Tags: Beating a Dead Horse, Beautiful Strange, Childbirth, Couple Skate Records, Dragnet, Dreamsalon, Hardly Art, Help Yourself Records, Lucarne, Mega Bog, Neighbors, Posse, Space Daze, Sweet Rot, Universe People, Vox Mod
The one complaint I’ve gotten over the years on the Finest Kiss year end lists has been that the pictures haven’t been large enough. So this year will feature bigger images, because let’s face it, nobody reads the comment parts of year end lists. They scroll through them and then shake their heads in disbelief that I left something out. I hope I didn’t, but I probably did. Oh well, here are the ten best things I heard in the city where moss grows year round.
1. Dreamsalon – Soft Stab (Sweet Rot/Dragnet)
If you are reading a year end list of records and this record is not on it, view that list as suspect. Soft Stab follows last year’s Thirteen Nights and easily surpasses it. It’s punk. It’s post-punk. It’s dark. It’s malcontent. Whatever it is it oozes confidence and style while jarring you with stabs of guitar and Craig Chambers nearly unhinged vocal delivery. This record feels like it could go off the rails at any point, but Dreamsalon have this uncanny ability to take it to the point of destruction and peer into the abyss without actually falling in to the crevasse.
2. Posse – Soft Opening (BADH)
It was kind of surprising to see Posse’s second album get national attention, only because this town is littered with bands that get undeservedly ignored by the rest of the country. The band self-recorded it in their basement and self-released on their own label Beating a Dead Horse. Guitarists Paul Wittman Todd and Sacha Maxim share vocal duties on this compact set of nine sleepy, slightly spacey, Galaxy 500 influenced songs. Whenever something is described as DIY, I think of it as kind of shoddy and amateurish, but Posse make DIY sound lush, professional and relaxed.
3. Tacocat – NVM (Hardly Art)
NVM is consensus number one record of the year i my house (Though, I think my son would vote for Mario Brothers Theme songs as interpreted by Mannheim Steamroller if it existed), but since I’m the one writing the blog in my household it’s number three with a bullet. Recorded in the Seattle’s seminal Egg Studios with Conrad Uno, NVM has a wry sense of humor akin to those early Young Fresh Fellow records recorded in the same setting. Bridge To Hawaii may be the first ever seasonal affective disorder anthem and their ode to the monthly bill Crimson Wave is riotously unforgettable, add in the Ramones pop of Alien Girl and the Mexican psychedlia Psychedlic Quicceanera and you’ve only just dipped a toe in the pool of Tacocat’s neon pop world.
4. Lucarne – Why the Good Guys Turn Bad (Self-released)
The Seattle band that barely was. Lucarne released a seven song record in the summer and then promptly broke up. Too bad, because their wistful jangle filled indiepop struck a chord with me and anyone who loved the Bus Stop Label…and now their gone just like the label that inspired them.
5. Vox Mod – The Great Oscillator (Self-released)
Vox Mod is electronic producer Scot Porter. He doesn’t sing so The Great Oscillator contains a mix of instrumental music and guest vocalists from Seattle. Last year’s SynAesthetic album featured Erik Blood and Palaceer Lazaro of Shabazz Palaces. This time around all of the guests vocalists are female. The opening track Flight of Fancy featuring Iren Barbaric formerly of Hungery Pines and currently of 18 Eyes raises the bar high right from the get-go. Porter maintains quality with his melodic adeptness, inventive arrangements and pacing and guest vocalists.
6. Universe People – Are Coming to the Dance (Dragnet)
The only thing that is the same in Universe People since their first album is singer guitarist Jo Claxton, her subversive sense of humor and her jagged guitar licks. Everything else has changed meaning the rhythm section now contains Kimberly Morrison of Dutchess and the Duke and Min Yee of Dreamsalon. Funny enough, I believe all three are former members of the Intelligence. But then who in Seattle isn’t? Dance easily avoids the dreaded sophomore slump and features some of the best Universe People songs to date, namely The Modern Girl and Chemistry.
