This Friday brings a recent discovery for me to the nearby Neptune Theater. Destroyer, fronted by Dan Bejar of the Canadian indie band The New Pornographers, will be bringing his unique voice to fill the rafters of the local theater.
Poison Season is a showcase for a variety of lush instrumentals behind Bejar’s often imploring and questioning vocals. Ranging from golden trumpets to strings, sax, piano, flute, (yes, flute) and your standard guitar and bass, I am sure his live show will sound as beautiful live as they do on record, if not more so.
And while you’re at it, watch his amusing and oddly fitting stop-motion video for ‘Times Square’. It’s not what you would expect!
Opening will be Frog Eyes, with doors at 8 and the show starting at 9. Get your tickets here if you haven’t yet.
Rainy Dawg Radio is throwing a tantrum! After 12 years of feeling brought down by the man, we’re ready for our final years of pre-teen excellence. THIS FRIDAY, our favorite bands are setting up shop in Sylvan Grove to celebrate our terrible twelfth birthday (we’re soooo old)!
If you haven’t already, you can RSVP via our facebook event! There you can find updates before and during the show, including posts about food, fun and free swag. For example:
If phantasmagorical frybread isn’t enough, there will also be music! Lots of music… including:
It’s finally May, which means that the Sasquatch! Music Festival is only a few weeks away. Sasquatch! is held at the Gorge Amphitheater; a venue known for it’s scenic beauty that attracts music-lovers from the Pacific Northwest and beyond.
This will be my first year attending the festival, and I’m stoked. I wish I could be at the Gorge grooving to my favorite bands instead of studying for midterms, but since I have to wait a bit until May 22, I compiled a little list of acts that are on my must-see list in an attempt to contain my excitement.
I love Kevin Parker. Parker is the musical mastermind behind this unique psychedelic sound: he basically comes up and records all of the components of Tame Impala’s songs. Kevin Parker IS Tame Impala, though he does have a band accompany him for live performances. I first saw Tame Impala perform at the Outside Lands Music Festival in 2012— they played early in the day and didn’t have much of an audience. The small audience that was there probably suffered some severe ear damage after I yelled “I LOVE YOU KEV” as loud as I could for the entirety of the set. Anyways, their popularity has grown tremendously since 2012, so it’s gonna be a little harder to push my way to the front this time. I’m up for the challenge though. Anything for Kev.
Sometimes it seems like there isn’t a lot of room for female artists in the realm of garage rock. Angel Olsen is an exception. Her simple but messy music is absolutely killer. It goes fast, it goes slow, and it’s always balances pretty, soft vocals with a harder edge. Check out one of my favorite songs by her “Forgiven/Forgotten”
Fuzz creates some heavy, head banging tunes that are going to be so much fun to see live. I have a soft spot for this band because I adore Ty Segall, a staple artist of garage rock hailing from my own hometown of San Francisco, who plays drums for Fuzz. Seeing them jam will definitely be a crazy experience. (I hope I don’t die in the mosh pit.)
I am usually not a big fan of electronic/house music, but Flume is a major exception. Harley Streten is Flume, an artist from the UK, who makes some of the best produced music I have ever heard. I’ve seen him live once before, and it was an awesome dance party.
If you have been keeping up with the Rainy Dawg blog, you know my love for this band has no bounds. I might cry when I see one of my favorite garage rock bands perform. I’m going to need at least two people by my side to keep me from climbing on stage and kissing all of them.
First of all, Glass Animals are English (and gorgeous). They’re an indie rock band. And they’re from Oxford.
Are we up my alley, or are we? But regardless, these guys are still solid musicians. For once, I don’t want to rush through an entire album for you to get a taste of these guys’ sound.
I want to talk about “Gooey,” on the June 2014 LP ZABA, because this one track captures the real essence of what Glass Animals’ sound is and what they’re about.
First of all, this song is full of sexual innuendos, so if you’re awkward about it, kindly step off. We’ve got lyrics like “Ride my little pooh bear and “You just wanna know those peanut butter vibes,” but you know what? The lyrics are smooth, and supple and lead vocalist Dave Bayley’s slippery falsetto snakes around seeping basslines and psychedelic beats.
This song feels like you’re in a dream, with these sleek, texturized lyrics and lullaby sounding instrumentals. It’s strange listening to this song, because you feel like you are personally being crooned to, with Bayley’ vocals whispering in your ear, “While my naked naked fool/Fresh out of an icky gooey womb.”
There is a level of sophistication with these guys, and I’m not surprised, when you have Dave Bayley as frontman, with a degree in neuroscience from London’s King’s College. What intelligent man wouldn’t know how to perfectly craft together such a beautiful combination of intricate beats, trippy vocals, and mellow interludes of R&B? Listen, and tell me you won’t fall in love.
