Northwest Bands Dot Com

Kris Orlowski Band @ Team Up benefit January 13th - The Triple Door

2011-01-02T11:47:00.000-08:00

Friends and Fans,

Our dear friend Kris Orlowski and his wonderful band are teaming up with the local group Team Up 4 Nonprofits to present an event at the spectacular Triple Door restaurant and music venue on January 13th.

Team up and Kris will be joined on this special evening by the Passenger String Quartet and Star Anna. Team up has given these artists a unique opportunity to be a part of an evening that will be benefiting Climate Solutions.

"Climate Solutions mission is to accelerate practical and profitable solutions to global warming by galvanizing leadership, growing investment and bridging divides. Climate Solutions leads climate and clean-energy initiatives in the Northwest, and builds a strong base for national action. The organization works with business, environmentalists, agriculture, government, and public interest groups. Funds raised will support Climate Solutions' campaign of education, communication, organizing and advocacy throughout the Northwest. Their Civic Engagement Project will recruit and mobilize a diverse network of grassroots advocates in the growing campaign for climate policy action. They will inspire people to individual action and connect them to the larger climate movement." -Team Up Website

Events such as this are an amazing way for the local music community (bands & fans alike) to be involved in real change and progress in a way that is accessible and enjoyable to them. This promotes more giving and more doing- and we support that 100%!

Event Page

Team Up's story & mission statement:

Team Up for Nonprofits was founded in 2009 by event producer Ryan Hodgson and a group of industry friends and colleagues, with the aim of supporting Seattle nonprofits with event production and fund raising. The team saw well-produced music events as a way for nonprofits to raise funds and generate awareness, that would be accessible to multiple generations—and promote meaningful giving. It seemed natural that two of Seattle’s strengths, music and philanthropy, should join forces to provide a solution.

Team Up for Nonprofits’ mission is to build capacity for nonprofit organizations by cultivating a new generation of engaged supporters through the power of music and social media.

The new NWB website goes live on June 1st!

2010-05-26T17:55:00.000-07:00

We hope!

We are very close to finishing the website and putting it live. However, with our recent move to seattle and all the time that wastes- plus I am leaving tomorrow for my brother in laws wedding in CA (YAY), I have been left with little time to wrap everything up. So PLEASE forgive me if I am a few days late.

We are SO excited out the relaunch show! Thanks to everyone involved- the bands, the venue, the promoters, etc. xoxo

J.

NWB Relaunch show Poster and where to buy tickets!

2010-05-21T12:57:00.003-07:00

Hey Friends,
Thank you to Malachi Ward for designing this poster (and playing the show, as a memeber of The Denouement).

Tickets for this show might sell out- as it is the LAST seattle show for The Courage (w/ noah gundersen) until September!

Buy your tickets in advance at TheCrocodile.com!

Cheers!
Jacquee & Northwest Bands Dot Com

NWB relaunch show- support act added!!

2010-05-20T18:38:00.001-07:00

We just added a kick ass band - The Head and The Heart to the NWB relaunch show on June 9th! yay!!

So final lineup

The courage (noah gundersen)

The head and the heart

the denouement

June 9th at the crocodile

21+ 7pm doors 8pm show

8adv 10dos

SEE YOU THERE! it's going to be rad.

Transferring my old website to the new design SUCKS

2010-05-12T21:39:00.000-07:00

ugh...

I am trashing a ton of random pages from the old website design however I still have to transfer all the reviews to the new design and it SUCKS. Less pages = better. I know this now.

Other than that, things with the new website design are coming along really well and looking great!

And......!!!! The Re-launch party is booked! The Courage and The Denouement are playing (YES!!!) and we will be booking a third act soon.

See you at the show!

Cheers,

Bumberpalooza 2010!

2010-04-23T13:26:00.000-07:00

IT'S BACK! Anacortes' very own Bumberpalooza!

This year Northwest Bands Dot Com has the pleasure of taking part in this wonderful festival. We're very excited to announce the line-up- there is a collection of wonderful up and coming local talent playing, we hope you're excited too!

The line up for Bumberpalooza, June 18th 2010:

The Globes, Seacats, The Oregon Donor, Great Waves, Candysound, The Mission Orange, and Caulifield and His Magical Violin

To those of you in school- what better way to celebrate the beginning of summer than to be at Washington Park on a nice sunny day listening to these great bands? Seriously.

To anyone else - can you think of a better way to spend the day? I'm guessing not.

Out of towners (seattle, bellingham, etc), it is totally worth the drive. The drive is beautiful and when you get to the festival - lay on the grass, buy a snack, say hi to the bands and enjoy the tunes. *kid friendly!*

This is a seriously rad festival arranged by seriously rad people with seriously rad bands. Get it?

Tune in to 1340 KWLE The Whale on Thursday mornings starting the first week of may for in-studios, interviews and more from Bumberpalooza 2010 bands!

The full days schedule will be available soon... E-mail me at Jacquee@northwestbands.com if you have any questions.

See ya at the Park June 18th.

Cheers,

Jacquee

Ok friends, I need your help.

2010-04-20T15:13:00.000-07:00

Dear Friends and Fans,

You all know by now that Northwestbands.com is re-launching in June. What you may not know is that I (Jacquee, Founder/Owner of Northwestbands.com) will be moving back to Seattle in mid May (The 22nd).

Here's where I could use you: I am having a hard time finding a house. My husband, dog and I are looking for a nice 2-3 bedroom rental house with a fenced yard and basement in the greenlake/fremont/wallingford area. We're able to pay between $1000-1500 depending on how many rooms and if there are any furnishings provided, etc. We need your help to find a house! Craigslist is not working! And I'm losing my mind searching.

So if anyone knows of a house that fits our criteria, please let me know ASAP! We're responsible renters and have references.

Thanks friends!

How Northwestbands.com got started...

2010-04-10T00:55:00.002-07:00

Hello,

Some of you may wonder, "How did Northwestbands.com come to be?". Well... it was sort of an accident. Here is the short(ish) version of the story.

When I was 15 my dear friend Dana and I went to Creation- A christian music festival at the Gorge. There we heard and spoke with The Pale. ...This is how and when my teenage brain exploded.

(Oh...the pale. Fond memories. Holly st. recording studio with Cam. Way too many shows with Late Tuesday at the VU. The Lincoln Theatre.)

Me at age 15 after finding out The Pale was from Bellingham : "Woah... there's like... good bands in washington..."

Up until this point I was under the ridiculous impression that good music was found anywhere but close to home. Like, in LA or New York- but certainly not in my backyard. For a kid who grew up being a musician and listening to many local bands (nirvana, soundgarden, mudhoney...etc) I sure was clueless!

The realization of the Seattle music scene lead to an intense passion for local music. Soon I started working with Vendetta Red (doing promotion) and gained wonderful mentors such as Dave Kurtiak and Colin Johnson. These people taught me so much. How to book a show, how to book a TOUR, how to find loop holes (like being booked as the DJ on some of the shows NWB booked at 21+ clubs when I was 17-20 years old so that I could BE at my own show). All this lead to the decision to start a "company" or website. Thus, Northwestbands.com was born.

After a bit I wanted to do more than book and promote- I wanted to have a hand in the real growth of peoples' careers. When I was 17 I was introduced to John Van Deusen, a 15 year old with a huge voice and an even bigger laugh ;-). I was at his first show and was floored by him. I started to manage him- and what a wonderful experience that was! John and I grew together as young people trying to make our way into the music business. We laughed during photo shoots, over dinners, at Anchor Man... we traveled (with our dads, Rusty and Chet) to shows near and far. And even as the years have passed and he has become "John Van Deusen of The Lonely Forest" (now signed with Chris Walla's new label Trans) we have stayed friends and appreciated the role we had/have in each others lives. Thank you for the laughs and great tunes, John.

This is how Northwestbands.com began... 7 years ago. Can you believe it? Holy shit. That's a long time! It's been a process of learning as I went... until finally 2 years ago I went to college for Music Business. But there is still so much to learn. As they say "The only constant in the music industry is that it's always changing. Always."

7 years later and I am still discovering who I am and where my place is in the music industry. For now, my place is as a booking agent and manager. 7 years from now I will be a producer, I hope!

Cheers to the past and future!

Step by Step

2010-04-09T21:27:00.000-07:00

Step by step, Oooo baby...

Dear Friends,

Step by step we are getting things done with the re-launch of Northwestbands.com. My wonderful friend who is an extremely talented artist (and musician), Corbin Watkins has been doing the artwork for the new Northwestbands.com site. It is SICK. I am really excited to debut it in June.

We're booking a re-launch show for the first week of June where we will be giving away tickets to a very special show in August. Details on both shows will be coming soon.

Looking forward to seeing you all at a show soon!

Jacquee

NWB

Inspired by a death.

2010-03-31T12:09:00.000-07:00

Dear world,

It has been a while since I have posted on this thing. It has been a while since I've been inspired or motivated to be in touch. A lot has been happening in my life the last year and a half. Some good, some bad and some just plain life changing.
Over the last year and half I have moved from Seattle to Bellingham. I made this move because of my mother. Some of you may know that she's a very sick woman. She's also a very stubborn woman. It has been almost 2 years since I moved to Bellingham for her, no progress has been made to get help because she doesn't want it. So now, it is time for me to say "I did all I can" and move on with my life. Or rather, get back to my life.
I can't say moving to Bellingham has been all bad. Yes, it has been extremely stressful and has put my life on hold somewhat- but I also met some amazing people and have had the opportunity to rebuild my friendship with my brother. In Bellingham I met my husband. In Bellingham I made new friends. In Bellingham I rediscovered musicians.
Now it is time for me and NWB to make our return. I have been planning a return for months now. In June we will be renewed. Revamped. We will call upon friends, bands, associates to help us get re-immersed in the beautiful northwest music scene.
Especially now, I am inspired. I am inspired to do what makes me happy, what makes my heart swell, what gives me a reason to move forward and reach my greatest potential. It was through a "death" that I was inspired. It was a "death" giving new life and new meaning to one of my favourite bands from NWB's past roster.

Thank you to all those who inspire me, who move me and who teach me. Thank you to the pain and suffering I have lived through in my life, it has prepared me for the music industry. ;-)

In June 2010, please welcome back Northwest Bands Dot Com :Music Business :Booking, Management.

::Now seeking interns for promo/marketing and also hiring a booking assistant. Please e-mail Jacquee.Sovereign@gmail.com for details or to send your resume and cover letter.

XO
Jacquee
OwnerNorthwest Bands Dot Com
Office:360.441.3698
Mobile: 360.420.0218

Fuck you Bellingham

2009-09-08T19:33:00.000-07:00

Dear Bellingham,

Why does your music scene suck so much? Hm? I have tried time and time again to give you a good talking to and you run out of the room with your fingers in you're ears, screaming "LALALALA Can't hear youuu!".

If only you'd give me the chance to tell you WHY you suck. Maybe it won't be as brutal as you think. And maybe you will grow into a tiny version of Seattle. Wouldn't you like that Bellingham? Even a little?

Then listen the fuck up. Be more professional. Book more local bands (NOT just ones from bellingham). Book less crappy funk/hip hop bands. Recognize your demo. Be more professional (yes I said it twice...). Be less arrogant and cliquish. Be BETTER than you are now.

Now on to more important cities... such as Seattle.

The Lonely Forest CD release show was...

2009-04-25T15:10:00.000-07:00

AWESOME!

Sticking with their friendly nature, the boys of the lonely forest were roaming around, talking to friends, family and fans throughout the show. John was outside talking to people in the line before doors were open- the second time I saw John he was standing on one of the landings of the stair well at the vera giving everyone a high-five as they passed. He said to me; "My goal tonight is to talk to everyone that comes." That is one of the things I really love about this band. They are 4 mellow dudes who don't really think they're 'that' cool.

I bumped into John a few times and he was really anxious- and as usual, he couldn't keep still. I made a bet with myself: John has a ton of adrenaline tonight, he is going to break something. At the end of the first song John let loose, darting around the stage then accidentally hitting the mic stand and his keyboard, sending them both into the faces of the crowd. The crowd pushed them back onto stage and John checked to make sure the piano still worked. "It still works!" he said after hitting a couple keys. There were no more near-breaking incidents during the show.

As I mingled with the many close friends at the show, I was blown away by the larger amount of people I DIDN'T know. The Lonely Forest is a band I've been friends with and worked with since before they were The Lonely Forest and it is so cool to look around at their shows now-a-days and the bulk of the audience isn't their friends and family. They have officially become pretty damn popular!

Their set was electric, the audience was eating it up, they were tight per usual and promptly after ending their set the crowd screamed for an encore! This album will do amazing things for The Lonely Forest- I am very proud of them and happy to have been able to see them grow.

Love you boys!

Rock N' Roll Recap:

Tony got stitches the day before in three of his knuckles
The Anacortes high school choir sang on 3-4 songs
There were cookies passed out to the crowd by Tony during the encore
There was an encore
John's keyboard ended up crapping out before the end of the night
There was a lot of swooning/giggling from teenage girls when ever John would talk/burp on the mic
They played WSBHBWA, my favourite song
Eric wrote PIMP on my hand... thank you eric
98% of people knew all the lyrics to 'we sing in time'
John's vocals coming out all robotic in Tony's monitor. It was only happening in his wedge- weird.

[The Lonely Forest 'We Sing The Body Electric' CD release 04.22.09 @ the Vera Project, Seattle WA]

p.s. will add more later! I am blogging at my brothers house waiting for guests to arrive for his b-day party and they're starting to get here!

This is the must(hear)music playlist. by jacquee sovereign

2009-04-07T13:50:00.000-07:00

I started making playlists for someone and it inspired me to share them with more than just that one person. So I will be posting three new bands every couple days- bands I think you should really listen to and love.

