“We all turn to our communities in darker times and making art feels healing and more important than ever.”: 7 Questions with Moon Palace

August 23, 2019 — Leave a comment

Shadowcast

Recently, I was given the opportunity to preview the latest album “Shadowcast” from Seattle indie rock band, Moon Palace. Twin sisters Cat and Carrie Biell alongside bandmates, Jude Miqueli, and Darcey Zoller create a psychedelia tinged, dusky, 41 minute kind of dream landscape that’s simply captivating.

The album was like the progression of a day in that songs at the beginning of the album like “Bold” and “Gamma Ray” were energetic, but eventually the album faded into this meditative reflection, culminating in more subdued songs like “Embers” which felt like gathering around a fire at night. If there was any other way I would describe “Shadowcast”, it felt like the soundtrack to a long drive outside of the city. Like I got in my car in the morning, watched my landscape change around me, and eventually, I’m night driving. I started kind of hyped for this drive, but eventually, it’s just me and my thoughts. That’s what this album does, it provides a space to reflect.

“Shadowcast” by Moon Palace will be released on August 23rd. In anticipation of the album’s release I was fortunate enough to be given the chance to ask the band a few questions. Here’s my short interview with Moon Palace.

1.) What was the inspiration for “Shadowcast”? Was there a particular vibe you were trying to create?
Jude: We made it over the course of a year. Each week we would open ourselves up to what sounds were coming through. I think the record evolved with the changing seasons. For much of the year, Seattle is dark and partly cloudy so that may be why there is a bit of an ominous presence. Once summer hit we wanted to make brighter songs and that’s when “Gamma Ray” emerged. On practice days I’d listen to music on the way to work while riding the bus at 6 AM when it was dark out and text the group what I was listening to. They would text tracks back throughout the workday. Later that night we’d get together, talk about the sounds we wanted to make and get creative. “Shadowcast” was Talking Heads influenced, “Stop When It Hurts” was Sonic Youth, “On the Level” was The Cure, “Bold” was influenced by The Gossip. In the end, I don’t think the songs sound like any of those bands because we weren’t trying to replicate what they were doing even though they were heavy influences. With each song, I want to grow as a drummer so I try new styles or techniques and one way of learning those is by listening to other drummers.

I read an interview in City Arts Magazine, that one of the main things that drew members of the group to Seattle was how queer-friendly the city was. A quote in the article said that you like how Seattle is a “sanctuary city” and that the band was making “sanctuary music”.
2. I like the idea of “sanctuary music”, but would you mind expanding on that? How would you define “sanctuary music”?
Jude: A sanctuary is a place of refuge or safety. It immediately brings up the idea of church which can be triggering for queers due to having been shamed by religion. But a bird sanctuary can also bring up ideas of a nature reserve and I think our band finds solace in nature. I came here in 2006 after researching where there was queer community on the internet. At that time Seattle had anti-discrimination laws protecting workers based on gender and sexual orientation and where I was from didn’t. I think sanctuary music can be anything that makes you feel safe in a space. Growing up as a teenager in the 90’s for me that was Bratmobile, Bikini Kill, Team Dresch, and Sleater-Kinney. Now when I listen to music at home I’m mostly playing jazz.

Carrie: Cat and I lived in more homogenous suburban area like 20 mins outside of Seattle. As out, queer teenagers, we would drive out to Seattle multiple times a week to be with the community we identified with and who supported us the most. Seattle did feel like a sanctuary in that way at the time. Nowadays it feels like making music in our band is a sanctuary from the current climate in America where hate crimes are on the rise and bigots feel more emboldened. We all turn to our communities in darker times and making art feels healing and more important than ever.

The music video for the song “Hunt and Gather” is amazing. Not only because the song is so good, but visually the video watches more like a high production short film with vibrant cuts and great use of light and shadow which really bring more attention to physical elements of the performers.
3. Was the concept for this video inspired by the song, or did you have this idea of what you wanted the visual to be like as this song was being created and then created a video to best reflect that visual?
Cat: The concept for the video was inspired by the song. An epic song deserved an epic video. The video reflects the process of creating peace with the wounded and unintegrated parts of ourselves. By integrating the ego, the wounded child, the wild one in all of us, we each move through our individual journey of reflection and transformation.