7. Childbirth – It’s a Girl! (Help Yourself)
Some people can’t take a joke. Childbirth doesn’t care, because they’re all about having fun and if you don’t get it then the joke’s on you. Julia Shapiro from Chastity Belt plays guitar and sings, Tacocat’s Bree McKenna plays bass and Pony Time’s Stacy Peck is on drums. The trio’s debut album evokes the feminism, smarts and humor of Le Tigre and Bratomobile. It may be a side project for all three, but don’t let that put you off, these women know how to rock irreverently!
8. Neighbors – Will You Please Be Quiet, Please? (BADH)
Neighbors finally graduated from releasing albums on cassette to the vinyl big leagues and Will You Please Be Quiet, Please? smartly plucks a few highlights from their most recent tour cassette and includes them here. “Do you think moving to Seattle’s gonna get you where you want to be?” Jose Diaz sings on Muscle Girl on Muscle Beach. I don’t know if they’re where they want to be, but I like where they’re at on this record…somewhere between Pavement and the Meat Puppets .
9. Space Daze – Follow My Light Back Home (Beautiful Strange)
Sea Pony took the year off, but the band’s songwriter and guitarist Danny Rowland didn’t. His solo album softly hit the streets back in early summer. It is understated pop in the same vein as Seapony. Some of these songs like Having a Bad Time and Line Up on the Solstice seem to be top shelf quality, so I can only assume what Rowland is saving up for the next Seapony record should knock your socks off. In the meantime this does nicely.
10. Megabog – Gone Banana (Couple Skate)
Megabog is based around the talents of Erin Birgy. She’s obviously bananas for Kevin Ayers (Besides the title there’s a cover of Lady Rachel included here) and posses a sense of melodrama perhaps only equalled by Dan Bejar and Ariel Pink. Gone Banana is draped with saxophone and spacious guitars that give it a lovable campy quality.
Tags: A Sunny Day In Glasgow, Alpaca Sports, Carsick Cars, Cheatahs, Doug Tuttle, Hollie Cook, Katerine, Metronomy, Posse, Pow!, Quilt, Ramona Lisa, Talbot Adams, The People's Temple, Thee Oh Sees, Woodentops
You guys probably thought this was over. Nah, I was just giving everyone a day of rest. So now we are at the end of the middle of it. A little longer but packed full of worthwhile stuff. I left a few out, because…because why? Because I’m tired and I want to get back to listening to records.
Hollie Cook – Twice (Mr. Bongo)
Hollie Cook who is the daughter of Sex Pistols drummer Paul Cook has mastered it on album number two. Her brand of tropical/pop/reggae/dub sounds so fresh that you will wonder why nobody has come up with this elixir before. Twice has lush orchestration, obscure samples, phat beats and always Ms. Cook’s simmering voice bringing everything to brilliant life.
stream: Hollie Cook – Ari Up
You’ve heard it before. Band reunites, makes album after 20 year hiatus. Album sucks. It’s enough to make you ignore your glory days. The Woodentops are here to show you that old people don’t suck. After calling it a day 22 years ago the band are back with a new album. Yes they’ve aged, but they’ve made a record that holds onto the manic energy of their first incarnation, while adding a gravitas that makes up for any spring they may have lost in their steps. Granular Tales surely isn’t’ the record they would have made as follow up to Woodenfoot cops on the highway 20 years ago. It’s most likely much better.
stream: Woodentops – Third Floor Rooftop High
Ramona Lisa – Arcadia (Terrible)
Ramona Lisa is Caroline Polachek of Charilift. Her first solo album Arcadia is entirely and electronic affair, but it doesn’t sound cold or stilted at all. It is spacious and playful with a similar aesthetic to a Kate Bush or Goldfrapp record. She’s also brought an A list of songs so this is anything but some throw away indulgence solo album.