This is the must(hear)music playlist. by jacquee sovereign

M(H)M list Number 1: Pacific Northwest Music

Band: Jaguar Love // Album: Take me to the Sea // Song: Bats over the Pacific // Myspace: myspace.com/jaguarloveband
Band: Fleet Foxes // Album: Fleet Foxes // Song: Winter hymnal // Myspace: myspace.com/fleetfoxes
Band: The Lonely Forest // Album: We Sing the Body Electric // Song(s): We sing in time, WSBHBWA // Myspace: myspace.com/thelonelyforest

M(H)M list Number 2: European Music

Band: Mew // Album: Frengers // Song: 156 // Myspace : myspace.com/mew
Band: Dan le Sac VS Scroobius Pip // Album: Angles // Song(s): The beat that my heart skipped, Angles, A letter from God to Man // Myspace: myspace.com/lesacvspip
Band: The Kooks // Album: Inside In/Inside Out // Song(s): Ooh la, Naive // Myspace: myspace.com/thekooks

The revival of the Crocodile!

2009-03-19T11:05:00.000-07:00

The revival of the CROCODILE

It was just a little over a year ago that the Seattle music scene was hit with a huge blow. The Crocodile Cafe closed its doors. For months after there was a curious buzz in the Seattle air; who was going to take over? This couldn't be the end for The Croc, could it? The buzz seemed to die down and less people were waiting for the news that the Crocodile Cafe would be reopening. Lost hope, old news, move on. It wasn't long before the Crocodile Cafe was just a graffitied shell of what it once was.

I moved out of town and can't say how long everyone had known the Crocodile would be reopening. But I remember just where I was when I found out that it was on its way back. It was September and I was sitting in the green room at Chop Suey with Dan le Sac and Scroobius Pip after their show. Roy Atizado was doing payout for the band and then sat down and told me some of the best news I had heard in ages. And what's even better is that Eli Anderson is booking again, Roy moved from Chop Suey to the Crocodile and sound engineer Jim Anderson is also back.

The Crocodile Cafe was responsible for many great nights in my adult life. Nights filled with white russians and rock music. From when I saw Mute Math for the first time in May 06 to seeing great local bands like The Lonely Forest and The Divorce, there was never a night where I went to the Crocodile Cafe and didn't have a great time. There was a certain charm to the venue that made you overlook all the hideous things looming above your head, and the clashing retro decor of the cafe. What that charm was, was the history of it all. And that was enough to turn everyone blind long enough to enjoy the show.

For many many months everyone at the Crocodile has been working hard to remodel the space into something with real charm and beauty. I think its safe to say now that you won't have to worry about the lint on your clothes that's visible under black light, the bathrooms being semi functional caves, or being pissed that the huge pole in the middle of the room is blocking your view of the stage. Oh, and hopefully Satin has left the building!

I am thrilled that the Crocodile is opening its doors again tonight and is still catering to both promising local bands as well as favourable touring acts. There will be a free 'soundcheck' show tonight as well as tomorrow to welcome the new Crocodile.

3/19 Thursday The Crocodile & Via Tribunali Present
SOUNDCHECK with
Hypatia Lake
The Kindness Kind
The Quiet Ones
FREE!
8:30pm doors
21 & over

3/20 Friday The Crocodile and Via Tribunali Present
SOUNDCHECK with
Akimbo
Brothers of the Sonic Cloth
Patrol
FREE!
8:00pm doors
21 & over

Article by: Jacquee M. Sovereign
03.19.09
Photo credit:
Photo 1: Crocodile
Photo 2: TIG

The Lonely Forest - We sing the body electric! Review

2009-03-18T14:41:00.000-07:00

The Lonely Forest : We sing the body electric!

I first heard the name John Van Deusen nearly five years ago. He couldn't have been much older than sixteen, sharing the stage with only an electric piano, an acoustic guitar, and himself. The feeling of awe from the audience was visceral as he performed a collection of songs so finely crafted, and so marked by a sense of emotional maturity that you would have never expected them from someone so young.

By the time I saw him again the following summer, he had acquired a rhythm section and an electric guitarist, which transitioned into a band proper the following year. Joined by bandmates Eric Sturgeon, Braydn Krueger, and Tony Ruland, they became The Lonely Forest early in 2006 and quickly became an absolute powerhouse of the local indie community, releasing an EP and a full-length rock opera (!) in just under a year. "We Sing the Body Electric!" is The Lonely Forest's first album for their new label Burning Building Recordings (the label they share with fellow Anacortes residents The Oregon Donor).

Drawing its title from a Walt Whitman poem, a Ray Bradbury short story, an episode of The Twilight Zone, or all of the above, "We Sing The Body Electric!" kicks off with "Two Pink Pills", an ode to the sleep-inducing powers of Benadryl. Interestingly, the use of sleeping pills seems to be a recurring theme in the album. This song introduces us to a technique used to great effect throughout the album: the overdubbing of Van Deusen's voice into eerie two- or three-part harmonies. A terrific example of this occurs at the end of "Two Pink Pills", when at least two layers of Van Deusen's voice harmonically arrange themselves around the high pitched squeal of guitar feedback to form a three-note chord, before taking a slow slide downward in pitch.

This bizarre and beautiful experiment leads us straight into "Blackheart vs. Captain America" and "We Sing in Time", my two favorite tracks from the album. They're followed by the raucous "On To Something", a criticism of mass-production consumerism. This is the track where Braydn Krueger really shines as a percussionist. His talent lies in his ability to take what is otherwise pretty sparse instrumentally, and turning it into something that holds the attention.

The album hits a slow spot after this, which lasts for a few songs. At its very lowest points, "We Sing the Body Electric!" is just another solid Lonely Forest album. But low points are brief, and the music is for the most part top-notch. Quickly returning to form for its second half, the album never quite recaptures the magic of the first few songs, such as "We Sing in Time", but manages to excel anyway.

"Stick Upon Stick" illustrates Van Deusen's penchant for whimsy. "Life underwater is chilly and dim/ Behind the dam wall snakes a river of sin/ It's fast and it's thick but she'll never give in/ And down came her tail when the boy learned to swim".

The album is concluded by "Mt. Constitution". "Hope lies in the proles/ That's how they made you/ That's how they wanted you to be", a direct reference to George Orwell's 1984.

This is the strength of John Van Deusen's songwriting ability. He draws influence from the works of great literary minds from Friedrich Nietzsche to Joseph Heller. He blends antiquated science fiction imagery with philosophy, humor, and beauty against a backdrop of punkish energy in a way that makes him seem like just as much a Kurt Vonnegut as a David Bazan.

The result is an artful body of work that is sometimes profound, often surprising, and always enjoyable. It's the work of four young men are creating for themselves an unusually solid foundation for all their future success.

Reviewed by: Brenton William Brookings
Reviewed: 03.18.09
Photos credit: Marty Watson : Elementaryphotography.com

Some shows! -updated 03.01.09

2009-02-19T16:44:00.001-08:00


3.01.09	Donavan Frankenreiter w/ Gary Jules @ Pac Concert Hall
3.04.09	Donavon Frankenreiter w/ Gary Jules @ Neumos
3.06.09	The Blakes @ Chop Suey
3.06.09	Mt. St. Helens Vietnam Band w/ Say Hi, Visqueen @ Neumos
3.06.09	The Lonely Forest @ The Brown Lantern W/The 88 21+
3.07.09	The Lonely Forest @ The Nightlight w/ The Blakes 21+
3.08.09	The Von Bondies w/ The Lonely Forest & Nico Vega @ Neumos
3.11.09	Disney Cover Night @ Chop Suey
3.13.09	The Lonely Forest @ The Empyrean w/ The Globes & Cyrus Fell Down
3.14.09	The Lonely Forest @ Whitworth University w/ The Globes
3.14.09	Blue Scholars w/ Common Market & Truckasaurus @ Neumos
3.21.09	We Wrote the Book on Connectors w/ Team Gina @ The High Dive
3.27.09	Jaguar Love @ Wonder Ballroom w/ OK GO!
3.27.09	The Builders and The Butchers w/ Kay kay and his weathered Underground @ The CROCODILE
3.28.09	Jaguar Love @ Chop Suey w/ OK GO! ALL AGES
3.28.09	U.S.E @ The Crocodile
4.03.09	Noah Gundersen & The Courage @ The High Dive w/ Jordan Lake Band 21+ EARLY SHOW
4.10.09	Noah Gundersen @ Three Trees w/ Daniel Adams
4.10.09	Viva Voce @ Chop Suey
4.11.09	The Thermals @ Neumos
4.12.09	The Lonely Forest Co-Hosting Y&R on 1077 The End w/ Megan!
4.12.09	The Ting Tings @ The Crocodile
4.15.09	The Cave Singers @ The Crocodile
4.17.09	Black Kids w/ Mates of State @ Neumos
5.08.09	Damien Jurado @ the Crocodile w/ Laura Gibson
5.13.09	Mae w/ Barcelona @ Neumos
5.16.09	Noah Gundersen & The Courage @ Common Ground w/ Corbin Watkins ALL AGES

Viva Voce News!

2009-02-19T13:08:00.000-08:00

VIVA VOCE TO RELEASE ROSE CITY ON MAY 26TH ON BARSUK RECORDS

TOUR DATES AND SXSW SET IN ADVANCE OF THE RELEASE

Since the 2006 release of their Barsuk debut Get Yr Blood Sucked out, Portland, OR duo Viva Voce toured non-stop for nearly 2 years, both as headliners and supporting fellow Portlanders The Shins in the US and abroad.

Band founders Kevin and Anita Robinson took an entire year off from touring (unheard of for them) to finish their hand-built backyard home studio and gig around town with country rock band Blue Giant, and have since become something of a hub in the Portland music scene:

Kevin has spent time producing and recording bands like Tu Fawning and Thao with The Get Down Stay Down. Anita sang harmonies on The Shins' Wincing the Night Away album, and performed with them on SNL and on tour. With Blue Giant, Kevin and Anita made it a habit to incorporate a broad cast of Portland musicians to their live ensemble - and now the Viva Voce band itself has grown, as Kevin and Anita have welcomed Corrina Repp and Evan Railton to the official line-up.

Now Viva Voce are back with Rose City, an album they wrote, arranged, and recorded themselves all in one furious month - choosing not to deliberate over every little thing but living purely in the moment musically and lyrically. Immersing themselves in sonic experimentation, it was truly spontaneous and cathartic. The result is an angular, immediate record that pulses with the palpable urgency of a band yearning for a return to the vagabond life of the working, touring musician – a mode in which Viva Voce is truly at home.

Track listing:

1. Devotion
2. Die A Little
3. Octavio
4. Midnight Sun
5. Red Letter Day
6. Good As Gold
7. Rose City
8. Tornado Alley
9. Flora
10. The Slow Fade

Viva Voce on tour:

March:

12 San Francisco, CA Rickshaw Stop
13 Visalia, CA Cellar Door
14 Los Angeles, CA Regent Theatre
15 Tucson, AZ Plush
16 Phoenix, AZ Rhythm Room
18 Austin, TX SXSW
19 Austin, TX SXSW
20 Austin, TX SXSW
22 Denver, CO Hi-Dive
24 Boise, ID Neurolux
28 Portland, OR Aladdin Theatre

April:

10 Seattle, WA Chop Suey
11 Salem, OR Elsinore Theatre

Sasquatch Music Festival!

2009-02-17T11:57:00.000-08:00

We just saw the line-up for the Sasquatch Music Festival and are SO excited to see so many of our friends on the bill!

In RED are our friends who are playing who we are SO stoked to see and in BLUE are other great bands we are also stoked about seeing!

Saturday, May 23th

Kings of Leon / Yeah Yeah Yeahs / The Decemberists / Animal Collective / Bon Iver / Devotchka / M. Ward / Doves / Sun Kil Moon / The Gaslight Anthem / King Khan & The Shrines / Ra Ra Riot / Shearwater / Passion Pit / Mt. St. Helens Vietnam Band / Vince Mira / Blind Pilot / Owl City / Arthur & Yu / Dent May & His Magnificent Ukulele / Death Vessel / Hockey / James Pants / Todd Barry / Tim & Eric Awesome Show, Great Job! / People's Republic of Komedy

Sunday, May 24th

Jane's Addiction / Nine Inch Nails / TV On The Radio / Peter Bjorn and John / of Montreal / The Avett Brothers / Calexico / M83 / The Airborne Toxic Event / The Walkmen / The Wrens / St. Vincent / The Dodos / John Vanderslice / The Submarines / Viva Voce / The Builders And The Butchers / AA Bondy / Fences / Point Juncture, WA / Jon Benjamin / Zach Galifianakis / Deadmau5 / Natalie Portman's Shaved Head / People's Republic of Komedy

Monday, May 25th

Ben Harper and Relentless7 / Erykah Badu / Silversun Pickups / Fleet Foxes / Gogol Bordello / Santigold / Grizzly Bear / Explosions In The Sky / Girl Talk / Blitzen Trapper / The Knux / Monotonix / Bishop Allen / Black Moth Super Rainbow / Beach House / Mugison / The Dutchess And The Duke / School Of Seven Bells / Horse Feathers / The Pica Beats / Loch Lomond / BLK JKS / Demetri Martin / God's Pottery / Chromeo / Tobacco / People's Republic of Komedy

Fleet Foxes on SNL January 17th!

2009-01-12T15:28:00.000-08:00

I remember in 2005 my friend Bryn sitting in my car with me outside of Walgreens, holding his iPod and telling me "You've got to hear this band..." I listened to a few songs and was hooked.
Days later Bryn invited me to go see the band at The Seattle Drum School, he says he'll meet me there. So I go to the show, pretty stoked to see the band. I get there... and Bryn is on stage tuning his bass with the band. Tricky son of a gun.
The band was the Fleet Foxes. The show was awesome, I was floored by Robin's voice (he was 18 or 19 at the time) and his song writing skills. I knew they were something special but so often great bands get torn to shreds by the industry before they get the chance to break out.

I am happy to say the Fleet Foxes were able to survive the fire swamp and I'll be watching them this Saturday on SNL! http://www.nme.com/news/fleet-foxes/42014

xo.
NWB -Jacquee

SATURDAY @ the Rogue Hero in Bellingham!

2008-12-30T22:39:00.001-08:00

I would love it if you would come to my first show of 2009 at the Rogue Hero in Bellingham. It is with my awesome and talented turntablist friend, Jonny AKA Boy Eats Drum Machine. He's from portland and it is always a treat to have him up this way! Also playing is a couple bellingham gems! Opening the show at 10pm on SATURDAY JAN 3RD will be Citizen Escape and headlining will be my favourite Bellingham rock couple and yours; No-Fi Soul Rebellion!

