski & andrew joslyn

Jen Seaman Miller talks about—what else?—spooge.

Editor’s Note: The Reverb Questionnaire is a stock list of questions we pose to people outside the music business. Here, Jen Seaman—one of the comics charged with introducing bands at Seattle Weekly’s Reverb Local Music Festival—tells us about the Murder City Devils, Belltown playlists, and growing up agnostic.

SW: What music have you been listening to today? Did you like it?

Miller: I’ve been listen-

ing to a lot of Johnny Cash, Depeche Mode, and ’80s music . . . I liked and didn’t like it, so sayeth Pandora.

What’s your preferred method for listening to music (iPod, car, home stereo, etc.)?

My record player. I like to listen to old jazz records, mostly Fats Waller, while my cats judge my attempt at dancing, which always turns into some form of the sprinkler. My least favorite is driving through Belltown around last call while the girls flood the street singing broken Adele lyrics. She deserves to be whole for once in her life!

When was the last time you heard “Stairway to Heaven”? Did you turn it off?

• 10/3 flip and fly / daniel rapport trio • 10/4 first thursday art opening w/ sarah ghanooni / hardcoretet • 10/5 ayron jones (solo) / spyn reset • 10/6 doug cassell band • 10/7 nathaniel talbot quartet • 10/8 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 10/9 singer-songwriter showcase w/ greg spence wolf, dana pierce and jeremy serwer • 10/10 istvan and farko / gin creek TO ENSURE THE BEST EXPERIENCE

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My family were agnostic, so we preferred not to listen to religious hymns.

When you sing karaoke, what’s your go-to number?

“Blister in the Sun” by the Violent Femmes, even though Burger King exploited it! Really, thanks for making me think your burgers have spooge in them—GREAT! Now I want women who are late to call their boyfriends to say “You shouldn’t have Whoppered in me!”

What is the last song you want to hear before you die?

“Personal Jesus” by Depeche Mode. I want a priest with a toy phone to read me my rites while saying “Pick up the receiver,

courtesy of Jen seaman miller

TUE/OCTOBER 9 • 7:30PM

ReveRb QuestionnaiRe

I’ll make you a believer.” I’ll respond by cracking up into a flatline of joy!

Please share a favorite musical moment/story from your past.

I’ve been performing comedy for over five years now. One of my favorite bands when I was in college was the Murder City Devils. Their lead singer, Spencer Moody, owned the Anne Bonny at the time, and I invited him to come to my first show, which he did (I was surprised that anyone did). He later ended up booking me to do comedy at the Anne Bonny. It was great to have someone that I admired support my dream. E Jen Seaman Miller hosts at the Tractor during Seattle Weekly’s Reverb Local Music Festival on Sat., Oct. 6.

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

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23

2012»Festival Guide Wayfinders play the Tractor at 9 p.m.

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» FROM PAGE 22 favorite female country icons: Loretta, Patsy, Emmylou. They’re what the Dixie Chicks might be if they washed all the pop from their sound and left only the roots.

The Chasers, 8 p.m. Balls-to-the-wall hard rock that’s turned up to 11 and held together by heavy grooves and heavier riffs, deftly balancing modern loud rock with classic metal.

Wayfinders, 9 p.m. Retro hippie rock that

borrows from ’60s psychedelia, ’70s glam rock, and ’90s Urge Overkill, all slathered in glorious vintage reverb.

24

(21 and over) BY TODD HAMM

Gold Records, 5:30 p.m. This local trio lands somewhere between NOFX’s straightahead pop punk and Foo Fighters’ yelled-out “garage” rock. They are goofy, and remind one of fellow fun-loving area punkers Schew Aquarium, with semi-sensical lyrics and simplistic guitar licks riding up front. They are talented, though, when it comes down to it, and know what to do with a guitar solo/ bass riff/drum fill if the mood calls for it.

Full Toilet, 6:30 p.m. With a loaded name like Full Toilet, people are going to expect you to play some pretty ridiculous . . . shit, and frontguy “Piss” Don Sheets doesn’t disappoint. Sure, last year’s self-titled 7-inch went down right away as one of the most

occasional Seattle folk supergroup featuring members of the Maldives, the Moondoggies, Widower, and Shim, which probably gives you an idea what they sound like: finger-picked Ticktockman plays folk tunes with killer the 2 Bit at 10:30 p.m. harmonies.

Sweet Water, 11 p.m.

They signed to the majors in the height of Nirvana-mania, retired in 2000, then resurfaced at the end of the decade to tour with Stone Temple Pilots—a perfect fit given their big guitars, big choruses, and big rock sound.

AMBER ZBITNOFF

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

Cosmic Panther Land Band, 10 p.m. An

THE 2 BIT SALOON

The Greatest Rock ’n’ Roll Band in the World, midnight They outlived the

Beatles, survived—and thrived in—disco, and still look great in shorts. Don’t get stuck in the line outside this one. Get there early, and drunk. THE GREATEST ROCK WRITER IN THE WORLD

bizarre records Sub Pop has ever decided to lend their stamp to, but its beauty—if you can call it that—lies in that very absurdity. On the low, it’s an expertly engineered/arranged project with well-balanced acoustics and rough but discernible pieces that come together in a choreographed-car-crash sort of way that makes the mere idea of a live show seem all the more intriguing.

Assfuzz, 7:30 p.m. The parade of scuzzy-

named, loud rock bands continues with this trio of Bremerton dudes who don’t always take the adventurous or easy-listening route (the vocals, for example), but it’s led them to our all-local, show-and-prove music festival, where they are in a prime position to surprise some unsuspecting distortion-heads drinking bargain whiskey at the bar or hustling vintage Dr. Martens on Leary Way and turn them into hardcore Assfuzz-heads.