(These next 3 questions were provided by my last interview, the band “Tangerine”.)
4. What’s the last book you read?
Jude: Currently Reading Pleasure Activism by Adrienne Maree Brown
Carrie: Bad Blood: Secrets and Lies in a Silicon Valley Startup by John Carreyrou

5. What was the most stressed you have been on tour and why?
Jude: When I went on a summer tour with a band called Scarves we were in an overheating van driving down I5 while California was burning. None of us had any mechanic skills which is why it was stressful. After a long drive and a mediocre show, we slept on a concrete floor in some dude’s apartment. In the end, we made it down the coast and back, had fun at the beach, and played better shows so it ended up being a good time!

Carrie: I did a west coast tour with my solo project joined by my backing band. We had great shows throughout the tour, but our show in Eugene ended up being really strange. The venue didn’t provide a PA that night and there was very little sound equipment ready even though there were four bands on this bill. One of the local bands ended up running around piecing together a sound system, which I was grateful for. After the show, some of the band members from the other bands invited all of us to some big mansion to party at because somebody was house sitting there. We wanted to take them up on the offer at first because it was a free spot to crash for the night. I felt somewhat reluctant because I was the only woman on the whole lineup of musicians that night and I didn’t see many other women around. We were about to go to the mansion, but then it turned out to be a bunch of drunk dudes all wanting us to get in a hot tub with them. Luckily the guys in my band always looked out for me and we all ended up sort of sneaking away and getting a hotel room for the night instead. I’m grateful to be playing music with more women and genderqueer folks these days 🙂

6. What were some rejected band names you almost had?
Carrie:
Desert Hearts
Wild Embers
Twin Shadow (Already Taken)
Carpet Ride (Too punk rock LOL)

7.) As a final question, I read that each of you are from other parts of the country and have performed in other groups, do you have any advice for other transplants trying to enter the Seattle music scene?
Carrie: I always think it’s a good idea to attend lots of shows and get a feel for the kind of bands and venues that our out here. Try to make friends with other bands and musicians and build a network of supportive fellow musicians who either want to play with you or book shows together. Bookers at venues don’t do as much building of bills anymore so it helps to approach some of the venues with a complete lineup or at least one other band that will bring out people. There are so many musicians and bands here so it can feel daunting to try and get out here, but if you have a few other bands or artists in your corner it really helps.

I also think it’s a great idea to make a professional recording and press them in a professional way so you have a better chance of getting on radio stations like KEXP. KEXP is awesome at supporting local bands and their reach is far and wide. It can be hard to get on their airways since they get tons of submissions, but showing up to the station or mailing an actual professional hard copy of the songs with a radio one-sheet really helps the chances of getting airplay.

I have to thank Moon Palace for providing such great answers. Check out “Shadowcast” available August 23rd, and catch Moon Palace at Clock-Out Lounge on Friday, September 20th.

5 Tips for People who “want to attend a lot of concerts and other events, while maintaining a professional career”

July 1, 2019 — Leave a comment

2017 was the first year I decided I would try to attend a live show, concert, festival, or event every single week. I attended 102 shows that year. It was so much fun, I decided to keep it going. 2018 I attended 84 shows. It’s 2019, and as of this writing I’ve attended at least 36 shows. A handful of folks at my day job know I do this, and the first question they usually ask is “How are you able to do this?”. I usually interpret that question as, how do you have the energy to keep a professional (enough) demeanor to perform at your day job, but also stay out late at these concerts and events?