So please come, say hi to me and enjoy the show!

Saturday, January 3rd 2009
No-Fi Soul Rebellion
Boy Eats Drum Machine
Citizen Escape
@ The Rogue Hero
$4, 10pm, 21+
Bellingham WA

See you there!!

XO
Jacquee

My dog Lyuda and nephew doggie playing in the snow!

2008-12-22T22:19:00.000-08:00

It looks like they're fighting but they're really having lots of fun! This is the first time they've ever played together since living together (3 1/2 months). It went really well! They had such fun. :-)

*Lyuda has to have a muzzle on because when I rescued him he was not socialized. We're working on that. And Lyuda is still getting used to his muzzle.*

HAPPY NEW YEAR! LOVE LYUDA KRIS SOVEREIGN AND MONK ORRISS!

Fleet Foxes Review 12.20.08

2008-12-21T11:03:00.000-08:00

Fleet Foxes Review 12.20.08

The buzz around the Seattle-based Fleet Foxes is unmistakable. Their album was described as "one of the most critically-acclaimed albums of 2008" by Conan O'Brien as he introduced them for their appearance on his show just a few days ago. Rightly so. Favorable reviews are all over the net, everyone from Rolling Stone to NME to Pitchfork.

When an album is preceded so by its reputation, there's a risk of letting your perceptions of the album be colored by the hype, and of subconsciously making yourself like it because you think you should. Not so with Fleet Foxes. The music is so purely infectious that all of your expectations and ulterior motives melt away. Much like the escapist fantasy found in a children's storybook, you are led into a world of vivid folk pop music where all of your preconceived notions are put on hold.

The album starts out with a brief a capella piece which then rushes into the folk-tinged acoustic rhythm guitar that forms the basis for the Fleet Foxes style. It's joined by the kind of sparkling clean, vintage country-inspired electric guitar riffs that Fender amps are built for. Vocalist Robin Pecknold's voice soars up to a crystal-clear falsetto and back down again with ease, backed by a Pet Sounds-style harmony. True to the indie-pop spirit, the voices are absolutely soaked with reverb.

Lyrics are cryptic and vague... and hauntingly beautiful. In the mournful acoustic ballad "Oliver James", Pecknold sings, "On the kitchen table that your grandfather did make/ You in your delicate way will slowly clean his face/ And you will remember when you rehearsed the actions of/ An innocent and anxious mother full of anxious love". Heartwrenching.

There's a distinct feeling of antiquity that runs through the entire album. If you allow yourself to forget for a moment that this music draws mainly from Twentieth Century musical styles, you can almost place it right into the Renaissance. Of course this requires a little bit of cognitive dissonance, but perhaps that's what Fleet Foxes intended: to create an album so timeless and classic in style that it doesn't neatly fit into any time period, and requires a little bit of mental squashing and stretching to categorize it.

Rating: 4 out of 4
Reviewed by: Brenton William Brookings

NWB Presents No-Fi Soul Rebellion & Boy Eats Drum Machine @ The Rogue Hero

2008-12-19T15:00:00.001-08:00

NWB Presents No-Fi Soul Rebellion & Boy Eats Drum Machine @ The Rogue Hero in Bellingham!

Come, Dance, Sweat and have fun!

xo.
NWB

BBR Showcase January 9th w/ The Lonely Forest, The Oregon Donor and more!

2008-12-10T20:27:00.000-08:00

We are happy to support a great local label, Burning Building Recrodings. They are home for many of our clients but more than that- our friends. Friends we have beers with on Monday nights at Havana, friends we have had family dinners with, friends we've known since before they could legally buy porn... we are happy that BBR has welcomed so many of our talented, misfit friends into their family. We gladly support a great showcase of all of our friends in the BBR family on January 9th at the Sunset Tavern in Ballard!

myspace.com/burningbuilding
See you there!
Jacquee

Best of 2008... we're working on it!

2008-12-04T23:31:00.001-08:00

So... I'm already seeing tons of 'best of' lists around. And of course we're working on ours. We're changing things up a bit though.

We're doing a best album list, best artists list AND the best BEARDS list. Because lets face it, beards are beautiful and amazing and seattle boys love growing them. :-)

Expect NWB's best of 2008 list in the next couple weeks.

xo
Jacquee

capitol hill block party 08

2008-12-04T23:26:00.001-08:00

Capitol Hill Block Party 2008

Friday

U.S.E
I only caught the tail end of this set, but the part that I caught was just as glitter and smiles as I remember USE being in shows past. I just wish I was a part of the dance party longer!

Girl Talk
Ok, so I wasn't really sure about some of those kids dancing on stage. Did anyone else thing this girl in the green and white stripped shirt may have a furture job at Deja Vu? Or how about that really adoreable geeky kid that took off his shirt? OMG, I could not stop going "awww"! The music was fun but watching the 100+ kids crammed on the stage was far more fun, sorry Girl Talk!

Le Savy Fav
Again, I only caught the tail end of this... but the part I saw was the lead singer stripped to a un-buttoned shirt and his breifs! Not the sexiest sight, but definitely fun!

Vampire Weekend
By their set I was exhausted. I love this band, so I stayed and watched their set. They sound great live and played many of my favourite songs! I was happy to finally see them live- and in such a familiar place, Capitol Hill.

Saturday

Kay Kay and his Weathered Underground
Only 10 people spanned the stage this time. By "only" I mean that at past shows they've had as many as 14!
Kay Kay brought their usual progressive, funky, dirty, just plain weird style to the block party's main stage.
This band is definitely breaking some ground amongst the Seattle music scene and they're loved for it.

The Cave Singers
How beautiful was their set? It was awesome. I managed to find this little space at the side of the main stage that let me see the lead singer perfectly. I have seen them before but this was a far better experience- with such a huge crowd-every band was stepping up their game!

Kimya Dawson
She is SO FUNNY! She was really nervous at first and the songs were a little too fast but as the set went on she relaxed and played to the crowd like a pro! She told a few stories, had her brother play a song and had a sing-along with the crowd. Not to mention she had the crowd help with one of her songs "Now boys and girls, what other animals can you think of? ... And what sounds do they make?" It was adorable!

Fleet Foxes
I only saw a few songs by them because I wanted to go in and see Jaguar Love. The few songs I saw were from the same corner I found for the Cave Singers set- great view of a few of the members. However, I had some really annoying people standing really close to me and they were talking SO loudly. I could barely hear the band! I plugged my ear closest to them but it didn't help much. So sadly, I didn't really hear much of the 3 songs I was watching the Fleet Foxes for. Damn loud talkers, go to the back of the crowd!!

Jaguar Love
Holy crap... the first time I saw Jaguar Love at Neumos I was totally blown away and tonight at the Capitol Hill Block Party 2008 was no different.
This mash up of NW talent is on a whole new level than the Blood Brothers or Pretty girls Make Graves ever were (though both were f.cking amazing bands!).
To add to even more to this shinney new outfit- they have Craig Bonich and JC from Head Automatica playing with them!
And can I just say that I cannot get enough of Cody... he's so entrancing when he's on stage. He's a bouncy, sliding, rock-star posing fool! His dancing really is hypnotizing... try not to look.
If you weren't able to catch them at the Capitol hill block party- you can catch them playing an all ages show at the Redmond Firehouse next Saturday, August 2nd!! 8PM $6
Also, for a review of their last homecoming show in June go to the reviews page!

Jaguar Love will be releasing their first full length Take me to the Sea on August 19th through Matador Records- in the mean time you can download their 3 song EP on iTunes or pre order the full length!

I ended my night with... CHROMEO!
Ok, I'll be honest here, I had never actually listened to Chromeo. I know, I know- I'm horrible. I was so surprised at how much I loved them! Their performance was electric and they were fun and you could dance to them. I just really loved it. Guess what album I'm gonna buy next?

After Chromeo I had to go home, I was exhausted. I missed out on Vellela Vellela and Feral Children also- An extra set by kay kay at the Cha Cha after hours.
Its okay though, I had a gerat time and am not really motivated to go to SXSW this year!

-Jacquee
07.27.08

Kay kay and his weathered underground interview

2008-12-04T23:21:00.001-08:00

Interview number 4
Kay Kay and his Weathered Underground
12.01.07

Interview with Kirk Huffman of Kay Kay and his Weathered Underground

NWB: Where did the band name come from?

Kirk: Originally, kyle and i were just recording songs in hotel rooms all night long while on tour with the band we used to be in, gatsbys american dream. we were flushing out songs with no attempt at that time to start a band, the idea was to write a pop cantata with the lyrical drama being inner monologues of a central character in the midst of falling into schizophrenia, kay kay. schizophrenics are characterized by their hallucinations, prophetic delusions and indications of split personalities, his weathered underground, a reference to the vietnam-era radicals, is the fools paradise kay kay dwells in or the music to the allegory.

NWB: Is there an actual line-up to Kay Kay? Every show I see there seems to be another member.

Kirk: It's a never-ending rag-tag rotating cast. but it's essentially myself, kyle o'quin and phillip peterson and the others acting as the weathered underground
How would you describe the Seattle music scene?
i think it's clearly thriving in a way now that it hasn't ever, at least since i've been here and that's 21 years. this years block party was such an epiphany to me. the fact that whole intersections were shut down, stages erected, a killer line-up of national to international acts from aesop rock to the cribs were booked and all the while the local acts held their own on those stages too. i've been to the every lower 48th state and i know there isn't another place as unique and ahead of the rest of the country as seattle. everyone in my neighborhood is so god damned talented it's downright frightening and as a consequence its a city that enstills a particular drive and ambitiousness in you because everyone is making a name for themselves on their own terms while still being part of a community. i mean fuck, city hall threw a yo la tengo show so there you go.

NWB: What other bands have members of Kay Kay been in?

Kirk: tennis pro, wild orchid children, the lashes, strong killings, the divorce, surrounded by lions, gatsbys american dream

NWB: How did Kay Kay form and what was the idea behind the band? (IE: This is the band that will pay your bills, or this is the band that will relieve you from the job that pays your bills? etc.)

Kirk: When gatsby had called it quits and ended the 5 straight years of relentless touring both kyle and i really wanted to get to recording studio versions of the demos we had been making on the road. we had no money, but we knew phil peterson who is an extremely talented composer, arranger and producer in his own right, who also had a makeshift studio in a charming old northwest home that made a perfect setting for putting these songs to tape. the three of us basically tracked and recorded all of the basic instrumentation and music ourselves while phil charted the orchestral parts to the tunes, which he then brought in string and horn players to track. after piecing together 8 songs we cut a live dvd and lp at the pretty parlor boutique in seattle and released a double-disc lp/dvd under our own imprint, bombs over bellevue. i've never been able to pay my bills with any band i've been in, so i didn't have a whole lot of expectations with this project, so everything that has happened has been an unexpected delight.

NWB: How do you have time for Kay Kay? Each member seems to be in multiple bands- and have jobs. Is this why Kay Kay plays so few shows?

Kirk: Thankfully and luckily we have a host of talented players, so practicing isn't something we have to deal with much, i can send everyone home with a copy of our live record and charts to the songs and know when they come to the show, they're going to do great. everyone is extremely busy, but also extremely dedicated to being on the bus with everyone. scheduling of course is a small reason we choose to play so few shows, but it's much more about the original idea for kay kay's live set, to be over-the-top and jam the stage with a gang of musicians, to have it be less about kyle and i's songs and more about the spectacle and sensory overload. being an event and idea rather than a band on a bill sticks with people, also allowing the listener to not over-consume us cause we're playing in town every weekend.

NWB: Songs like ‘Hey momma’ have an unusual mix of genres (reggae, indie), what are your musical influences – and how do they effect your song writing process?

Kirk: Our musical influences are everything to our song-writing. i don't care who you are, everything is derived from something else. it's the small additions, objections and dashes of unique personality that make the next thing, the next thing and the interesting niches you create from the ashes of a handful of influences. it's never been a big secret that kyle listens to odyssey and oracle endlessly or that i have muswell hillbillies and emmit rhodes tunes on repeat, any bozo can listen to us and figure that out. but again that was the idea when kyle and i started writing the songs. we know we're not and will never be as clever and groundbreaking as mike patton, that wasn't the point. all the records we wanted to model our cantata after are based in traditional american roots music, the same things all our favorite bands were mimicing in the 50's, 60's and 70's and if you know the basic physics of music, how notes are derived from vibrations and what happens to air molecules in the atmosphere around your body when tones are made and received, then you have to understand that there is a much deeper connection between humans and music than ninety-nine cent singles on itunes. that's trading in tradition and heritage for cheap thrills. the point was that we wanted to touch on those classic chord structures and changes, while trying to navigate three styles of music in one song, so the songs had a familiarity at first listen and an ability to get the hair on the back of your neck standing, again, to try and be less about kyle and i's songs and more about the mood and emotions you feel from listening and absorbing the music.

NWB: With the amount of bands/musicians in the NW, do you think that any two NW bands could be connected to each other in some way or another? What way do think is most likely? (a producer, label, band member…etc)

Kirk: There are a handful of bands who operate like that especially locally, i think that is why seattle is so unique and ahead of the game. take minus the bear who used to have a producer, matt bayles, playing in the band as well as engineering, mixing and producing the bands records, then gained all the noteriety on a small seattle label. that's the future man. there's no need for the middle-men or major expenses. more and more i think you're going to find collectives and communes keeping everything under one roof while still hustling using the same tools the major labels do. it's the digital age and all the things the big labels are doing that everyone thought for so long you couldn't do without their help, are right at your fingertips. every band should be their own producer, label, booking agent, publicist and distributor. that's clap your hands say yeah, devandra barnhart, saddle creek and omaha, nebraska, the chuck norris house or the amount of northwest bands signed to sub pop. the band connections and people playing on other people's records, that's all evident in seattle and has been going on for years and a huge reason the kay kay thing even got off the ground. it wouldn't have ever evolved from demos on a lap top to playing on last call w/ carson daly if kyle and i didn't live in a city where talented musicians want to feel connected as a part of a group or community.

