On Monday afternoon, Sampha held an in-studio performance at KEXP prior to his concert with The xx that night. The performance was free, so I felt it was the best possible excuse to avoid studying. About fifty of us were crammed into a dark room, separated from the studio by a wide window. Inside the studio a piano sat in the middle of the room, surrounded by technicians and cameras. We were told there was no talking or use of cell phones, so that Sampha would be the only sound heard on the radio. Minutes later, Sampha graced us with his presence, taking little time to introduce himself. Though he only performed four songs, each one was astounding to watch performed. Sampha brought no band members along with him; it was only him and a piano. Looking back on it that was the best choice he could’ve made, because it directed attention towards his voice alone. His voice sounded identical to the tracks on Process, only with more emotion and intensity in his tone. This made the tracks he performed- “Plastic 100ºC”, “Incomplete Kisses”, and “(No One Knows Me) Like the Piano”-sound much more emotional than I had previously heard. His demeanor was surprisingly down to earth as well; in between songs he answered a few questions, and he was quite humble despite the praise he received from KEXP’s host and the audience. Despite a short performance, Sampha was well worth seeing and I look forward to seeing a full performance in the future. Sampha’s performance should be on KEXP’s YouTube channel soon, which you can visit here. Until then please enjoy the above potato quality picture of Sampha I took following his performance.
This past Wednesday at the Crocodile saw Cherry Glazerr come through, touring in support of their sophomore LP, Apocalipstick, along with fellow Angelenos Slow Hollows. The dingy Crocodile Cafe was a good fit for the night, especially for the headliner, with Clem Creevy feeding off the dirty energy of the place with some dirty energy of her own. The show promised to be energetic, eccentric, and distinctly feminine, and it delivered on all accounts in spades.
Openers Slow Hollows started things off in a quiet, contemplative mood. Merging some twinkly guitar leads of the current emo wave with a very post-punk feel, the quintet did a great job as the opener: they were a very well put together act, but they hardly tried to steal the show. The five college boys stood mostly still on stage, with an energy that was very understated but quietly snuck up on you. The guys from Slow Hollow may almost look asleep from time to time, but if you let it lull you to sleep then you’ll get shaken awake by some very sneaky musical climaxes. Standout tracks from the set were “Luxury of Lull” and “Last Dance” from their 2016 album, Romantic.
Though from the same city of origin, Slow Hollows could hardly be more different from Cherry Glazerr. After the openers left the stage, crew members and some of the headlining band came out to set up their equipment. And their stage decorations. Which I didn’t really notice until right before they stepped onto the stage. Which were vaginas.
This set a clear tone for the rest of the set: this is a show by women, for women. Not to say non-women couldn’t enjoy the show, but it was clear from the start that this was a female show. So when frontwoman Clem Creevy introduced a song with “This song is about period blood and being on your period, and that’s awesome!” I wasn’t really all that surprised. This is a band that has never shied away from its femininity, and they weren’t about to start now.
The set started weird and ended weird. With her bassist, drummer, and synth player all onstage, awaiting her arrival, Creevy came out swinging. Literally. She swayed on stage in the middle of a wall of noise, swaying wildly and flailing her arms in all directions. And thus began the set. A healthy mix of old and new, the show was a very good one. Creevy made sure to acknowledge her grungy influences from Apocalipstick (the encore was a cover of Nirvana’s “Territorial Pissings,” which also served to energize the hell out of the Seattleite crowd), and also made sure that those influences didn’t ruin the garage-rockiness of some of previous work. “Grilled Cheese” and “Trick or Treat Dancefloor” fit perfectly along with newcomers “Told You I’d Be with the Guys” and “Only Kid on the Block”. And all the while, Creevy and bandmate Sasami Ashworth injected a bit of light humor into the set with their banter between songs.
Overall, I thought the show was very satisfying. Slow Hollows were a very good, very lowkey opener, who set the stage perfectly for Cherry Glazerr’s jagged vocals and sharp riffs to cut through straight to the audience. If I heard these two were touring together again, I’d snap up my tickets early.
RAC lights up with a live band at ShowBox SoDo on Tuesday, Nov. 24th
Light keyboard filled the air and a soft beat emitted from the over-leveled speakers. With only half the room filled, the music blasted through the Showbox, piercing the silence until the crowd settled into the sound. The first opener, filous pulled out his guitar, bowed his head slightly and riffed over a reverberating female vocalist. The two instruments together, a midi setup and fx-ed guitar sounded like a chorus of chilled-out house music.
“Hey Seattle,” the beanie-sporting artist spoke before returning to his instruments. A faint cheer could be heard from the bar in the back.
Not phased by the crowd’s lack of enthusiasm, Filous strummed along to dance-worthy tracks. Smiling all the while, the casually-dressed multi-instrumentalist switched between MIDI controllers, keyboards and his various guitars. As he slammed on the bass, the crowd swayed and lights flashed before us.
