Chop Suey, long a home of adventurous music and comedy shows, as well as host for the Mo’-Wave Festival and Black Weirdo parties, is for sale. According to Zillow, the current price is $99,950. Monthly rent for the club on 14th Ave. and E. Madison St. runs a cool $13,000.
Chop Suey has been on the market since Aug. 3. The club’s talent buyer Jodi Ecklund, who’s consistently booked a diverse, interesting schedule there, said, “The most recent development is that the price was significantly dropped from the original asking price. The issue is the rent on the building is 13k; even with a thriving club like Chop Suey, that is not sustainable. I have heard there are some interested parties and I have been contacted by a few folks for more insight. My number one concern is that if Chop Suey is purchased, I hope it is by someone who values the local music scene.
“At this point I am just booking shows and it’s business as usual," she continued. "I hope that if someone is to take over, they would want me to stay on board. I’m just taking it as it comes and will figure out an alternate plan once I know more about the longevity.”
I've left a message for Chop Suey general manager Hisato Kawaminami.
"At the bottom of our news tonight, there's been a new animal aimed at falling off the face of our Earth. Yes—young black teenagers are reported to be the oldest, and the newest, creatures added to the Endangered Species List. As of now, no efforts have been made to preserve the blacks—when asked why, a top top law official adds, 'Because they make good game.'" —Ice Cube, "Endangered Species" (1990)
According to USA Today, during a seven-year period ending in 2012, a white police officer killed a black citizen nearly twice a week in the United States. What's funny are those comment sections of articles like this—or about the Mike Brown shooting, or the murders of other blacks at the hands of the police—frothing over with people asking, "What about black-on-white murders, or even black-on-black murders?" While you'd think "Well, what about four centuries of chattel slavery followed by two centuries of socioeconomic warfare and literal state-funded terrorism?" would be a decent comeback, you'd be wrong. Do not engage. Just put your hands up like a victim, and hope this nonviolent gesture of supplication will save you when it's your turn. If not, well, maybe someone will get it all on camera, and that cop's ass will surely land in hot water then. Right?
"I have searched all night and day for new and better words that could express my feelings and fear for the people of this country. I found no new words. I have no hope-filled insight to deliver. I only have this warning to all Americans: Whatever this country is willing to do to the least of us, it will one day do to us all." —Killer Mike...
(Showbox at the Market) Little Dragon began as a classily louche, luxuriously low-key electro-lounge act, with singer Yukimi Nagano's breathy voice cooing sweet anythings over retro-futurist triphop beats. They've since started to explore a more diverse range of influences, with 2011's Ritual Union embracing bleep techno and abstracted exotica, as Nagano stepped aside for long stretches and let the swirling soundscape speak for itself. Though I've yet to hear the group's most recent album, Nabuma Rubberband, reports indicate it’s even more sonically out-there and all-encompassing, which bodes well for the longevity of Little Dragon beyond their blog-hyped peers. Pop music's like a shark: It needs to keep moving to stay alive. With Dam-Funk. KYLE FLECK
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(Barboza) There are four great reasons to attend this show: 1) NighTrain are a badass rock foursome who sing songs about how being a girl band and not giving a fuck what you think. 2) Austin’s Tele Novella play slinky and cool ’60s-inspired psych pop that Quentin Tarantino should probably use in his next film. 3) Pony Time are a buzzy garage-rock duo with a sonic love letter to Kathleen Hanna. But the reason that has me most excited is because 4) Lisa Prank, the one-woman new-wave pop-punk dance party, is opening. If someone handed me Prank’s Crush on the World cassette and whispered, “This is Belinda Carlisle's first Go-Go’s demo, shhhhh!” I’d believe them and then wonder how the fuck the lo-fi pop jam “Why Can’t We (Just Dance)” was never turned into a gold-selling single. I want to write Lisa Prank’s name on my binder and doodle hearts and paisley all around it. MEGAN SELING
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There are a LOT of grunts, whoops, and hollers in '50s/'60s R&B, but I think the BESTEST grunt of ALL the grunts ever grunted might be one of the most unexpected and subtle grunts as delivered by Ms. Gwen McCrae. Okay, dig her most magnificent grunt @ the 1:15 mark.
