Talbot Tagora, Masters and Johnson, Midwife, Arrington de Dionyso, AIDS WOLF

Just to finish off what Casey Catherwood started in the Stranger, AIDS Wolf is pretty off their game. The music is annoying, the stage presence is tacky and overbearing, the feathered green cape worn by the singer doesn't make a lick of sense. I saw them last night with two really fantastic local bands. Each of those two bands deserved the larger listening audiences they garnered in the dark, cavernous, yet all-ages Vera Project.

Masters and Johson are rad in a don't-tell-the-other-alt-bros-about-this-band kind of way. Seriously, keep this secret to yourself while you can.

Talbot Tagora are Seatte music. On stage, they hover and cut with distortion and reverb that sound less like grunge and more like a November windstorm inside the imploding Kingdome. The new vocal processing (which has recently debuted, I believe at Neumos?) adds a layered, agressive quality to Chris Ando's vocals. Searching, obscure, deeply (subtlety) political, indebted (terribly humble) to DIY, grunge, hardcore, pop, and the underground landscape of this great musical city. Fans of Sonic Youth, American punk, English postpunk, and especially loud NW bands like Beat Happening, need to try to watch this video all the way through.

Deerhunter @ Neumos

Bradford Cox is a darling. His stage presence, his affability, and the mind bending performance of him and everyone else in Deerhunter renewed my faith in pop music.

The set was heavy on the new album, which was fine with me. I'll admit that I didn't like Cryptograms, especially the singles. Songs off the new album are far more sonically cohesive, less post-punk collage and more pleasantly referential to 60s and 70s pop, of which I am a huge fan.

The better of the two opening bands, New Times Viking, sounded like No Age with a synth keyboard, and I remember telling everyone near me. I was a little drunk.

I shook hands with Cox outside while he was having a cigarette by the Neumos stage door. Hours later at a party in the University district, I was still completely starstruck. As the cops were clearing out the party, and people were laughing about their hapless friends, locked in bathrooms, doing blow, all I could think about was the heavy, yet somehow, delicate sounds, still bouncing around in my ringing ears.

Stay tuned for impressions from other PA writers.

Mad Props?

In the first of what will be many dubious honors going to popular (and actually sort-of-good) bands of 2008, these familiar bands were all listed in Amazon's Best Songs of 2008:

4. Fleet Foxes
16. Cut Copy
20. Crystal Castles
26. Throw Me The Statue
34. MGMT
43. Saturday Knights
60. Natalie Portman's Shaved Head
61. Starfucker
76. Animal Collective

Um... No Age? M83? Deerhunter? There quite a few glaring absences, but the list is a fairly comprehensive compilation of sounds that marketing people, music journalists, and blog editors can get off to.

More 80s Fetishism

It's been kind of a strange week for me musically. While I've been listening to amazing music almost constantly, this song is really the only new music I've had the time for. This song happens to be quite cheaply made and not very soulful - to say the least. However, the video is amazing, vulgar and meaningless (in the mode of bloghouse/pop meme/myspace DJ culture), and if need music that makes me feel human (or happy) I can keep listening to the Sam Cooke, Smashing Pumpkins, and Fleetwood Mac albums I acquired this weekend, via certain pseudo-legal internet protocols.

Miami Horror - Don't Be On With Her (Directed by Warran & Rhett) from Moop Jaw on Vimeo.

Ratatat Video/Art: "Shempi" from June 2008's LP3

Super bummed?

I am pretty bummed right now. Life is not treating me the greatest right now. Here's what I'm listening to.

American Football was Mike Kinsella of Cap'n Jazz's indie/mathy/totally super emo band post Cap'n Jazz. It is so embarrassingly emo, I am almost embarassed that everyone who will read this will know how much I listen to American Football. Its really good..really, really good.

New James Bond Movie Almost Terrible

The film is saved by the dazzling visual and plot consequences of moving between beautiful locations: a festive Italian city, London sleet, a Haitian port, snowy Russia, etc. There are one or two excellent scenes in Bolivia, during one of which the tense psychic atmosphere of international spying seeps into the moist, husky rhythms of a pseudo-authentic sidewalk bar, but mostly the movie stinks of special effects, multiple, conflicted levels of directorial intention, and lame attempts capture the pop cultural zeitgeist. The only two relatable characters - a prim British agent who apparently had a desk job at MI6 and an aging spy in retirement in Cairo - are offed unceremoniously. As many reviewers have noted, the Bond film has become too influenced by the Born (The Sketch Bro-Identity) series, a film brand too violent, merciless, humorless, sexless, loveless, and plotless for my taste. Expressionistic action scenes and big guns don't make good stories.