Interviewed By: Jacquee

Jaguar Love interview

2008-12-04T23:20:00.004-08:00

Interview number 3
Jaguar Love
11.27.07

Interview with Cody Votolato of Jaguar Love

NWB: Where did the name 'Jaguar Love' come from?

Cody: Coming up with a band name is tricky. Almost anything you comeup with is going to conjure up different imagery for anyone who hears or reads it. Everything is a little too 'this or that'. As well, a band name ends up being really only associated with how a group sounds. Its hard though, because you dont want something totaly lameas well. If its easy to say and looks good written down then your ok. We had a list of all the names we could come up with, went through pain and suffering trying to decide, then chose Jaguar Love in the end. Johnny really wanted to use something with Jaguar and i really wanted to use Love. We just put em together and it fit.

NWB: Do you have any labels looking at you? Are you hoping to sign to a label or do things independently?

Cody: We have a label, but are sorting out the details so I'll have to get back to you on this one.

NWB: When do you plan to go in the studio to record a full length album?

Cody: We are going into the studio just after Christmas to record a full length. Hopefully it will be out in early june.

NWB: Will your current recorded songs (currently available to buy on Crystalcityclothing.com) be available on other sources such as iTunes, CDbaby, etc?

Cody: We've recently taken them down off the site because we are going to record the album. I haven't actually given any thought to the itunes thing, but our record will be available on iTunes I'm sure.

NWB: Both The Blood Brothers and Pretty Girls Make Graves had great success, do you feel any pressure to live up to your former bands' fame?

Cody: I definitely feel that there is pressure on us, but only pressure that is self-induced. No tangible pressure. Just our thoughts. It hasn't influenced how we write or anything though. We are starting from the ground up, so we are just trying to focus on writing songs that we think are good and fun to play. Its really exciting in the end. The pressure might sneak up on us every once in a while, but for the most part we are just enjoying writing music. We want to make a great and purposeful album. It will be nice if some or our previous fans come along and support it, but we are pretty realistic as well. Its not Pretty Girls, and its not Blood Brothers, so some people who love those bands might not like what we are doing now. Its totally understandable and just sort the way it goes when you start a new band.

NWB: What do you think about the recent evolution in downloading presented by Radiohead, do you think it will spread throughout the industry and remedy some of the illegal downloading?

Cody: This is a tough one. I have been thinking about it more and more and im not sure. I do think that its really cool that they would give the power to their fans to decide. It didnt really seem to stop people from downloading it for free tho. I read something that said only 37% of people actually paid something for it. Im wondering if this has only reinforced illegal downloading. It seems people already dont think that they should have to pay for an album and that the artist and the label dont need to get paid for their hard work and time or something. Im not sure if people just dont realize that they play a small part in a large world of downloading. One person downloading doesnt seem like much, but It really adds up. To me, Radiohead offering their album for whatever price someone wants to pay is cool because maybe they can afford it(even there i am assuming this). But what many people dont realize is that its not easy for most bands to record and go on tour and pay for all the things you have to pay for to be in a band. Its exspensive and hard for people to afford it. Its a very complex situation and we all wish we knew what to do. So im not sure if i think that it will help or reinforce illegal downloading. I do commend them for trying something new however. Somethings gotta happen and this has definitely got people who arent in bands or working at a record label talking. We will see I guess.

NWB: How long have each of you lived in Portland?

Cody: Johnny moved here early last summer and J and I moved here August 1st.

NWB: What's the most fulfilling part of being a musician/band?

Cody: We started at such a young age and its consumed so much of our lives. I can speak for all three of us when i say that its something we have always had to do and will hopefully continue to play for the rest of our lives. I really can't imagine never playing the guitar again.

NWB: Were your parents supportive of your decision to become a musician?

Cody: My mom supported it but never truly got what i was doing at first. It took some time, but now she is probably my biggest fan. It wasn't a conscious decision to become a musician either. It was just something i did as a kid that turned into something that would carry on to my adulthood. There wasnt even really any discussion about it. It just happened.

NWB: The band has already scored some amazing shows (such as the shows with Queens of the Stone age), do you have plans for a national tour. If so, what
time frame and who do you hope to tour with?

Cody: We will hopefully be touring next spring. No concrete plans yet but its going to happen.

NWB: Which member is most likely to win in a dance off?

Cody: Hmmmmm.....I think it would be too close for me to say. I'm picturing each one of us dancing in my head and it's really funny.

NWB: What other projects do you each have going on? Does one project take priority over another? (Neon Blonde, Crystal City Clothing...etc)

Cody: Right now, Jaguar Love is our priority. Crystal City is going strong and im not totally sure on johnny's plans for Neon Blonde are. J has a solo project hes been working on thats really good. There have been talks of getting some Head Wound City stuff going as well, but nothing concrete.

NWB: What has been your favorite concert that you've attended (and not performed at)?

Cody: Kris Kristofferson at the Moore Theatre in seattle.

Interviewed By: Jacquee

Mutemath interview

2008-12-04T23:20:00.003-08:00

Interview number 2
MuteMath
10.6.07

Interview with Paul Meany of MuteMath

NWB: After seeing the amount of physical damage (9 stitches) that Darren suffered at your Seattle show at Neumos, I began to wonder; What's the worst injury a member has suffered during the beautiful chaos that is- a live Mute Math show?

Paul Meany: That probably was the worst. Although there has been a lot of physical mishaps that led to more emotional injuries.

NWB: Responding to fan mail and creating personal video blogs on you tube creates a unique bond with fans that a lot of other bands don't have- do you feel this has become an extension of the marketing and promotion for Mute Math or are you just a bunch of guys that really like video taping each other and putting it on the internet?

Paul Meany: So basically your asking me if we like promoting our band or are we just creepy. How bout a little bit of both.

NWB: With your growing visibility and fan base you're able to tour with larger known bands, which band has been your favourite to tour with so far and who would you like to tour with in the future?

Paul Meany: It's not who you tour with but who you tour for. As long as there are some people in the audience we'll be in for a good time.

NWB: The energy that you present on stage is infectious, your audiences must be as insane as you at times; what has been your most intense fan interaction at a show?

Paul Meany: I remember this one guy at a show in Nebraska who heckled us the whole time in between songs but positively. I sincerely couldn't figure him out. He would not shut up about how wonderful he thought the show was going as it was going. We were just caught in between feeling flattered, patronized, and annoyed. But it did make for quite an entertaining show.

NWB: If you weren't in an amazing rock band, what other career would you choose to invest your time in?

Paul Meany: I'd make suitcases.

NWB: As a band, what are your goals and aspirations- have you reached them?

Paul Meany: When Mutemath becomes an official word in the Dictionary, then we will have achieved our goals.

NWB: Will your forthcoming album be in the same vein as the first or should fans be prepared to be shocked and amazed by a new suit and style?

Paul Meany: Yes.

Thanks for the entertaining answers Paul! Looking forward to the next show!

Interviewed By: Jacquee

Scroobius pip (uk) interview

2008-12-04T23:20:00.001-08:00

Interview number 1
Scroobius Pip
08.05.07

NWB: 1000 words is an audible autobiography of your music career, what gave you the idea to create this song and was it written/recorded on a whim?

Scroobius Pip: It's just as much an audio autobiography of my life. When I wrote it I didn't have a music career you see. It tells the tail (part true part fiction) of how I got my stutter. I have had one since the age of 4.

NWB: I discovered 'Scroobius Pip' via 'Dan Le Sac VS Scroobius Pip ' and the song 'Thou shalt always kill', did you expect Dan Le Sac VS Scroobius Pip to become a gateway for your solo music?

Scroobius Pip: Everything that's happened has been a lovely surprise really. Dan le Sac's beats have a way of making my poems and writings all the more accessible. Its strange because, individually neither of us have the most commercially accessible styles but when we work together something seems to just jel.

NWB: When did you start performing in front of live audiences (including open mic night type situations)?

Scroobius Pip: Around April 2006 when I released my solo album (no commercial breaks). I quit my job, recorded the album the toured the country living in my 1987 space cruiser and performing on street corners, open mics and anywhere else I could get heard. I decided that turning up to gigs by artists like Buck 65 and Mr Scruff and performing to their queue was a great way to get my stuff out there. They will literally line my target audience up against a wall for me.

NWB: What are your musical influences as a solo artist and have those changed since Dan Le Sac VS Scroobius Pip was formed?

Scroobius Pip: My influences are really varied and they develop (as opposed to change) all the time. Guys like Sage Francis, Saul Williams, Aesop Rock and many others have been a huge influence but then so have Rancid, Glassjaw, John Coltrane, Johnny Hartman, Jim Morrison and Minor Threat. I try to take influence from everywhere i can. Recently, on the UK spoken word scene, I have been blown away by the likes of Polar Bear, David J and Poem Inbetween People. Its great to get inspired.

NWB: What was the first venue you played and who else did you play with?

Scroobius Pip: First performance I did was a street one outside a DJ Shadow album preview. I then jumped in my van and drove to Camden to do my 2nd street performance, which was outside a Buck 65 gig.

NWB: What/who is your biggest inspiration when writing a new song or poem?

Scroobius Pip: Everything really. I know that's a rubbish answer but its true. Literally anything can inspire poetry whether it be an event or just hearing a new word or phrase and wanting to manipulate it.

NWB: Being from Seattle Washington I am unfamiliar with UK venues, do you have a favourite venue that you would suggest to a tourist or curious journalist?

Scroobius Pip: Its all about the promoters as opposed to the venue in my opinion. There are a group of artists/promoters called One Taste that put events on in London and they have a consistently high standard. On the poetry front Pojazzi and Lazy Gramaphone are also great promoters.
Outside poetry it gets real varied. DIY Womp and Best Laid Plans always seem to have a high standard and wide range of acts.

NWB: Dan le Sac is occasionally responsible for your live beats and you two collaborate often, did 'Dan Le Sac Vs. Scroobius Pip' seem like the natural evolution of your musical relationship?

Scroobius Pip: Very natural. And it is the main focus for everything i am writing and moving forward with. Its just really exciting to meet someone that is so good at making beats and that i can just bounce off of. I received the beat for "Thou Shalt Always Kill" via email and within an hour and a half I had adapted a poem, recorded the vocal and emailed it back. There's a real buzz and excitement between the two of us.

NWB: What is the group mentality of Dan Le Sac VS Scroobius Pip - Is it similar to Ghostland Observatory's "Ghostland is not a band, but an agreement between two friends…"?

Scroobius Pip: I feel we are very much a band. As I said in the last question, nothing I have done previously has excited me as much as the work with Dan le Sac and the work we are doing for our forthcoming album. We will both continue to collaborate elsewhere and do solo stuff I'm sure but this is the main focus.

NWB: In the northwest area of the states Dan Le Sac VS Scroobius Pip is getting a fair amount of radio rotation, how wide spread is Dan Le Sac VS Scroobius Pip's visibility and is the visibility in the states strong enough for a U.S. tour in 08'?

Scroobius Pip: We are hoping to hit the US in late 2007. We will hopefully be visiting New York and LA (predictably) but if the word continues to spread then, yeah, we would love to have a bigger tour in 2008

Thank you to Scroobius Pip for being a good sport, he is a sweet and talented guy!

xoJxo

Jaguar Love show review

2008-12-04T23:19:00.003-08:00

Jaguar Love
Neumos, Seattle June 2nd 2008
Reviewed 06.8.08

Blood Brothers and Pretty girls make graves fans have a new love affair! Johnny Whitney, Cody Votolato and J Clark form Jaguar Love.
They wrapped up their US tour in their former home, Seatlle, to an intimate crowd of excited fans. Dressed down in matching white outfits and vests, Jaguar Love took the stage after sharing the show with local boys Das Llamas at Neumos.
Throughout their electrifying set Whitney was rockin so close to the crowd that nearly every head whip sprayed sweat all over the front row. No one seemed to mind because they were so enraptured his addicting vocals and his hot poses.
Whitney wasn’t the only one whipping out his best moves! Votolato can do a fierce electric slide and even snuck in a few moonwalks! Just saying, Cody- you had it going on!
As talented and entertaining as Whitney and Votolato were, it was hard to take my eyes off of Clark. His drumming was fantastic- I often looked over at my friends and mouthed “Shite!” and got nods of agreement.
Speaking of fantastic, did anyone else recognize the surprise guests Craig Bonich and JC of Head Automatica? It was an awesome treat to have Bonich and JC play along side the infectious Jaguar Love boys. Both Bonich and JC are incredible musicians and fun performers.
Going from killer bass lines to smoky guitar riffs, Bonich switched instruments from song to song. JC stood next to Bonich and they exchanged friendly smirks as he jammed on the keys, supporting one foot on the top of a monitor. Classic rock star move.
Currently touring in Europe, this Neumos show was likely one of the last small, intimate shows we will witness from Jaguar Love. They have their show down and I’m definitely stoked on this mesh of amazing musicians, they have great chemistry and are already highly popular.
Welcome home Jaguar Love from their European tour by watching them at the Capitol Hill Block Party in Seattle on July 26th!

Reviewed by: Jacquee Sovereign

the fitness show review

2008-12-04T23:19:00.001-08:00

Vera Project :: 01.15.05

Ms. Led left the stage after playing their catchy, melodic Green Day-esque set. The lights at Vera Project came on while the next band, "The Fitness", prepared to pump you up with their semi-unique, 80’s synth & drum machine retro comeback originals, which didn’t really sound all that original. Most of their songs reminded me of Berlin’s “The Metro”, but with lots of unintelligible yelling. It was as if I was listening to many different versions of the same song. Later in the set they added an abrasive, lo-fi, distorted guitar or two to change it up a bit, but overall I wasn't that impressed. They redeemed themselves somewhat and really got the crowd shaking with "Chauffer", a catchy celebrity-worship-themed song which has been making the rounds on local radio stations. Their rendition of 80's metal band Motley Crue’s “Shout at the Devil”, was a crowd pleaser to the all-ages crowd who, ironically, probably didn’t know it was a cover tune. All in all, the songs were catchy, but with the lack of musicianship and one-dimensional sound, I can't see The Fitness being more than a one hit wonder at best.

review by: Alysin Crase

John Van Deusen show review

2008-12-04T23:18:00.004-08:00

Visit johnvmusic.com

Common Ground:: 6.19.04

John Van Deusen, a 16 year old from Anacortes, has an exclusive technique that separates him from the majority of the local musicians.