The following are my 5 pieces of advice for people who “want to attend a lot of concerts and other events, while maintaining a professional career”:

5.) Plan ahead, Research, and Maintain a calendar. Maintaining a calendar is one of the best things you can do for yourself. On a weekly basis, I’ll check venue websites for shows I’d be interested in. I’ll purchase tickets months in advance and document everything in a calendar that way I know if plans conflict. If you’re trying to be professional at a job, it’s good to think ahead. I always request PTO, the Monday after a 3 day music festival because I know I’ll be exhausted and I won’t be able to perform. Make it fun for yourself (my calendar is a Thomas Kinkaide Disney Dreams calendar).

4.) Brag but don’t be a jerk about it. I think letting others know about the great show you attended the night before or letting them know about your excitement for an upcoming festival is perfectly fine, but know not everyone is having as much fun as you are. If you’re telling someone about how much fun you had or are looking forward to having and the person doesn’t seem receptive, then it’s not the worse thing in the world to not talk about it either. Brag but keep your audience in mind.

3.) You know your limits. Other than attending these events, I also go to a gym, in order to stay as physically fit as I can. In order to engage in a show properly, cheering, dancing, singing along, or even getting to the venue, it does take a level of physical fitness. I feel like people underestimate the amount of energy they use at a live event if they’re engaged the entire time. You probably blew a bunch of energy at your day job and going to a live show will only continue that energy burn. If you need to sit down at a show, leave early, or head to the back for water, you know your limits. These things are supposed to be fun, not a “Double Dare” style physical challenge.

2.) Be Nice, even if you’re tired. Speaks for itself.

1.) Set Time for yourself. You’re trying to balance a day job where you’re expected to arrive early and perform your function, with late nights having fun. The most important thing you can do for yourself is set time for yourself. Time to do nothing. Time to sleep in. Time to read. Time to be away from people. Take time to just pursue something for yourself. I usually set aside a few hours (or even a day or two) during the week where I don’t set any plans and just have alone time. I might go to one of my regular haunts (like MOHAI (above)) or I’ll just hang around my condo. Having a “reset” is never a bad thing, and setting time for yourself is always a great way to do that.

“Happy/Sad Place Somehow”: 7 Questions with Tangerine

February 1, 2019 — Leave a comment

Bumbershoot 2014 was the first time I saw Tangerine perform live. I had heard a few songs and wanted to check them out. My initial thoughts from seeing them perform were their sound is a lot of fun, this is a pretty sizeable crowd for a local band at Bumbershoot, and it’s hard not to enjoy this performance. The sound reminded me of pop music you would hear in a sitcom that would air in the post “TGIF” generation. Like a sitcom that would have the Lawrence brothers or a movie with Rachel Leigh Cook.

Tangerine performing at Bumbershoot 2014

In the years that followed, I picked up their EPs “Behemoth!”, “Sugar Teeth” and “Radical Blossom”, and would try to catch one of their shows around town. I remember catching their set at an exclusive Upstream Music Festival and Summit preview party, and also catching the band’s farewell concert when they relocated to Los Angeles. On February 7th, with a brand new EP “White Dove”, Tangerine is set to make their Seattle return. I was fortunate enough to have the opportunity to ask a few questions to band members, Marika Justad, Miro Justad, and Toby Kuhn.

First and foremost welcome back to Seattle!
I read an interview for Grunge and Art magazine, where as a band you explained that certain bands and genres inspired your sound, but you also mentioned being inspired by movies and television shows, specifically you mentioned the films of Baz Luhrmann (“Romeo + Juliet”). I like the idea of a form of art and entertainment especially one focused on the visual element, inspiring the creation of another form of art and entertainment.
1.) What other films and television shows inspire you currently, and would you mind elaborating how they inspire your sound?

Marika: I’m so glad you picked up on those influences of ours! I have a feeling that a lot of musicians are inspired by so much more than just music. The music you make is sort of like this representation of how you experience the world in all its complexity, so of course all kinds of things find their way into our sound. We’re getting ready to release a new song on February 8th called CHAINS, that has this dark, dreamy, romantic feeling which was inspired by gothic romance novels like Jane Eyre (a favorite of Miro’s and mine that we’ve read many times), plus slightly trashier romance novels we’ve enjoyed that shall remain nameless. We tried to evoke that feeling in the visuals we created to go with the song. That’s just one example but I’m sure there’s more.