The Wheelies, 8:30 p.m. This highly melodic Tacoma quartet has a deep well of catchy pop songs sprinkled with moments of the loud stuff, and thrives in the fun little environment the name suggests, with songs about partying with friends and young love. The band’s ability to traverse styles and volumes while maintaining its trademark upbeat flavor enables it to have extremely wide appeal without necessarily breaking new ground. See preview, page 8.

The Shivering Denizens, 9:30 p.m.

Man, if stompin’ honky tonk is your bag, you will absolutely love the Shivering Denizens.

They’ve got it all: guitar twang, a stand-up double bass, a banjo (!). Lead howler Ron E. “The Rebel” Banner goes all in, singing slackjawed songs about the skid-row lifestyle and catching the wrath of a “Cheatin’ Woman,” “Mad Momma,” “Honky Tonk Witch,” etc.

The 2 Bit Saloon should be a perfect backdrop for such hootin’ and hollerin’.

Come Join uS! ALL MONTH CELEBRATION IN OCTOBER! Copper Gate’s 66th Year Anniversary featuring a birthday tribute to jazz legend Thelonious Monk

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Find Dry Fly in your Favorite Local Stores and Establishments.

Every Tuesday, 8-11pm

Jazzgrind with the Suffering Fuckheads. No cover.

Every Thursday, 8-11pm

Live jazz with the Fu Kun Wu Trio. No cover.

FRIDAY, OCT. 5, 8PM

Live music with Michael Serpe, Greg Markel, Girl Singer and Terri Tarantula. $5 cover.

SATURDAY, OCT. 6, 8PM

Live music with Blue Star Creeper and Ethan Freckleton Band. $5 cover.

MONK-A-THON SPECIAL:

TUESDAY, OCT. 9, 8-11pm: Jazzgrind tribute to Thelonious Monk by the Suffering Fuckheads. No cover.

WEDNESDAY, OCT. 10, 8-11pm: Origin Records Night Tribute to Thelonious Monk. No cover.

THURSDAY, OCT. 11, 8-11pm: A jazz tribute to Thelonious Monk by the Fu Kun Wu Trio. No cover.

FRIDAY, OCT. 26, 8PM

Live music with Olivia Lombardi from New Mexico and Seattle’s own Earl Brooks. $5 cover.

SATURDAY, OCT. 27, 8PM

Masquerade party and live music with Jessica Lynne and Fleur Jack. $5 cover.

SUNDAY, OCT. 28, 8-11PM

Singer/songwriter showcase with host kubby c. No cover.

WEDNESDAY, OCT. 31, 8PM

“That Thing”: Halloween edition - an open mic of all sorts, with host Andy Roo Forest. $3 cover donated to charity.

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Ticktockman, 10:30 p.m. Seattle’s

Ayron Jones and The Way, 11:30 p.m.

Jones has one of those rich, buttery voices that he can make sandpaper-rough to match the moments when he steps on his guitar’s distortion pedal. Nailing traditional blues-rock and R&B with original songs that sound like they could be tried-and-true standards, Jones and his band have the spirit of old blues vets, injected with contemporary soul. Oh, and dude can shred on the guitar. Should be a good one.

The Missionary Position, 12:30 a.m.

From the ashes of stellar local rock outfit Post Stardom Depression, The Missionary Position has emerged to glam things up and strut the rock out. The band’s albums contain flashes of arena rockers like Velvet Revolver: wailing guitar solos; big, sturdy drums; booming, gravelly vocals filled to the brim with sexuality. Frontman Jeff Angell is at the band’s writhing center, fleshing out the guitar- and saxophone-riff-built numbers with tales of living on the edge. In bed and at the bar, a great way to close out the night. E music@seattleweekly.com

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

Ticktockman set up shop in the more accessible regions of The Mars Volta’s hyperprog catalogue, and plays with some interesting ideas along the way. That influence is a bit too pronounced at times: Ryan Van Wieringen’s soaring vocals sound like they were gleaned from the Cedric Bixler-Zavala School of Abstract Singing, and the post-production matches the blueprint; the band’s tangential song structures are a bit more original, but closely follow TMV’s lead.

But opinions vary widely, so your best bet is to see the group live and judge for yourself.

25

Take Warning Presents

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Lauren Mann & The Fairly Odd Folk, Kate Lynne Logan 21+ ONLY - Tickets available @ ticketweb.com - 8:30 PM Wed. November 14 @ Neptune Theater

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@seattleweekly

My Big Fabulous Jewish Gay Wedding Sunday Oct 14, 2012 5:00 - 7:00 p.m. at Sorrento Hotel 900 Madison St., Seattle

This free class is open to all LGBTQ couples who plan to have a Jewish wedding. We will explore the traditional ceremony and creative ways to adapt it just for you.

DIN ING N EW SLE TTE R

BRING IN YOUR REVERB FESTIVAL WRISTBAND ON OCT 6TH & 7TH FOR $1 OFF ALL DRAFT BEERS!

A large selection of local beers, ciders, wines by the glass and delicious craft cocktails.

The inside scoop on openings, hotspots and offers.

Interfaith couples are welcome.

Light dinner will be served. *This course is hosted by Temple B’nai Torah and Temple De Hirsch Sinai and is made possible through a grant from the Jewish Federation of Greater Seattle and the generosity of the Sorrento Hotel.