stream: Ramona Lisa – Backwards & Upwards
Talbot Adams – Talbot Adams (Space Case)
Talbot Adams self-titled solo album is wall to wall quality. What kind of quality you ask. Quality in the caliber of Nick Lowe, Elvis Costello and Wreckless Eric. Thing is, it came out on a tiny label and got no press. People complain all the time that music sucks these days. It doesn’t suck you just need to dig because Columbia Records is not bankrolling artists anymore, so you are not going to hear this stuff on the radio or read about it on your favorite indie music web site. Shame.
stream: Talbot Adams – Nashville Avenue
Carsick Cars – 3 (Maybe Mars)
If you hadn’t heard China is rising. The sleeping dragon has awoke so it is only a matter of time before the country moves beyond exporting smart devices and cheap toys and starts exporting rock n’ roll. At the forefront of the invasion and hailing from Beijing, this Chinese trio make noisy grooving kraut influence rock. It certainly isn’t a homegrown sound, but they do it very well. Three (coincidentally their third album) was co-produced by the Clean’s Hamish Kilgour and former Spaceman Sonic Boom.
stream: Carsick Cars – 15 Minutes Older
The People’s Temple – Musical Garden (Hozac)
Musical Garden might be the best People’s Temple record yet. The Lansing, Michigan band’s brand of heavy psych-gararge- punk hits the right nerve sounding raw, unhinged and just about to take a sip of Kool-aid.
stream: The People’s Temple – Smooth Move
Posse – Soft Opening (BADH)
Posse’s second album Soft Opening is just about perfect in lonely, melancholy and druggy kind of way. It will likely remind you of great records from the likes of Galaxy 500, Versus and Acetone. Its sharp guitar and vocal interplay between co-singer-guitarists Paul Wittmann-Todd and Sacha Maxim compliment each other as if they’ve been playing together all their lives. It’s a record with a measured confidence giving you the impression that Posse are wise beyond their years.
stream: Posse – Interesting Thing No. 2
A Sunny Day In Glasgow – Sea When Absent (Lefse)
Every good band evolves of course, and A Sunny Day in Glasgow have progressed from being an airy shoegaze band whose songs sometime floated by without anyone taking notice to being a band that has retained its shoegaze roots but with a major focus on out and out pop. Singers Anne Fredrickson and Jen Goma combine their voices to create powerful attention grabbing songs while the rest of band provide big swirling and sweeping frameworks to hang their voices.
stream: A Sunny Day In Glasgow – In Love with Useless (The Timeless Geometry in the Tradition of Passing)
Quilt – Held in Splendor (Mexican Summer)
Quilt pluck strings from psychedelic era Beatles, unearth dusty jangle from the Byrds and sprinkle misty mountain vocal harmonies from Crosby Stills and Nash all over the place. The Boston band’s second album surpasses their good debut with a batch of psychedelic circle dances that sparkle and shimmer, effortlessly creating their own brand of psych with one foot in the past and other in the next star system.
stream: Quilt – Tired & Buttered
Katerine – Magnum (Riviera)
Katerine started out making indiepop, then moved onto electronic, got really weird somewhere in there, became an actor, started his own girl group and now has gone disco. Over here in the states there is a large group of folks who worship Serge Gainsbourg. His records get reissued on a regular basis, and he gets tribute records made to him. I can only imagine that after Katerine passes away the same thing will happen to his records. In the meantime you have to call France to buy any of his stiff. His latest Magnum is loads of fun and slightly ironic based on the cover, but it also has some great beats and more than its share of excellent songs.
stream: Katerine – Les Dictateurs
Alpaca Sports – Sealed With a Kiss (Luuxury/Dufflecoat)
Is it possible to like both the angry Sleaford Mods and Protomartyr and happy Alpaca Sports? Maybe I like too much stuff but in my house there is a place for both. This Göteborg, Sweden duo explore the unbearable lightness of being twee on their debut album. It’s full of sunny harmless sounding fun, but underneath there is pain, hurt and anger. Sounding sweet and harmless isn’t as easy as you think and neither is making a record this intelligent and catchy.