In past interviews, you mentioned how as a band you would love to curate the soundtrack for a film or television show, and how some of your songs were made with that possible intention in mind.
2.) Is there a regular storyline that you picture your music being used or you would hope they were used for (for example: A Cosmic Romance, A Modern Day Western, A Teen Road Trip Flick, etc.)?

Marika: One hundred percent we would love for our song Lake City (from our last EP, White Dove) to be in the sequel to Netflix’s “To All The Boys I’ve Loved Before”. We’re all suckers for a good classic teen movie- Footloose, Pretty in Pink, Empire Records, Can’t Hardly Wait, 10 Things I Hate About You, etc. (fuck 16 Candles, no matter what anyone says). I think a lot of our songs would be good during like that moment in every TV drama where they do a cheesy montage of all the characters as they wander around pondering the meaning of life. Or maybe our songs would be perfect for the ending of a movie when somebody’s driving off into the sunset, and it’s a little happy and a little sad at the same time. All of our music seems to end up in that happy/sad place somehow.

3.) Another thing I picked up from reading past interviews was a love for the Sci-Fi genre. What are some must see titles (film, television, teleplay, radio show, podcast, etc.) that you would recommend? (If you name a show, is there a specific episode that is must see?)

Marika: Buffy The Vampire Slayer! The title of our song “Monster Of The Week” comes from the TV concept of the same name and is inspired by Buffy. There’s an episode in season four called “HUSH” that has almost zero dialogue and it’s just weird and fun and completely brilliant.
Miro: The Arrival was one of the more recent science fiction movies that I have seen which really moved me because it teaches about having compassion for the unknown. The soundtrack really beautiful and abstract so I highly recommend checking that out!
Toby: Taken- It’s a miniseries presented by Steven Spielberg that takes place over half a century and focuses on multiple generations of families’ experiences with aliens. Very cool show, the score is awesome too, their theme song has been stuck in my head for years!

(These next 3 questions were provided by my last interview Alaia from the band Tres Leches.)
4.) From your last live performance, what’s one reaction from the audience that stood out to you and how do you perceive that reaction?

Marika: Our last show was for FOMO FEST at the Echo- there was one guy in particular who was dancing in the front giving it his all the entire set that stood out to all of us!

5.) What’s one thing you want to do that you’re not doing right now and why aren’t you doing it?

Miro: I’ve always wanted to tour Asia with TANGERINE! Marika and I are Korean American so performing in Korea is a shared dream of ours. It’s not in our cards for the immediate future as we are touring the West Coast and writing music in LA but hoping that we can make that work soon!
Toby: I’d love to learn to speak Italian, I’ve got family in Naples and every time I visit I deeply regret not having a greater understanding of the language. There are so many things I like to do when I get a spare moment I just haven’t committed to it yet!
Marika: I want to be able to run 5 miles! I can only run 2 at the moment….but I’m working on it.

6.) What’s something that’s not tangible that is vital?

Miro: A constant sense of curiosity. I feel like there was a moment in my late teens and early twenties where I stopped questioning everything around me and lost a sense of awe for the natural world. The more curious I am the happier I have found.
Toby: Optimism. I try to be an optimistic person, for myself and the band, but also in terms of giving people the benefit of the doubt- trusting people, maybe too much haha. It’s certainly been vital to my well being.
Marika: There’s a Maya Angelou quote that is something along the lines of “people don’t remember what you said but they’ll remember how you made them feel” that’s always resonated with me. This question brings that to mind!

As a final question, as a band that started in Seattle, developed in this market, and left, do you have any advice for Seattle artists trying to expand beyond the Seattle music scene?

Miro: My advice would be to really take advantage of the supportive scene in Seattle and the surrounding areas because a strong base will carry you further in the long run even if you decide to leave.

