Kate Nash, joined by her girl band, took the Showbox April 5, as one of 21 stops on her “Yesterday Was Forever” United States/Canadian Tour designed to showcase her latest release.“You can expect lots of girl power,” Nash said.After a 10 year hiatus, Nash returned to the stage featuring tracks from all four of her albums, paying tribute to her signature classics, and introducing new hits to an audience ranging from mid-20s to late-40s. A packed bar soon turned to a packed floor as individuals were drawn to the stage by Nash’s electric performance.From families singing along, children dancing, gal pals enjoying a night on the town- Nash drew a diverse crowd, all sharing one commonality- a love for Kate Nash.The 30-year-old musician encapsulates every pop-pixie-feel-good (as Nash would call it) “vibe” you could imagine. Her music makes it hard not to dance along, her energy makes it hard not to feel comfortable in doing so.With Seattle being her second stop on the road, her team was full of energy, excitement, and genuine appreciation. Complete with unique costumes, coordinated light shows, and well-rehearsed transitions, the band kept up their stamina throughout the entirety of the 2.5-hour performance.Endless props to performers who can run all over the stage and keep their breath, I can barely talk on the phone and walk up stairs without sounding winded, so the fact that Nash was catching serious air with each jump was even more impressive.Now I’m not new to the world of Kate Nash- her music found its way onto the majority of my junior high playlists as I made my way through a prim, proper, and British phase (we still have no idea where that came from- but thank you Kate Nash for getting me through it). I had (and still do have) every word of “Merry Happy” memorized and rehearsed down to the very last “do-da-do.”https://open.spotify.com/track/4xEDawqLVwsC331aF6Z33x?si=GpOjNIOxRqGlu48y9kWe3A But, it turns out I’m not the only one who dedicated themselves to Nash’s early albums. As Nash broke into the older tracks of her repertoire she joined the audience as the crowd collectively sang along. Nash extended her microphone to a particularly passionate gentleman in the front row adorned with a pink (all too fitting) flower crown to sing the popularized bridge of her track.To both the audience, and Nash’s surprise, the later named Zander, belted out the lyrics perfectly, showing all too well the power and impact of Nash’s work.Stunned herself, Nash continued to duet with Zander throughout the evening, encouraging the audience to provide him with multiple rounds of applause, and joining him after the show to dance and duet in the streets of Seattle.Nash, being an unsigned artist, has characteristically been appreciative of her fans, recognizing their support, arguably most notably through her last Kickstarter campaign, in which she, with the help of a loyal fan base, funded the entirety of her album.After pulling from past records, Nash was reminded of the emotions and experiences reflected in her past work- equating it as a form of diary, she gives power to girls who are becoming teenagers, the teenagers who are becoming women, and the women who are now invited to look back at their time being girls.“The teenage girl used to be ridiculed and made fun of in the media, and now the young girl has reclaimed her power and you’re not allowed to do that anymore. They’ve taken a stand for their right to know their power,” Nash said.Influenced and shaped by past relationships, both positive and negative, Nash has written tracks reflective of those time periods. Not to be dramatic, but Kate Nash didn’t just deliver a performance, she delivered a full-blown experience. I’m 100% sure I could have stayed all night dancing to 80s and 90s classics with Nash and her team, if it weren’t for my early morning quiz section. Even after the venue lights came back on Nash remained on stage dancing and singing with her fans, her tour team, and fellow band members.I’ve been to my fair share of concerts- and if I’ve learned one thing (besides not to bring a jacket, and wear shoes you won’t mind getting beer spilled on) is that you, as a member of the audience, can tell when an artist truly loves what they do. Kate Nash does.If you don’t have time to fully indulge in the album, Nash recommends, what she would consider a stand-out track on the latest release, “To the Music I Belong.”“It [the track] is very comforting, it really is about questioning how to carry on, asking ‘is this really something I can continue to do?’” Nash said.“I’ve doubted if I wanted to continue with it so many times, but it always comes back to that, music is the thing in my life that I love, and I will never let go of it, and I’ve tried, and I can’t, it’s just inside me.” Her tracks inspire, her performance awes, and her character is commendable.Here’s to listening to “Yesterday Was Forever” on loop and living life in pink.Sarah Archer IG: @archer_sarah TW: @saraharcher99
This week I’m super excited to talk about two of my favorite
things: music and books. Seattle’s own Bushwick
Book Club is like nothing you’ve ever heard of before. The premise is that
different musicians write a song inspired by a book and then the songs are performed
live and compiled onto albums.