Following the set of his good friend, Tim Leighton, John easily grabs the crowds' attention and displays his ability to try new and unusual things despite possible expectations of him.

The atypical sounds booming from John's IPOD were intriguing and engaging. After a few minutes of John and his audience listening to a compilation of chaotic sounds, a slight hip-hop beat was added. Van Deusen pierced the machine-produced music with bracing keys that were further captivating. This being the second time I have seen John perform a solo set; I am still floored by the mature voice that comes out of the young artist.
John Van Deusen is an obvious creative soul. Despite having little training on piano he is still able to create suiting melodies that do not sound even slightly novice. Natural talent and presence behind the mic is an advantage. John's calmness on stage makes even the most chaotic moments comfortable for his audience. That is the definition of good stage presence. If he is nervous at all while performing he certainly masks it well.
The fourth song on his set list is a song influenced by the book "1984". This song is yet another example of John's strong artistic quality, with lyrics that are deep and experienced.

Ending his set by turning up his guitar so loud that the audience began to wonder if it was truly intentional, while screaming repeatedly, he set an amazing ambiance. With an abrupt end to his song, it felt much like a gasp. Like everyone in the room was holding their breath while John poured out the piercing chords from the guitar and unanticipated screams. It was an amazing end to a wonderfully surprising set.

review by: Jacquee

Isaac Marion's moon colony review

2008-12-04T23:18:00.003-08:00

Isaac Marions Moon Colony
Dead Children
02.03.2008

Upon first hearing the opening few tracks of “Dead Children” I was really at a loss for words in terms of how I was going to describe their sound and what I would qualify as the strong or weak aspects of the album as a whole. In truth, I really had no clue what to think of them in the first place. To say that Isaac Marion’s Moon Colony was my cup of tea, or right up my alley would be entirely false, in fact. However, as the album drew on, I found myself slowly drawn in by the churning rhythms and slightly irregular melodies. It’s definitely not the kind of album marketable to a mass audience, but will certainly draw in their target crowd in droves.
To start, the mixing on “Dead Children” is nothing short of brilliant. Although at times it feels as if there’s almost too much going on at once, there is still a sense of “organized chaos”, as the cliché goes. Despite the amount of things going on at any particular time, each sound seems to be carefully organized and well structured throughout the duration of the album. In truth, though, my favorite bits of the album were the much more isolated and simplistic musical pieces. A simple driving bassline here, a mellow piano piece there. Isaac Marion (and indeed, his entire Moon Colony of guest musicians) is incredibly gifted at creating and properly implementing captivating and interesting melodies. They’re definitely not the same kind of sing along pop melodies you’ll hear on top forty radio, but they have the same sort of innate ability to draw the listener in.
Vocally, many of the songs are actually reminiscent of newer Modest Mouse, but Isaac’s much more powerful voice (and powerful lyrics alike) as well as his diversity and range make for a more interesting listen. The only real difficulties I had with the album in general were that the songs seem to blend together into on giant track. Usually I’d praise an artist for being able to so seamlessly and coherently blend together entirely separate sonic concepts, but in some cases here, I could imagine where a listener could feel slightly bored and want a more varied set with a couple quicker pace changes to keep things interesting.
The most intriguing aspect of “Dead Children”, however (and I realize I’ve mentioned this same concept for a couple other bands) is the perfectly placed use of external noises and sound effects to give the music a more full vibe. This fits in the same general category as the mixing in a way, but I feel the selection of backing quotes and sound effects themselves are just as, if not more important than the way they were seamlessly mixed in. My favorite quote from the entire album is actually from the last track, in which a man talking to a small child says “Do you know why Jesus was born? To die.” Dead Children is full of similar interesting little quirks, and they’re what make it the solid album it is, from start to finish.

Songs to keep an ear on: “The Colonist”, “The Saints Go Marching Out”, and “Dead Children Talking”.

Reviewed by: Brian Anderson

The Mob Law review

2008-12-04T23:18:00.001-08:00

The Mob Law
Hold us Down
01.04.08

Words cannot accurately express how impressed I am with the newest from the Mob Law, titled "Hold Us Down". A unique (and for once, I really do mean unique) blend of hip hop, reggae, punk, and ska, they find themselves somewhere on the musical spectrum between Sublime, Blue Scholars, Pepper, and Public Access. Generally, when listening to similar-minded bands, I find myself noticing that although they "blend" different genres, each song will generally sound exactly the same, with the same basic recipe for putting together each track. In The Mob Law's case, however, each song has its own entirely different feel and although I can definitely hear each of the different musical influences in basically every song, they still remain separate musical entities with very different styles of composition.

Vocally, they actually do strongly resemble Sublime and although that is certainly a compliment (as Sublime is one of the quintessential ska/punk bands of the 90's), it may also throw off some listeners who find them simply derivative. If this is your school of thought after hearing the first few songs, I implore you to reconsider and continue to listen to the entire album. Although they do draw in influences from several quite noticeable genres and even more specific bands, they find ways to use their creative prowess and make each track their own. Lyrically, they also seem to blend each of the influential factors behind their music, drawing in the revolutionary aspects of underground hip hop and punk and mixing with the more chilled out aspects of reggae and ska.

For the most part, they keep the music pretty simple, as they let the vocalists and lyrics carry the band, but there are definite moments of brilliance and at several points the precision and crafting of the drumming/percussion is nothing short of spectacular. Throughout the entirety of "Hold Us Down", there is a sort of musical cohesion that is very rarely found anymore. The boys of the Mob Law work incredibly well together and it's completely apparent from the first thirty seconds of the first track. In fact, the only qualms I have at all about the album at all is that it's been nearly impossible for me to pick out a favorite song. I told myself I'd be a bit harsher and more critical with my reviews in 2008 (a sort of twisted new years resolution, I suppose), but I simply cannot find anything negative to say about them. The record is solid from start to finish and will probably be on permanent repeat for a while by the hookah in my garage. Even the six minute epic ska journey, titled "Promises" kept my attention throughout the lengthy track.

However, the most important factor behind the brilliance of "Hold Us Down" are the melodies driving each song. After only a couple listens, I've already found myself singing along, humming along, and getting the tunes stuck in my head. There's a big difference between a well crafted song, and a well crafted song that can get stuck in your head all day, and The Mob Law have created an entire album of the latter. In short: an absolutely incredible album. I love it.

Songs to keep an ear on: "Hold Us Down", "Life Worth Livin' ", "Keep On Shinin'"

Reviewed by: Brian Anderson

Sea Navy review

2008-12-04T23:17:00.005-08:00

The Sea Navy
12.18.07

Upon hearing the first thirty seconds or so of the latest from the boys in The Sea Navy, titled "Oh These Troubled Times", I began to worry I had gotten myself into another album filled with the stereotypical northwest indie-rock sound, and wasn't really sure how I felt about it at all. Luckily for me, I was pleasantly surprised shortly thereafter, as their sound began to evolve not only song to song, but inside each individual track as well. Their sound ranges everywhere from mellowed out soft acoustic indie to more upbeat guitar driven rock, almost reminiscent of Against Me. They seem to find a way to make a simple three man indie group feel like a much deeper and more complex full sound. Lyrically they seem to break from the mold (or at least what I expected of them) as well, which was certainly a nice little surprise. In fact, if I had to categorize "Oh These Troubled Times" in one short phrase, that's the exact wording I'd use: "a nice little surprise".

Songs like "Super Power Syndrome" are a perfect example of the band's ability to shift through and blend various genres as they push their way through a variety of stories and perceptions of the world and the people in it. The song starts off with a guitar/drum combination straight out of Gainesville. Just when I thought I had a grasp on the style of the song, the chorus hit, and I found myself bopping along to some keyboards that sounded like they were straight out of the late seventies, completely confused, but entirely content at the same time. The song "Avenue A" (which, coincidentally, is also by far my favorite on the album) begins with the same sort of Against Me-esque guitars, but stays on the mellower side, taking listeners through a story in the most melodic and well organized campfire style song I've ever heard. Part of what makes their songs so easy to listen to and follow along (aside from the aforementioned melodic nature and mellow, simplistic structure) is their ability to create a sense within the listener (or within myself at least) that they can relate to the lyrics. I'm not talking about relating to lyrics in a sense of understanding more simplistic emotions, but on a much broader, yet deeper level, of the journey through life and all the ups and downs in between.

Musically, it's hard to categorize this piece of collective work as anything in particular without lumping them into a more generalizing category such as "indie rock" but don't let the label fool you. Their ability to take simple songs and melodies and make them seem timeless and free of the boundaries of any typical indie band. Vocally sometimes I wasn't really sure what to make of certain songs, but as a whole I was pretty content with the sound and it certainly added more than it detracted from the overall sound of any given song. However, it seems that Jay Cox (vocals) doesn't really use his voice to its full potential, as I feel like I can hear a lot of hidden power and grit hidden underneath there. In total though, I was incredibly impressed with the the overall effort an sound in "Oh These Troubled Times" and look forward to hearing more from the Seattle boys, The Sea Navy.

Songs to keep an ear on: "Super Power Syndrome", "Avenue A", and "Divorced, Beheaded, Died, Divorced, Beheaded, Survived".

Reviewed by: Brian Anderson

Siberian review

2008-12-04T23:17:00.003-08:00

Siberian
With Me
Reviewed 12.9.07

This week I had the pleasure of reviewing the album "With Me" by Siberian. My choice of words is sincere. It's been a great listen.

I recently got to see Siberian live in Mount Vernon, Washington. Unfortunately I was distracted that night by a pounding headache that left me curled up on a reclining chair in the back of the room. As much as I hate to say it, any faint recollection I might have of Siberian's set that night is obscured by a painful blur. It would have been a terrible thing if my exposure to this band had been left at that, marred by my unfortunate circumstance. This is why I am so glad that this album was presented to me for review, because it gave me a second chance to discover them (sans headache, this time).

From the get-go of this album, Siberian presents to us a swirl of guitar chords tied to the framework of a syncopated drumbeat. Reverb is used to pleasing effect, and lends to the sound a slightly dreamlike quality.

Enter vocals. Comparison to Thom Yorke is unavoidable. The singer's voice carries these lilting melodies that rise and fall in punctuated bursts. His voice is sad and distant for the most part, and occasionally reaches up into a gentle falsetto that seems tender and introspective.

Guitar tones range from clean and dripping with reverb to a crunchy overdrive. There is a lot of motion in the instrumentation, which creates a frenzied, frenetic feel. There's even an acoustic track (entitled "Georg Bendemann"), fingerpicked and mellow.

The lyrics are a little tricky to make out at first because of the punctuated rhythm of the melody, but a closer listen reveals them to be intelligent and poetic. They use wit that is sometimes harsh and biting to address an unnamed, yet well-known confidant. The use of metaphor and imagery paint a distinct and poignant picture.

This is an album that has earned its way into my collection, and I am thankful that I had this opportunity to give them a fair listen without the distraction that encumbered my earlier attempt.

Reviewed by: Brenton Brookings

War stories review

2008-12-04T23:17:00.001-08:00

War Stories
War Stories
11.15.07

The bright tinkling of piano keys leads us into the opening track of the self-titled album from the Southern California-based War Stories, to be joined moments later by the rest of the ensemble. Upon the arrival of a heavily-distorted guitar tone partway through the song, we are greeted by a confident, optimistic pop/rock sound that the band carries through the entire album.

In fact, "confident" and "optimistic" are two qualities that permeate every aspect of this endeavor, including the lyrics. Even when the subject matter is not all roses, it’s always handled in a way that leaves us feeling inspired and strong. It’s never dark. It’s never desperate. And that’s what makes this album such a pleasure to listen to.

These lyrics are delivered to us by vocalist Evan. His regal-sounding croon is almost reminiscent of Morrissey at times, and does an exceptional job of giving their music a unique signature. His voice channels all of the passion and sincerity of the lyrics into a tangible form.

Their swirl of positive-sounding alternative rock is accompanied by near-constant synthesized keyboard tones in the background of the often clean guitar chord arpeggiations of guitarist Reid, which in more intense moments builds to heavily-distorted power chords. This variety of dynamic levels prevents the music from ever getting boring. Musical keys seem to be predominantly major, which lends to the bright sound that the band carries. Strategically-placed moments of chromaticism characterize the thought-provoking nature of the politically-conscious "What Does God See", a ballad in 6/8 time.

Thematic content ranges from social and political awareness to romance and sexual desire (and everything in between). I walk away from this album feeling inspired and encouraged. Sadly, not enough albums do this for me anymore. And for that reason, I regard this album highly.

Reviewed By: Brenton Brookings

Ambulance for Angeles review

2008-12-04T23:16:00.003-08:00

Ambulance for Angeles
Viper Creek Club
Reviewed 11.12.07
Organized chaos. That is essentially what makes up the foundations the latest effort from Ambulance For Angeles, entitled "Viper Creek Club". This piano driven indie-rock band delivered something I certainly didn't expect with this EP, but after a few listens I found myself enjoying it more and more. The elements making up the music are virtually the same as most other prominent indie bands, but are arranged in a much different manner. It seems that most bands described as "piano driven" tend to be generic rock bands that happen to incorporate pianos. In this case, though, the songs on Viper Creek Club, with the exception of "Sweaters for Spring", really are carried almost solely by the piano/keyboard tracks. The melodic, yet chaotic tracks seem to blend together into one cohesive unit. The only thing it leaves the listener wanting is more.