stream: Alpaca Sports – He Doesn’t Even Like You
Pow! – Hi Tech Boom (Castle Face)
Hi-Tech Boom sounds like it was recorded in the 80′s, but it is a commentary on the current state of affairs in the Bay Area. High cost of living and high salaried tech workers pricing everyone out and vanillafying the place. Pow! sound numb, robotic in their outrage. Like everyone these days they are desensitized to the absurdity of reality. Let this record numb you so you feel no pain as the rich eat you.
stream: Pow! – Fire Hose
This Metronomy might not be what you’re expecting. It’s full of downbeat bedroom pop. It takes a few listens to adjust to it being so low key and understated, but the rewards are long lasting. Aquarius is the immediate one, but Love Letters soon grabs you with it’s piano riff and then Factory sounding instrumental Boy Racers hits you unexpectedly. Reservoir soon follows and before you know it you even like the most difficult ones.
stream: Metronomy – Aquarius
Doug Tuttle – Doug Tuttle (Trouble In Mind)
Former Mmoss guitarist strikes out on his own into New Hampshire’s White Mountains and conjures a brilliantly understated psychedelic masterpiece. Sometimes he sounds like he’s been listening to some West Coast Pop Art Experimental Band, but he never goes off on the benders that that band did. The psych with a strict adherence to pop.
stream: Doug Tuttle – Forget the Days
Thee Oh Sees – Penetrating Eye (Castle Face)
It’s a brand new Thee Oh Sees. Dwyer decided to split with the rest of his band, but when it comes to records that doesn’t really matter since he usually records everything himself. As far as Thee Oh Sees albums go this one veers towards the more mellow psych side of things, like a sister of the Casstlemania record. Except that it isn’t quite that simple since there are few corkers in this batch of songs as well which contributes to the nice balance between hot and cool which is something new for this band.
stream: Thee Oh Sees – Encrypted Bounce (A Queer Song)
Cheatahs – Cheatahs (Wichita)
Cheatahs come from London, but the four guys in the band are from Canada, Germany, the US and the UK. There are obvious similarities to Swervedriver on their debut album as well as Buffalo Tom, My Bloody Valentine and Dinosaur Jr. You may have to pinch yourself as you reach for your copy of Melody Maker to make sure that you haven’t warped back to the 90’s. Nope, you haven’t, but this is good enough to make you think you might have just for a minute.
stream: Cheatahs – Geographic
Tags: Beating a Dead Horse, Galaxie 500, Meat Puppets, Neighbors, Pavement, Posse, REM, Versus
Sometimes you have to take matters into your own hands. In the case of Posse, they decided to forego the process of trying to get signed to a record label and started their own. It’s called Beating a Dead Horse Records. The first album that the fledgling label put out was of course their own album. It’s called Soft Opening and it’s their second album. Actually Posse put out their own first record too , but that was two years ago, before BADH.
Soft Opening is nearly perfect. While the trio is based in Seattle, they sound like the wide open dusty roads of the desert that lies on the other side of the Cascades. The songs have a lonely, melancholy and druggy feel to them similar to Acetone and Galaxie 500. The guitars seem to be inspired by Dean Wareham’s watery, lackadaisical sound while the playful boy-girl vocals create some healthy sexual tension. Both Paul Wittmann-Todd and Sacha Maxim play guitar and sing while Jon Salzman is solely relied upon to keep the beat. Posse keep things tight, putting only eight songs on the record. Maybe they thought keeping it short would circumvent short term attention spans in this internet age, but Posse are good enough that they could have snuck another one in and nobody would have hit the skip button.
For its second release BADH have just put out Neighbors third album Will You Please Be Quiet, Please? The record’s title made me get out my Raymond Carver books and reminded me of when Paul Kelley and the Messengers named So Much Water, So Close to Home after one of the well known Northwest author’s short stories. Neighbors write songs that straddle Pavement’s Range Life, REM’s Harborcoat and the Meat Puppets’ Up on the Sun. Like those bands, there is more to their sound than what is on the surface. Beneath the psychedelic, country sheen you can hear the influence of Gang of Four, Wire and the Wedding Present. The band smartly pulled the best tracks from last year’s tour only cassette Power Country and included them here. Muscle Girl on Muscle Beach which features some sweet guest vocals from Lexi Lee, and Hot Jack get things off to a rocking start. Muscle Beach . Newer songs Loretta and Heather have a twangy angular feel to them that hints at the band getting better and progressing into new territory. After cassette and download releases it’s nice to see that Neighbors have finally released an album on vinyl for posterity.
