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August 1, 2011

Win Tickets to See Our 5th Anniversary Show with Pickwick, American Girls and The Mallard

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This Friday we’re celebrating five years of loving local music out loud the only way we know how, with a kick ass concert.

We really do want to celebrate, so we booked a bill to dance and sing along to: we’re bringing Pickwick out of the basement and American Girls, a ragtag group of local all-stars doing Tom Petty better than Tom Petty does to the party. And seeing that both bands are selling out Seattle stages, we figured we’d ask someone we think deserves to play in front of a couple hundred people, but isn’t yet, Daily Choice regular, The Mallard. Greer’s making the drive all the way from San Francisco to celebrate with us, so we hope you get there early enough to meet her.

Of course, it wouldn’t be a party and we wouldn’t be celebrating five years without you guys, so we’d like you to join us. And since we’d like to do this even better for you all for the next five years …

Leave a comment using your real name and email address letting us know what you want to see more of in the next five years on Sound on the Sound and you’ll be entered to win a pair of tickets to the party. We’ll pick a winner on Thursday morning.

And we won’t be the only ones celebrating. Pickwick will also be releasing a new 45, a split with pals Concours d’Elegance, where they cover each other’s tunes. The limited release will be available for sale the first time at the show. Speaking of for sale, that beautiful poster for the show will be screen-printed in all its nine-color glory and also be available for purchase Friday night only.

Last and certainly not least, a word of warning, tickets are selling quick and with it being pay day today, we wouldn’t be surprised if the show was sold out by the time we notify our lucky winner. If you don’t want to leave your attendance up to chance, you can purchase your tickets now. Here’s the fine print for Friday’s show:

Who: Pickwick, American Girls, The Mallard When: Friday August 5th at 9pm Where: Columbia City Theater How Much: $10 advance or $12 Day of Show

Apologies to our not-yet-21 readers, it’s a drinking show.

August 1, 2011

Decibel Festival Reveals Full Schedule

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I won’t pretend that I know more about Decibel Festival than can be learned by browsing their website, wikipedia and the trusted words of friends who do know lots about it. And from those people, I can tell you, if you like electronic and digital music, Decibel Festival is a mecca of sorts, bringing world class talent to Seattle stages since 2003. This year the festival curators have also been asked to book a stage at Bumbershoot, where they’ll take over the EMP Sky Church and the new Bumbershoot After Dark.

After Bumbershoot, Decibel’s own festival will celebrate the best in electronic and digital arts at venues all over Seattle from September 28th to October 2nd. You can peruse the full schedule of events and buy all access passes here. Happy dancing, friends.

July 29, 2011

Artist Home Summer Bonfire Series

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Joseph GiantPhoto: Josh Lovseth
Joseph Giant
Bryan John ApplebyPhoto: Josh Lovseth
Bryan John Appleby
Joseph GiantPhoto: Josh Lovseth
Joseph Giant

Every last Sunday of the month this summer our friends at Artist Home are hosting a bonfire concert at Golden Gardens. Last month Bryan John Appleby and Joseph Giant sang down the sun as about a hundred friends and families looked on during what felt like the first real night of summer. The performers aren’t announced until your toes are already in the sand, but based on the special place the show’s are hosted and the calliber of performers who’ve played already, we highly recommend you checking out their second installment this Sunday evening.

The music gets started at 7:30pm, but the grill gets going at 5:30. Sunday’s forecast says sunny and ’70s, see you at the beach.

July 29, 2011

Shenandoah Davis – The Company We Keep

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Shenandoah Davis is intimidatingly talented.

Classicaly trained with a background in opera, but gifted in a way that evokes more nature than nurture, Shenandoah’s skill is the kind that intimidates not just music writers, but fellow musicians. I will never forget seeing Shenandoah perform at the first BARE event at the Fremont Abbey. Shenandoah opened the show, standing there with perfect poise, hands clasped in front of her as if she were about to sing an aria at The Met. She performed a traditional Greek song; the room fell silent and enraptured, jaws dropped. Around me, musicians scheduled to perform a cappella that evening and already nervous, began wiping sweat off their brows. As the aria ended and Shenandoah’s bow was met with thunderous applause, a musician sitting in front of me summed it up, “Well, the rest of us are fucked.”