Because what’s not to love when there are other tracks like “Toes” that are equally as brilliant with smooth harmonies and complex lyricicsm. You’ve got this lingering swagger that is the essence of the song, with sparse percussion and underlying bass. It’s slow-tempo and it’s stripped down, lacking lots of synth and lots of energy, but it’s what makes the song great. It’s these little nuances that make Glass Animals distinctive.
Any band that’s touring right now with St. Vincent, and was signed by brilliant producer Paul Epworth (think Florence & the Machine, Bloc Party, and Adele) is a band worth listening to. And you’ve got that opportunity to, with an upcoming show at Neptune Theatre on May 24th.
Annnddddddd we’re back. I’m sorry for such a long sabbatical but I was just researching music. And being lazy. So who wants to talk about French deep house?
Gonna be honest, I’m SO NOT an expert on house music, but because deep house has elements of soul and 1980s jazz-funk and this specific musician uses a lot of piano and saxophone, I’m going to say that I somewhat know what I’m talking about.
Should we meet Klingande?
A French duo composed of musicians Cédric Steinmyller and Edgar Catry, these guys don’t give the vibe of what you think of when you think of house music: electronic, boring, repetitive. They dig honest sound, and true jazz, funk, and soul. With three solid singles out, deubting in in 2013, these guys are beautiful in their sound.
There are house beats, but there are also funky basslines, eclectic vocal samples, excellent percussion and hypnotic, just straight-jamming grooves of saxophone solos that distinguish Klingande’s sound.
The two boys themselves label their music as “melodic sound,” and for sure they have this vibe of sunny beaches and the strange juxtaposition of classy, classy saxophone jazz and more modern dance pop.
I mean, take a listen to “Jubel.” You’ve got these straight up dope saxophone melodies (thank you fantastic Mr. Snake Davis) running throughout the entire track of lovely Lucie Decarne’s vocals. Reaching number one on the charts in Austria, Belgium, the Czech Republic, Germany, Italy, Luxembourg, Poland, Portugal, Slovakia and Switzerland, this track also hit #3 on the UK Singles chart.
We start out slow with bongo-drums and light layering of keys, yeah? Then a bassline melody, still good, right? Then a build up to the vocals, and you’re like, “Hmm, pretty good.” But then we hit the sax, and you’ve got to just stop and smile.
And then look at his first single ever released, “Punga.” The vocals are phenomenal combined with the saxophone layered on piano. And to be honest, the sax on this track is better than the sax on Jubel, but the standard of excellence here is just so high that either way, any of Klingande’s tracks are going to exceed any of our expectation for musical innovation.
If you like Avicii, if you like Bakermat, if you like saxophone, if you like grooves, please. Do yourself a favor. Check out his Soundcloud here, trust me, he’s worth your time.
And sweet deal because if you fall in love enough, go and check out his show at The Crocodile on May 20th. You can bet I’m gonna be there.
Sumney’s lighthearted demeanor lets his music envelop the listener. Seamlessly flowing between his drawn out ooo’s and aah’s and falsetto lyricism, his music is faded. In listening to Moses sing, we are forced to concentrate on more than just the initial comfort he brings.
During the show, expect plenty of meditations and sudden realizations as Sumney brings his heart to the stage. His music, as well as songs from the whole lineup, are available for streaming on ASUW A&E’s SoundCloud.
Playing before Moses will be Crater, one of Seattle’s most danceable experimental electronic acts. Band members, CBG x KFG, are joined onstage by Gomez, Gordon, Roth, Umble, according to the band’s facebook page. The craterbabes (as they are known on social media) rely on guitars and ambient electronic sounds strung together to generate an existential groove. Plus, they seem pretty excited about performing for us:
Shaprece will also be making an appearance as she sheds her general collection of instruments for a more “stripped set”. In her previous acts that I’ve seen, the sheer amount of sound from her band provided the perfect driving force behind Shaprece’s amazingly talented vocals. For this performance, however, she’ll be leaving most of that sound behind. It will be exciting to see how this change affects her sound and dynamic range!
Yesterday, the music video finally dropped and it was definitely worth the wait! Check out the retro-scopic throwback track below:
If you recognize those faces, that’s not a surprise! Lead singer, Mychal Cohen originally formed the group as Campfire Ok. The original band’s albums, Strange Like We Are (2011)and When You Have Arrived (2013) have been acclaimed for their studio and live performances.
Since Campfire Ok’s last release, the lineup has changed and producers, Chad Copelin and Jarod Evans, have helped put together The Weather’s recording debut. To celebrate, the band will be performing with Ravenna Woods and St. Paul de Vence at Neumos THIS SATURDAY!
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.
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.
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.