The first version of the book club actually started all the way
over on the other side of the country in Bushwick, Brooklyn. A woman by the
name of Susan Hwang came up with the idea in 2009 and Geoff Larson, current
executive director of the local branch, brought it to Seattle a year later. I
spoke with him a little and he explained to me that the Book Club is a mainly
volunteer-run organization. This year
alone, more than 100 volunteers worked hard in order to connect artists with
authors, make music, and put on shows.
If you want a taste of what they do, check out The Bushwick
Book Club Seattle Volume I, a compilation of songs that you can download
for free right here.
One of my personal favorites off the album is “Zombie
Reagan” by Mike Votava. It’s inspired by People’s History of the United
States, and if that sounds familiar to you, you’ve probably taken a history
class in the past five years. The book is known for debunking American ideas and
flipping what we know about the past on its head. It’s also known for stressing
out students and prompting essay after essay after essay. If the book (or history
in general) still haunts you, this song can soothe your soul, or at least make
history a little bit funnier.
Some other really good songs are “Little Boy” and “That’s It” by Tai
Shan. They’re inspired by The Shining and contrast the images of horror with an
easygoing, folksy vibe. Never has The Shining sounded so peaceful. They’re both on Room 217, a separate album devoted
entirely to The Shining, and it’s definitely worth a listen (or ten).
If you have ever wished that your books came
with a soundtrack, the Bushwick Book Club is the thing for you. Not big on
books? That’s totally okay, listen to a couple songs anyway. All of them are
pretty good at standing on their own. Take “Queen of Hearts” by Debbie Miller for example.
Luckily, they’re big on events and the next one is coming up on
December 11th. It’s being held at the Hugo House, right here in
Seattle, and some great new music is bound to come out of it.
Overall, the Bushwick Book Club is a really cool
idea and I’m a little upset I didn’t come up with it myself.
Photo courtesy of Nashville Nights
It’s 10 minutes before the interview and my phone rings to my dismay. The basement of Winkenwerder was not where I wanted to talk shop with one of my favorite musicians. But there I stood, with a piece of TP in one hand and a buzzing cell phone in the other.
“Shit,” I mutter – fully intending my pun as I answer the Texas caller ID.
“Hi, I’m calling for your interview with André. I know it’s not for another ten minutes but he’s ready now and we’d love to get started.”
“Of course!” I grin as it starts to feel real. Standing with my pants half-pulled up, I remember my situation. “Erm… Can I call you back in 5 minutes? I just need to get everything set up.”
“Yeah sure. I’ll call you then.” Click.
I fasten my belt, swing my pack over my shoulder and head out into the hallway – frantic to find a spot to sit in relative silence. Behind a giant stump that looks like it was cut from a forest a millennia ago, I slump over and attempt to set up my audio recording equipment before my phone rings again.
“Ready?” He asks.
“Ready as I’ll ever be,” I respond with slight hesitation as my recording fails to start. A familiar voice is heard on the line and some light indie rock can be heard in the background.
It’s about time Portland grew up
From his home studio in Portland, Oregon, André Anjos talks about the last six years of his life living in the eccentric city. “I feel like a local,” he states first off, “and I love it here.” He goes on to explain that the city has been changing “like crazy” just like the Bay Area and Seattle. Referencing a recent trend in real-estate listings, he laughs about seeing “No California”-stickers, “as if that would dissuade people from moving here.”
Photo courtesy of Ruth Fremson/The New York Times
“People are complaining,” he goes on to mention. “They’re saying that a lot of things that made Portland unique is getting lost.” Although he really has appreciated the “amazing food” and “interesting things” in the city, André wants Portland to grow up a bit. Hesitating, he puts off the rest of his answer – stating that he might have a better opinion in a couple of years.