Beating a dead horse have a small catalog and don’t seem to be in a hurry to grow fast. It’s more of a means of documenting themselves and their friends. Sounds like a good business plan to me.
Tags: Blooper, Chastity Belt, Erik Blood, Evening Meetings, La Luz, Neighbors, Nightgowns, Orca Team, Posse, Purrs, Seapony, Stephanie, Tea Cozies, Thee Satisfaction, Zebra Hunt
Could this have been the year that Seattle went pop? Sure, there have been bands here and there with pop leanings, but this was the year that Seattle finally shed it’s flannel, got out of the garage, and didn’t feel like it had to be wooly, bearded and mechanical all the time. Look out old Seattle, the kids don’t care about your hang-ups! Here are my favorite 15 records (album, ep’s and singles) from the Emerald City and environs.
1. Erik Blood – Touch Screens (Self-relased)
It was pretty cool to see much of Seattle’s music press unanimously agree that Erik Blood’s Touch Screens was a brilliant record. He took his shoegaze leanings, added some electronics, a motorik beat or two and came up with a concept album about pornography. Too bad that recognition seemed to stop at the city limits. Dear rest of the world, you may have missed one of the finest records put out this year.
The Lonesome Death of Henry Paris:
stream: Touch Screens
2. Thee Satisfaction – awE naturalE (Sub Pop)
Part soul, interstellar hip-hop, and trip-hop, the duo Stasia Irons and Catherine Harris-White combined to create a record that sounded like little else in Seattle and anywhere else for that matter. It didn’t get as much gushing attention as the Shabazz Palaces album did last year. It should have because it’s a better record.
3. Neighbors – John In Babeland (Lost Sound)
Neighbors’ deft songwriting seemed to effortlessly take their REM and Pavement influences and create a record that could rattle as well as soothe. John in Babeland came out cassette way back in February, luckily I got a download of it because as much as I’ve played it, the cassette wound up all scrunched in a tape deck by now.
All United Grocery:
Stream: John In Babeland
4. Evening Meetings – Evening Meetings (Sweet Rot)
Dark clouds, dark allies, dark dark. Evening Meetings wouldn’t, no couldn’t take place in the light of day nor in any other place. Claustrophobia induced by low pressure and heavy dark clouds and dusk that sets in around 3pm. This time of year in Seattle it’s dark most of the time and in some weird strange way this record turns on the bright lights every time I listen to it.
5. Zebra Hunt – Zebra Hunt (self-released)
Half Right is the best song to come out of Seattle this year. If I didn’t know any better I would have guessed they moved here from New Zealand and started a PNW Flying Nun shop right here in our midst. Seattle, rejoice! There is a pop band in our midst that breathes kiwi air.
stream: Zebra Hunt
6. La Luz – Damp Face (Self-released)
Have you ever been to the beach in Washington? You can actually drive right onto it with your car because nobody’s there. It’s flat, cold and windy no matter when you go, winter, spring, summer or fall. La Luz don’t belong in this surfer’s nightmare. Their surfer’s paradise of an EP had to have been born in warmer climes, but being from Seattle, perhaps long winter day’s indoors, hanging with the ghosts of the Ventures and dreaming of an endless summer did it.
Sure As Spring:
stream: Damp Face
7. Orca Team – Restraint (HHBTM)
The basic sound of Orca Team record hasn’t changed much over their short career. Their bass-driven 50’s surf pop jangle consistently pleases. They’re random output of singles, cassettes and CDr’s has been scattershot. Finally the band has seemed to focus and that concentration makes Restraint feel like a proper record. Its concise songs make quick long lasting impressions.