Upcoming Class:

Reve r b • Seat tle weekly • O CTO BER 3−9, 2012

Temple B’nai Torah

26

Birth Rituals Sunday, Nov. 18, 5:00 p.m.

Location: Temple B’nai Torah

To RSVP or for more info, contact Rabbi Kinberg, RabbiKinberg@templebnaitorah.org, (425) 603-9677

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My Big Fabulous Jewish Gay Wedding Sunday Oct 14, 2012 5:00 - 7:00 p.m. at Sorrento Hotel 900 Madison St., Seattle

This free class is open to all LGBTQ couples who plan to have a Jewish wedding. We will explore the traditional ceremony and creative ways to adapt it just for you.

Interfaith couples are welcome.

Light dinner will be served.

Enjoy Reverb!

*This course is hosted by Temple B’nai Torah and Temple De Hirsch Sinai and is made possible through a grant from the Jewish Federation of Greater Seattle and the generosity of the Sorrento Hotel.

Upcoming Class:

Birth Rituals Sunday, Nov. 18, 5:00 p.m.

Location: Temple B’nai Torah

To RSVP or for more info, contact Rabbi Kinberg, RabbiKinberg@templebnaitorah.org, (425) 603-9677

4818 17th Ave NW Ballard

Temple B’nai Torah

My Big Fabulous Jewish Gay Wedding 5:00 - 7:00 p.m. at Sorrento Hotel

MUSIC NEW SLETTER The inside scoop on upcoming shows and the latest reviews.

Temple De Hirsch Sinai

To view our upcoming s hows v is it 2 b i t sa l o o n b a l l a rd .c o m

Sunday Oct 14, 2012

WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

This free class is open to all LGBTQ couples who plan to have a Jewish

DINING

WEEK LY

M USIC

EVENT S

reviews»Our Take on Every Local Release* LOCAL RELEASES

*

A Dark Horse, A Dark Horse (out now, self-released, adarkhorse.bandcamp. com): James Parker and Hugh Rodgers’ pretty, folksy indie rock makes you wonder if the ghost of Elliott Smith has chosen to haunt them in Seattle. Creating a sound that is compelling, dense, and dreamy, A Dark Horse prove themselves to be more than commercial-radio-ready. MA’CHELL DUMA LAVASSAR

com): Straddling the awkward line between “instant hit” and “I never want to hear this again.” Instrumentally, “East on 8” and “Cabin Fever” are exhilarating, but the excessively countrified vocals detract from the experience. JOE WILLIAMS (Fri., Oct. 19, Nectar)

It’s October 2012, and Seattle Sounds Like . . .

Demon Dogs, Demon Dogs (out now, self-

released, demondogs.org): Old-school metal that worships at the altar of Iron Maiden and Mercyful Fate, hitting all the requisite notes, including double bass-drum patterns, harmonized guitar riffing, and soaring lead vocals. DL

Alex’s Hand, Madame Psychosis (10/15,

self-released, alexshand.bandcamp.com): A bizarre quartet of tunes that jumps among rock-musical resemblances (“Stalker”), Zappainspired weirdness (“Laura”), and Jesus Lizard heaviness (“Robot”). The soundtrack to your fucked-up drug trip. DAVE LAKE

*

Everything Points Up, 2.0 (out now, selfreleased, everythingpointsup.bandcamp.com): Formed by two members of power-pop group The Glass Notes, 2.0 plays like a collective of outtakes that were “too electronic” for their primary band—spry guitar-pop songs augmented with synthesizer and drum machines. AG

The Tea Cozies’ new EP, Bang Up, is out Oct. 30.

Avatar Young Blaze, Soviet Goonion

(out now, self-released, avyoungblaze. com): The latest AYB offering packs some highgrade rhymes, as one would expect, though it’s not his strongest front-to-back collection.

You’ll find some of his cleverest lines sprinkled throughout, but the most interesting moments come when he pushes himself to rap abstractly over left-field beats (as on “Fast Life Experts”), or when he’s at his most unapologetic (“Darko,” “The Scumbag Anthem”). TODD HAMM

Explone, Telescope & Satellite (out now, selfreleased, explone.com): Uncompromised indie pop that oozes nostalgia for bands like Queen and R.E.M. Probably would have gone over better during those confusing early-to-mid’90s years. TH (Thurs., Oct. 4, Sunset Tavern) Zach Fleury, Be Still, Neverland, Egypt (out

now, self-released, myspace.com/zachfleurymusic): This frequent session player (he’s worked with Macklemore, Allen Stone, and Noah Gundersen, among others) strikes out on his own—showing he’s more than just a hired hand—and steps out on songs like “Neverland, Egypt,” which showcases his smooth vocals and skilled guitar picking. JMG

The Badlands, The Badlands (out now, Shit Starter Records, reverbnation.com/ thebadlandsusa): Straightforward party punk meant for chugging PBR in dives. Frontwoman Ginnie Ko’s low growl recalls Joan Jett after several packs of cigarettes. The band recently signed with Oakland’s Shit Starter Records, which is releasing this EP on blue 7-inch vinyl. JULIA MULLEN GORDON

Billy the Fridge, Old Fashioned (out now, self-released, billythefridge.bandcamp.com): It’s easy to write off the new project from this jokey Internet battle-rap star, competitive eater, and occasional amateur wrestler as simple novelty—so before I do, I will inform you that he was able to finagle beats by Jake One, Sabzi, MTK, and Mack Formway for the project, and that novelty can be entertaining at least once. TH (Tues., Oct. 9, Nectar) The Bitter Roots, Chiaroscuro (10/9, Water

Works Hill Recording Co., bitterrootsmusic. com): The Bitter Roots are nothing if not

Yeah, every release

versatile. Stylistically, their sprawling Chiaroscuro goes from Alice in Chains to moe and back. If their lyrics and vocals were as sharp as their musicianship and creative chutzpah, they’d be a force to reckon with.

