Back From the Dead: basementcast #20

May 28, 2015 at 7:45 am | Posted in Basementcast, Music, Podcasts | Leave a comment
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revived

At some point the basementcast got put on a shelf in a dark corner of the basement. It wasn’t a conscious decision to stop doing them, but it was a conscious one to start it back up. So for good or bad the basement cast has been reborn, salvaged, reawakened,and hopefully rediscovered. Like the ones of old, this one has new stuff, old stuff, odd stuff, and local stuff interspersed with me yapping. Give it a go, there may be something you like on it, and if not there’s always the fast forward button.

Frankie & The Witch Fingers – Diamonds (Permanent)
Lime Crush – Graveyard (Fettikakau)
Courtney Barnett – Elevator Operator (Mom+Pop)

Barringtone – Feverhead (Onomatopia)
Finnmark! – Transpennine Express (Beko)
Unlikely Friends – Wear a Halo (Jigsaw)

A Frames – Calculator (S-S)
Cult Hero – I Dig You (Elektra)
Contrast – Sidewalk (Moontown)

Lower Dens – Société Anonyme (Ribbon)
Thee Oh Sees – Poor Queen (Castle Face)
Buck Owens – Who’s Gonna Mow Your Grass (Rhino)
Arthur & Yu – There Are Too Many Birds (Hardly Art)

Nic Hessler – Do You Ever? (Captured Tracks)
Saun & Starr – Hot Shot (Daptone)
The Bardots – Sad Anne (Bliss Out)
Flyying Colours – Not Today (Shelflife)

Walls – I Can’t Give You Anything But Love (Ecstatic)
King Tubby – The Immortal Dub (Clocktower)
Rozi Plain – Jogalong (Lost Map)
Fever Dream – Serotonin Hit (Club AC30)

Les Chausettes – Volanoes (Punk Fox)
The Shifters – Algeria (Comfort)

The Exploited – Sex & Violence (Secret)

Emergency Third Rail Power Triptych

May 13, 2015 at 9:42 pm | Posted in Music | Leave a comment
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girlsnames

Girls Names continue their upward trajectory by releasing an eleven minute opus called Zero Triptych. The Belfast band fly over a motorik beat that kicks up camel dust from an old trip that the Church took on Myrrh back in ’85 and then blasts off into a globular cluster of some nether region. Not bad for a song inspired by three panel paintings from the middle ages. Depending on your circumstances you might remember the Church and their song Myrrh. It was an obtuse song about wine, gold, personal favors, drum kits and the birth of Christ. Zero Triptch picks up where Kilby and company trailed off with the sound of aliens landing, obliterating space and time and taking us through a wormhole that dusts you with myrrh, frankincense and gold, skips over an obelisk, a couple monoliths and then leaves them all behind.

Word on the street is that this is going to be released only as a 12″ single and won’t be on their next album, so plan accordingly.

Shocker in Gloomtown

April 25, 2015 at 3:10 pm | Posted in Music, Vinyl | Leave a comment
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tufflove

You may remember that the Breeders Head To Toe EP? The one where they covered both Guided By Voices and Sebadoh? You probably don’t remember because it was released as a 10-inch. The 10-inch record is like the bastard step child of the 12-inch long player. It just doesn’t seem to get any respect, and often get’s buried in between its larger cousins. Nothing says we don’t care what you think like releasing one.

Glasgow’s Tuff Love have released two of them so far, so I get the feeling they like toiling in obscurity. The Junk 10-inch came out last year and quickly sold out and the Dross 10-inch is sure to follow suite. Its sharp riffs that quickly turn into buzzing choruses evoke the 90’s and bands like the Breeders, Elastica and Madder Rose.
Julie Eisenstein (guitar, vocals) and Suse Bear (bass, vocals) share vocals, effortlessly harmonizing so it seems like one voice. On Slammer the refrain of “I’ve got rage” seems like it should be sung with more emotion, but their nonchalant delivery over the top of buzzing guitar seems to evoke just the right emotion. Now for a record slightly larger in diameter.

The Dross EP is out now on Lost Map Records.

Perfect Time(ing)

April 19, 2015 at 9:45 pm | Posted in Music, Shoegaze | 3 Comments
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Ride at Humphreys By the Bay, San Diego | 16 April 2015

ride at humphries, san diego

As luck would have it, I was in San Diego for spring break during the dead week of Coachella to see the recently reformed  Ride, OG shoegazers from Oxford. The dead week is the week between the two Coachella weekends where bands if they’re lucky book shows in San Francisco, San Diego, Pamona, or anywhere but Los Angeles due to contractual restrictions of playing that giant festival in the desert. Having lived in San Diego for 11% of my life I wasn’t completely surprised when I arrived to see that the venue was mostly empty. Shows that routinely sell out places like the Showbox or the Neptune here in Seattle barely fill the Casbah in San Diego which is about he size of the Sunset in Seattle. To be fair, there had been problems with buying advanced tickets through Ticketmaster up until a few days before the show. Humphreys By the Bay holds about 1500 and is a place that usually hosts acts like the Steve Miller Band, Chicago and Boz Scaggs. The venue is nestled in palm trees and sail boats on San Diego bay. I don’t think I’ve been to a nicer place to see a show.

