Rad Report: Experimental Label–Danger Collective Records–Expands to Seattle

There are very few times that a dream is captured and transformed into reality. So often we realize that we’ve aspired our whole lives toward one goal and never fully achieved it. This is clearly not the circumstance in the case of Danger Collective Records—an experimental record label started and based in Los Angeles—which was created on a brilliant principle of “by artists for artists” in January of 2014. A few old friends of mine from high school created this label—Reed Kanter is the original founder with help from Michael Lewis, Jackson Katz, Patrick Jewett, and Nolan Pearson. “When [Reed] started the label [he] was trying to put this idea of…‘talent without fans’…into motion” 

(Reed Kanter), and the dream seems to have come true. After growing up in a somewhat isolated area in the mountains surrounding the LA area where there wasn’t a strong market for small shows and live music, Reed gathered a group of his friends and changed that with a goal in mind “to bring people together over music and make a difference for bands” (Reed Kanter). He created a record label, which is now expanding across the country. I’ve been lucky enough to stay in touch with Reed—who is currently living in New York, and I’ve also stayed close with Michael as we both made the move from LA to Seattle this past fall.

I, myself, have enjoyed jamming to the indie rock/garage punk music that I’ve experienced at the Danger Collective shows down in LA; but what really caught my attention was when I heard from Michael that Danger Collective is no longer solely concentrated in LA—and is actually expanding to both New York (courtesy of Reed) and Seattle (courtesy of Michael)! The moment I heard this, my excitement grew—just knowing that I might soon have the opportunity to jam out to the awesome tunes being produced by this innovative label whether I’m in LA, my home town; Seattle, my true love and current home; or New York, just visiting.

When I heard about the expansion, I naturally had tons of questions for Michael and Reed about this big move up north and back east. So I set up a time to meet with Michael in hopes that he could give me some inside information on the extension of the label in our very own backyard; I later was able to contact Reed as well to hear about how the expansion is progressing in New York.

Michael is now the CFO, and is mainly in control of the money and distribution in the newly forming Seattle branch. I asked him what inspired him to expand the label further north and he explained that it was mostly a mix of the convenience of being able to go to an awesome school like UW and being able to further develop the label in a remarkable city such as Seattle with such an established music scene.


The Collective’s punk bands duel it out at INSIDELANDS 2014

Danger Collective generally signs bands with a very ‘Los Angeles-esque’ sound, but the label has been really good about not boxing itself into any group of specific genres or subgenres. Danger Collective actually signs bands on an extremely wide spectrum of categories—examples of these varieties include “garage rock/post punk (Slow Hollows and Bobby T and The Slackers), Punk (Cool Runnings and P.H.F of New Zealand) psychedelic rock (Casinos and Te Amo), ambient trap (Polo Club and Best Friend, experimental (Nirvanus), singer song writer (Salmon), pop punk (Rexx), and more,” according to Reed Kanter.

However, when I had the opportunity to sit down and chat with Michael, he noted that “eventually the Seattle sound, the really weird, like…electronic-y thing will…seep” into the label’s unique mix of music that they represent, which I’m really looking forward to. Despite being open-minded to the idea of letting in new genres and moods of music, Michael admitted to me that “LA had a really big influence on [the label] because that’s what [the creators of the label] were used to [listening to their whole] lives.” It seems that these LA vibes are making their way up to Seattle as Michael has gotten Danger Collective’s “releases into several record stores” in the Seattle area (according to Reed Kanter).

Reed currently does a lot for the label in addition to being the original founder; despite his role in “[managing] artists, [booking] shows, [promoting] bands, [contacting] pressing factories for vinyl, [pressing] cassette tapes, [reviewing] submitted demos, …[managing] the social media, and [taking a role in] anything else that needs to be done,” he humbly told me that he “can’t take all the credit” for the label’s success, and he is very grateful for his friends’ help and support.

He is currently busy in New York getting shows together and spreading word of Danger Collective to the east coast. There’s actually already been a New York show presented by Danger Collective in which Reed took a different approach than the label usually does as he “went for a more electronic genre. Nirvanus opened and he was followed by Best Friend, Eaves, Tele/Visions, then Young Ejecta who headlined.” It sounds like it was a fucking rad show, and I seriously recommend checking out all of these artists. It made me wish I could’ve been in New York for it, but got me extremely enthusiastic about the future potential Danger Collective has right here in the amazing city we live in.