Thrash, brah.

After my band played a house show in Redmond, we headed to the Holy Mountain to see Past Lives. By the luck of timing, we arrived just before the first band, The Last Slice of Butter, played. They thrashed out a 20ish minute set of bass and drum noisy punk, with drummer Travis Coster and bassist Catalin (Vulcan?) alternating on vocals, sometimes not singing at all. For whatever reason, the sound was excellent, and you could hear the melodies that accompanied the craziness. There were a ton of people present at the show, like 200-300 people all there, some watching some socializing in other rooms. After a 20-30 minute wait, Talbot Tagora began their set. This band is crazy good. They too had a rhythmic punk sound, accentuated by young drummer, Ani Ricci’s erratic style. Every time I see Talbot Tagora, they get better. I don’t know how, but they always do. I was super stoked on the whole show. Past Lives played for like an hour, and to be honest, it seemed like too long; it was 1 in the morning when they finished, and I was tired. I liked their set fine, but it failed to captivate me in the same way that Talbot Tagora and the Last Slice of Butter did. I think because after too high-energy bands, the calmer sounds of Past Lives sort of lulled me off. Now not to say that Past Lives aren’t wild or fun, I just couldn’t get into it. Their new album came out that night. Its super good. Buy it.

Hyperrealities of Seattle Pop

Jean Baudrillard, recently deceased French Philosopher, and constant critic of postmodern American culture, would probably have enjoyed (been repulsed and entranced) last night's Natalie Portman's Shaved Head gig at the Showbox in Seattle. Opening for the Faint, NPSH sustained Disney World meets Jesus Christ levels of ecstasy for a solid forty-five minutes. The venue was packed two hours before the Faint would go on and it stayed as sweaty as a middle school gym class for nearly that whole time.

The critical points Baudrillard would have made: sensory overload combined with sexualized late-childhood fantasy all projected and amplified to a ridiculous volume. Baudrillard's theory of Hyperreality poses a reality that is indistinguishable from fantasy that gradually consumes Western society in the modes of say.. World of Warcraft meets McDonalds meets pornography. NPSH is essentially that - five hyped suburban white kids channeling all the sparkling glittering bullshit that makes our American lives so wonderful and terrible. Did I mention the name of the album is Glistening Pleasure??? Screaming synths, thrashing teen fans, oddly compliant drinking section of typical Seattle music people, and totally absent music press: these are the makings of a pop phenomenon. This video will be sufficient explanation:

natalie portman's shaved head - sophisticated side ponytail from thatgo on Vimeo.

it's official: gang gang dance is amazing

Descending upon Seattle's Triple Door last night, Gang Gang Dance were a little out of their element. Not because, as Brooklynites, they were on the wrong coast, or that the crowd was filled with old, symphony-goers or something trivial like that. No, no, no, quite the opposite. The reason GGD was out of its element was that the crowd was seated, and what's worst, it had to remain seated. As a band that I've come to equate as experimental dance music (a gross oversimplification), there are heavy keys, clanging drums and deep - and, i mean deeeeeeepppp - bass that all coalesce into the most inconvenient of situations for people who cannot move. Regardless, that the band still held their own, exceeded already monstrous expectations for perfection just goes to prove that it's time for Gang Gang Dance to finally get the recognition they deserve. Live, the band takes to the stage as a four piece, with the singer Liz and the keyboardist Brian constantly busying themselves with various instruments and singing duties. You know the myth about three drummers being better than one? Well, it's true and GGD prove it. The tribal, heavily rhythmic element that they've come to be associated with is something that they've clearly mastered and use to their advantage. They were powerful, confident and completely on-cue. And loud. Very, very, very loud. But, when the bass of "House Jam" came out and rattled everyone's respective hearts, it was a pretty neat moment. Also, let it be known that Liz is just as fucking gorgeous as her voice.

If you have the chance, see this show.