Luckily for the other artists performing at The Fremont Abbey tonight, they won’t have the unenviable task of following Shenandoah. Tonight is her show, the celebration of her lovely full-length, the Kick-Starter funded The Company We Keep. When listening to the record one word rises above all else: accomplished. Shenandoah isn’t just a gifted vocalist, but pianist, song-writer and composer. The Company We Keep is achingly lovely in every way: the words, the instrumentation, the emotion held in her falsetto trill enough to make you reach for a handkerchief. The complexity of instrumentation and Shenandoah’s voice, makes the words themselves seem like a supporting role to a listener, but if you peel through the layers of strings, wind instruments and operatic vocals, there is poetry.

But The Company We Keep isn’t just an intellectual exercise, and one of Shenandoah’s truest talents is her restraint. She could compose songs like bebop jazz solos, an exercise solely in skill, to see who can play the most complicated notes the fastest, but she doesn’t. As accomplished as The Company We Keep is, it is also accessible. These are still songs that will get stuck in your head, that you’ll find your toe tapping along to. These are still songs you’ll want to sing along to, but unless you also happen to be a brilliant opera singer, you should probably just listen. These aren’t participatory songs, as so much of what’s happening in local music is. These are more sit back in your chair and prepare to be wowed, as you would a symphony.

She’s one of a kind, Shenandoah. The Company We Keep puts both what elevates Shenandoah above us all, a rare talent, and what makes her just like us, the characters that inhabit all our lives and how our hearts open and break because of them, on display. And it’s a beautiful sight to behold.

Shenandoah Davis celebrates the release of The Company We Keep tonight at The Fremont Abbey with Paleo and Led to the Sea opening. Tickets are $12 at the door, but get there early to get them. The show starts at 8pm sharp and the doors are at 7pm.

And if you live outside Seattle, you’re in luck. Shenandoah is about to embark on an extensive national tour this August.

July 29, 2011

Someone Else Talking: The Mallard’s Dylan Tidyman-Jones

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Someone Else Talking finds us harassing a musician long enough that they cough up the fascinating gems that are their current inspirations.  Be it music or food or film or folly, we want to know what’s getting these people up in the morning. And because we want to know, you get to read about it.

Dylan Tidyman-Jones is many things.The drummer for the one time one-woman show The Mallard (and a performing guest at our 5th Anniversary Spectacular), a sensational guitarist and musician in his own right (check out the amazing Up On The Good Floor for proof of that), and, to our great delight, a veritable fountain of musical knowledge. Fresh from a trip in to the spiritual and natural world we pinned down the lithe Tidyman-Jones and dragged a few musical bits from him.

Expect a new album from Sir Tidyman-Jones in the relatively near future.

Dylan Tidyman-Jones – Antelope

I spent most of last week visiting friends in Yosemite. It was the perfect antidote to the last six months (spent in the city with my face pressed into the glow of my laptop). We climbed up and swam in the devil’s bathtub, explored caves, walked through moonlight in the forest, spoke with deer about the navigation of portals, drank beer, and laughed together under an open sky.

There were all these healthy-looking German families everywhere, pointing up at waterfalls and granite peaks. When we crossed paths, they would smile, nod fondly, and admonish their children to clear the way. In gratitude, here are a handful of soothing tracks from 70′s Deutschland. If I’d brought my device with me to the wilderness, these would have been the soundtrack.

Cluster – Es War Einmal from the album Sowiesoso

Can – One More Night from the album Ege Bamyasi

Neu! – ‘Leb’ Wohl’ from the album NEU! 75

Harmonia – Watussi from the album Musik von Harmonia

Popol Vuh from the soundtrack for the film Aquirre the Wrath of God

July 29, 2011

North of Northwest: Ron Sexsmith – Long Player Late Bloomer

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Ron SexsmithPhoto: Natasha Bardin
Ron Sexsmith

Ron Sexsmith is something of a Canadian institution. He’s released a dozen albums, collaborated with Leonard Cohen, been covered by k.d. lang, and cowritten with Feist. He’s won a Songwriter of the Year Juno (an achievement also earned by Arcade Fire, Sarah McLachlan, Leonard Cohen) and was the subject of a 2010 documentary, Love Shines. And now he’s been shortlisted for the Polaris Prize with his 2011 album Long Player Late Bloomer. It’s a great honor for Sexsmith. It’s really too bad the album isn’t very good.