The song, obviously, doesn't need help to be a jam of the highest order, but her well-timed "uuh" kills me EVERY fucking time. McCrae is prolly best known for her '70s soul jams, but as far as I'm concerned, this 1970 take on one of Bobby Bland's killer deep ballads, "Lead Me On," is the alpha/omega of her catalog!
In case you aren't aware, the fact that Slint are playing in Seattle is a pretty huge deal. Mike Klay has done this occasion justice with this impressive 25-by-9.5-inch two-color screen print (with metallic silver, no less!). See more of Mike's work at powerslidedesign.com.
Something feels different about Bumbershoot this year. In the weeks after One Reel announced the lineup for this summer's festival, artists, musicians, critics, and friends began saying something I hadn't heard in years: "Wow, this year's Bumbershoot looks amazing."
People aren't talking so much about this year's classic marquee names (including The Replacements, Wu-Tang Clan, and Jonathan Richman, though even they seem like an improvement over the creakier nostalgia acts and radio superstars One Reel was programming just a few years ago) as they are about the smaller, mid-range, and quasi-underground acts: Gregory Porter, Mexican Institute of Sound, Negativland, Black Weirdo, Mission of Burma, Evan Flory-Barnes, ILLFIGHTYOU, and the Both.
Anecdotally, it feels like a better spread and a break from Bumbershoots past that seemed to spend a huge amount of money on superstars like Bob Dylan and leave the rest of the acts in relative neglect…
(Showbox at the Market) Now that Louisville shruggers Slint have been cinematically documented with the excellent Breadcrumb Trail and made a couple of comeback tours, they no longer have that coveted mystique. That’s okay, because Slint’s influential post rock still careens, crunches, and stirs feelings with startling potency—even though you now know they made a series of cassettes titled Anal Breath. Slint began auspiciously with their 1989 debut Tweez, which truculently combines punk and jazz with low-key smarts. It’s some of the tightest freewheeling music ever. On their 1991 masterpiece Spiderland, Slint harness a heroic, stoic style of song construction that maximizes the sonic and emotional impact of quiet/soft and the loud/hard dynamics. It’s an approach many have attempted, but few have done it with Slint’s distinctiveness and dexterity. This show is recommended for old hardcore fans and newcomers alike. DAVE SEGAL
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Check out Underage's coverage of Slint here »
(Neumos) Like an Aaliyah-worshipping Ariel Pink, How to Dress Well (nee Tom Krell) traded in the four-track for a laptop with a shitty mic, creating an enigmatic strain of spectral lo-fi R&B in the process. Riddled with pops, fuzz, and feedback, the songs on records like Love Remains and Total Loss were like memories of middle-school mixtapes for a very particular generation, beats breaking at the seams, and Krell crooning like a bargain-basement Boyz II Men. It was a strategically nostalgic sound, getting millennials’ misty-eyed for urban radio classics of the pre-impeachment ’90s. His latest, terribly titled “What Is This Heart?”, strips away the lo-fi affectations in favor of a straightforward, melancholy synth-pop sound, and while some may miss the fog-shrouded sound design, it's clear Krell's got his sights on bigger things.
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The Kurt Cobain industry continues unabated. The latest slice of cultural product about the late Nirvana frontman is New York photographer Jesse Frohman's Kurt Cobain: The Last Session, a book of photos from a July 1993 shoot done while Nirvana were in NYC promoting the In Utero album. Cobain had given an interview with Jon Savage and then he and the band did what would turn out to be one of the last photo shoots of Nirvana's existence. Most of these pics have never been seen.
Frohman's set up a PledgeMusic crowdfunding campaign. The base price is $75, but if you pledge more you can get all sorts of bonuses; for example, $10,000 will score you your own photo sesh with Frohman.