MS (Sat., Oct. 13, Cafe Venus/Mars Bar) The Blanket Truth, Urban Wildlife (out now,

self-released, blankettruth.bandcamp.com): Just how cutesy are the cutesy pop songs on Urban Wildlife? The liner notes differentiate between soprano and baritone ukelele. They include whistling, handclaps, beatboxing, and shouted group backup vocals. It’s the most aggressively twee album you’ll hear all year.

ANDREW GOSPE

* In each issue, we review every release from local bands and labels scheduled for the coming month. We fully expect a few releases to slip through the cracks. So each issue will also include anything we missed in previous issues, or that had been released in the interim. Send releases and reminders to reverbreviews@seattleweekly.com.

*

Blue Sky Black Death, Aquatic Reverie

(out now, Behold the Destroyer, bsbdmusic.com): In-house producers for rising 206 rapper Nacho Picasso, Blue Sky Black Death’s latest beat tape, surveying the duo’s productions from 2006 to 2012, largely sticks to the promise of its title, presenting dreamy, underwater beats just on the cusp of evaporating into the rap cloud. ERIC GRANDY (Fri., Oct. 26, Chop Suey)

Cascadia ’10, “The Secret Is Out” (out now,

self-released, cascadia10.bandcamp.com): The spicy Afrobeat from this Seattle ninepiece sounds like it could have fallen right off a Budos Band album—but hey, Budos Band’s albums are fun to listen to. TH (Fri., Nov. 9, Showbox at the Market) Dead Winter Carpenters, Ain’t It Strange

(10/19, self-released, deadwintercarpenters.

*

HIGHLY RECOMMENDED

The Good Hurt, You Are Here (out now, self-

released, music.goodhurtband.com): These hooky, vocal harmony–laden pop-rock songs often err toward the saccharine (lyrics-wise, the chorus of “Half Hearted” recalls that one song from the ’90s about putting a heart in a blender), but frontman James Lanman does boast some fundamentally sound songwriting abilities and a radio-ready voice. AG (Fri., Oct. 5, The Crocodile) The Great Um, What the People Want

(10/15, self-released, thegreatum.com): This Seattle trio play KEXP-style indie rock with clean guitar tones and an affinity for ’60s British pop like the Kinks and indie icons like Pavement. Things are mostly subdued, but the band lets loose on “Sweet Baby K,” which has a White Stripes vibe thanks to its big riffs and bluesy progression. DL (Thurs., Oct. 18, Sunset Tavern)

» CONTINUED ON PAGE 28

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

now, Precedent Records, jimbasnight.com): It’s odd that Basnight is only now introducing himself, because his band has been around for more than two decades, playing multidate summer runs at Roche Harbor Resort like they’re the Allman Brothers at the Beacon Theatre. At his best, Basnight is a poor man’s Mick Jagger, which is still pretty rich. MIKE SEELY

JAMES ELLIOTT BAILEY

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Benjamin Gibbard, Former Lives (10/16, Barsuk, benjamingibbard.com): Based on the title alone, it’s tempting to read Gibbard’s solo effort in the context of last year’s wellpublicized divorce from Zooey Deschanel.

But instead, Former Lives strikes an optimistic tone, anthologizing (and celebrating) the past through the prism of Gibbard’s distinctive songwriting. AG (Fri., Nov. 16, Showbox at the Market)

27

reviews» » FROM PAGE 27 Hannalee, Cucurbita (10/9, self-released,

hannaleesong.com): Hannalee’s admittedly attractive members make similarly appealing, layered folk. In three-part harmony, Michael Harley, Anna-Lisa Notter, and Fidelia Rowe discuss joy and light while dustings of harmonica, music box, and organ fill out their version of the new Seattle sound: feel-good folk. JMG (Sat., Oct. 6, St. Mark’s Cathedral)

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Heiress, Early Frost (10/23, Deathwish Inc.,

heiress.bandcamp.com): These hardcore/ slowcore champs enlisted storied rock engineer Jack Endino for this somewhat trippy 10-track voyage. Though many of the compositions don’t seem overly complex up front, they build upon their simpler foundations in unconventional ways (pan flute!) to create a sound all their own. TH (Wed., Oct. 24, El Corazon)

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Coty Hogue, When We Get to Shore: Live at Empty Sea Studios (out now, Hearth Music, cotyhogue.com): On this live CD, banjo-picker and Appalachia expert Coty Hogue shares her love of traditional folk songs (“Handsome Molly,” “Wedding Dress”) and a whimsical take on modern classics (Springsteen’s “I’m on Fire,” Fleetwood Mac’s “Second Hand News”) in a lusty, ringing alto. GWENDOLYN ELLIOTT

*

Jackrabbit, A Better Place (out now,

self-released, jackrabbit.bandcamp.com): Spun into an intricate web of bluegrass, Americana, and rock, A Better Place is as transparent as it is honest. With beautiful harmonies and bouncing instrumentation, “Fathers and Sons” is perfect after a stressful day of anything. JW (Thurs., Oct. 25, Tractor Tavern)

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Bars of Light (out now, self-released, legendaryoaks.bandcamp.com): Rootsy without falling prey to Northwest folkies’ tendency to hump a bale of hay, Legendary Oaks’ superb sophomore effort is loose and sunny, evocative of the Byrds, only on way less acid. MS (Thurs., Oct. 18, Barboza)

Whitney Lyman, Wandering, Wonder-

ing (out now, self-released, whitneylyman. com): This multi-instrumentalist’s gentle voice is the anchor of her 10-song release, which comprises mostly baroque pop ballads.