(If you thought this band sounded as fun as they were to interview, be sure to support! Tangerine will be performing live at Chop Suey, Thursday February 7th with Cumulus, and Emma Lee Toyoda, presale $10. Listen to their music on most platforms, and be sure to check out their latest EP, “White Dove”, available now.)

10 Photos That Remind me How Cool 2018 Was.

January 1, 2019 — Leave a comment

In 2018, I attended 80+ shows and events. I saw well over 300 different acts and got to spend a lot of time meeting and mingling with dozens of people in the local music scene.

When looking back on the year as a whole and reviewing photos I took throughout, I kept having moments of revelation. I saw so many interesting acts this year that as I see some of these images, it hits me, “Oh yeah! You were there for that.” Below are 10 photos that remind me how cool my 2018 was:

View from the Beer Garden – Sub Pop 30th Anniversary – Alki – 8/11/18
As much as I thought Sub Pop 30 was a cool event and definitely an anniversary party fitting a record company that had such a positive impact on the community, at a certain point in the afternoon it just got crowded. A combination of recognizable names, no admission fee, and the sun coming out, really caused the crowd to balloon. I took this picture on the way to see Shabazz Palaces. The sky just looked so cool.

Kailee Morgue – Neumos – 11/30/18
This photo is a personal favorite of mine. It’s just a great visual representation of how it feels to go to a smaller live concert “today”. It also features one of my favorite out of town performers. I first saw Kailee Morgue live at Bumbershoot, and I instantly fell in love with her sound. Of the young acts I saw this year, I believe Kailee will be one to keep an eye on in the years to come.

A Tribe Called Red – Neumos – 3/14/18
This picture is just visually amazing. The lighting kind of cast a purple light on the room, but the amount of colors coming off of the Native costume worn by this dancer during this set was incredible. A Tribe Called Red put on a show that was as visually pleasing as it was to hear.

Monsterwatch – Mercer + Summit Block Party – the corner of Mercer and Summit – 8/18/18
If I had to pick a favorite top to bottom event, I would have to say this year’s “Mercer and Summit Block Party” was something special. Other festivals like Upstream, Bumbershoot, and Linda’s Fest had great things to offer and had moments that were memorable, but from beginning to end, I felt like every act at this year’s “Mercer and Summit Block Party” really brought it and the crowd seemed to really accentuate a good vibe throughout the day. I snapped this photo at the end of Monsterwatch’s set. Of all the acts, I felt like Monsterwatch really had a breakout performance at this festival.

The Regrettes – Bumbershoot: KEXP Stage – Seattle Center – 9/1/18
Bumbershoot for me is a “reset”. Everyone has to have something, that brings you back to “earth” and makes you feel like you’re ready to approach the world after letting out some steam. An act that stood out at this year’s Bumbershoot mainly because of how absurd their set was, were The Regrettes. Their set this year was at KEXP and they (in short) motivated the crowd to mosh, crowd surf, and even have a wall of death in the KEXP public space. (haha!) I love this shot because all the members are featured. They’re the most prominent focal points of this photo.

The Pink Slips – Bumbershoot: Main Stage – Seattle Center – 9/2/18
The main stage at Bumbershoot is huge. I feel like it would be hard for groups to make use of the whole stage unless they were highly seasoned or had elaborate set pieces and visuals. The Pink Slips made great use of the stage, and created opportunities for photographers to snag some great shots of their set. I like this shot because of the activity in it. The bass player’s hair and the lead singer’s facial expression are just small examples of how this photo captured the activity of this set.

Tres Leches – Upstream Music Festival and Summit – Pioneer Square – 6/3/18
Tres Leches had a pretty big year this year. I saw their name on multiple lists, they released an album, and I feel like I saw them perform at multiple events and concerts. This photo is interesting to me because you can’t see any of their eyes. I think it was just timing and position, but it makes a fascinating photo. This photo is also special for me because it was the first time my oldest cousin came with me to the front of a crowd for a local show.