However, musical construction aside, the most prominently impressive aspect of Viper Creek Club is the pure passion with which each song is created. From start to finish it delivers a solid twenty three or so minutes of passionate (both musically and lyrically) rock, drawing the listener into their own little world where they are left to explore the emotions and driving forces behind the music. Melodically, each song is kept fairly simple, as they certainly do not have the need to overcompensate for a lack of content. Of the five songs on the album overall, I actually tended to gravitate towards the two musically simpler tracks. The more basic guitar, piano, and backing vocals provide a perfect strengthening background for the leading vocals, which were a bit perplexing at first, but slowly grew on me. The vocals on songs like "Sweaters for Spring" and "My Embroidered Tusks" contain a certain wavery quality, almost reminiscent of (dare I say) early Conor Oberst. Songs with this emotional style of vocals and the addition of an almost campfire-esque guitar, mixed with their style of lyrics, create an almost irreproducible overall sound that will likely carry Ambulance For Angeles as they continue to grow as a band. On top of that, once paired with the more rocky, piano driven songs, it creates an even more interesting juxtaposition of sounds and helps create a truly cohesive (although unfortunately short) EP.

Songs to keep an ear on: "Sweaters for Spring" & "When We Were Showgirls"

Reviewed By: Brian Anderson

The kindness kind review

2008-12-04T23:16:00.001-08:00

The Kindness Kind
A Novel
Reviewed 11.8.07

Somewhere, floating around the vast sonic universe, swirling in a maelstrom of music, culture, and storytelling, can be found the Kindness Kind's album, "A Novel". Pulling in elements from every corner of the musical spectrum, they've created an album as diverse as it is brilliantly put together. Think of vocals reminiscent of Metric blended with Blonde Redhead, the almost classical quality piano of Muse, the dream-like aqueous aspects of Thrice's "The Alchemy Index", and the delicately engineered sounds and noise construction of Radiohead's "OK Computer". Yes, I'm well aware that sounds like a complete mish-mash of completely opposing genres and sound-styles, but they pull it off incredibly well.

Musically, a good portion of the album was slowly lulling me into a sort of musical trance. I found myself sitting on my bed, eyes gently closed, slowly swaying my head as dream-like melodies pulled me through a variety of mental states and images. It is their ability not only to create these soft, carrying melodies, but also to incorporate a variety of (seemingly) computer generated sound effects and other noise variations which strongly bind the songs together. In addition to that, Alessandra Rose's powerful yet eerily wavy and melodic voice is what truly lifts their sound to a higher level. She seems to have the concept of power and timing down pat, and knows exactly when to use what style. The song "Roadmaps and Guidebooks" (which, on a sidenote, is by far my favorite on the record) demonstrates this perfectly, as her voice begins the song slow and dreamy, building slowly up in a bright crescendo, blossoming into a powerfully driven rock voice in the latter stages of the song.

I actually found myself at a loss when trying to compile a list of critiques of the album. Every time I'd begin to pick a point out where I thought a change was in order, I'd listen to the same track again and I found myself realizing they had already done what I was thinking of. The only even slight issue I had with the album as a whole was the transitions between some of the more varied song styles. It works well throughout most of the album, and everything seems to be pieced well together logically but there are a couple instances, for example, the transition between the much more abstract "Roadmaps and Guidebooks" into the much more generic indie-rock song, "Midnight Flights", where the transition seems to be too much, too fast. The listener expects a change of lanes, and instead find themselves on a completely different road, which left me slightly baffled upon my first few listens.

The single aspect of "A Novel" that drew the greatest portion my attention on first listen were the intro, interlude, and outro tracks (if they could be labeled as such). They provide an interesting transition between concepts and help tie the album together as a singular entity. In essence, if the record is the multi-course meal, they are the palette cleansers than ready one's ears for the next course.

However, musically, there isn't even the slightest of hiccups in "A Novel". For me, it's the type of album that requires being in a certain mental place to listen to, but once I find myself in that mood, I seem completely unable to put this record down. It is solid from start to finish and is definitely one of the better whole albums I've heard out of the Northwest this year. You'll find yourself putting this CD into your car, or boombox, or iPod, or whatever you play music with, and simply letting it play again once it finishes. Just when I think I'm ready to listen to something else, the next song begins and I realize why I'm still listening.

Songs to keep an ear on: "The Rain Came Late", "Street Song", and "Roadmaps and Guidebooks".

Reviewed by: Brian Anderson

The lonely h review

2008-12-04T23:15:00.004-08:00

The Lonely H
Hair
Reviewed 10.26.07

What happens when you cross melodic folk-rock with acoustic hippie jams, throw in some classical as well as classic rock influences, and add in a few dashes of modern indie? Well, even after listening to this album several times, I still have absolutely no clue. What I DO know, however, is that I like it. A lot. The Lonely H have seemingly created what I thought to be an extinct item in the modern world of music: an original album. Although each aspect of the album is fairly easy to pick out, when mixed all together, it creates a distinctly unique blend of sound, setting it well apart from their "classic rock" and indie-rock contemporaries.

The song "The Drought" alone is enough to leave any listener in an awe-stricken stupor. It contains such a diverse amalgam of sound that it essentially makes it impossible to place a single genre on it. However, unlike many other genre-bending modern artists/bands, the Lonely H does much more than simply juxtaposing a few different styles of music and dispersing them throughout the album. While each song has its own distinctive sound, they each also contain the same general principles of sonic blending. Each song seems to have been very carefully musically crafted, with a pinpoint attention to detail.

Although Hair is strong in virtually every aspect throughout the entire album, it certainly comes as a bit of an acquired taste. It really took me a few listens to start getting into, so keep that in mind when listening, and never dismiss it upon first hearing alone. Musically, there were only a few small pieces I found troubling, but although the pieces may have been slightly bent, they still fit perfectly into the rest of the puzzle. The vocals falter at a few points as well, but in terms of an overall piece of work, Mark Fredson delivers a strong performance throughout the duration of Hair.

The most intriguing thing about the newest product from The Lonely H is the diversity in melody. Most bands seem to find a melodic pattern that suits them and write their songs to fit around that particular pattern. This album, however, seems to have been written so that the melodies each fit the distinct songs they were written for, and creates an interesting mash-up of different sounds to compliment the already vast diversity in terms of musical genres. This sort of songwriting is a rare gem in today's "market" and sets The Lonely H apart from nearly all of their contemporaries.

Overall, the album delivers a solid (nearly) forty minutes of everything from mellowed out chill songs to faster paced rock jams that won't leave any listener disappointed. Songs to keep an ear on: "The Drought", "Captain", and "Yeah, Yeah".

Review by: Brian Anderson

Boy eats drum machine review

2008-12-04T23:15:00.003-08:00

Boy Eats Drum Machine
Two Ghosts
09.28.07

Lately, when people have approached me in search of new music, I’ve been insisting that the music scene in Portland, OR, has been spawning one great band after another. And Boy Eats Drum Machine (BEDM) is point in case.

BEDM is back with the evermore whimsical 2007 album, “Two Ghosts.” I haven’t heard a band hold such abstract music together with such delicate threads since Anathallo burst onto the scene a couple years ago. With everything from epic timpani beats in “(in) Crossing Wind” to edgy turntable mixes in “’We’ll Blacken Up the Sky,’” this band knows how to take educated risks.

Lead vocalist, Jon Ragel, has a familiar voice that makes singing sound like an easy task. He has an almost Brad Nowall voice; and even uses some Sublime-esque lyrics. Check out “From an Oregon Shore” and see for yourself. There are also hints of electronic collaboration, much like what local sweethearts Mercir are doing. But wait, there’s more…

Many of the tracks feature heavy, repetitive drum beats, especially evident in “Into the Deep Spaces of the West” and “’Tie Them to the Trees.’” But along side these nearly tribal and electronic sounds, Ragel sprinkles in triumphant strings and soothing vocal melodies, creating a musical mishmash that can only be pulled off by a select few. BEDM brings a fresh approach to what it means to be a musician in today’s indie rock scene.

The organization of “Two Ghosts” as a whole is a story of lovers escaping an oppressive society, and the album artwork inside the CD case reflects that theme. The CD is meant to be listened to as a whole, rather than picking out a catchy single. The overall musical experience being set-up as a story helps tie together any loose ends that might remain from the random combinations of genres and instruments, which is typical of BEDM.

What I can really appreciate about “Two Ghosts” is that BEDM doesn’t seem to have to try very hard to make this album a work of art. The juxtaposition of uncommon tones and the variety of styles present could easily make a band seem like they were trying to accomplish something great with a new album. Especially when you add operatic backup vocals, a full set of symphonic strings, and an accordion. But kudos to BEDM: this album is a precarious orchestration of well-executed creativity.

Reviewed by Karalee

Schoolyard Heroes review

2008-12-04T23:15:00.001-08:00

Schoolyard Heroes
Abominations
09.24.07

Schoolyard Heroes have done it again. Their 2007 release, "Abominations" brings back to the table everything their fans have come to know and love about the band. Driven by what has become their staple guitar riffs, crazy (we're talking the good kind of crazy, of course) operatic vocals, and horror-movie-esque themed lyrics, this record takes their previous standards up yet another notch. On first listen, I wasn't really sure how I felt about the album as a whole, but with each listen, the overall sound grew on me more and more. I found it to be lyrically baffling at times, but I've grown accustomed to that feeling whilst listening to their other records over the years and have grown to love their monster-ridden graveyard tunes.

Vocally, "Abominations" is everything I expected and more. Filled with catchy tunes about nightmares, graveyards, demons, and the like, Ryann's vocals couldn't possibly fit the sound/lyrics of the band better, and that has never been more evident than on this record in particular. Her operatic, over the top style meshes incredibly well with guitarist Steve Bonnell's riffs and creates an undeniably unique sound. There's definitely no mistaking any of these songs as being anything but Schoolyard, which is a quality hard to find among even good bands these days.

Above all, however, their biggest strength as a band, especially noticeable with this album is their ability to create songs that will get fans off their feet and jumping around at shows, reminiscent of the very same monsters and demons they're singing along about. Songs like "Plastic Surgery Hall of Fame", "Violence Is All The Rage", and "Razorblade Kisses" are guaranteed to get crowds of loyal Schoolyard followers bouncing about like veritable lunatics. I've even found myself leaping about on my computer chair a few times while writing this.

"Abominations" is such a solid album overall that I really find it hard to say anything negative about it. Lyrically, it's not exactly the most thought-inspiring album ever made, however, any other style of lyrics would just sound absurd with their signature sound. There were a couple times though, especially during my first few listens, that certain songs began to feel a bit redundant, but upon listening more, that feeling wore off. Essentially, this record (to me) was like a new pair of shoes. It takes a little bit to break them in, but after a while it starts to feel like a perfect fit.

by and large, the most impressive thing about this album in particular was their ability to tell stories not only with their lyrics, but with their music as well. Each song seems to have been carefully constructed so that the vocals, guitar, bass, and drums all paint a perfect musical picture of each song. In its entirety, it contains basically the same thematic elements as their previous work, but seemed to fit together much better in this aspect. Essentially, "Abominations" will keep old Schoolyard Heroes fans more than content, as well as likely making quite a few more as well. A solid effort throughout.

Reviewed by: Brian Anderson

Instant Winner Review

2008-12-04T23:14:00.002-08:00

Thirteen Times
09.11.07

Instant Winner mixes sounds from multiple genres; I don’t know whether to skank, mosh or headbang to their music, but deciding how to dance is about the only thing I am unsure about when it comes to this band. Thirteen Times is a veritable melting pot of different styles and sounds, ranging everywhere from metal riffs, to ska chords, to driving hard rock rhythms, and at one point even incorporates a pseudo-hardcore sing-along (in the song "Just Once"). This mish-mash blend of varying sounds gives the album a much more balanced feel than much of their previous work and gives each song its own unique identity. Just when I think I've got their sound and style figured out, the song will change and I'll find myself just as baffled as I was a few minutes prior.

This 2007 release is a bit of a blast from the past (and I mean that in a very good way); the album has some solid roots in the late 90’s. Most prominent is the variety of Neal’s vocal styles, some late 90’s emo with a rock edge. Think early Saves The Day mixed with Less Than Jake, maybe even a little old AFI (pre ‘the art of drowning’) and at times (should I say it?) even a little Liam Gallagher. Quite a mix.

From start to finish, the album as a whole seems to have been very carefully constructed. Although each song on the album has its own distinct sound and characteristics, it forms a congruent, well crafted album when it's all pieced together. Every individual track seems to flow well into the next, capped off by the similar intro-outro tracks which act as the metaphorical book-ends for the series of songs put in-between them.

In terms of the actual overall sound of this record, I was most impressed by how well each track was layered and the time spent on attention to detail. I found one such instance in the intro (as well as later parts in the song) of "Waiting to Love", which has subtly added keyboards that I didn't notice until at least my second or third listen through. The other aspect, sound-wise, that I enjoyed most was the production quality of the vocals and guitar. Everything sounds perfectly smoothed out (or gritted up, depending on the intention of the song) without ever having the feel of being over-produced. Instant Winner has thankfully re-entered my life after a short hiatus, releasing a thirteen-track album in October, the band is fiercely coming back into the scene.

Reviewed by: Brian Anderson & Jacquee Swindle

Scroobius Pip (uk)

2008-12-04T23:14:00.001-08:00

No Commercial Breaks
Reviewed: 09.14.07

While “The Scroobious Pip” might be a nonsensical poem by Edward Lear, Scroobius Pip is Britain’s newest hip-hop poet. His rhymes flow naturally in a near poetry-slam style. Scroobius Pip’s style is conversational, even moreso than other British rhymers, like his predecessors Andy Carthy (Mr. Scruff) or Mike Skinner (The Streets).
Scroobius Pip is making quite the name for himself across the Atlantic, securing radio play and performances. And after hearing his 2006 album, "No Commercial Breaks," anyone can see why. Scroob appeals to a broad range of music enthusiasts, from jazz-lovers to street poetry heroes. And word-crafting aside, the beats are just plain catchy.

Scroobius Pip could easily be likened to the British hip-hop mixes of The Streets. And with a slight frame and a full beard, he also looks about as well-suited to the world of hip-hop as well as Matisyahu is suited for reggae. However, Scroob is still loyal to a very raw, simplistic sound. He stays away from excessive layering of backbeats and effects, showcasing his lyrics. The music that accompanies him is dainty and nonintrusive. For example, in “1,000 Words,” his lyrics are followed along by a very simple, repetitive, yet jazzy, piano melody. Finally, an artist who still cares about the complexity and cadence of words.