Drums are sparse, but there’s plenty of piano, banjo, strings, and even horns, all of which help keep the record interesting. DL (Tues., Oct. 16, Comet Tavern) Magnetic Circus, We Die in Fire (10/10, self-

released, magneticcircus.bandcamp.com): It’s obvious Magnetic Circus can rock. However, somewhere in this album’s fusion of heavy rock, lo-fi recording, and ambient sounds is a strong disconnect in the timing, tone, and delivery. JW (Wed., Oct. 10, High Dive)

*

The Maldives, Muscle for the Wing (10/16, Spark & Shine, sparkandshine. com): It’s tempting to accuse Maldives lyricist Jason Dodson of being a cornpone poser until you consider that The Band, with the exception of Levon Helm, hailed from Canada.

Fittingly, Muscle for the Wing solidifies the Maldives’ position as The Band’s heir apparent. Their hallmark dueling guitars and multipart harmonies still emerge with regularity, but never has Dodson’s pure, pretty voice been featured so adroitly. If this is posing, then it’s runway-caliber stuff. MS (Tues., Oct. 16, Queen Anne Easy Street Records)

(10/16, Dais Records, daisrecords.com) In his old thrash- and black-metal bands Teen Cthulhu and Book of Black Earth, singer/guitarist (and Actual Pain clothier) TJ Cowgill affected an unnatural, strangulated shriek—sometimes even for his between-song banter. As King Dude, a black-clad death-country crooner in the style of an exhumed and ghoulish Johnny Cash, Cowgill stretches his voice to an equally unnatural though aesthetically opposite end: a low, bellowing moan that grinds down to a croak at its slowest crawl. Paired with acoustic guitar alternately cleanly recorded and decimated by reverb and noise, it makes for a convincingly spooky presence. ERIC GRANDY (Wed., Oct. 24, Chop Suey)

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now, self-released, datpiff.com): Rising lyricist Raz shines on this five-track EP, and although his delivery sounds a little

less natural, Sam Lachow (who also made the beats here) rhymes respectably as well. TH (Fri., Oct. 5, Neumos)

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MACKLEMORE & RYAN LEWIS, The Heist (10/9, self-released, macklemore.com)

Doused in personal disclosure and weighty subject matter, The Heist is aimed at forcing its listeners to more closely examine their lives and the world around them, and in that it succeeds. The album’s lyrics feel as much like a conversation about the sad or goofy specifics of life as they do rap proper; different songs find Macklemore drifting from inspirational speaker to class clown as that conversation shifts moods. Musically, the album bulges with Lewis’ elaborate compositions, which are thoughtful but (with several exceptions) mostly recapitulate the album’s exhausting length and slow pace. The good songs hold up for the duration, but others could stand to be truncated or omitted altogether: “Can’t Hold Us” and “Gold,” for example, are terribly disposable pop songs, and “Wings,” while lyrically powerful, is lengthy and overblown in its presentation. On the flip side, you probably won’t hear more moving songs all year than the absolutely beautiful “Starting Over” and “Same Love.” As a whole, The Heist is a (sometimes too) dramatic feature with striking moments of clarity; its main fault is that it sets out to accomplish too much. TODD HAMM (Fri., Oct. 12, WaMu Theater)

9 Lb Beaver, Paradise Awaits (out now, Big

Steve Records, facebook.com/ninepound beaver): This is sloppy, four-chord, beer-

Kris Orlowski & Andrew Joslyn, Pieces We Are (10/16, self-released, krisorlowski. com, andrewjoslynmusic.com): Backed by a 17-piece orchestra, Joslyn’s sweeping compositions, featuring Orlowski’s honeyed baritone and mingled with the talents of choir members Allen Stone and Campfire Ok’s Melodie Knight and Mychal Cohen, strike an ethereal chord. GE (Sat., Oct. 13, Triple Door) Police Teeth, Police Teeth (10/16, Latest Flame, policeteeth.bandcamp.com): Although the propulsive punk on this trio’s fourth album is a bit one-note, it has hints of bands as disparate as Fugazi and Hüsker Dü, and the big, jagged guitar riffs never hamper the songs’ incisive energy. AG (Fri., Nov. 11, Sunset Tavern) Red Jacket Mine, “Amy” b/w “Any Major

Dude Will Tell You” (10/16, Fin Records, red jacketmine.net): The latest single from this power-pop band, “Amy” is full of breezy pop

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released, reverbnation.com/murderparty): Like a less-quirky B-52s without Fred Schneider and with fewer dancy bits, Murder Party have the Eastside on the brain. This EP’s title is a reference to Bellevue with “your SUV and your sense of entitlement,” while “545” describes a ride on a Seattleto-Redmond SoundTransit bus line that is apparently packed with passengers into self-help books and fantasy novels. DL

now, self-released, omegamoo.com): Running just under nine minutes, this three-song EP is practically over before it starts. However, Omega Moo’s breakneck bar-rock shoutalongs have enough going on (well-placed keyboard, a slight tinge of rockabilly) to warrant repeat listens. AG (Sun., Oct. 28, High Dive)

