Back in MY Day: Happy Music

Bah! What’s with all this happy music? From synthy dance stuff to quirky Juno-soundtrack pablum, it’s like they’re piping prozac into the water system.

Back in MY day, indie rock meant whining about the girlfriend that done you wrong, or complaining about that girl that won’t talk to you, or something having to do with Anne Frank. You know, real life things. From the streets! Music was about complaining, and feeling melancholy, and thinking about your deep important problems. Other privileged college-aged people listened and understood, and thought, “yeah! I had a girlfriend once!” or, “singing about Anne Frank is totally meaningful!” or, “I need to take a semester in Glasgow.”

Bah. Now we have bands with names like “Butts” and “James Pants” who have “fun” and play shows so people can have “fun” at them, and dance around and drink beer and enjoy their youth in ways that don’t involve moping. This is crap! Young people are supposed to mope, and sit around being sad about stuff, and play music that exquisitely highlights one’s inner pain. Their heart pain. Not like arrhythmia, I mean more pure, you know? If only there was a band for that. Something to listen to while you pick a liberal arts major and/or drug problem.

Sigh. I guess this world is a-changin’ and leaving ol’ Indie behind. That’s why music is printed on plastic, so your Smiths and Azure Ray albums will last forever. So don’t mind me! I’ll be in my room. Alone, in the dark. Having feelings.

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Robert Deeble at Type Foundry

Robert Deeble (heard on Ball of Wax volumes 3, 4, 10, 15, and the forthcoming 24) has not released an album since 2005’s This Bar Has No One Left EP, so the news that he’s recording a new full-length at the analog-loving Type Foundry studio in Portland is good news indeed. I’ve seen the band he’s recording with, and he’s really assembled a fine group of musicians to flesh out his spare, haunting songs. This little video is a nice snapshot of their work in the studio so far. It’s great to hear some Deeble songs that have been favorites of mine for years but haven’t been put on an album yet. Assuming this record gets released in 2011, it will most certainly demand consideration for top ten lists everywhere.

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Slow Skate, again

I know, I only just posted about Slow Skate a couple weeks ago, but a) they’re good people and good friends of Ball of Wax; b) they are an excellent band; and c) they’re playing their CD release show for Count the Days with Me tomorrow night at the Columbia City Theater. So deal.

Slow Skate in the Pussy Room. Photo by David Werk.

If you had asked me a few days ago what the perfect venue in which to see Slow Skate live might be, I would have said The Columbia City Theater. Its vintage charm, high-end sound system, and excellent acoustics (not to mention the grand piano!) are a perfect setting for the languid, moody, reverb-drenched sounds wrung forth by Caitlin Sherman, Jason Goessl, and newest member Robb Davidson. But that was before I had witnessed the, er, “Pussy Room” (really, that’s what it’s called) at the Copper Gate in Ballard. This past Monday, the members of Slow Skate were kind enough to host an intimate preview performance, which served the dual purpose of letting them do a dry run of their new material for the first time in front of a (friendly, low-pressure) live audience and giving those of who live on the northern edge of the city a way to see them and celebrate their new record without driving down to Columbia City (which you, being probably not as old and lazy as I, should absolutely do tomorrow night). The band was set up in the Copper Gate’s previously-mentioned function room, which, with its plush upholstery and curtains, dim lighting, disco ball and mirrors, really is the exact right place to soak up the music of Slow Skate (preferably with a glass of whiskey in hand).

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Tuesday Night Music Club

Credit where credit is due: Seattle Weekly really hit one out of the park with their “Tuesday Night Music Club” feature in the issue currently (until the end of today) on newsstands. It’s so refreshing to read these words coming from John Roderick, a successful local musician, in the pages of a major weekly paper:

When my own band finally gained a little profile, I chastised the reporters and editors I met, still smarting after years of feeling as though the bands I loved and the scenes I came up in had been laboring in obscurity. “Why the hell didn’t you write about my band two years ago?” I groused. Their sudden fascination with me seemed proof of the fundamental dishonesty of the system, like the way Jack Nicholson gets his meals comped in restaurants. Why the hell does Jack Nicholson need a free dinner? Writing about a band only once it got popular seemed like a fundamental misapprehension of the job.

Anyway, in the spirit of this piece, I thought I’d call out a couple shows going on tonight that might be worth your time:

Zebra Mirrors, The Comet Tavern, 9:00 p.m.
I just stopped by this Bremerton band’s Myspace page, and found the acoustic-guitar-based indie pop I heard there to be pretty darn nice, and the singer’s voice to be strong, dark, and emotive without being strident or grating. Looking forward to hearing more from these guys. Guthrie Scarr, also playing tonight, sound pretty good too: ranging from upbeat country rock with tons of reverb and shuffling drums to sweet acoustic ballads (or at least that’s what the two songs I heard sounded like). Should be a night of diverse local talents at the Comet, just as a Tuesday should be.

Fox and the Law, The Sunset Tavern, 9:00 p.m.
I will admit to having something of a bias against a lot of blues rock. Don’t get me wrong, I love me some ZZ Top, and grew up on mainstream rock radio and loads of Stevie Ray Vaughan. But generally the new bluesy bands I hear just don’t do a lot for me. Something about the thick, crunchy guitar tone on Fox and the Law’s song “Awake” won me over, though, and I included it on the most recent volume of Ball of Wax. I’m very glad I did, because their set during the Volume 23 release show was really impressive: loud and heavy, with a high level of musicianship, and guitar solos that impressed without veering into utter wankery. So, yeah, I highly recommend you check them out tonight or some other night, even if you think you’re not into blues rock. Blues Hammer they ain’t.

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Wesafari R.I.P.: Final Show April 17th at Neumos

Wesafari

Wait! Come back!!!