Read more about Kurt Cobain: The Last Session here.
WUT?! I had no idea James Brown made a commercial, and in Japan!?
Sadly, NOT the hardest working man in show business' best work.
Oh DAG, y'all! Dig this video for a new single "A Change of Guard" from one of our fabulous local power pop groups, the Knast. The video is SFW, even the band is (ahem) VERY Knast-y!
The video was shot at Seattle's favorite club, Lo-fi, during a Studio 66 gig; the Knast are aka the 66ers and act, more or less as the Studio 66 house band. Anyways, if you wanna see these shaggy lads they'll be at the Two Bit Saloon on 9.11.14 with LA group Maniac and Bad Tats. Also, (HINT-HINT whoever might in charge of such biz) at some point, I'd really like to see the Knast on the same bill as Gazebos; it'd be my li'l slice of contemporary power pop heaven.
(Triple Door) The one reason to attend the English Beat’s show tonight is to see David Wakeling, the lead vocalist and only remaining original member of the band, which formed back in the late 1970s. The English Beat were a part of the second and British wave of ska music—the first was Jamaican and happened in the ’60s (reggae replaced ska in the ’70s). For those who do not know what ska is, do not bother me or bother going to this show. The English Beat also gave the world one of the best pop tunes ever—“Mirror in the Bathroom” (it’s up there with “Love Will Tear Us Apart,” “Billie Jean,” and “Pop Life”). “Mirror” is the anthem for the narcissists of the world—meaning, all of us. CHARLES MUDEDE
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Chicago’s Radius Etc. returns to class up Seattle’s longest-running hiphop weekly, Stop Biting. Last year in this space I described Radius’s music as “the golden mean between Boards of Canada and Flying Lotus.” No, it’s not hyperbole. Radius roots many of his productions in out-there, beatific jazz and heavy-lidded, THC-laced beats; it’s a beautifully blunted sound. But he’s also done a rad remix of Queen’s funk smash “Another One Bites the Dust,” so don’t get too complacent. Vancouver’s Chapel Sound DJs (Wsuptiger, Silence, and Tails) mess around with the various strands of bass music and modern R&B, spinning sets that serve as zeitgeisty mating-ritual soundtracks for millennials. With Introcut, AC Lewis, and Fishboogie. Lo-Fi, 9 pm, $5, 21+. DAVE SEGAL
And here's all our recommended music events—tonight, tomorrow, this weekend, and beyond!
Some of the most ferocious and vital punk came out of Detroit in the early '80s. This mini-documentary about infernal hardcore vocalist John Brannon (Static, Negative Approach, Laughing Hyenas, Easy Action) is the first in the Detroit Punks television series dedicated to telling that Midwestern city's story in punk-rock history. “He was a prototype for disaffected, American suburban youth,” says one of Detroit Punks' talking heads, filmmaker Otto Buj.
Directed by Zabe Holloway, this film efficiently portrays Brannon's eruptive presence in the American music underground. We discover that his father was a minister and that the young Brannon was in the church choir as a kid, but when he realized practice happened at the same time as the TV shows Batman and The Monkees were on, he quit. Some other things learned from this doc: Brannon was jailed for shoplifting cheese during the Laughing Hyenas’ Life of Crime era (early '90s), aptly enough. And while on tour in LA and junk sick, Brannon threw up on Drew Barrymore, presumably a fan of the band back then. “Whatever,” he concludes. Brannon’s been a cook at Detroit's Traffic Jam restaurant for the last 15 years or so. “I like working here. It keeps me angry.”
Check out the uneasy action below.
I was promised some materials for today's Slog Out post this past Friday, but at currently the goods still have yet to be delivered. So, as I've been sitting here waiting for said materials, I've been keeping
distracted busy by watching Wattstax. If you've never seen this film, or haven't seen it for a while, the time has come! Fair warning: the dialogue is candid, so slightly NSFW.
In addition to watching Wattstax I suggest y'all read <">this cool and short Stax Records/Wattstax feature in Wax Poetics.