Ride, having recently reformed, had only played a handful of shows prior to this one, but they were in top form. Unaffected by the poor turn out, the band still seemed be energized to be playing for the meager crowd that San Diego offered up. They opened the set with a surprise. Nowhere the title track from their 1990 debut album is a meandering song that closes the album and hadn’t been played yet at one of their reunion shows. It was nearly twice as long as its recorded version and acted as warm up for both band and crowd. It ebbed and flowed like the monster wave on the album cover, creating an ominous feel in among the palm trees that surrounded the venue. Andy Bell and Mark Gardner wove their guitars into surges and then let it go all hazy as the song washed over everyone. They quickly followed with Seagull which sent a burst of lightening into everything. Steve Queralt delivered that sinewy bass groove for everything to wrap itself around while Andy Bell playing a twelve string guitar and made everything go hallucinogenic.

The younger me was always enamored by the guitars of Bell and Gardener, but the older me realized that the reason Ride were so good on their first two albums was due to the drumming of Loz Colbert and Queralt’s bass. Loz resembles Stuart Copeland in his look and style. It’s an adrenaline filled delivery that hasn’t lost a step in 20 years. It’s almost like he’s playing to a different song sometimes, and he’ll seemingly pull the band into the breach with him. Queralt often-times was laying down a guitar like riff with his bass that propelled the songs while Bell and Gardener were left free to make their squalls of noise with no concern for melody thanks to him.

The set list was hard to argue with. They only played one post Going Blank Again Song (Black Night Crash) and hit nearly every highlight from Nowhere and Going Blank Again. I only wish they would have included one or two more from Nowhere like Decay, Polar Bear or Kaleidoscope. That’s a minor qualm when you consider that they played Dreams Burn Down, Taste, Vapor Trail, Chrome Waves, Leave Them All Behind, Chelsea Girl and Drive Blind.

I’m a big skeptic when it comes to reunion shows, but Ride were the real deal. Comparing it to when I saw them on the Going Blank Again tour back in 1992, I would say it was even. Sure, they lacked the youthful bravado of those heady days, and Gardener was missing his rock god locks and sported a fedora to hide the fact. I would argue that they are better musicians today with more attention to making the songs really crack. Bell was playing insane riffs that I doubt he was capable of back then. The rhythm section seemed to own every song, and Gardener’s voice was stronger which gave the often obscured melodies to the songs a bit more sheen than they ever had. During the finale of Drive Blind you could make out a giant grin across Mark Gardener fave. It used to be serious noise that Ride made, now it’s just fun, as it always should have been.

ride2

Set List:

Nowhere
Seagull
Twisterella
Unfamiliar
Cool Your Boots
Black Nite Crash
OX4
Dreams Burn Down
Time of Her Time
Chrome Waves
Paralysed
Taste
Vapour Trail
Drive Blind
Encore:
Leave Them All Behind
Chelsea Girl

Shoegaze Sans Chapeau

April 12, 2015 at 11:54 am | Posted in Cassettes, Music, Shoegaze | 1 Comment
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Day Ravies

Sydney’s Day Ravies followup last year’s stellar 7-inch with a four song EP they call Under the Lamp. It’s being released as a cassette and download by Strange Pursuits which is a brand new label started by Sam Wilkinson who sings and plays guitar in the band. The band say this is a teaser for their second album which they are working on. No word on whether any of these four songs will be on their next album, but based on how good they are I wouldn’t be surprised if all four of them make an appearance.

The four song EP starts with Sleepwalk which takes up right where Hickford Whizz left off  last year and sees the Ravies continuing their more straightforward pop head rush. Perennial features a great chorus and a killer guitar solo that is brief but efficient and keeps with the song’s penny arcade psychedelia. Prior Hour the closer is the comedown from the pop highs of the previous three songs and has a slow burn melancholy to it that has touches of Mazzy Star in it. This EP and the Hickford Whizz single from last year should have folks lining up for the upcoming album number two.

Day Ravies’ Under the Lamp EP is available from Strange Pursuits.