Michael let me know that once a couple more Danger Collective representatives make their way up to Washington, he hopes to have the resources to begin signing local Seattle artists and putting together shows—so keep your eyes and ears peeled for more information on that! In the meantime, get a taste of Danger Collective’s artists in a video playlist from the New Radio presentation, Battle Show IV:

Currently involved in the label are Reed Kanter, Michael Lewis, Jackson Katz, Nolan Pearson, Patrick Jewett, Dylan Thinnes, Franklin Newby, and Nick Fenjves. The label has come a long way in just a year, with their expansion spanning across the country. According to Reed, “Danger Collective Records now has music in stores across the country and [the label has their] artists featured on iTunes and Spotify.” I’m obviously thrilled about what’s to come for the Seattle branch of Danger Collective Records, and can’t wait to see where all divisions of the label go in the future. Be sure to follow Danger Collective Records at dangercollectiverecords.com and on Facebook, and keep an eye out for upcoming shows presented by Danger Collective Records in the Seattle area (or in LA/New York if you’re ever stopping by)!

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Rad Rebs

A solid find: Hollow Coves (New Artist Update)

I was recently just doodling around on the internet like we like to do when paper proposals should really be written, and I stumbled across these two beautiful gentlemen who, quote, “have that chilled vibe about [them].”

Such truth.

I’m a fan of acoustic sets and I’m even more of a fan of acoustic duos. Pretty clean, pure stuff to me, and I find that if you just have a guitar in hand and your voice, there are no real opportunities to BS your music.

Hollow Coves do not disappoint.

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Meet Ryan Henderson and Matt Carins, two dudes from Brisbane, Australia. Recently just releasing their debut EP, Drifting, indie-folk duo Hollow Coves keep it simple and keep it classy.

Just listening to the first song on Drifting, “The Woods,” is beautifully simple with an intro of a slowly building beat that develops into simple guitar melodies and soft piano chords, vaguely giving a Kris Allen feel to the song. The two boys picked each other well as both their voices truly complement each other as they bring the song alive with their relaxed tone and lyrics of “And we all sit around the fire/ We feel a little warmer now/And we all sit around the fire/ We feel so much better now.”

Drifting – EP by Hollow Coves

Take a listen, and if just chilling around the fire and feeling better and warmer doesn’t give you a “chilled” vibe then I don’t know what will.

In “Home,” the second song on Drifting¸ simple subtle guitar melodies combined with the duo’s intertwined voices also just brings you home as they sing “Take me home/To the friends I’ve always known/Take me home/Back to the place where I belong.”

Such simple lyrics right? I mean, yes, don’t get me wrong here, these pieces of music are not the most complex musically and lyrically, but the overall vibe these two have is what I think they’re both trying to achieve: simple, clean and beautiful. And hey, indie folk isn’t Bach.

I think in the last song, “Heatwave,” is actually the song that is the most complex of the three on the EP with more complicated instrumentals, but at the same time, it’s also my least favorite.  Why? 1) There’s only one person doing vocals on this song, which for me, causes the song to lose depth, and 2) The last half of the song is guitar strumming and humming which gets boring. Nonetheless, the one guy doing the vocals on this song, either Ryan or Matt (I can’t tell), does show a wider range of vocal capability, so cool to know for the future if they decide to release a full album.

Where to listen?! http://hollowcoves.bandcamp.com/releases 

Overall? I like them. I like this. I like indie folk and I like their simplicity and the beauty that comes with it. If they keep to the simple melodies of both their instrumentals and their voices, then Hollow Coves will be a duo that makes it to the top.

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Ariana Rivera

Show Preview: James Vincent McMorrow, Neptune Theatre 11/16

I’m a simple girl. I like some tunes with a guitar, a piano, and some solid vocals. I’m not too fancy, I don’t always appreciate all the extras that go into a record, especially when it takes away from the vocals.

Not with James Vincent McMorrow. It’s a whole new ball game.