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

*

Mts. & Tunnels, Mts + Tunnels (out now, self-released, mtstunnels.band camp.com): This debut album is cozy, oldschool garage rock filled with bluesy guitar riffs punctuated by vintage horns. At times the local group has a classic Northwest folk-rock sound, made more apparent on tracks like “Something in the Light,” where the complementary vocals are reminiscent of The Head and the Heart’s harmonies. SARAH ELSON

guzzling punk rock (think Guttermouth) with songs about partying in North Korea and girls from Yakima. DL (Sun., Oct. 14, Funhouse)

E

released, ericmillerband.com): In the 12 songs on City Lights, Eric Miller engages in approximately 12 different styles of music. A pop chameleon in the best sense of the word, he sounds as though Loudon Wainwright III accompanied Robyn Hitchcock to a bar where the Traveling Wilburys and Chet Baker happened to be hanging out. MS

TH

*

Eric Miller, City Lights (out now, self-

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reviews» » FROM PAGE 29 melodies and plenty of doo-wops that will have you humming for days. On the flip side, it’s all smooth soul. SE (Sun., Oct. 14, Locöl Barley & Vine) Red Sea, Planets Align (out now, self-released, redseaband.com): Red Sea is a classic bar band: They play well, their songs are decent, but they’re not at all contemporary. That’s not necessarily a bad thing if you’re into classic rock like Pink Floyd, whose influence looms large over “Something Else.” DL (Sat., Nov. 17, Fuel)

*

Smokey Brights, No Sheer Force of Will

Multi-Format Radio Promotion Larry Weir/Masika Sway

(out now, self-released, ballofwax.org): In what has to be curator Levi Fuller’s most controversial compilation to date, BOW 29 features keyboards, winds, banjos, mandolas, percussion, voices and more, but not a single axe, acoustic, electric, or bass: Fuller dares to go guitarless in the city Kurt and Jimi built. MDL now, self-released, music.kristenward. com) Ward’s powerful vocals and guitar work roughen up the usual female-fronted alt-country thing on this stellar effort. MDL (Thurs., Oct. 25, Tractor Tavern)

We Say Bang!, Ignite (out now, self-released,

Mike Simmons, Sunburn (out now, self-

Wickerbird, The Crow Mother (out now,

Sundries, “I Found Perfection” (out now, self-released, sundries.bandcamp.com): The new single from this relatively new rock band features a propulsive rhythm and the powerful, pleading singing of frontwoman Sadie Ava, whose vocals have a richness and maturity that belie her 19 years. ERIN K. THOMPSON (Wed., Oct. 10, Chop Suey)

*

Tea Cozies, Bang Up (10/30, self-

released, tea-cozies.com): Tea Cozies returns with another dose (its third) of raucous, organ-laced garage pop. Fans of The Pharmacy, Posse, and even Camera Obscura should take notice. JMG (Sat., Oct. 27, Columbia City Theater)

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*

Tiki Joe’s Ocean, Soul of the Sea (out now, self-released, tikijoesocean.com): Multi-instrumentalist/composer Andy Nazzal has created a serene but vigorous, Latin-lounge-influenced album that’s straight-up addicting. The opener, “Hotter in the Shade,” is overflowing with classy piano, bongo drums, and three helpings of soul. JW

Tokyoidaho, Tokyoidaho (out now, Neon

Sigh, tokyoidaho.com): On this synth-rock group’s self-titled debut, the most relaxed songs are the best, like the meandering mid-album number “The Ballard of the Teenage Shut-In” and the album closer “Deep Cushions”—an ambitious space-rock track even if it doesn’t quite earn its 10-minute run time. AG

myspace.com/wesaybang): Trading traditional studio recording for a DIY project recorded in the lead singer’s basement using shoddy software, Ignite features sporadic bursts of bright crash, fast snare rolls, and distorted guitar that beg to be seen live. JW

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self-released, wickerbird.bandcamp.com): With a crackling sound quality, this debut album from NYC-by-way-of-Puyallup’s Wickerbird is an oddly soothing collection of indie-rock lullabies full of hushed harmonies and ambient fuzz. GE

Wiscon, Wiscon (out now, self-released, reverbnation.com/wiscon): This femalefronted band plays a strain of dark new wave that’s powered by vintage synths and driving bass lines. With no guitar player, there’s lots of room for the songs to breathe, which is simultaneously a strength and weakness. DL (Thurs., Oct. 18, Funhouse) Younger Shoulder, Younger Shoulder (out

now, self-released, youngershoulder.bandcamp. com): Sweet, lo-fi indie pop with classical-guitar elements and emotive, whispery vocals. MDL

Your Favorite Book, Remember the Narwhal

(out now, self-released, yourfavoritebook.org): This album’s 11 songs travel the well-worn road of literate indie rock carved by bands like the Weakerthans. If acoustic folk punk is your jam, you’ll find something to love here. JMG

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Black Marble, A Different Arrangement (10/9, Hardly Art, blackmarblenyc.com): This Brooklyn coldwave duo doesn’t radically alter its sound for its debut full-length, following the Weight Against the Door EP from earlier this year. Drum-machine beats drive spare guitar and synth melodies, the vocals

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Reve r b • Seattle weekly • O CTO BER 3−9, 2012

Trash Can Band (out now, Jewel Turner, thadillac.com): An original take on guitarbased funk from local character Thaddeus Turner. This double album is cleanly engineered and creatively arranged with traditional-style rock numbers alongside vocoder-voiced synth-funk. As always, though, his personality is his loudest instrument. TH