(Paramount) To say that Lazaretto, Jack White's second solo album, is the best thing he's done since the White Stripes will sound like high praise to those charmed by the busman's holiday twofer of the Raconteurs and Dead Weather, but lyrics don't get much worse than, "I've got a rabbit, it likes to hop; I've got a girl and she likes to shop" (the Raconteurs' "Intimate Secretary"). If anything, I lost interest in the 'Stripes circa Icky Thump, a sketch of a record. Near as I could tell: they had, too. If White's debut, Blunderbuss, failed to burnish or destroy his rep, the follow-up reveals a reinvigorated musician. Sure, he’s spent the past year badmouthing a few colleagues, but niceness doesn't always breed the best rock & roll. KATHY FENNESSY
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(Kremwerk) Madeleine Cocolas, an Australian-born and impressively versatile sound artist, has embarked upon an ambitious 52-week project to “writ[e] a piece of music for every week of the year.” Besides the audacity of the pursuit, what impresses most is the diversity of her productions: She seems equally at home crafting crystalline, bell-toned sound sculptures, gently skittering IDM, or minor-key, orchestrations resembling an outback Arvo Pärt. From the look of her blog, she’s nearing the end of her odyssey, so expect exotic sounds from all ends of the spectrum. Local support comes from Your City Sleeps, whose recently released Different Days is a sometimes-jarring mix of aquatic atmospheres and bouts of pop-leaning digitalia, somewhere between Ulrich Schnauss’s snooze-wave and early M83. With Kylmyys and Red Alder. KYLE FLECK
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And here's all our recommended music events—tonight, tomorrow, this weekend, and beyond!
On August 14, Seattle producer Rick Parashar died of natural causes at age 50. A mainstay at London Bridge Studios, Parashar enjoyed phenomenal success at the controls of records by popular grunge acts like Pearl Jam, Alice in Chains, Temple of the Dog, as well as with releases by Dinosaur Jr., Brandi Carlile, and many others. One of Parashar’s more recent projects was Shiver + Shake by up-and-coming Seattle blues-rock band My Goodness. We asked the group's guitarist/vocalist Joel Schneider what it was like to work with Parashar.
Making a record with Rick the past couple years was not only an honor and a privilege, but also a great musical learning experience. He was a walking factory of musical ideas. Sometimes he'd have so many it was almost overwhelming. We'd have to pick and choose which we liked and which we could do without, sometimes combining some of our own ideas. I can honestly say that it was one of the most creative working environments I've been a part of. We quickly realized he was pushing us to be our very best and to go outside our musical comfort zone. At the end of the day, he was a kind and gentle person who cared deeply about not only our music, but for us as humans. He will be greatly missed by all of us in My Goodness as well as by countless others.
RIP, Rick Parashar.
Anna Minard, our city hall reporter, claims to "know nothing about music." For this column, we're forcing her to listen to all the records that music nerds consider important.
I'd like to invite you to a Never Heard of 'Em original event. See, when I get assigned music, I spend serious time with it. I want to understand it, feel it. If I love it, it often becomes my soundtrack for the week. If I hate it, I listen to it even harder, trying to understand why. I feel like I owe it to the music, since I have no other background or credentials, to give it a lot of attention.
Until now. I am about to write this column during the time it takes to listen to the Meat Puppets' Meat Puppets II one time, and then turn it right in. Why? It's simple: This page has to go to the printer in a couple hours, and I just found out I was writing it. I have a CD, decent headphones, and a tall iced tea. Let's see what happens, shall we? I present to you Never Heard of 'Em: Live and Unedited Edition!
(Rendezvous) How often do Siltbreeze Records bands come through Seattle? Not very, so fans of that venerable Philadelphia indie label’s sporadic output should swarm to this show to witness Amanda X. Their new album, Amnesia, deals in the sort of congenial, burly melodic rock that groups like Scrawl, Helium, and Sleater-Kinney elevated to an art form. Amanda X’s tunes rumble and corkscrew in patterns just slanted enough to keep your jaded ears happy and surprised. Amnesia is actually pretty unforgettable.
