Tags: Crater, Erik Bood, Gazebos, Hotels, Lisa Prank, Soucher, Tacocat, The Exquisits, Vats, Versing
Is it too late for a list of my favorite hometown albums from last year? Probably, so go ahead and send a letter to the editor if you are feeling list fatigue. Otherwise continue reading and I promise this is the last one till next year.
1. Erik Blood – Lost In Slow Motion (Home Skillet)
Blood was involved in a lot of records this year, including recording two others on this list (Tacocat & Hotels). For his third album Erik Blood is still a solo act, but it’s mostly in name alone. Irene Barber provides additional guitar and singing throughout while it is book-ended by guest vocal appearances from Ismael Butler and OCnotes. He transcends any shoegaze pigeonhole he may have had and broadens his horizons to wide screen cinematic pop.
2. The Exquisits – Home (Asian Man)
The Exquisits have a sweaty punk sound that brings to mind Van Morrisson, the Hold Steady and Buffalo Tom. I also love the way they deftly incorporate horns into their powerful pop making it even more exciting.
3. Tacocat – Lost Time (Hardly Art)
Album number three finds Tacocat with no shortage of inspiration, Seattle, working on the weekend, X-Files and dealing with idiots on the internet. It is immediate and bright and speaks to you whether you are 14 or 40.
4. Versing – Nude Descending (Youth Riot)
Reason number 99 for why I don’t own a record label: When I first saw Versing they played with the then unsigned So Pitted. A few months later So Pitted signed to Sub Pop and released record. Versing put their dissonant Pavement meets Swell Maps record out about a year later on the tiny Tacoma label Youth Riot.
5. Vats – Green Glass Room (End of Time)
On the radio station that plays in my head, any song from this record would be played in a set that included Gang of Four, Lithics, A Frames and the Pheromoans. With its bony elbows, Green Glass Room makes its own space in the dissonant,/angular/punk room.
8. Hotels – Night Showers (Self-released)
Hotels have been knocking around Seattle for years, and have released a number of albums and singles but none as good as their latest. Enhancing their atmospheric guitar based songs with luscious doses of horns and strings makes Night Showers really pop!
10. Gazebos – Die Alone (Hardly Art)
Recorded by former Fastbacks guitarist Kurt Bloch and fronted by a couple Seattle indierock linchpins – T.V. Coahran who runs Gorgonzola Records and Shannon Perry formerly of Butts and Katharine Hepburn’s Voice. This record feels like it was made by a band of roving minstrels who found some wagons full of amplifiers. It’s loud with a slightly unhinged feel that keeps you on your toes .
Tags: Number One Cup, Pavement, Seam, Seattle, Swell Maps, Versing, Wire, Youth Riot Records
Versing blasted their way into my life early last summer at the Sunset in Ballard. Their Wire meets Pavement, meets Number One Cup meets Seam meets Swell Maps elixir is a combination often tried but rarely done well enough to actually contribute to the plot line. Right out of the gate Versing have written a new chapter to the story. Protagonists in their story include jagged guitars rumbling bass and choruses that have you hoping for a quick sequel. Nude Descending is their seven song debut EP that blazes a trail through the boredom inducing clutter of today’s new bands who just merely play music.
Tags: Mexican Summer, No Joy, So Pitted, Sunset Tavern, Versing
No Joy, So Pitted and Versing at the Sunset, Seattle | 10 June 2015
There’s a fine line to getting the ratio of guitar squall to ethereal vocals in the shoegaze genre just right.Up to this point No Joy had struggled to do it. On their third record they seem to have finally got it. More Faithful is their best record. It was produced by Jorge Elbrecht who is the guy behind Violens, Lansing-Drieden and has worked with Ariel Pink (He also produced their previous album to lesser effect). His M.O. is slick, well produced records that verge on the sterile. Montreal’s No Joy on the other hand like to let it bleed in the sense of blistering guitars that feedback so much that you struggle to make out the melodies. More Faithful is just the right blend of guitar, voice and studio gadgetry. It allows you to hear that No Joy write some pretty good songs. On some songs they barely use distortion or loudness opting instead to go in more dreampop route. This new direction is a good route and puts them into Cocteau Twins, Curve and A Sunny Day In Glasgow territory.
The band really seem like they’ve emerged as confident and competent shoegazers, so I was excited to see them play expecting them bring the dreamier aspects of their sound out live. What I got was something else entirely. No Joy played a set of white noise that made me wonder if it was not an entirely different band that recorded More Faithful. Obviously the new album is a studio record that the band either haven’t figured out how to play live or don’t want to recreate live. Each song essentially sounded the same. They would hit a couple buttons on their playback contraption to start the synth-based backing track from the studio and then they would blast white noise guitar feedback over it while singer Laura Lloyd apparently sang. I watched her mouth the words but rarely could I actually hear her voice. I think I recognized one song, but it was like seeing it through blast goggles. A truly disappointing performance that provided no joy.
Thankfully the opening acts were better. Seattle’s So Pitted sound like part OC surf punks and part hard core post-holocaust survivors. They make loud primal blasts of sound that you can nod your head to. The drummer and guitarist switch instruments and vocal duties. Their final song featured a guitar freak out that took place under the cover of one of those foil survivor blankets as if he had just been melted by the raygun of some malevolent outer space being. Brilliant!
Opening the night were Versing who were new to me, but I instantly liked their Swell Maps and Wire (also Seam and Pavement) inspired songs. It was the right combination of dissonant chords and plaintive vocals. I’m looking forward to hearing more from these guys in the future. They said that they’ve just finished recording and EP, in the meantime they have a demo and a KEXP session up on their Soundcloud page.