Not every track on the album is great, though. Track 6, “At All,” goes against the grain of his other songs. The mix is not fun to listen to – the treble is turned up too high, Scroob’s voice is turned down too low. His voice is lost in the screeching, erratic beat. The track “Development,” which is the first song Pip actually crafted, sounds like the end result of They Might Be Giants turning into a rap group. The lyrics turn into a somewhat educational list of gases on the period table of elements. However this song is a great jumping point for future work, and his other tracks help listeners to realize he has, indeed, “come a long way, man.”

My favorite track on the album would have to be “Rat Race.” The music is jazzy and passionate, and rather than true rapping, Scroobius Pip speaks like he is reading poetry. The lyrics are so simple, but are fit together so masterfully: “As I wake up with the previous night still ringing in my fragile head,/ trying to piece together any shitty things I might have done or might have said,/ I drag my lifeless carcass to its feet and out of bed/ and clock into another day.” His thick accent is so animated and easy on the ear, so this is a great track for lyric-centric folks.

For those of us who are more interested in old-school hip-hop, there is track 2, “Muses.” Scroob partners up with Emonomy, a UK DJ, and Emonomy gets back to the basics of fundamental vinyl-scratching. It is really basic, so for vinyl purists, this track is where you want to go. Even as someone who skipped over the hip-hop movement a couple decades ago, I love the rawness Emonomy brings to this track.

And I really can’t say enough about the first track, which I mentioned earlier, “1,000 Words.” The lyrics feel deeply personal, as Scroob describes his own story. And the analogies are gorgeously crafted: “’The pen is far mightier than the sword,’ he said,/ as he stabbed his pen in my leg and the ink mixed with the red.” This track is truly the strongest example of what Scroobius Pip is capable of. Because it is the first track, it might set expectations a little high for the rest of the album, but on the other hand, it sets a lyrical precedent that listeners can follow throughout the other not-so-sophisticated tracks.

Overall recommendation: "No Commercial Breaks" is a great debut album for Scroobius Pip. Hip-hop fans and poetry fans alike can all appreciate this album. It is entirely worth dropping a few bucks to be able to catch Scroob at the beginning of his musical career and follow him throughout his future endeavors. Also, keep an eye out for Scroobius Pip's work with Dan Le Sac... it's not something you'll want to miss.

Reviewed by: Karalee

Slowly we survive review

2008-12-04T23:13:00.000-08:00

Music To Play Hide And Seek To
Reviewed 8.20.07

Three guys with one epic goal; “Slowly We Survive has their sights set on making the kind of music that will make you take a step back and say, so THIS is what its like to be alive.” While listening to the new EP 'Music to play hide and seek to', I can say that I experience a variety of intense emotion. By the end of the album my heart is racing and my muscles are weak. I feel ALIVE.

The 7 title EP melts together in the best way possible, one song complimenting the next. This doesn’t give your heart the chance to slow down- it keeps your adrenaline high. This disc has such a massive, heart wrenching sound that the actual lyrics aren't important, yet I still get the feeling of hope and passion and I can't help but think that is because my mind is digesting the lyrics more than I am consciously realizing. Talk about an intense musical experience.
Nick has a voice that makes me completely swoon like a teenage girl (and is reminiscent of Cedric Bixler-Zavala of The Mars Volta) and his guitar playing is absolutely psychedelic, Jordan’s clean and precise bass makes it easy for even a rhythm less person to catch the beat, Stefan uses his ENTIRE drum kit in every song, and we love it!

Prior to listening to Slowly we Survive I assumed I wouldn’t like them and they would sound novice. This assumption was purely based on my dislike for their band name and nothing more. I was COMPLETELY wrong, this band has taught me not to assume anything about a band just because I don’t care for their band name. (Which I shouldn’t be doing in the first place) After finally listening to the album for the first time I rushed over to the bands myspace and left a comment basically saying “Holy shite”. And here are my apologies for taking so damn long to come round!

Review by: Jacquee

Sirens Sister Review

2008-12-04T23:12:00.002-08:00

Sirens Sister’s pulsing melodic metaphors conducted by vocalist Zach Davidson, coupled with an instrumental courtship via visionaries Leif Anderson, Ben Libay, and Jeff Rouse have developed a revolutionary and romantic hiatus in their introductory album: Echoes From the Ocean Floor.

Sirens Sister has a little more sway in her step and takes more time to do her hair in the morning than former frontier—Vendetta Red—of members Zach, Leif, and Jeff—who have left behind most of the busted lips and soothing stories of rape for sometimes sappy love songs beefed with impressive and well-produced music that resembles a new era of rock in the Northwest with Seattle’s Sirens Sister at the head. Each track is simulated differently although conjointly characterized by a similar, softly articulated harmony edged with aggressive drumming, alongside noticeably metal chords and more whammy.

The album is jumpstarted by a busty guitar riff—premeditating stunning live performances that will heat a venue with sweaty spectators. Although Zach’s lyrics are occasionally corny—he bites back with the same vibrant and carefully constructed chimes that turn malicious scenarios of car crashes and cocaine addictions into elegant affairs.

Sirens Sister has very little to prove—since they have already reached success—plus the advantage of previous experience recording and performing will sell CD’s and tickets by word-of-mouth and a few snappy suits alone. An interesting comparison, however, involves past Vendetta Red drummer, Burke Thomas, father of current project, Pris; and his 2004 release—The Kiss Off. The tracks “Hold On” and “Echoes” produced by Sirens Sister possess similar characteristics involving lyrical structure and use of repetition, as well as electronic modifications of sound—corresponding to those utilized in a typical Pris track. The similarities themselves are not surprising, but the possible development of a grunge-pop regime lifting Seattle music back from the early 2000’s lifeless and mellow emo parade is worth following.

With that said, it is in your best interest to invest in Sirens Sister and see where their tour takes them next.

Review: Karoline Anderson

The Lonely Forest Review

2008-12-04T23:12:00.001-08:00

I was hesitant to write this review, fearful that I might be bias. I've seen this band morph into what it is, starting several years ago with John Van Deusen as a solo musician. Then that turned into The Lucid, Squarewave, John Van Deusen and The Lonely forest and finally, now, The Lonely Forest. After some thought, I knew I couldn't pass up the chance to write a review for this band...

The newest and seemingly final band morph, The Lonely Forest, has great chemistry. All four members of the band are extremely skilled musicians. They concoct new and original sounds that compliment eachother’s talents.
I have an unwavering appreciation for John Van Deusen's mature vocals, though this EP highlights a new emphasis on other aspects of the band.
The heavy rock influence of Tony Ruland's energetic and raw guitar playing compliments lead singer Van Deusen's keys and vocals well.
In songs such as 'God is Dead' and ' Opium Blues' Ruland's guitar playing magnifies the momentum of the keys by playing gritty chords along with them. About three and a half minutes into 'Are you afraid of the world' is my favorite guitar part on the whole EP, this is where Ruland distorts chords and brings a really ambient sound into the song.
Ruland's guitar playing may seem disoriented but in fact it is driven by a focused vision. The end result is one that parellell's the ambitious sound of the entire band.
There is a lot to be said about John Van Deusen. I have always been floored by the amount of talent that Van Deusen has poured out. His voice is huge, diverse and precise. No matter how many times I see him sing, I don't think I will ever stop being shocked by how well that kid can scream.
I haven't heard songs with a bold emphasis on piano in a long time, with the exception of Ben Folds. In many tracks the keys are the focal instrument of the song, with more runs and solos than the guitars. The keys are always moody; in any given song they can be really messy, busy and loud or very simple, quiet and few.
Bradyn Krueger can switch from mellow drumming to chaotic drumming. A great example of this is the song Opium Blues that he begins with light drumming, almost pop-like... and it moves into a very heavy style. Krueger is a very diverse drummer, keeping the chaos running smooth.
Eric Sturgeon brings the extra depth and volume that creates an invisible element that is crucial to the band. You never hear a random bass line anywhere on this EP. Just how it should be. Sturgeon fills out the sound of each song perfectly, complimenting Ruland's rock riffs and ambient distortions.
Each band member’s unique talent and vision of music brought together Regicide, The Lonely Forest's new EP.
This EP is hard to categorize, it's a mixture of what has been and what is to come in the rock world. It's not quite as 'before it's time' as Radiohead's 'Ok Computer' album, but The Lonley forest is on the brink of something that no one else is.
Possibly the most unique chemical of this band is the lyrics. Each song has a deep meaning; confronts world issues or challenges life long beliefs.
The production of Regicide was part of their prize after winning last years Sound Off! competition. This EP was recorded with legendary producer Jack Endino. Regardless of how legendary Endino may be, he still wasn't able to capture the intensity that this band brings at a live show.
For a band less than a year old, and with members ranging in age from late teens to mid-twenties, I'd say they have a slight advantage over many other young bands.
Now with outstanding quality recording, a bit more touring under their belt and some strong ambitions- The Lonely Forest seems as though they are Major Label ready.

Reviewed by: Jacquee

Boy Eats Drum Machine review

2008-12-04T23:11:00.002-08:00

Pleasure
08.28.06

Forget everything you thought you knew about love songs - unrequited desire and heartache are no longer in fashion. Forging the way, Boy Eats Drum Machine professes authentic attachment in a way that will have you throwing your Prozac prescription from the rooftop and remembering what its like to dance.

BEDM is the Portland trio of skilled sampler and vocalist Jonny Ragel on turntables, guitar and keys; along with Ben Rickard on guitar, synth, and the occasional cowbell; with the magic of Peter Swenson pummeling that drumkit. Together they have concocted a new form of electronic dance/pop trip-hop, blending many music styles to create a diverse and original result: Pleasure.

The debut is marked by soulful emotion and energy. Its infused with well crafted beats, charmingly simple melodies and infectious samples.

With near perfect arrangement and fluid, changing song structure the tracks are kept interesting such as in the gradual wind up and release of the single worthy 'Angel Telling Lies' or even the slow pressure built within the closing number 'Sometimes you Wanna Go Where Nobody Knows your Name'. At times during the album the vocals will hit at the same instant the drums propel them forward, or a sample will fall incredibly well as in Introduction a, and your serotonin levels will soar.

Ragels vocal technique is a defining characteristic of the BEDM sound, with an undeniable range and seamless shift throughout - from the high falsetto in the opening 'Pleasure Theme Song' to the deeper styling found a few tracks later. His raspy, textured quality contributes to the sensual atmosphere already present.

The lyrics are often overpowered by the music and vocal aesthetic and with a repetitive pattern to them lines like "eunuchs always feel this way / cry at night / laugh all day" are lost in the shuffle (think about that one). However, such lyrical simplicity is highly enjoyable in a sing along in your car sort of way, and with vocals like Jonny's you wont really mind.

The album has a subtle static, lo-fi quality lost in translation to the live show, yet any such discrepancies are compensated by an incredible stage presence not to be missed. Having recently opened for another amazing Portland trio, Menomena, the Boy Eats Drum Machine team seems to be well on their way to deserved success.

-nwb intern

The Divorce review

2008-12-04T23:11:00.001-08:00

The Divorce’s encore album “The Gifted Program” is a confident creation that strays from emo influences and streams pure rock + roll.
There are a couple key elements to The Gifted Program that illustrate the group’s maturity and aid in establishing an undeniably identifiable “divorce” sound rather than trailing other manufactured, pro-pop jingles. Although there is still the slightest hint of blithe—signaled by bizarre lyrics that are dually peculiar and ingenious—Shane’s attractive vocal fashion is less processed in comparison to their previous album and appreciatively clear and comprehensible—yes, I sing along.
The quality and creativity of the album is incredible assuming their youthfulness as a group—gathering in 2001 they have crafted infectious music that is a staple to the Seattle stage. The Gifted Program flaunts a solid and hearty harmony—brimming with a more growling guitar and authoritative bass line. While 2003’s release of the prima-donna disk—There Will Be Blood Tonight—was able to uplift my high school years—The Gifted Program resonates well-seasoned sophistication. If you didn’t like The Divorce before—you will now.
These four young men have dressed an impressive and infatuating album—as if I haven’t said it enough—The Gifted Program is rock and roll gold.

:: review by Karoline Anderson. May 13th 2006

Matthew Shaw review

2008-12-04T23:10:00.002-08:00

Matthew Shaw : Convenience Reviewed 11.21.05

Matthew Shaw released his EP, Convenience, on November 15th, giving Seattle 5 new unique songs to enjoy. This is a collection of ambient and infrequent beats, soothing and candid vocals, progressive ideas and is similar to the Matthew Shaw we heard on ‘Ghosts in the concrete’.
This EP reflects Matthew’s displacement from the normal Seattle music, and shows that he is continuing to be in a league of his own. Young Shaw is often compared to musicians such as Bright Eyes, The Postal Service, John Vanderslice and Death Cab for Cutie. These are all musicians of stature, and push the notion of success for Shaw’s music.
Though I feel like this is great music and above average for the NW, I also feel Shaw has not moved forward much since his last album. Just by taking a quick listen the first time I received the album, I noticed that the styling is all too similar to his first release. Shaw has a unique style of music that isn’t common in the NW, but needs to continue moving forward and growing in his musicianship in order to keep on the edge of what’s to come. My hopes for his next full length are to hear a new side of Matthew, but not to lose the one we know now. A good mixture of new and old that will create something unexpected.

Reviewed by Jacquee.

Brian Fennell (now in Barcelona) review

2008-12-04T23:10:00.001-08:00

Brian Fennell : 2005 Release, Safety Songs

Young, talented, fun and handsome. Such a mixture only needs one more ingredient added before it can brew an utter seattle indie pop success; more exposure.

Brian Fennell released his debut album after many months of anxious waiting, on October 21st. The album is titled, Safety Songs and is a 10 song masterpeice. You can hear the emotion and passion that built each song through Fennell's rich voice. It's not difficult to lose yourself in his music, live or recorded, he has an amazing way of pulling you in.

Brain has excellent tone and range, and knows just when to use his higher octaves. He doesn't show off, but when he does use those higher notes it makes his songs so much sweeter. When I hear his voice start to change into the next octave in the middle of a word, I have to close my eyes and take it in as purely as I can. Without visual distractions I can allow my mind to create images that capture his music in a graphic way.