8. Posse – Posse (Self-released)
Posse’s self-titled debut is brazen with amazing pop songs. They have the gritty boy-girl back and forth in their songs and slashing guitar solos that aren’t over the top but just right. You older folk will appreciate their affinity towards Versus. Back in the 90’s during that post Nirvana signing frenzy Posse undoubtedly would have been sitting on piles of cash and big record deal. Oh how times have changed.
9. Tea Cozies – Bang Up (Self-released)
Tea Cozies re-materialized after three years in the wilderness with this killer five song EP. It has an air of confidence about it and flare that will have fans of both 90’s Britpop and college rock hopefully reaching for their pocketbooks as well as old albums by the Tuscadero, Blake Babies and Sleeper.
Silhouette In A Suitcase:
stream: Bang Up
10. Chastity Belt – Dude (self-released)
You thought I was kidding about the pop capitol of the world,didn’t you. I wasn’t and Chastity Belt are here to back me up. Their Pony Tail single had the audacity to tell the general NPR listening, latte drinking, Game of Thrones playing male populace of Seattle to cut off their ponytails. What a bunch of punks!
11. Blooper – Go Away (Self-released)
Blooper do saccharin powerpop so well that any cuts inflicted by their killer songs will bleed cherry syrup. Look out for a new 7-inch single from these Ballard popsters early in the new year on Manic Pop! Records.
stream: Go Away
12. Nightgowns – Bonita (Swoon)
Tacoma’s Nightgowns, similar to Tea Cozies have been slumbering for a few years, but this EP sees them wide awake and in good form. Slightly bombastic and theatrical, but only slightly, Bonita sounds like that bubble the Flaming Lips use, but instead of it being in a sea of confetti, they are bounding across the high desert, down the cascades and into the Sound.
13. Purrs – Rotting On the Vine (Fin)
The Purrs are like the elder statesmen of nothing. They’ve been around for years putting out great records to little recognition. Perennially writing killer songs that are left rotting on the vine so to speak. If anyone ever asks you, yes they do make them use to. Seattle’s Fin records have given the Purrs a new home and this beauty is a taste of their album due next year.
Rotting On the Vine:
stream: Rotting On the Vine
14. Seapony – Falling (Hardly Art)
Funny how Seapony’s second album is better than their first and yet last year they were number one in my Seattle albums and now they’re number 14. It might be because Falling was more of the same only better or it might be because I’m capricious. They may have slightly fallen out of fashion, but this record will be considered a Sarah-esque classic in a few years. Too bad it takes obscurity for some people to really appreciate things.
Prove To Me:
15. Stephanie – One Glove (Self-released)
Stephanie sound like they could have been on Factory records back in the early 80’s. They employed Erik Blood to record One Glove, but it sounds like they got Martin Hannett from the grave instead. Stephanie employ sparse, jaggedy steely guitars that are part Magazine and part Durutti Column and a singer that some might say is an acquired taste but they make it work quite well.
stream: One Glove
Tags: Case Studies, Crystal Stilts, Posse, Slumberland
Crystal Stilts, Case Studies and Posse at the Crocodile, Seattle | 11 May 2011
Brooklyn’s (by way of Florida) Crystal Stilts played the Crocodile this past Wednesday night to a sparse audience. Apparently their darker take on the pop song doesn’t resonate as well with the kids as their labelmates and neighbors the Pains of Being Pure at Heart brighter stylings who sold the place out a few weeks ago. Where the Pains are bright colors and glistening pop hooks, Crystal Stilts dredge around below the ground in the dark of night. Their second album In Love With Oblivion recently released on Slumberland is a more assured effort than their debut. JB Townsend’s guitars rattle, jangle and shatter with a Bo Diddly tenacity while singer Brad Hargett keeps his vocals murky making you dig just a little for the melody.