It's The 80s Somewhere In My Heart: The Mary Onettes

A certain band from Sweden (not that it even bares mentioning in this post-Myspace music scene) has been getting my attention this dreary fall season. Evoking, or perhaps mimicking, 80s alt-ballad powerhoueses like The Jesus And Mary Chain, Echo And The Bunnymen, Joy Division, and The Smiths, The Mary Onettes make you melt with the kind of misplaced nostalgia that young music fans perfect.

For example, Darklands, the first Jesus And Mary Chain album to archive commercial success, was released in 1987, the year I was born. Does it make sense for me to have nostalgia for the year I was born? No, of course not, but my senseless identification with a time I barely experienced is exactly the kind exotic, temporally distorted pop cultural connection that music fans are drawn to. I have no doubt that music kids, in the next few years, will begin discovering a certain band that was around just as they were coming into the world, during the early 90s: Nirvana. For now, young pop/rock musicians are completly sick of Nirvana, which we all grew up hearing on commercial radio

crystal stilts - live (chop suey, 11/9/08)

Brooklyn's Crystal Stilts were very excited last night. As the Seattle show was the last stop on their national tour, nothing could deter the five-piece from the knowledge that they would soon be home. That glee transfered extremely well live, even given their penchant for gloomy atmospheres. The drummer and keyboardist were especially jubilant, the former being absolutely the cutest girl ever, and having a commanding presence behind the kit. What I enjoyed most was that every member looked like they could easily be very different people with varying tastes and preferences, which is something you don't get from their record that mixes perfectly their garage guitars, deep reverb-y bass, growling lyrics, basic but perfect drums, and looping keys into cohesion. The singer had a great dance and tread a thin line between looking happily drunk or just extremely tired. No matter what, a very solid show, albeit far too short. Check out their recent debut, A Light of Night. 

panda bear - i'm not (phaseone remix)

Apparently I'm not the only one still listening to Person Pitch, and rightly so. Taking the beautiful and reflective "I'm Not," phaseone brings in some seemingly '80s drum-pad handclaps, a dub-step synth line and a looping background vocal of "what." This is Panda Bear's intro to rap, and I'm buying it.

mp3: panda bear - i'm not (phaseone remix) gvb direct link

gang gang dance - saint dymphna

If not the most conceptually dense record I've ever listened to, Gang Gang Dance's Saint Dymphna is certainly up there. Even after taking a few listens, to describe exactly what GGD create is next to impossible. It's fair to say they meld together the conventional with the absurd in a beautiful, epically proportioned ritualistic dance record. It's fair to say they borrow heavily from the tribal concept of rhythm tying everything together and being what every other element, be it melody or lyric, flows from. It's fair to say GGD have influences far too vast to ever be accurately described, as it seems they are the type to take inspiration from things both monumental and daily. It's also fair to say they could give a flying fuck what anyone has to say about their sound, as the music is far too singular to be concerned with preconceptions or popular opinion. And, that is for everyone's benefit. 

Calling together hints of grime, Bjork's vocal tendencies, techno, primitivism, and the kitchen sink (quite possible, they have a reputation for playing whatever is available), Saint Dymphna is an out there dance record that could just as easily sate the psyched out Brooklynite as the British rave kid.  Known for heavy improv and colossal jam sessions, Gang Gang Dance seem to have wrangled in their older, more eccentric tendencies towards musical chaos. In doing so, they have not lost an ounce of their uniqueness but instead have made quite possibly the best album of the year, if not a standout in a decade filled with other far flinging combiners of the worlds' various genres. The closest comparison I can think of would probably be Animal Collective, though Avey Tare and Panda Bear seem to use the human voice a little differently than GGD's main singer, Liz and GGD are not as direct in their musical affinities.

To say anything besides the fact that everyone should get this record would render this post void of all purpose. Saint Dymphna is out now, via The Social Registry. See them tomorrow at the Tripe Door w/ Marnie Stern & Growing . 

mp3: gang gang dance - house jam (hot chip remix) 

Bridez - "Heart"

Retro SF heavies, Bridez shot this piece of work, my current favorite video of all time. I'm so stoked to move to California.

YACHT From Above

YACHT - Summer Song from Jona Bechtolt on Vimeo.

I need to admit that it has been a while since I've busted out Portland's darling, energetic YACHT, featuring Jona Bechtolt and Claire Evans. Somehow, 2007's I Believe In You. Your Magic Is Real. fell out of rotation sometime last fall, as autumn leaves were turning into mold on Seattle streets.