Portland, prisons and college
“Everything post-college has been here in Portland,” André goes on to say. “Well, sort of. I spend more time at the airport than at home.” We laugh.
“A couple of friends moved here.” His buddy, Karl Kling, had a girlfriend out here in college and they had a place to move. Rent was “cheap” – at the time it was $500 a month. Coming from a life at Greenville College in Illinois, this was quite the change.
“Three thousand people in the town were prison inmates and they counted that as part of the population,” he laughs. “It was a very small town and a dry town!” He had never heard of something like that before, especially since coming from Portugal, where the drinking age is fourteen.
When asked about his major, André couldn’t help but make a few jokes. “I got a music business degree, which is hilarious.” Greenville college was in the middle of nowhere and the Portugal native decided to learn about music from a bunch of old Illinoisans. “Maybe some basic knowledge came in handy,” he continues, trying to give some credit to his education. “But the music industry changes every year and you’re learning information that’s five years old in college.”
So, in school, he learned how the music industry used to work. “I guess you could say I earned a music business history major,” we laugh again.
The idea of RAC, what happened to the collective
“From the beginning, we wanted to be a group of people that all do remixes under one name,” he explained. “We could gather some talent and do it as a group as opposed to an individual person doing on your own.”
“How did that work out?” I asked, already knowing the answer.
“You know when you’re in a group project and you’re the one person doing it all?” He asked rhetorically. “Well, I was doing it all. A lot of people had jobs and real obligations – I was just in school.” So André took over the project and started doing everything under the same name, Remix Artist Collective.
“The name stuck and I kind of ignored it. When I started touring, I brought Karl who started DJing with me.” The definition of the name, he went on to explain had started changing during those tours until it stopped meaning anything. As he moved into producing original music, it ceased to make any sense but, “at one point,” he explains, “I decided that I spent six years of my life building this brand… I’m just gonna stick with it.”
“It’s called RAC,” he concludes. “It doesn’t mean anything – it doesn’t matter.”
Now that things have developed and he’s become a writer of original music, the name has unintentionally become a point of confusion. He’s now writing with other people, covering tracks with his wife and has even produced original music for the HBO series, Entourage.
Independence, album woes and staying relevant
"I feel like I put out a track every week,” André says. “A lot are remixes but… it’s just easier to focus on a song at a time and just put [that one] out.” Since recording his album in 2011 and having to wait three years for the record label to approve the content for legal and distribution reasons, RAC has taken a step back from the traditional record deal.
“After the album came out, I didn’t really feel like it was relevant to do that in 2015,” he says of the album’s long release schedule. As of June 2015, a month after getting out of his contract, André has been dropping music at least once a month with a staggered release schedule. From single tracks to lyric videos, these regular releases are his way of “keeping [his] head above the noise.”
“There’s a lot of amazing work, and a lot of mediocre work out there… [the internet] is so incredibly saturated [with it]. Fortunately, a thing I got used to with remixes is getting to do things very quickly.” Despite the constant work, André is satisfied with this new methodology as, “with a waiting period that was once three years is now two months at the most.”
When discussing the success of his album, he reminisced but responded contritely, “the music doesn’t represent who I am anymore. You have three years of built-up expectations and when they don’t go in [the way you want], it’s so frustrating.”
Making music, with new singles and successes
Last month’s single, “3AM feat. Katie Herzig” (embedded below) has been quite the success – garnering almost half a million plays in the weeks since its release. When I asked him how he felt about this, André answered estatically, “I feel like we’re gaining momentum and people are catching on to what we’re doing. We compare numbers a lot since we’re doing things independently. Keeping my eye on it [lets me] make sure things are going well. I think it’s been a very fun game to get into that that, [especially] in these last couple of tracks.”
With all the data analysis that he and his team had been doing, I followed up by asking why he still makes music. Despite a somewhat-programmatic release schedule and metrics to understand their success, RAC manages to keep the soul in the music.
“So who do you make music for then?” I asked, “Your numbers? Your fans? Yourself?”
“Myself,” André answered, “Absolutely.” Stating that he continues to make music “purely for [his] own entertainment,” the man just wants to be happy with what he does. As it turns out a big part of him being happy is making others happy!