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Let’s back up. When I heard James Vincent McMorrow was coming to town this Sunday, I became much, much too excited. An Irish singer-songwriter, McMorrow is one of my favorites. Just releasing his second album Post Tropical last winter in January, McMorrow’s sound is indescribable. Compared to his debut album of 2011, Early in the Morning¸ which had a stereotypical folk sound of straight guitar and voice, Post Tropical mixes different sounds to create this unique, cohesive juxtaposition of R&B, soul, folk, and hip hop. It helps that McMorrow’s surreal songwriting and ability to play practically every instrument is demonstrated within the album.

Mix that with his beautiful falsetto and you’ve got yourself a solid deal of music.

I’m excited for this brilliant show at Neptune Theatre, Sunday, November 16th, at 8 p.m. and see how it pans out. Personal favorites?

Pretty stoked for “Cavalier,” the opening track on Post Tropical. A beautiful piece of work, it slowly builds from hushed keys and hand claps to soaring sounds of bass, drums, and of course his gorgeous vocals.

Get excited.

Also, hoping to God and crossing my fingers that he pulls out “We Don’t Eat,” from his 2012 EP, because although it’s an oldie, it’s a goodie. Opening the track up with a quiet repetition of one piano key and soft drums, it escalades into this track with incredible depth. 

I like the way this man builds up his jams, because man, it gives me shivers.

Basic point: Go to this show. You don’t need to be a fan of soul or indie or folk to like this man. The mixes on this album are incredibly complex and conversely inspired with different influences that anyone can fall in love with him.

Get yo tickets: http://www.stgpresents.org/tickets/by-month/eventdetail/1537/29/james-vincent-mcmorrow#

Also, it’s not sold out, and it’s at one of the best venues in Seattle, so I’d intensely frown at you if you didn’t go. And I hate frowning.

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Ariana Rivera

Marina and the Diamonds – Froot

Welsh songstress Marina and the Diamonds has just graced us with a brand new gem to sink our teeth into. The disco-y “Froot”—stylized as “FROOT”—is the new title track from her upcoming album of the same name. Always the generous spirit, Marina, born Marina Diamandis, released the song 10 days ago, on her birthday, October 10th. “Froot” sees Marina comparing herself to a ripe fruit, ready to be picked by the man she’s been waiting for. The song’s organic and lush lyrical imagery is in sharp contrast to the shimmery, digitized synths washing in and out of the five and half minute-long track. With tongue-in-cheek rhymes, elastic vocal runs, and catchy hooks, Marina has struck a happy medium between her indie-pop debut LP from 2010, The Family Jewels, and 2012 electropop concept album, Electra Heart. Whether or not “Froot” has enough juice to propel itself into stateside radio, as her single “Primadonna” could only graze, is yet to be seen. Regardless, the song is gaining traction and hype in the blogosphere, and has certainly earned itself a cozy place on my regular rotation.

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Jamie Coughlin

Hungary, Hungry Huskies: WHAT ON EARTH is this?!

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Power-punk has returned in the city of Budapest! Catchy riffs and anthem-like choruses fill the spaces in-between WHAT ON EARTH’s dominating drumline. While Tamás Dalmáci pumps through angst-filled pop lines, guitarists Viktor Mosolygó and Ákos Kocsány build off each other’s classic chordal structures.

Since forming in January, the band’s been writing and recording quite the collection of kick-ass tracks. I had the pleasure of hearing their first single in advance (embedded below), and even in its un-mastered form, a smile came across my face as Ádám Darida’s bass drum caused my legs to shake in raucous rhythm. Sum 41-esque guitar parts mix with alternating melodic tones that call back to the early 2000’s as our ears bled in our parents’ garages. I’m certain that the coming weeks will bring more broken bottles and hearts as philosophic lyrics mold with woes of ex-girlfriends past.

For all that and more, check out the ensemble’s first official song, How We Live (embedded below – after the jump)!

If you liked it, check out their Facebook, Bandcamp and SoundCloud to stay up to date in a country that’s just 9 hours away. And come back every week for more from Budapest and the surrounding area… I’ll be here until December to bring you another look at a world of music that I’ve never seen or heard before!

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DJ Desman