Oblivion doesn’t make you dig too deep with its abundance of hooks as their previous effort Alight of Night did. Its glistening guitar more often than not offsets Hargett’s caliginous musings. The band have never been ones to lead sing-alongs at their shows, opting to put up a distinct boundary between them and whoever shows up to see them play, and this night was no different. Crystal Stilts where there to play, oblivious to whether there were 50 or 500 people in the room which was good and bad. Good because there were only about 50 people there. They belted out a set of big moody songs that sparkled at times like a partly cloudy day in Seattle. Sun breaks came with the Felt inspired Half a Moon, the pop of Through the Floor, and single Shake the Shackles and then darkness reigned on Prometheus At Large and Flying Into the Sun. Bad because it seemed like their set was cut short by the band’s disaffection or their general awkwardness of just being on stage. Their music sounds intimidating, but to see them play, much of the mystery and malice that their songs conjure disappears because of their lack of a charismatic stage presence. They seemed uncomfortable playing to a mostly empty room and made a short night of it, only playing nine songs plus and encore.
I should not complain too much, because what they played sounded great. Evoking the Bunnymen, Velvets, 13 Floor Elevators and Felt at once is no easy feat, but it felt like it was phoned in. If you’re only going to play nine songs then why even bother with an encore? Just play 10 and leave the stage. Do it like you mean it and leave me wanting more. A band like Crystal Stilts who seem to not give a fuck about whether you’re there or not shouldn’t conform to the tired encore. If they would have done it like they meant it they would not have come back for an encore of Love Is a Wave. They would have left me wanting more, but as it was they left me wondering why they only played 10 songs and hoping they gain some charisma before they play Seattle again.
Jesse Lortz who was the Duke in the Dutchess and the Duke has a new moniker in Case Studies. I had seen him a couple months ago at Cairo with only an acoustic guitar and thought his new songs were ho-hum, but this time getting some help from 3/5 of the Crystal Stilts the songs seemed to have more of an impact. The performance felt more like a practice with Lortz coaxing the Stilts on to “try another one”, but it seemed like they were on the right track and left me hoping the Lortz employs a band when goes to actually record some of these songs.
Kicking off the evening were Seattle’s very own entry into the 90’s retread, Posse. Versus come to mind and that in and of itself should wet your whistle. The trio sounded amazing, and seemed totally comfortable on the Crocodile’s super high stage giving a shout out to their parents who showed up to see them play. If you haven’t checked them out over at their bandcamp page, what are you waiting for?
If you live in Seattle you are probably aware that the Long Winters‘ John Roderick writes a semi-weekly column for the Seattle Weekly. This week’s column was about all of the unsung bands in Seattle playing gigs on lonely Tuesday nights with no one taking any notice. I wish I had the young stamina to make it out regularly on a Tuesday and Wednesday night for the known and the unknown. Case in point I missed Davila 666 last night because I opted for sleep. I digress. There was a link in Roderick’s column to an ongoing series where the Weekly is reviewing Tuesday night shows around town of virtually unknown bands. The one that jumped out at me was Posse. Maybe it was the hand drawn photo or maybe it was because they played a show I had wanted to see with Colleen Green and Fergus & Geronimo at the Sunset a few weeks back but missed because of it’s school night scheduling.
The whole point of that previous rambling paragraph was to to tell you about how I found out about Posse. I wonder if they’re named after the Sir Mix-A-Lot song? Are they keeping the indiepop-hip hop connection alive? Anyone remember Sissy Bar‘s version of Gin and Juice? No Matter. Posse are fully formed at six months. They’ve definitely got a 90’s thing going that hits a sweat spot in me these days. The boy-girl vocals are reminiscent of both Yo La Tengo and Versus. Sacha Maxim has such a sweet voice that makes me weak in the knees the way Fontain Toups and Bridget Cross use to do and Paul Witmann kinda sounds like Mark Mulcahy of Miracle Legion. There’s a slight jangle and country element with a hint of ramshackle to their sound that conjures up so many great bands of the past, but as you know influences are a dime a dozen. It’s the songs that count and Posse excel in that capacity too (evidence below). Yeah, Tullycraft may have called it quits, but with Math & Physics Club, Seapony, Webelos and now Posse, their is no dearth of indiepop in Seattle!