“I’m not just stroking my beard, happily listening to my own music,” he says. “For one, I don’t have a beard and I see it as kind of a game and it’s my job and it’s something to have fun with.” His goal is to “keep going” as he’s noticed the music is “creating an outlet for this weird desire [to] ‘have to make music’ and want[ing] to keep that going.”
“Part of growth is being heard and having people listen to your music,” he says. For André it seems that this is the core of the game. “Artists that say it doesn’t affect them are lying,” he continues. “If a lot of people are stoked about your song, it really affects you.”
In regards to his fans, he said “it feels good when sometimes people will leave really kind messages like, ‘hey this helped me out during this time of my life’.” He hears me smile through the phone and continues, “I don’t sit down and write songs to help people in that way, but it’s a really nice validation.”
Building a synth and making some music
In addition to his solo work as RAC, André still finds time to record music with his wife, Liz. “There was this goal on the surface to release [them] as a free track to celebrate when we hit milestones on social media,” he says of the covers (check them out on soundcloud). “There’s obviously a selfish side of it and it’s a fun project.” Aside from the benefits of recording for fun, he also has been grateful for the opportunity to be creative in a way he hadn’t tried before. “Working with Liz is also really fun,” he sums up, “even though we live together, we rarely collaborate.”
In his home studio in Portland, the electronic musician mostly uses physical instruments, “whether that’s a synth, drum machine, guitar, bass… I have a lot of toys and I just work [here],” he says. “It’s a really nice balance with the touring and, when I’m not touring, it’s good to be home.”
When it comes to his own production, André just “feels more comfortable” playing an instrument rather than programming music on the computer. “You can create exclusive items that you just can’t make on a computer since most people don’t have [the same] instrument,” he explains. “You create a unique sound that’s impossible to replicate.”
“The problem is that I can’t work when I’m travelling,” he continues. “I can’t fix a mix or something when I’m on the road, which can be frustrating.” Despite his long time spent on the road, the remix artist still finds time to come home and write original music on his modular synthesizer. “I’m a building a modular synth,” he says excitedly. “It started with one box and now I have five. It’s so much fun and it’s so nerdy!”
Yet the synthesizer has been more than a toy in André’s creative process. With it’s inspirational aesthetic and pleasantly unique sound, the modular synth has become a “magical machine”:
You turn the lights on and it’s blinking. It gets really heady sometimes when I have to think about every wire. But it creates a situation where a lot of unexpected things can happen. Most of the time they’re very positive things, like happy accidents – you can stumble upon a sound. It’s a magical machine. There’s so much potential that sometimes it’s too much… but it’s great because of that.
After geeking out about gear, it’s easy to become existential in describing the sound of an instrument. So André concludes, “I’m very into the studio and that whole process. I’d say I probably enjoy recording music just as much as I do writing it.”
Inspiration and dedication, some advice for new artists
The PR rep’s voice came over the line, “Hey guys. We’re running kind of behind so this could be the last question or so.” Looking at my notes, I grew excited as I read, “Which relatively new musicians have you been listening to or enjoying lately?”
Immediately, André answered, “A decent amount of people know Pomo. He’s a guy from Montreal and it’s just a breath of fresh air compared to the EDM, droning military march stuff. I really like it. His remixes are really top notch and I always check them out and add them to our set.”
I followed up by asking what advice he could give new electronic artists. He answered:
I think it’s important to learn how a lot of these sounds are created, specifically for electronic artists. If you learn the basics and understand synthesis, it’s going to go a long way. You can’t do the production tricks if you don’t know it. Learn the basics of recording and avoid presets. They are an easy way to get a specific sound that sounds good but then there’s everybody else and they’re using the same thing. If you can distance yourself from that and try creating sounds from scratch, [you’ll find] you’ll especially know what you’re doing.
Another line could be heard coming into the phone call and André began to quickly finish up. “Musicians need to beat themselves,“ he said. "You don’t want to be somebody else since they already exist. You can be inspired by other people, but try to do something that, personally, you’d be.”