 

Jangly Good Times with Twerps at the Sunset

April 8, 2015 at 9:10 pm | Posted in Music, Seattle, Sunset Tavern | 2 Comments
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twerps

I remember seeing the Lucksmiths eight or nine years ago at the Sunset in Ballard and getting into a conversation with someone at the show about how strange it was for a band to travel half way around the world just to play this tiny bygone place in Ballard where the bar was right in front of the stage. A lot has changed in Ballard since then including the Sunset. It has recently been remodeled so that there is a front room called that is open to non-ticket holders and then there is a separate back room where you need to pay a cover to get in to see the bands. It’s very similar to places like Piano’s and the Mercury Lounge in Manhattan. They may moved the bar away from the stage, but they left the giant support beam that cuts across the stage make a substantial obstacle for tall bassists guitarists who like to jump around. I guess you could say it adds some character to the place. All things considered the remodel is a major improvement.

Now it feels like a destination for bands traveling half way around the world, like the Twerps from Melbourne, Australia. Three years ago when they were in Seattle, they played at Chop Suey to a score of people. This time it was sold out. The Twerps at their core are Marty Frawley and Julia McFarlane, both sing and play guitar. Helping them out this tour is the rhythm section from the Stevens who also share a record label, Chapter Music in Australia. The Twerps new album Range Anxiety features much better production than their debut and quite a few fairly obvious nods to the Go-Betweens. Live the band seemed loose and in good spirits despite a late night drive to make it to Seattle in time for a session at KEXP earlier that day. Marty has a cheeky sense of humor, at one point in the set declaring his preference for Portland over Seattle. He seemed to relish playing to a full room. A couple highlights from the set for me included Jules’s Raft from the Underlay EP. This song doesn’t really sound like a Twerps song, but was pretty great nonetheless sounding part Bats and part Lovelife era Lush. Another highlight was Simple Feelings which really took an Feelies vibe with its swirling guitar and manic beat. The set was packed full of gems like like Dreamin’, Work It Out, I Don’t Mind and Back to You. With  two albums and a handful of EP’s the band had bounty of riches to choose from and they chose wisely, making it a jangly good time for everyone.

Range Anxiety by Twerps is out now on Merge Records.

Zebra Hunt who opened for the Twerps at Chop Suey three years ago also opened Saturday evening. I can’t think of a better match of bands for a bill. If you haven’t checked out Zebra Hunt’s album yet and dig the Twerps, I can guarantee that you will love it.

Instant Gratification with Ultimate Painting

April 3, 2015 at 4:11 pm | Posted in Chop Suey, Seattle | Leave a comment
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up

Remember when Ride lost the plot after Going Blank Again and tried to morph their sound into some neo-psychedlic 60s blend of the Byrds, Velvet Underground and Buffalo Springfield but ended up sounding like the Black Crowes? Tuesday night at Chop Suey the UK’s Ultimate Painting demonstrated the tangent that Ride should have taken. Their set brimmed with paisley tinged psychedelia that trod the fine line of subtle melodic turns, buzzy droning and all out jams.

The group’s self-titled album came out last year on Chicago’s Trouble in Mind. The record has a subdued sound to that features major nods to the Velvet Underground’s prettier side, but live they crank up the danger levels into White Light / White Heat territory. Talking Central Park Blues was a great example of this, with Jack Cooper taking the lead on this New York narrative that is their sister Ray making it sound a lot more energized than the recorded version.  Cooper also plays in Mazes. In Ultimate Painting he shares guitar and vocal duties with James Hoar from Veronica Falls and Proper Ornaments. It seems like a true collaboration, with both contributing to the songs. Cooper may take a lead vocal, while Hoar takes the lead guitar part, and both contributing harmonies to the other’s vocals.

They also included a couple new songs from an album that they said would be coming out in August. One of them showcased the influence of the Grateful Dead (Casey Jones) that I hadn’t noticed before, but is fairly obvious given the group’s twitter icon. The set closed with with Ten Street which they turned into an extended jam. The rhythm section provided a great stage for Cooper and Hoar to get a little crazy playing off of one another, going into a few rabbit holes of guitar goodness. It lasted for about 10 minutes but it could have gone on for 20 and no one would have complained.  Live Ultimate Painting seem to have an innate sense of when to head off on a tangent extending their solid album into something better and much more interesting.

Ultimate Painting’s self-titled album is out on Trouble In Mind.

Ultimate Painting at Chop Suey

Seattle’s Universe People opened the show playing songs from their two albums as well as new one. They were solid as usual. They’re jerky angular songs keep you on your toes. The Modern Girl, Chemistry, Druids and Vampire Prison were all present in their set and demonstrated how great this band is.

universe people at chop suey

Male Gaze & Tiaras at Chop Suey

March 29, 2015 at 3:20 pm | Posted in Music, Seattle | Leave a comment
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MaleGaze

Male Gaze are a group of males made up of former members of other bands: Matt Jones and Adam Finken of Blasted Canyons, Mark Kaiser from Mayyors, and Adam Cimino from The Mall. Jones who sings, plays guitar and runs Castle Face records along with John Dwyer doesn’t have much range in his vocals, but he uses this limitation to good effect. He keeps his dark monotone in the strictly gothic range, while Kaiser’s bass and Cimino drums lay down a pummeling foundation to build up intense, apocalyptic, paranoia songs.