It’s no secret that Wesafari (heard on Ball of Wax volumes 1, 4, 6, 18, 20, and seen on the Volume 7 DVD) has been one of my favorite local bands for quite some time now, as well as being good pals of mine. (My gushing review of their latest album, Sea Survivors, was one of my first posts for this here blog.) I’ve always loved seeing their live shows and hearing new music from them, whether in the form of an album or a new track sent to me for Ball of Wax. So it is with a heavy heart indeed that I report that singer/songwriter/”main guy” Rick Wright will be leaving Seattle and the Northwest in just a few weeks and striking out for “the other Washington.” While I know that Rick won’t stop making music – he is the most inherently and obsessively musical person I have ever known – Wesafari as we’ve come to know it, as an active, if mercurial, Seattle band, will be no more once Rick leaves us.

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Michael Zapruder’s Pink Thunder

I didn’t know it when I applied for the grant for Songs about Books, but there is something in the air right now around the intersection of music and literature. We’ve got Songs about Books, of course; but then after I’d gotten the grant I found out about the Bushwick Book Club and its Seattle branch (which I will be taking part in on April 18th); and now we have Michael Zapruder and Pink Thunder.

Pink Thunder is a collaborative project. Zapruder – who is an incredibly talented singer/songwriter/arranger/performer with four solo albums under his belt – wrote songs using the words of several contemporary poets affiliated with the Poetry Bus (which Seattleites might remember seeing at Bumbershoot a few years back), including his brother, Matthew Zapruder. (Just to tie this back into my own Songs about Books project, the Poetry Bus was put together by Wave Books, who published Bluets, the book I’m tasked with writing songs about.)

There are two songs currently posted on the Pink Thunder web page, and they leave me excited to hear more. Further adding to the intrigue is this in-depth interview about the project between Zapruder and musician/writer Scott Pinkmountain (whom we’ve mentioned here before):

SP – Could you ever conceive of writing the word, “boobs,” in a song?
MZ
– [Laughs] I know. I thought, “I gotta find a woman to sing this song,” and Eli [Crews, the recording engineer] said, “Why? It’s funny this way. It’s interesting. You could just be an overweight guy with boobs.” [Laughs]
SP
– But the word itself is brutal to have to sing.
MZ
– It’s so hard to perform. I did it once and couldn’t keep from laughing. You sing the whole song and then in the middle you say, “Somewhere in there I grew these enormous boobs,” and people start to laugh. They’re like, “What the fuck are you doing?” The effect is even more pronounced live.

Go read the whole interview and hear some more song samples. According to the Pink Thunder site, they are “talking to publishers,” and we are to “stay tuned” for more info as to an actual release date. Consider me tuned, Pink Thunder!

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Improvised Music: BYOBlindfold Tonight at Chapel Performance Space

Free improvisation is inflection. Not purely about the notes (words), but how you say (play) them. A conversation between players, rather than a scripted interpretation. Minds bouncing ideas off of each other. The topic may be set, but the debate is spontaneous, although obviously informed by previous research (listening). A really great improviser is one that’s really well versed in a number of musical subjects. Seattle has a great number of accomplished free improv players. Hell, we even have a festival dedicated solely to improvised music. So how to raise the stakes? Why go to the Chapel Performance Space tonight?

Blindfolds! Continue reading

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[glocal scene] Chiptune prominence

What do the BBC and Ball of Wax have in common?

Believe it or not, Chiptune. The US & Canada News section at the BBC took time to explain the method of music production ahead of this years SXSW Music festival, while Ball of Wax went the extra mile, posting a free chiptune album from Stenobot. I’ve decided to jump on the bandwagon and share Portland’s Operation Mission.

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Ball of Wax 24 shaping up nicely.

Amateur Radio Operator, photo courtesy Mordac

I just wanted to check in, as the submission deadline for Ball of Wax Volume 24 approaches, to mention that I’m already pretty excited about how it’s coming together. I’ve got some great new music from people I’d never heard of before (as previously mentioned in my Galapaghost post), as well as some new unreleased gems from old friends, such as Amateur Radio Operator and Robert Deeble, who’ve been with us since the first year of BoW, and both of whom have long-awaited new albums in the works.

Mark your calendar: We’ll be celebrating the release of Volume 24 on May 11th at the Sunset Tavern. ARO, Robert, and I will most definitely be playing, along with some other great musicians to be named later. See you there!

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Back in MY Day: Quantity

Bah! I hate all this quantity! Quantity and quality! In recorded music that is.

Used to be, you grew up with 4 CDs at home and one of them was Harry Connick Jr. 2 were collections of Irish folk songs about the evil hated British! And one was the Beatles. And you listened to them every day on repeat! Because they were all you had.

Bah. To be a kid today has got to be awful. To be an enlightened old man indie-rock know-it-all is awful! Used to be there were like 5 bands a year that I gave a shit about. Everything else sucked, and thank goodness for that, ‘cause music cost money. It used to, it did! It was easy to know what I liked, because it stood out nicely from the vast amount that I didn’t like.

And there was so much not to like! When money is a barrier to recording, then those who can pay to record are either rich or they’re blowing some rich guy. And the rich just don’t get it, do they? Not like you and me. Well, me, anyway.

But everyone can record now, because it’s practically free, so all those kids who previously might have been famous and great but weren’t because they sucked at all those other skills you need to convince rich people to throw money at you, are now globally visible. And there are lots of them. Fucking tons! That kid down the street, you see her? That one there with the really big glasses? (Why? Why such big glasses?) She’s a fucking musical genius! Didn’t know that, did you? Well listen to the 4 albums she made last week while you were watching reruns of Buffy.

Bah. Double bah! It took me 14 years and a lot of talk to achieve nothing as a musici . . . I mean, curmudgeon. I mean curmudgeon.

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