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(High Dive) When an unknown band or solo artist sends a CD-R with Sharpie’d names and titles on it, a critic immediately lowers expectations. Experience repeatedly prepares us to be underwhelmed by such artifacts. So when Seattle quartet Spontaneous Rex’s Come at the King CD-R arrived recently, I didn’t expect auspicious things. Thankfully, Spontaneous Rex sucker punched the skepticism right out of me. The four long, eventful songs here circulate in the higher realms of jazz fusion, prog rock, and electronic improv. If you dig the turbulence of Miles Davis’s Get Up with It and Sonny Sharrock’s ’70s work and the elegant, complex melodies of Mahavishnu Orchestra, Return to Forever, and Chick Corea’s solo LPs, you’ll want to investigate Spontaneous Rex. You can hear Come at the King at spontaneousrex.bandcamp.com.
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And here's all our recommended music events—tonight, tomorrow, and beyond!
The Central District's own Gifted Gab has begun interstellar flight as a top Seattle rapper. Stage one saw her suture components of Latifah and Biggie onto fuel tanks of Moor Gang cayenne. Her debut full-length, Girl Rap, has readied her for stage two and beyond. Gab is a fire-starter spitting sprinkler systems at will. She's a mouthpiece made of metronome who ties the vertices of her verses into knots. When asked where she wanted to do this interview, Gab said, "Mars." And since Mars is a nine-month trip, we were put into a cryogenic sleep and shown the following dream: The scene is a small greenroom at a filming of Soul Train, August 1982. Fab Five Freddy, Grandmaster Flash, Don Cornelius, and Grace Jones are enjoying fondue. Jones is hogging it, though. Freddy gets pissed, takes his shirt off, stands on a Naugahyde footstool, and starts singing Prince's "Controversy" way too loud. Then he puts his hand on Jones's slanted flattop. Jones turns around, takes her shirt off, pours the fondue cheese all over herself, and starts kicking the shit out Freddy, stuffing apple wedges in his mouth. Cornelius tries to stop it. Flash sits back eating broccoli and enjoying the show...
(Chateau Ste. Michelle) Earth, Wind & Fire were among the most zodiacal and flamboyantly garbed figures in the R&B scene throughout the ’70s. But before they donned the glittery bellbottomed jumpsuits, they cut five deep funk records—including the scorching soundtrack to Sweet Sweetback’s Baadasssss Song—that boasted unstoppable grooves, much kalimba, and intricate, bold dynamics (see “Power” and “Bad Tune” for proof). They inflated those traits into shinier, more accessible forms in the mid ’70s, dominating radio and clubs with falsetto-heavy hits like “September,” “That’s the Way of the World,” “Serpentine Fire,” “Shining Star,” “Reasons”—tunes, Charles Mudede wrote a decade ago in these pages, that “are popular at… white suburban weddings.” The current EW&F lineup only includes two members from the band’s ’70s peak (vocalist/percussionist Philip Bailey and bassist Verdine White), but the affluent folks attending this sold-out show likely don’t care. They just want to hear the smashes that remind them of times when their waistlines were smaller and their libidos stronger. DAVE SEGAL
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(Linda's) The eponymous cornerstone of Linda Derschang's nightlife empire hosts its fifth annual free music festival, and this year's lineup is dynamite. On the roster: the mystical tree-punks Kithkin (who describe themselves as a "Cascadian youth tribe out to spread the hidden knowledge of the forests"), the raucous old-school rock ’n’ roll of Thunderpussy (who describe themselves as "a diamond in the muff"), the melodic racket of the Young Evils (a studio two-piece turned five-member live band), the alternately delicate and aggressive post-punk of Chastity Belt (whose vocalist, Julia Shapiro, is a treasure), and the eternally conflict-of-interest-y Tacocat (whose deceptively sunny pop-punk recently earned eloquent gushing from Greil Marcus). Go! DAVID SCHMADER
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Varsity Drag is Ben Deily's current band; Deily was a founding member of the late '80s band the Lemonheads!! Deily says he'll be playing lots of songs from the first three Lemonheads' LPs as well as Varsity Drag jams. He also mentioned this tour is meant to, sorta, coincide with the recent Deluxe reissues of the first three Lemonheads records.