Be sure to catch RAC as he starts up his tour again, this week! André will be performing with Big Data at Seattle’s Showbox SoDo on November, 20th – expect hours of awesome from openers, Karl Kling and Filous.
As always, check back at the Rainy Blawg for a show preview/review from yours truly as the end of November draws ever nearer!
I’ve never really been a fan of vocal competition shows, especially in today’s day and age, just because I tend to fall in love with a lot of artists, and if they don’t make to the top of the show, or on the pop charts, they fall off the grid and I never hear from them again.
But that being said, a lot of shows have brought some good artists. Which leads me into topic of the week, some pretty people singing pretty songs.
I was just minding my own business the other day, listening to Andy Grammer, getting ready for his show in February, and while checking out the show, I decided to take a listen to the opener, just to get a feel for them before the show.
And I feel a little grimy, and very white girl right now, but I had a bit of a fling with a folk pop duo. Please try not to cringe tooooo much.
Gang, meet Alex & Sierra.
They won season three of The X Factor USA last year, and just this year in October released their debut album It’s About Us. And I’ve gotta say, it’s got some good tracks on it.
Let’s just start off with my favorites, because we all know I’m some weird moody, soulful ballad lover.
The first track off the album, Little Do You Know. Sierra has this incredibly beautiful velvet voice that has a pretty limited range, but I still think is very pretty. We’ve seen that I am not particularly prone to having a preference for female artists, because for the most part, little whiny girl voices tend to annoy me, but Sierra’s vocals when she intoned “Little do you know I’m still haunted by the memories/Little do you know/I’m trying to pick myself up piece by piece,” honestly draws me in. In this track, Alex doesn’t come into the song until the chorus, which he sings himself. The two don’t harmonize until the second crack at the chorus, and they fit together nicely (Thank god for that, because they’re dating, so…). But regardless of this point, it’s still a pretty mournful, song. It’s soft, a little sad, not very creative lyrically, but the two sing well together. Harmonizing well is difficult, but I think, just going off this first track that Sierra’s vocal are going to take lead in this vocal duo.
Let’s move on. “Bumper Cars” is probably my favorite track in the entire album, and probably because there’s a lot of simple piano melody throughout, and because the duo start off the track singing together, which highlights more of the chemistry and just well round harmony skills between the two. They know what they’re doing. This is also a sad love song, with a bridge that Alex cries out, “This was supposed to be fun/ This was supposed to be the one,” to which Sierra responds, “Maybe we stayed too long/Maybe we played all wrong.”
Okay, so yes, for the most part, this album is very piano pop, with a lot of love ballads (cue the track “I Love You”) that are unimaginative in lyrics, but very clean and pure in vocals. There are some other great songs on this record though! “Just Kids” is the one track on this album that seems to gain a little bit more of a mainstream pop feel, and I get a hint of LIGHTS or Ellie Goulding or something like that from Sierra. I liked this track because Alex takes some of the lead vocals here and he does some great things with the arrangement. It’s also a little different from the rest of the album because they’re not just expressing love or heartbreak, so I’m glad they experimented there a bit. “Broken Frame,” also a great track, has some more interesting instrumentals, and a little bit more overlay of vocals rather than choppily cutting up verses per person.
The record takes a weird turn when they hash out this country inspired track “Cheating,” which just seemed really strange and a little creepy since the lyrics were literally “Do you ever thinkabout cheating on me?” Honestly, that’s a strange song to write with someone you’re dating. They finally end the entire album on this jazzy, saxophone laden tune, that I like, but seemed very out of place. But they really used their vocals on this track, so good for them for trying something different there on the end.
By the way, you can listen to the whole album here:
I like them. They remind me a lot of James Morrison or Kris Allen and Lenachka in their “Prove it to You” duet on his record Horizons. When they keep it simple with their voices and some piano, I think they do what their voices are good for. They definitely try to attempt every genre possible in this record with hints of indie, folk, pop, country, and jazz, and for some parts it works, and for other parts it doesn’t. Overall though, as a debut album, they did a solid job, and I’m excited to see what kind of future music they’ll create when they mature a little as artists and come into their own.
And hey, at least now I know I’m not going to see a crappy opener.
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!