Thankfully, their new sexier, dirtier, and less twee image kind of gets me off... almost. There is still a strong stench of Portland cuteness, but the deep cynicism that I have always suspected in Bechtolt comes more to the surface via some kind of A-and-R-guy-plus-record-label sub-plot. This video becomes a gross, vaguly pornographic departure from the relentless optimism of the band's last record.

A disco reality chech is just what I need on the day after this bizarrely momentous election. Also, the single is out on DFA, which is fucking chill because is means (for DJs like me) that it can be found on 12 inches everywhere.

ladyhawk v ladyhawke

I'd been seeing Ladyhawk all over The Fader for their Barfing All Over Europe tour diary (part 1, 2, 3, & 4) and was perplexed as to why I couldn't figure out where the girl was. The band's "Top 10 Songs For Rainy Sundays in Vancouver" mixtape got some praise on the aforementioned webpage and it was then that I realized I had been mistaking them this whole time for Ladyhawke, who is responsible for the irresistible "Paris is Burning" single that got major love from Cut Copy earlier this year. Whoops. A lack of investigative curiosity led me to numerous occasions of confusion, all of which could have easily been avoided had I enough sense to simply clicked a hyperlink. Now it's my obligation to set the record straight. 

Ladyhawk is a four piece band from neighboring Vancouver, Canada who make spirited rock 'n roll and don't seem the least bit afraid of indulging in common debauchery. Their solid LP Shots is out now on Jagjaguwar. 

Although I'm sure she enjoys her fair share of debauchery, Ladyhawke is a New Zealand pop princess who consists of equal parts Annie and Kylie. As already stated, her epic single "Paris is Burning" got an incredible facelift this summer when fellow Oceanians Cut Copy gave it a severe disco tang. It seems as if her album is out already in the UK, though not in the States. Luckily for us, there are a whole host of great remixes floating around the internet. You know the drill.

90's Cover Night at Healthy Times

Hah! It’s been a long weekend. But its Saturday night, and I’m ready to par-tee! After band practice, Jake and I head from our drummers house to Healthy Times Fun Club, my favorite venue in the whole wide city! It’s Day of the Dead/90’s cover night! 25+ bands and musicians are covering 90’s hits. God did I fucking get tired. As usual, vegan dinner was served, and many friends and people showed up to enjoy the night. People only a little too old for Halloween, and some people that outgrew it before I was born. Like the two old punks who sat on the couch the whole night, with their Crass shirts and semi-dyed hair. Not to say that Crass is bad, they’re actually one of my favorite bands, but those old people who didn’t move at all, totally sucked. Onward! Notable performers are SEAHOUSE, Bow + Arrow (who’ll get to later), Talbot Tagora, The Last Slice of Butter, World History and Iji. Everything was super fun, including a sweet Green Day cover, and a heartwarming rendition of “I'm The One Who Wants to Be with you” by Mr. Big, performed by World History, I think. To be honest, it got confusing and the incestuous nature of Seattle bands showed in the extra members. My two favorite covers BY FAR were by The Last Slice of Butter and Bow + Arrow. The Last Slice of Butter, a radical “425” bass and drum combo, had added on guitar Mark from Talbot Tagora to play the best damn cover of the night, “Cannonball” by the Breeders. Drummer Travis Coster’s fervent drumming is a treat to watch, with any band he plays with. Bow + Arrow finished the night, with bassist Jon Carr in a juice box costume. That same costume, the night before had contained 5 liters of wine. It was empty by last night. Bow + Arrow noodled a little bit, then slammed into their cover; “Everlong” by the Foo Fighters. It was fucking excellent.

starfucker is chill

At Seattle's Vera project last night Starfucker played a set overflowing with the sweetest chunks of stoner-pop I've tasted since early Weezer. Two drum sets, a tape machine, and a turntable round off the three-piece's instrumental posturing, which seemed poised for especially dense pop-rock sounds. And hot damn! Please believe these dudes know how to punch the rhythm and the basslines to make your body quiver with delight - a kind of insulated, baked ecstasy of cynical Northwest cool, flannel, distortion, bad hair, used frames, and vintage leotards. They have an album out on white vinyl and they hail from Portland so everything is set for a few years of West Coast-touring-musician glory.