Filous introduced himself as an artist from Vienna. Over a few spouts of laughter, he further explained his adventures at Jack in The Box before playing his next song, “Coming Over” – a synth-heavy sound featuring the same summery guitar riffs that had been heard frequently throughout the set.
Light lyrics sprinkled throughout the song and the line, “All I can think about is coming over” repeated into a somewhat-tropical instrumental chorus. The hook brought many to the dance floor and the strobes shimmered among us. With all of his talents, I got to wondering why the microphone was placed so properly as if it’d be used whilst playing. All my questions were answered in a single breath as Filous pulled out a harmonica for his last track – blowing us away with his breath-induced harmonies.
filous wowed us with flawless multi-instrumentalism
After a short break, two musicians approached the stage. Both on drums, the two multi-instrumentalists represented the Portland-based Karl Kling. Arpeggios filled the air and a dimly lit duo sang indulgent lyrics over two sets of electronic instruments. A light up set of tools stood adjacent to a traditional drumset as the two musicians harmonized with one another.
We moved our bodies back and forth and a few other audience members joined us. Although I wasn’t there alone, I couldn’t help but notice the sheer amount of standing that took place during this show. Of course, I could chalk it up to the fact that we were watching an opener, but since this is my last post for Rainy Dawg Radio, I thought I’d mention something that’s been bothering me since I moved into this city and began participating in the music scene:
Why don’t Seattle Concert-goers ever dance during openers?!
Their music is good. The dance floor is ready! If anybody has an answer to this question, myself and all of the touring artists in our area would like to know… Synced beneath the falsettos as the two men expressed themselves among a sea of careless Seattleites. Catchy riffs soared beneath existential lyricism as the band showed off their chops, from drums to loops and electric guitars, the multi-talented Portland band never ceased to amaze us.
Yet most of the audience remained unfazed while my date and I swayed just the same. Harder now. Deeper now. The harmonies seemed to strike nearer than before. Perhaps the volume kept increasing but something about the atmosphere above us kept me present as the fog filled the air and the band requested a dimming of the lights.
“Alright Seattle. This is dance time,” Karl attempted to work the crowd. But only a few cheers could be heard in response as many audience members lingered in the back – bobbing their head to the rhythm instead of shaking what their mamas gave them.
“So dust of your regrets” Kling sang, “Cus there goes the day again. Born into this world.”
Karl Kling sported two drummers and a sounded like Death Cab in a dance club
80s melodies and melancholy choruses led from one song into the next as the opening set came and went. During their last song, “Careful” the duo smiled as they witnessed some energy beginning to emit from the evening’s underwhelming attendees. As Big Data prepared their set, I prayed for a miracle that the dance floor would pick up.
Fog filled the air and screams rang out in support of the surreal visuals that began to appear so subtly behind a coordinated set of electronic musicians. A robotic voice could be heard from the pumped-up speakers and the band members began to move in tandem to a static beat. Almost inaudible, a set of muted vocals began to sing the opening lines of “Dangerous” and the crowd finally moved in-tow to the enthralling rhythm.
The two vocalists played off of one another flawlessly. Each computerized run ran into the next as the lights glimmered among us. The music enticed us to engage as Big Data entertained with alluring visuals above driving drums and guitars; all the while the two frontmen acted as conductors of the crowd below them.
Bobbing their heads back and forth to the ephemeral sound of their own creation, the crashes and clangs of the live instrumentation filled the set beneath layers of enchanting lyricism. All the while, the audience followed along in a daze, drunk in the sound of a presented simulation.
References to a computerized system filled the breaks between songs until the word, “Imagination” broke the sequence, “Your simulation is now complete.” The robotic voice complimented our enthusiasm as the lights reflected off the band-member’s florescent sunglasses.
As the lights continued to dim, the combination of the visual and musical performances pulled us in to a videogame-like trance – complete with the sounds of dial-up modems and mid-2000s internet references. Throughout the set, Big Data did nothing but entertain as our eyes reflected the shimmering stage above us.
With flashing lights and surreal digital visuals, Big Data drew the crowd ever-closer in a existential haze
Members of the other bands and backstage crew joined the band as they repeated their hit track, “Dangerous”
The crowd cheered and familiar faces replaced the physical places of Big Data’s digital revolution. Karl Kling and André Anjos (RAC) stood left and right of a headband-wearing frontman. Behind them, Pink Feathers (aka Liz Anjos) rocked out on a keyboard while a full-sized drumset stood lit and elevated above.
We moved in waves as the live band played covers and originals frequently associated with RAC’s collection of (re)mixes. Hiding behind a telecaster, André occasionally sang along and smiled all the while Pink Feathers and Karl Kling led the upbeat performance. The collection of Portland artists did not disappoint as the crowd sang along to their favorite tracks. From Odesza to The Postal Service, local hits were met with more energy from the audience as the four-piece band reworked popular songs with their disco-inspired beats.