The Male Gaze debut album only came out this week, so maybe that explains why this show was so sparsely attended, or perhaps it was the 70 degree weather causing a bout of spring fever. Too bad for the rest of Seattle I guess, especially those in the population who like the post punk desolation akin to our very own A-Frames. The newly revamped Chop Suey was still sparkling, not yet defiled by rock n’ roll debauchery. The stage even has a red velvet curtain that closes between bands, lending to a sense of drama to each set.  The rhythm section was unreal and didn’t really need an curtain to create a sense of drama. Their lights-out playing was the highlight of the night and they made it look way too easy. Songs like Cliffs of Madness, The Shining Paths and Bridge and Tunnel Vision are dark pop masterpieces that ravaged live. Impressive, and my admiration for the band increased knowing that they can bring this sort of intensity even when playing to 20 people.

stream: Male Gaze – The Shining Path (from Gale Maze on Castle Face)

Tiaras
Tour mates the Tiaras share a guitarist in Adam Finken and feature former Ganglians Ryan Grubbs and Kyle Hoover. Their self-titled debut album came out earlier this year on Mt. St. Mtn. It’s probably not what you would expect if you remember the lo-fi stoner rock of the Ganglians. The Tiaras are all shimmering pop with a few angles in the vein of Field Music, High Llamas, and the Trashcan Sinatras. Their lush stylized pop is sometimes hard to translate into a live setting. At first I thought that they sounded much too murky, but when lead guitarist Kyle Hoover switched from his twelve string guitar to his trusted 6 string Rickenbacker everything came together and their emotive pop set won out.

stream: Tiaras – Thought I Could Know (from Tiaras on Mt. St. Mtn.)

Wild for Wildhoney

March 19, 2015 at 9:22 pm | Posted in Music, Records, Shoegaze, Vinyl | Leave a comment
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wildhoney

Shoegaze bands are a dime a dozen these days which is something I never would have predicted 20 years ago. So the genre lost the battle but apparently won the war, but sometimes the victors get a little cocky. Originally a derogitory term, bands now brandish that tag willy nilly without sometimes knowing what they’re talking about. One of the first and foremost things about the OG shoegaze was that at its heart there were always great songs. It wasn’t just noise. It was verses and big choruses. Bands actually wrote songs first and then bent their tremelo bars around them, instead of many of today’s poseurs who bend their guitars around nothing much.

There was a method of songs first reverb second. Baltimore’s Wildhoney adhere to that tried and true approach. Their debut album Sleep Through It is one of the best albums to come out in the shoegaze genre (or any other genre for that matter) in a while. This quintet of youngsters lean in direction of the more ethereal regions, looking to the Cocteau Twins and My Bloody Valentine. The influences may be easy to spot, but they take them and make something slightly different, brighter and alluring. Fall In and Molly belong on any best of shoegaze mix. Their two previous singles (Seventeen and a re-recorded Super Stupid) make welcome curtain calls as well. They even throw in an instrumental tribute to Flying Saucer Attack. These kids know how to deliver quality noise drenched pop with a sense of history and an ear for melody. Do not miss!

The album Sleep Through It is out in the US on Forward Records and everywhere else via Deranged Records.

Oddities

March 1, 2015 at 6:16 pm | Posted in Albums, Music, Psychedlia | Leave a comment
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rsb

So you’re perusing the internet and you come across something about a band that is made up of members of Total Control, UV Race, East Link and Dick Diver. What do you do? Try not to get too excited, right? Why haven’t you heard of this band before? Have you had your coffee yet today? Do you take sugar?

Well the the first thing I would tell you is that there is nothing obvious about Russell St. Bombings. If you’re looking for the next great unheard pop record from down under then you are looking under the wrong rock. This is an intentionally difficult record. It’s something that probably started as jam between friends and then because it had a few elements that were intriguing it continued.

Hey lets go get some beer and noodle around. A studio costs too much, so lets record ourselves with our phones. What’s the flight time from Perth to Manila?  Let’s use odd tunings and make the songs run together. Have you ever recorded a guitar solo in an airplane toilet?

The Clean were known to go off on tangents like this and they called those records Oddities. Today I was scraping moss from the steps in the back when out popped a somewhat large wormlike creature. Pop songs squirm out of the cracks unexpectedly, and then they burrow back down into the dirt just as quickly.  If Syd Barret would have conducted symphonies I think this is what it may have sounded like on the even days.

Oddly I find myself listening to this a lot more than I ever would have thought. Sometimes it feels good to listen to music that isn’t obvious. It’s exciting because you don’t know where it’s going and it’s exciting because you get the feeling that the band don’t exactly know where it’s going either. Where are you going?

Russel Street Bombings is out now on SmartGuy Records

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