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most exhilarating rock record. EKT (Fri., Nov. 2, Barboza)

drip with melancholy, and everything has the mournfully spare sense of space of New Order’s earliest post-Curtis recordings. EG Jeremy Camp, Christmas: God With Us (out now, BEC, jeremycamp.com): It’s never too soon to get in the holiday spirit. Camp puts an upbeat, modern twist on classics like “Jingle Bell Rock,” though his voice shines best on the less-poppy songs, like “O Come O Come Emmanuel.” JW

Squeeze, suicidesqueeze.net): Atlanta garage gals the Coathangers thread a jagged, catchy dance-punk guitar riff through an appropriately circling beat on “Merry Go Round”; like-minded Nashville band Heavy Cream follows with an equally fun punk charge. EG

*

Gap Dream, Ali Baba (out now, Suicide

Squeeze, suicidesqueeze.net): The two shuffling, psychedelic tracks on this 7-inch, “Generator” and “A Little Past Midnight,” feature warm beats and desultory guitars; it’s the bedroom project of Cleveland’s Gabe Fulvimar, whose spacey, mumbling vocals make him sound like a computerized Lou Reed. EKT

The Glorious Unseen, Lovesick (10/9, BEC, facebook.com/thegloriousunseen): After raising

Sub Pop will release King Tuff’s single “Screaming Skull” on Oct. 9.

$21,000 via Kickstarter, vocalist Ben Crist turned inward for an album that varies drastically from the indie-rock vibe of “Brand New” to the soft strum of “Can a Nation Be Changed?” JW Hyland, Finding Our Way (10/9, Tooth & Nail, hylandofficial.com): Hyland melds the instrumentation and upbeat vibe of Mutemath with the faith-based pop-rock feel of Anberlin. “Beauty in the Broken” is supported by a powerful bass drum and a soaring chorus by vocalist Jon Lewis. JW

*

King Tuff, “Screaming Skull” b/w “Love Potion” (10/9, Sub Pop, facebook.

JEFFREY SAUGER

The Coathangers, “Merry Go Round” b/w Heavy Cream, “Toasted” (out now, Suicide

Bebo Norman, Lights of Distant Cities (10/22, BEC, bebonorman.com): This singer/ songwriter captures a personal religious journey in 11 rich, beautifully written songs.

The standout, “Collide,” begins with a soft acoustic-guitar intro that crescendos into a mammoth song of devotion. JW

com/kingtuffy): The follow-up to Kyle Thomas’ full-length debut as garage-pop squealer King Tuff is a clap-happy, ultracatchy track in which Thomas pledges, “I’ll give you my heart and my soul/All I want is your screaming skull.” The single’s B-side is the robust and sexy “Love Potion.” EKT

*

METZ, METZ (10/9, Sub Pop,

subpop.com): The Sub Pop debut of this Toronto trio claws and pummels its way through 11 opaque tracks—including an ominous, wordless closer called “--))--”—of savage guitar riffs, brutalizing percussion, and thick walls of reverb. Easily the year’s

*

Peace, The World Is Too Much With Us

(10/16, Suicide Squeeze, peacevancouver. bandcamp.com): Three cheers for Vancouver, B.C.’s Peace for this Wordsworth-inspired album title and especially its cover: The band’s mustachioed, suit-clad guitarist sits on a footbridge over a stream holding a halfeaten banana. The artwork’s juxtapositions are similar to the band’s sound, which mixes melancholy post-punk progressions with the uniquely half-sung melodies of singer Dan Geddes. DL (Fri., Oct. 12, Hollow Earth Radio)

*

Total Control, “Scene From a Marriage” b/w ”Contract” (10/9, Sub Pop, subpop.com): The new single from these Australian post-punk howlers doesn’t have the hooks of last year’s killer “Carpet Rash,” but the deadpan drag of its guitars, drums, and wounded vocals aptly evokes the grueling slog of an unraveling marriage. (Ingmar Bergman would be proud). The B-side is a crisp, synthblipping electro dub version. EG E

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22 Wolfgang Gartner This Southern California house DJ’s resume includes recent collaborations with will.i.am, Skrillex, Tiësto, and Deadmau5.

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23 Flying Lotus Melding house, drumand-bass, hip-hop, and jazz (he’s the great-nephew of Alice Coltrane), Steven Ellison’s productions as Flying Lotus are some of the headiest in modern electronica. The Neptune. 8 p.m. $24. All ages.

24 The Whigs This Athens, Ga., garage-rock group is touring behind September’s rollicking Enjoy the Company. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $12 adv./$15 DOS. BARBARA ANASTACIO

6 Carrie Underwood Billboard proclaimed this multiplatinum artist “country’s reigning queen” earlier this year, and with the success of May’s Blown Away (267,000 copies sold its first week) and her current tour of that name (her show at London’s Royal Albert hall sold out in 90 minutes), it’s not hard to see why. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 7:30 p.m. $55–$85. All ages.

7 Thee Oh Sees The ever-prolific John Dwyer has released three albums with his primary garage-rock project in the past year and a half, the most recent of which is September’s Putrifiers II. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org.

8 p.m. $15. All ages.

12 Macklemore & Ryan Lewis The meteoric rise of rapper Ben Haggerty will continue this month with the Oct. 9 release of The Heist, which already looks like the biggest Seattle album of the year. WaMu Theater, 800 Occidental Ave. S., 381-7555, wamutheater.com. 7 p.m. $29.50 adv./ $35 DOS. All ages.

26 Menomena Now a two-piece after keyboardist/guitarist Brent Knopf left the band last year, this Portland group’s fifth and latest record is the heavy, transitory Moms. Showbox at the Market, 1426 First Ave., 628-3151, showbox online.com. 8 p.m. $18 adv./$20 DOS. All ages.