“Hollywood” and “Let it Go” were met with thunderous applause as André stepped out into the center to wail over the beat with his electric guitars. The foursome played off each other splendidly, cracking jokes and smiling along to the energy brought from playing their songs live.
André Anjos leads his live band, shredding along with a pulsating performance
After seeing RAC in the past and wondering when he would break out from behind his turntables, I was inspired and impressed by the entire performance! Altogether, the variety of bands made for an excellent combination of Portland sounds that was able to break through the ever-famous Seattle Freeze.
As a longtime fan of Seattle rappers, the KnowMads have held
a steady place on my iPod for years. They are one of the main groups that got
me into rap and keyed me into what the scene is like in Seattle. So to say I
was excited when they announced a show at The Vera Project last Saturday, May 9th
would be a bit of an understatement.
The two members of the KnowMads, Tom Pepe and Tom Wilson, have
been working on solo projects and living in different states, so hearing that
they would be doing a show for their new mixtape KnowMadic was a good sign. Their last project together was their
2012 album The Knewbook, and they
have since announced a Kickstarter for the next album, Knew School.
The Knowmads both attended Roosevelt High School together,
and have been making music together since their debut self-titled album in
2006. Their long career growing and producing music together was evident in
their hour-long set. The duo finished each other’s lines throughout the
concert, beatboxed, and even bounced freestyles off each other in between
songs, with the crowd giving them words to rhyme.
Their track list covered many of the songs off Knowmadic, but also songs from their
individual projects and previous work together, such as Seattle and The KnewBook. All of these songs were delivered with a
pulsing, raw emotion as they paced back and forth on the stage dripping sweat.
Pepe changed shirts a number of times throughout the show, but that didn’t help
The intensity was palpable throughout. The duo built on the
crowd’s energy when performing tracks like “The River Runs Deep” and “Sidewalkers”,
screaming their verses into the mic as their jugulars bulged. Put simply, there
was a vibrant charisma and history between the two MCs up on stage, and it was
something special to watch.
Those on the other side of the stage got plenty of love as well. We were thanked
multiple times for showing up and creating their steadily growing publicity.
The dedicated stans in the front row had many opportunities to recite lyrics
into the mic when Tom thrust it into the crowd, and there were high 5s all around
the crowded Vera Project. They evidently took advantage of the intimate venue.
As my first concert seeing them, it was special to realize firsthand how
dedicated their local fans are.
The show felt alive, and that says something for these two
rappers who have been grinding since high schools and are still only in their
early 20s. They still have it, just like they always have.
Definitely checkout the Kickstarter for their new album and
donate if you can. Head over to their website to stream their entire
discography, or their Facebook to stay up-to-date. And if my writing hasn’t
convinced you already, I highly recommend seeing them live next time they do a
been a Shlohmo fan for years now,
so I bought tickets to his show as soon as he announced a tour. That was way back around
the start of the year.
I whiled away the months
leading to the show by revisiting his impressive discography. I’ve long
considered his Laid Out EP to be a
In March, Shlohmo dropped his new album, Dark Red. The
album was a stunning departure from his previous releases. But it still had all
those classic Shlohmo elements, like menacing basslines and warped notes.
Definitely an album worth checking out.
music isn’t the dance-y kind. His music reminds me of dark basements and scary
nights and pain and zombie apocalypses. It’s pretty great. That’s why I was
surprised when I started dancing at the show. Everyone was dancing. It was
probably because Shlohmo’s basslines were even more immense on Neumos’s bumping sound system. Shout
out my ear drums for not exploding.
I love it when electronic
artists bring out a band. Shlohmo brought out a drummer and a guitarist and
also occasionally wielded a guitar himself.
The light show was crazy
intense. The lights and the music complemented each other beautifully, surging
and receding in harmony. At times, shrouded by the spotlights, Shlohmo seemed angelic.
He mostly played cuts off
his new album, but didn’t forget fan favorites like Places and Later. Later is my favorite Shlohmo song ever.
I cried sweet tears of joy when it came on. Well, maybe not. Nonetheless, I was
About an hour into the
set, Shlohmo and the band just ran off the stage without warning. “Is that it?”
Hell no. The lights flared
up and Shlohmo ran back up on stage. He grabbed the microphone and reassured us,
“That was a joke. This is real life now!” He played us one last amazing song.
Then, unfortunately, it was over.
My one beef with the show
was that the two openers, Purple and
Nick Melons, had sets that lasted
about an hour each. That’s a bit long, as openers go. I was restless, standing
on sore feet waiting for Shlohmo to come out. But the openers were pretty tight
so it was cool I guess.
Definitely a night to