With help from a dear friend of Fennells, Brian Eichelberger, the albums' transitions between songs are graceful and seamless. The quality of the recording and mix allows each musician on the album to shine, as they should.

A little pop, a little indie and even a little funk and a lot of talent, Safety Songs is in the top 10 of most impressive albums I’ve received by a local musician in the past year.

:: review by Jacquee. Oct. 22nd 2005

Vendetta Red 'Sisters of the Red Death' review

2008-12-04T23:09:00.002-08:00

Fans of Vendetta Red have waited a while for this new album, Sister of the Red Death, and I can guarantee that it is well worth the wait. The 12 songs are innovative, emotional, fueled, intelligent and everything else Vendetta Red has proven to be.

The Seattle based rock band has an incredible way of approaching intense topics. Many of their lyrics are offensive, blunt and morbid. The lyrics of track three; Dark heart Silhouette, are intentionally shocking. The goal of this is the same goal that many songs off "Between the never and the now" were working towards, this seems to be to draw awareness to disregarded issues within our communities. Rape, molestation, war, abuse, religion.

Zach Davidson often sent chills through my body with wonderful vocal styling. He uses the full range of his voice on this album, hitting high notes on "Vendetta Red cried rape on their date with destiny", to amazingly low notes on my favorite song "The great castration."
Though Vendetta Red has a unique sound and style, there are some familiar traits on this album. The continuing pattern of morbid lyrics is similar to Saves the day and the vocals are occasionally reminiscent of HIM and Coheed and Cambria.

The musicianship of this 5 piece is a perfect compliment to Davidson's vocals. There are sporadic keyboard and shaker parts, along with stunning strings on "Silhouette serenade". This is a great mix of musicians, and though Eric is no longer with the band, there is no doubt that Leif Anderson will bring a new element to Vendetta Red. He definitely fits in well in the Silhouette Serenade video, and is a strong musician.

This is one of the finest, well rounded albums I've heard this year. Phenomenal.

review by: Jacquee
[ 07.19.05 ]

The Pale Pacific review

2008-12-04T23:09:00.001-08:00

The quartet of Bellingham natives, who can't seem to keep a bass player, recently released their new EP; "Rules are Predictable". The guitarist of The Pale, Cameron Nicklaus, also doubles as a producer. The multi-talented guitarist recorded and mixed the new EP, and has had crucial roles in the recording and production of all of The Pale's albums.

Northwestbands.com has been a fan and a good friend to The Pale for several years, this EP is not what a long time fan would expect or even possibly like. It took me a few times of listening to the full album, to get used to it. There is an air of new trendy rock with only a hint of the classic style of the band. Vocal distortion on "Identity Theft" demonstrates The Pale's "slip into hip". Their songs are a mixture of indie-pop and pop-punk. As awkward as that sounds when describing the known "power pop core-core" band, it is as clear and accurate of a description I can provide for their new material.

The new style gives the impression that the band has grown up and moved on since their last release in 2003. Lead vocalist, Gabe Archer, is singing more in the mid and lower octaves than on previous albums. Archer's voice is also cleaner and clearer on this album. Though this EP is not the style that may be expected of The Pale, it is extremely catchy, like most of their albums, and their musicianship and the bond as a band has strengthened and is apparent.

With a new bass player [Justin Harcus] in place, a copyright infringement behind them and a new EP, Northwest Bands Dot Com proudly introduces; The Pale Pacific.

review by: Jacquee
[ 04.16.05 ]

Mindhead review 2005

2008-12-04T23:08:00.001-08:00

Mt. Vernon band Mindhead's sophomore release, "How not to get there", is mature and sincere indie rock at its finest. Each song is unique and driven, universal and yet drenched with a sense of individuality the listener can relate with. The album as a whole is innovative, tightly woven, and bracing.

Starting strong with the great riffs of 'Arrivals", leading to my personal favorite 'Baby, let's go for a ride", to the impressive vocal styling in '6 months, 3 days', the listener is riveted in the band's talent. Composed of lead singer and guitarist Joe Day, Seth Fikkert on drums, bass guitarist Jeff Morrow, and Jon Orange on keys, guitar and backing vocals, the group is refreshingly pleasing. With the added genius of Mr. Winston on wine glasses and his creation the mototron, their originality is taken to another level. It is at times hypnotically dark and intensely vulnerable, portraying a sense of longing and need. Listening to this band an underlying message becomes apparent throughout the album, which seems to be a search for meaning and truth within relationships and faith.

While their music is enjoyable to listen to, you have not fully had the Mindhead experience until you have been to a live performance. The band not only performs high-energy shows that the crowd loves, they are also defying death at the same time. Also known as: dodging bassist, Jeff Morrow's guitar. We can thankfully say no serious injuries have come about from Jeff's untamed momentum.

We can also say, that it is very surprising that Jeff has not yet axed someone's skull. Encores are not something the band is unfamiliar with. They are often chanted back onto stage to bring on more rock. But a show is not truly over until drummer, Seth, has knocked over at least half of his drum kit, has fallen on the floor and is tapping out the beats on the rim of his snare drum.

"How not to get there" delivers nicely and is of a praiseworthy caliber unlike the majority of music heard today. It will perhaps become the defining work of this band, and should be a welcome addition to any c.d. collection.

::review by:: Jacquee

The Carolines review 2004

2008-12-04T23:07:00.000-08:00

Youth Electronics, the latest release by Oregon rockers The Carolines, is not only remarkably innovative and energetic, but subtly addictive as well. The perfect blend of jazzy keys and trumpet combined with the rock riffs of lead guitar, best shown in the track 'Columbo', illustrate this bands exceptional creativity.

All members of the band prove to be individually talented. The compilation of their techniques and enthusiasm creates The Carolines unique vibe. Bassist Matt Lenhart excels particularly in 'Only what you want' and also 'Just like the sun'. Prominent bass lines powerfully emphasize key parts of both of these songs. While lead guitarist Nathan Trueb displays more of a classic rock style overall, he shows his ability to be diverse throughout the album. In track 4 entitled 'The Coast is Clear', the guitar riffs give you the feeling and atmosphere of being in an old mystery movie. This creates both a fun and familiar ambiance for the listener. Vocalist Aaron Trueb has a distinct voice that compliments the bands' style of musicianship perfectly. Nate Pursecelley on guitar, is also notable for his trumpet accompaniments on 'Columbo' and 'The Payoff'. Jared Abraham, on drums, provides fitting driving beats for the band. Nothing is too intricate or too fast, which contributes to the albums composed feel.

Energetic and captivating, the Carolines live show is strongly recommended. With the boys on guitar exerting crazy momentum and the crowd loving every minute,they are a truly entertaining and fun set, and hard not to love.
This five piece demonstrates exceptional skill, complimenting each other throughout the album and are sure to rise to success if they continue to follow this course.

::review by:: Jacquee

Farwell addison review 2004

2008-12-04T23:06:00.002-08:00

Farewell Addisons' debut album, A Summer Like This, is a compilation of soft melodic, power-pop driven songs. 'Sometimes' and 'September Days' display lead guitarist, Scott's matured guitar skills brilliantly, and is the edgier side of the album. 'Easier' and 'Everything we are', are two soothing songs that present Farewell Addisons' musicianship in a softer light.

This Skagit Valley band is currently working on the follow-up to their debut, as their fan base rapidly grows. This album so far consists of 4 tracks; Two Years Past, She Waits, The Loss of Me and Everything Will Be Okay, and is a demo for the up coming full-length album. Each song is considerably more intense and raw than any song off of their first album. The band , as a whole, has matured immensely, and it is obvious in each tune. Track 4 , 'Everything will be ok', shows the joint talent of bassist, Carl and drummer, Rhett. Together they create a tight background enabling Scott's guitar riffs to have a bolder sound.

Front man; Jonathan Warman, has become a stronger vocalist, and has turned down the rhodes and acoustic guitar and is heavier on the electric, giving the band their new rock feel.

We can only hope that Farewell Addison will continue to stay on the path they are on, providing fans with a diverse catalog of music, as well as performing high-energy shows. They should have a busy, challenging, adventurous and fun musical future ahead of them.

::review by:: Jacquee

The Oregon Donor 'somethings' album review

2008-12-04T23:06:00.001-08:00

The Oregon Donor
Somethings

Where I live, it's impossible to navigate the local music scene without crossing paths with The Oregon Donor. They hail from the picturesque Anacortes, Washington, just a short drive down Highway 20 from the sparsely-placed coffeehouse venues that serve an area thirsty for live music. Skagit County is less known for culture than for agriculture. In such a severely undersaturated market, these guys have become a staple.

The story of The Oregon Donor began in 2005 as a vehicle for the songwriting of one Christopher Edwards. It soon became a four-piece band and quickly established itself as one of Skagit County's premier acts.

In October 2008, The Oregon Donor took the logical next step in their careers by signing with the Seattle-based Burning Building Recordings. In keeping with the music industry's recent shift towards digital releases, Burning Building has released The Oregon Donor's newest album, entitled "Somethings", as a digital-only release. The album was recorded by The Oregon Donor the previous winter.

With a sound that evokes the loud, dissonant indie rock that dominated the rainy area from Vancouver to Portland in the 1990s, you probably wouldn't guess that they're hardly old enough to buy beer. With grace and skill, their fingers maneuver all over the fretboard to create expressive, smooth guitar riffs that keep the listener awake.

Indeed, at times it seems that more emphasis is placed on their note-intensive instrumental texture than on a desire to keep the song moving forward, and repetition is used almost to a fault. But the quality of the riffs is such that even during instrumental sections, the guitars sing with just as much personality as their human counterparts.

Against this musical backdrop, Edwards sings lyrics which take on an often storybook-like quality with a voice patterned on the slightly uneven vocal style of, perhaps, a Doug Martsch or an Isaac Brock.

Standout tracks include the anthemic "Circle & Cross" and the sparkly "Autumn Anthem" (which descends into a crunchy outro with time signatures that would make a calculator at least as useful as a metronome).

"Somethings" is proof that The Oregon Donor have the skill and finesse they need to be worthy of the much larger playing field that they have stepped into as a part of the Burning Building roster. And it's an album they should be proud of.

Reviewed By: Brenton William Brookings

Rating: 2 1/2 our of 4

The Globes Review

2008-12-04T23:04:00.000-08:00

The Globes
11.20.08

Let me start by saying The Globes did a great job picking which track would be first on their new EP. Killers Saints gets right down to business within the first 30 seconds of the song. They have a short instrumental intro then straight into the vocals, it got my attention right away. I dig the unique and smooth voice, upbeat music and its simply put message. //everyone's a problem // everyone's a cause // we wanna know what's wrong with us // It's an easy sing-a-long kind of song that will be happily stuck in the listener's head for days despite the somewhat grim lyrics.

The second track on the disc, The Glower and the fourth The Glass Jar are the mellow, transitional numbers placed between more upbeat ones. The Glower has a long intro that leads into somber, soft vocals. The instrumental intricacies out shine the vocals a bit but judging by the airier tone of the singer, the focus on the music and not the voice was done purposefully. In The Glass Jar the music is effortless and methodical. At 2 minutes there is a dainty climax that leads into a serene instrumental break that goes on for the rest of the song with little spots of soft cooing at the end. Both tunes are very soothing and calm; it's likely that these tracks will end up on my 'mellow' playlist to help me relax.

My favourite track is Hide, it has such a familiar sound to it. I cannot place it for the life of me and as much as that annoys me, it hasn't kept me from really digging this track. // Laaa la lala lalalalaaa // If I had to name my favourite part of this entire EP, it would be those la's sung by what seems a small choir of guys. They're so damn catchy and just, well, fun!

By time you get through this EP you'll notice a trend, upbeat/poppy to mellow/somber. I can't say that I particularly like that; it breaks the disc up a little too much for me. But with that said, I will also say- this is just an EP. I liked each individual song a lot, enough that I am pretty excited to hear what the full-length sounds like.

Favourite track: Hide : Track 3
Rating: 2 1/2 out of 4

Reviewed by: Jacquee Sovereign

Aurora album review

2008-12-04T23:02:00.000-08:00

Aurora

Reviewed: 11.12.08

After listening to Aurora's self-titled album the first thing that really stood out to me was the mix. I didn't have to dig to get to the idea of the band. Jared MacFarlane and Luke Bechtel did a fabulous job mixing Aurora. I was able to get a very clear idea of the band immediately; the tone was rich and full. This is a great benefit for Aurora; it presents them as a serious band and clearly shows their extraordinary talent.

The second thing I noticed about Aurora was the voice of lead singer, Tyler Eide. He has an exceptional middle range, airy, sexy voice. It's hard to choose a track where Tyler's voice is most likeable. It's the kind of voice that you don't mind listening to over and over again, the kind that could easily appeal to wishy washy teens as well as aged music fans. It's quite a gift to have a voice that both a teenager and their parents can appreciate.

Aurora exudes immense emotion and passes that on to the listener through the rises and falls in their songs. The strings played by Brian and Beth Eichelberger and Jared MacFarlane amplify the intensity and passion of the music. It's the fullness and emotional elements of Aurora that I really enjoy. Most of their songs begin with a crescendo of effortless melodies, resonating until the entrance of the vocals breaks it. It's easy to picture their songs being used in movies at pivotal, heartbreaking moments.

The only real exception to my obvious favor of the album is the last track, Carousel. I like the last track very much; the music is lead by an acoustic guitar, the lyrics are sweet and Tyler's vocals are great. However, the female vocals paired with Tyler's airy, sexy, smooth voice are not far from awkward. Lerin Herzer, who plays keys beautifully in the band, frequently uses a very high and fast vibrato that is so opposite of Tyler's vocal style. Lerin's vocals paired with Tyler's in this particular song breaks up the song very harshly. Although I do like the harmonies Lerin does in Shimmer.

All in all Aurora possess' the right kind of mainstream likeability and have an obvious seriousness about giving their lives to music. They have great potential to become a universally well-liked band.

Favourite track : Number 4: London

Reviewed by: Jacquee Sovereign : Northwestbands.com

Rating: 3 out of 4