27 Kithkin This local quartet’s beat-centric tribal pop would be as appropriate for a drum circle as for a house party—or in this case, an early Halloween show.

Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 9 p.m. $7 adv./$10 DOS.

Grizzly Bear plays the Paramount on Friday, October 5.

13 Drew Grow & The Pastors’ Wives Portland songwriter Grow and his backing band play a rootsy blend of folk, gospel, and country.

Comet Tavern. 9 p.m. $10.

looped electronics and Boucher’s pixieish vocals, was included alongside EDM acts like Pretty Lights and Diplo on Skrillex’s “Full Flex Express” summer tour. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $16.

14 Kendrick Lamar This Compton, Calif., rapper will be performing in the U District for the second time in six months at this show; he opened for The-Dream at UW’s “Spring Fling” concert in May. The Neptune. 9 p.m. $36. All ages.

17 Brother Ali Seattle’s Jake One has produced tracks for local rappers like Sol and Grynch this year, but he also worked on this Minnesota MC’s fifth full-length, Mourning in America and Dreaming in Color. Neumos. 7 p.m. $15.

15 Frightened Rabbit On last month’s State Hospital EP, this Scottish five-piece continues its trajectory of brooding, melodramatic indie rock.

Triple Door, 216 Union St., 838-4333, thetripledoor.net.

7:30 p.m. $20. All ages.

18 The Jesus Rehab Brothers Jared and Dominic Cortese craft ragged, muscular power pop.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $6.

16 Grimes One of 2012’s breakout artists, Canadian Claire Boucher’s solo project, featuring

25 Other Lives On the strength of the cinematic Tamer Animals, this five-piece earned opening gigs last year for Bon Iver and Radiohead.

The Neptune. 8 p.m. $15. All ages.

19 Omar Rodríguez-López A versatile guitarist whose career has spanned post-hardcore (At the Drive-In), reggae (De Facto), and progressive

28 Waka Flocka Flame One of gangsta rap’s most bankable acts, Flocka recently dropped Salute Me or Shoot Me Vol. 4, a trap-rap mixtape featuring the likes of Gucci Mane and Wale.

ShowboxSoDo. 7 p.m. $30 adv./$35 DOS. All ages.

29 Nneka This German-Nigerian soul and hiphop artist sings in both English and Igbo; March’s Soul Is Heavy was released to modest success in Europe. Tractor Tavern. 9 p.m. $13 adv./$15 DOS. 30 I-Taweh and the Reggae Lions Veteran reggae singer and guitarist I-Taweh (aka Donovan Cunningham) and his 10-piece band released the full-length Overload last year. Nectar, 412 N. 36th St., 632-2020, nectarlounge.com.8 p.m. $5 adv./$8 DOS. 31 Crypts Either for its name or its sound, it’s hard to think of a more appropriate headliner for a Halloween show than this noise trio, and the undercard—especially goth rockers Haunted Horses—is equally spooky. Chop Suey. 8 p.m. $7. E

Reve r b • Seattle weekly • O CTO BER 3−9, 2012

11 Leela James The latest from this Los Angeles singer is Loving You More . . . In the Spirit of Etta James, a contemporary take on nine songs associated with the iconic soul artist (no relation).

Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com.

7:30 p.m. $30.50. All ages. Through Oct. 14.

More options online at seattleweekly.com.

21 A$AP Rocky On the heels of last year’s LiveLoveA$AP mixtape and August’s Lord$ Never Worry by his A$AP Mob collective, this Brooklyn MC will release his major-label debut on Halloween.

Showbox SoDo, 1700 First Ave. S., 652-0444, showbox online.com. 8 p.m. $27.50 adv./$30 DOS. All ages.

5 Grizzly Bear Three years after the massively successful Veckatimest, which debuted at #8 on Billboard and included the Super Bowlcommercial-scoring single “Two Weeks,” these Brooklynites released Shields, their dense and proggy fourth album, last month. The Paramount, 911 Pine St., 467-5520, stgpresents.org. 8 p.m. $29.50 adv./$31.25 DOS. All ages.

10 Cumulus Though her songs with Cumulus are fuzzy and abrasive, Alexandra Niedzialkowski recently played a stripped-down solo set to open for British songstress Laura Marling. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 7 p.m. $8.

check out our comprehensive music calendar.

20 Lost in the Trees This North Carolina band plays folk-inflected tunes with orchestral instrumentation. The Crocodile. 7 p.m. $13.

4 Steve Vai A former protégé of Frank Zappa, guitarist Vai has built a career out of sheer technical prowess, and founded the Favored Nations record label for artists who “have attained the highest performance level.” The Moore, 1931 Second Ave., 467-5510, stgpresents. com. 7:30 p.m. $27–$57. All ages.

9 Hospitality This rising New York trio released its self-titled debut on Merge in January. Barboza, 925 E. Pike, 709-9951, thebarboza.com. 8 p.m. $12.

start planning your upcoming nights out,

rock (The Mars Volta), Rodríguez-López has released 22 albums as a solo artist since 2004. Triple Door. $15 adv./$20 DOS. All ages.

3 Six Organs of Admittance The latest from songwriter and guitarist Ben Chasny is August’s Ascent, which expands on his mixture of folk, psych, and ambient music. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $12. All ages.

8 The Orchestrion This local trio’s spacey guitar rock bears the clear influence of Built to Spill. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $6.

Living in the city equals options. Before you

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