There’s a sense of inevitability about the whole thing, and I get it: when you’ve loved someone for as many years as many Polaris judges have probably loved Sexsmith, you want to honor them and help them get the recognition you feel they deserve. But Long Player is, for the most part, an overproduced nightmare of soft rock stylings and hackneyed lyrics.

“Miracles” is an egregious offender. “There are miracles before our very eyes / In reality’s disguise / Our shadow below us and the stars up above / It’s a miracle my love.” These phone-it-in lyrics are crooned over a background track that sounds, literally, like elevator music. “No Help At All” suffers from a similar backing sound. The lyrics to “Heavenly” – “Though our pockets are empty / We won’t let it get us down / There is so much to be thankful for” – are saved from eye-roll territory only by a touch of sincerity in Sexsmith’s voice, but the song still lacks enough texture or timbre to seem truly heartfelt. Passion has depth and intensity. “Heavenly” does not.

There are moments of quality on Long Player. “Believe It When I See It” draws strength from more complex vocals, fuller backing, and the clear influence of Elvis Costello (an avowed Sexsmith fan). The country-influenced “Eye Candy” has a nice bit of swagger and a finger-snapping beat. Between them, though, lies a wasteland of textureless soft rock that does listeners no favors and Sexsmith no credit. The Polaris is not meant to be a lifetime achievement award. Skip over Long Player Late Bloomer, and if Sexsmith really wants the award, make him work a little harder for it.

July 29, 2011

The Daily Choice: Wooden Shjips – Lazy Bones

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I’ve been living off the meager pickings from the Wooden Shjips krautrock side-project Moon Duo for almost a year now. And though the pulsing synth of the lunar couple get my head nodding and my brain throbbing, the news that the mothership themselves, the aforementioned Wooden Shjips, would be landing a new album in the early weeks of September has me toe-clenched with anticipation. If “Lazy Bones” the reverberating sound barrage that is the first single off their forthcoming release sets any precedents, than I can only expect 7 minute psych-prog jams and enough fuzz to make my ultra-baked head silently implode.

West drops on Thrill Jockey on September 13th. Be prepared.

Wooden Shjips - Lazy BonesWestWooden-Shjips-West

July 28, 2011

Written Here: Bryan John Appleby

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After getting a glimpse at Pickwick’s practice space last year, we got to thinking. About the mundane places magic is made. The bedrooms, cafes, break-rooms, buses and park benches where songs are written. The everyday places where inspiration strikes.

Such is the premise of our new video series “Written Here,” where we film artists in the space they create, songs in the room they were written. We wanted to hear the stories of our favorite songs and to share their story with you, to give a glimpse into a side of song-writing and the song-writers that even band-mates might not be privy to.

Our first subject for the series is local singer-songwriter, Bryan John Appleby whose debut album Fire on the Vine comes out this Saturday. We couldn’t wait to see the space that inspired Bryan’s twisting tales, what had made a young man so death obsessed and to talk about the process with one of Seattle’s most gifted story-tellers. We never thought Bryan, or anyone, would tell us the space itself and the things that filled it, were his muse. That his wellspring of inspiration comes not from lost love or his stunning girlfriend, but a painting on his wall, the books on his window shelf, the photographs that are pinned to an old American flag. He was a perfect first subject. Bryan wrote virtually all of Fire on the Vine in the low-ceilinged basement apartment we crammed into on that cold February morning, but we focused on the process and inspiration behind two stand-outs from the album: “Honey Jars” and “Noah’s Nameless Wife.”

Bryan has moved from his quirky basement apartment since we shot the video this winter. But we have no doubt his songs have made a tangible imprint on the space, like young couples carving their their initials into tree trunks. Bryan’s songs linger in the space now occupied by someone else and in the items that made the move with him to his new home. They cling to the space that made them, as if written on the walls “Bryan John Appleby was here.”

Stream Performances of “Honey Jar” and “Noah’s Nameless Wife” from the rooms they were written:

Bryan John Appleby - Honey Jar (Live)Written Here Sessionsbja

Bryan John Appleby - Noah's Nameless Wife (Live)Written Here Sessionsbja