I hafta say, for all the alt.love heaped on Lemonhead Evan Dando in the '90s, the early Lemonheads line up, with Deily as co-writer, seemed to be more relevant as some kinda punk/post-hardcore underground group. Like, they still had a raw edge; you could throw all the glittery weed at MTV-era Lemon-Dandos you want, and it'll never come close to the bite of the original lineup's recordings.
Also on the bill tonight are the late-'80s-styled underground group Foxhole Norman, Carolina's War, and Chris Crusher.
The Kraken, 5257 University Way NE // $5
Seattle country-rock vocalist/guitarist Brent Amaker has made an extreme detour into electronic music with Android Amaker, a newish project with local electronic and hiphop producers Vox Mod and P Smoov. They've just finished their self-titled debut album, which RodeoCorp, Ltd. will release on clear vinyl on Oct. 21. Android Amaker will play one show (and that's it, they say) to commemorate the LP's release, on Nov. 7 at Neumos.
As for Android Amaker, it's a concept album about Amaker's obsession with the singularity, as prophesied by inventor Raymond Kurzweil. In the album's story line, Amaker is downloaded into android form in order to explore outer space and search for resources. "[T]echnology is advancing exponentially every day," Amaker says in a press release. "Artificial intelligence may provide answers to these problems, or technology may lead to our ultimate demise. But any way you look at this, we are on the verge of massive change and our very way of life will never be the same. Android Amaker is gathering like-minded artists to tell a story about that. This vision of the future is just one of many possible outcomes. And why not insert my future self into the equation as an Android?"
The music for such a scenario should be totally futuristic, perhaps unprecedented in its rhythmic and textural expressions. But that would require a very rare sort of genius. Such is not the case with Android Amaker. Instead, it's something of a throwback electronic record, a sonic vision of the future that producers from the '80s and '90s often projected. (Amaker's deep, deadpan voice reminds me of Detroit radio DJ Electrifying Mojo, who inspired that city's techno innovators with his selections.) And as a somewhat kitsch simulation of that style, Android Amaker works. This is more of a fun record more than it is a serious exploration of unfathomable states of being about which we can only speculate. The live elaboration of Android Amaker will include photography, film, and fashion aspects. Fashion designer Chris Jones, technology specialist Matt Hickey, choreographer Molly Sides, light designer Josh Black, and photographer Frank Correa will augment the musical performance.
(Crocodile) Nacho Picasso is one of the top rappers in the 206. He has released a stream of excellent albums, the most recent of which, High & Mighty, contains the deepest and darkest groove of 2013: "Crime Waves." Lyrically, Picasso has the remarkable ability to be surreal without being arty or enigmatic. There is a good bit of Mau (the rapper for the forgotten or virtually unknown Bristol group Earthling) in this style, which is vivid and intoxicating, but with none of the verbal gymnastics and linguistic contrivances. Surrealism for Picasso—who is also a guest on Katie Kate’s new and excellent album Nation—is as an owl or a sudden burst of rain on a sunny day. CHARLES MUDEDE
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(Showbox at the Market)The Blood Brothers! You remember them! Five Seattle dudes—bassist Morgan Henderson, guitarist Cody Votolato, drummer Mark Gajadhar, the two screeching standing singers Johnny Whitney and Jordan Blilie—and a wardrobe full of striped shirts and those belts with holes in them! If you don’t remember, the Blood Bros made creatively abrasive music from 1997 to 2007 that made some people really upset (gentle indie folk who hated striped shirts), but made other people really happy (blast-beat appreciators with a penchant for theatrical post-hardcore). Take it from punk authority Henry Rollins, who once said: “The Blood Brothers make music that will save us all. What a great fucking racket these guys make.” So go get saved! Again! EMILY NOKES
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Goddamn. The new video for Shabazz Palaces' "#CAKE" just gave me much-needed life. It's directed by Hiro Murai, who did videos for Earl Sweatshirt's "Chum" (you might recall, my favorite video of 2012) and "Hive" (probably my favorite of 2013, honestly). Spinning crowns, houses of the holy, and giant fucking snakes (again) are all on tonight's dessert menu. Made fresh.
Okay, I'ma make this easy for y'all! First on deck tomorrow will be the electro stylin's of Soft Blows! Followed by the experi-MENTAL weridos, Crazy Eyes. Full disclosure: I've never seen CE live, but their internet clips offer some proper screwball shit! Headliners are the Gods Themselves. Y'all prolly know I'm already a fan; I described 'em back in May as something like Boss Hog or the Honeymoon Killers (BTW: tGT have an album due out soon). Filling the cracks betwixt band sets will be a DJ named Omaima, who is one of the fab-u-loose record freaks from local vintage shop, Beats And Bohos. They're bringing crates of records for sale, so carry some extra cash for them stack of wax you'll be hauling home!
Deets - FIVE BUX entry @ The Josephine, in Ballard, lovelies.
Here's another example of why Shogo Ota is one of the best poster designers in town. The five artists in Tag 2.0 must make their stylistically dissimilar sets segue from one to the next, so Shogo has drawn them with one continuous line. See more at tiremanstudio.com.
Ten years ago the Intelligence released their debut album, Boredom and Terror, and instantly asserted themselves as one of Seattle’s best bands. (The group won the Stranger music Genius award in 2011.) Now you have the chance to get a new vinyl copy of B&T through the good graces of In the Red Records, which is reissuing it next week in remastered, gatefold 2XLP form. It includes Let's Toil, a bonus CD that came with the long-out-of-print Narnack Records reissue.
Boredom and Terror hooks you right out of the gate with concise, catchy, caustic garage rock songs that radiate the trenchant, suave dourness of the Fall and Swell Maps. The Intelligence’s garage rock bypasses Nuggets bands’ teenage lust and frustration for a more sardonic, self-deprecating worldview, courtesy of leader and sole constant member Lars Finberg. In a much better world, these weirdly hummable tunes would be sung by millions as they traveled to their dead-end jobs.
The Stranger asked Finberg how he feels about Boredom and Terror, a decade after its creation.
"I haven't seen the physical copy yet, but I am excited to. Erin Sullivan from the A Frames dug up his original art and that was re-photographed with additional pieces that didn't make it into the CD and his wife/Dragnet Records historian Laura Sullivan Cassidy made a photo collage of the band from that era for the color gatefold (members of A Frames, Popular Shapes, Dutchess and the Duke, Dreamsalon, etc.), and it's finally been put together as a double LP as it was originally intended, but I was talked out of. (For good reason, they work better as shorter individual albums.)
After attending one of Central Cinema's monthly 1980s music-video sing-alongs, I was so inspired by the swooshing spectacle of fashion wonderments, I combed the internet's vast collection of vintage music-video gems and captured the most appetizing looks, culling interview guidance from superstar Jason Miller (of JamWasMovin' Productions, who hosts, curates, and generally keeps the sing-alongs fun as all heck). Please enjoy these top 10 hit fashion moments, from Madonna's rhinestones to Paul Stanley's brittle perm, and remember: More is more.
Scandal's "The Warrior" occurs in a futuristic sci-fi dystopia outfitted with dry ice, industrialness, and flesh-colored leotards. In her fiercest style moment, frontwoman Patty Smyth wears kimono sleeves inlaid with red and yellow sashes, which recall bike handlebar streamers, which recall the potent joy of freedom. Also, she has eye shadow on her chin and her hair is upside down.
Worth noting: The weirdly intense lyric "Your eyes touch me physically."
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