The Requisite – Chop Suey – 12/8/18
I first saw The Requisite at this year’s Capitol Hill Block Party. When I saw them take the stage I thought, “Oh cool. I have no idea what this act is, but they look like a bunch of metalheads.” When I heard them perform, it wasn’t metal, but I was impressed by the punk rock that I heard. They had a great sense of humor about themselves, and they were an act I wanted to see again. I took this photo at a show they headlined at Chop Suey.

Taylor Swift – Reputation Tour – Century Link Field – 5/21/18
Taylor Swift’s Seattle stop of her Reputation Tour was the only stadium sized concert I attended this year. Being at a show this massive was impressive. I was in a crowd where everyone seemed to know the lyrics and had the urge to dance. It’s just humbling seeing the size and scope of this event.

My desk at my day job – 10/25/18
The last photo in this set is one of my desk, at my day job. I decorated at first for Halloween, but I kept it up and just kept adding to it. I made the doorway a glam rock explosion with lanterns and streamers weaved overhead. It was just so much fun having that stuff up.

2018 for me was fun, but I look forward to what 2019 has in store. I think I’ll take this blogging thing a little more seriously (haha). Have fun everyone!

Sub Pop 30: The Most “Seattle” Event I Ever Attended

November 19, 2018 — Leave a comment

I was at Barnes and Noble when the latest copy of Uncut magazine (November 2018) caught my eye. Other than David Bowie on the cover, the magazine included a free Sub Pop mix CD compiled by label head Jonathan Poneman. The mix is a really good blend of what Sub Pop has to offer from the grunge sound that the label had become known for in its early years, to the notable “alternative” artists the label represents today. Whenever someone mentions “alternative” as a genre, it usually means “we couldn’t think of a good label to put this artist in, so because they bridge and blend genres, they are now alternative”.

The mix CD was great. It motivated me to actually pick up three albums from artists I had heard for the first time on this mix (*LOMA, Mass Gothics, and King Tuff). The label head not only selected great artists to feature but picked some of their best songs. The corresponding article to the album discussed each track, but also talked about Sub Pop Fest 30, one of the most “Seattle” events I attended this past summer.

I’m from Seattle. Born and raised in West Seattle. My experience at Sub Pop Fest 30 (SPF 30) was ultimately positive, but from the weather to the crowd, SPF 30 on Alki had to be the most Seattle music event I ever attended.

I remember getting to the event site and the first band to open the festival was Jo Passed. Jo Passed impressed and did a great job opening the event. The hair flipping, the running around the stage, the getting tangled in wires, it really painted a picture of what you could expect as the day went on, and really drew the crowd even as it began to rain. Once Jo Passed wrapped, the rain began to pick up. The crowd undeterred still milled around the various stages. I remember catching Moaning and LVL UP, but the next act to really catch my attention was LOMA. I had never heard LOMA before this event but their set was so different from the other sets that were presented that day, that it really stuck. It was a much softer, somber set in comparison to the heavier grunge and hip hop that populated the afternoon.

I left LOMA close to the end of their set, in order to get a good spot for Bully. I was next to the front of the stage for Bully, when I ran into several people who I had met at other local shows, some as recent as a week or two prior. As Bully began to play, the group of other concert regulars and I tried to start a pit, but the crowd wasn’t into it, so we eventually let it rest. Bully was great. I had seen them perform live for the first time at this past Capitol Hill Block Party, and they played so well there, I had to see them again at this event. As they wrapped, I made sure to get a great spot for Clipping. As I was milling around the crowd I met a group of Canadians who had come down just to see Clipping. We discussed the rest fo the lineup and they had no clue who they were. They were there for Clipping. I hung with them for a while and caught Clipping’s set. They were nothing short of impressive. Aside from whipping the crowd into a frenzy, their talent showed me why these Canadians came down for this set in particular.

Close to the end of Clipping’s set, I made my way to see Hot Snakes. I had caught Hot Snakes at Upstream and I had to see them again. There set was fun. I read later reviews about how it wasn’t technically proficient, but really it’s grunge/punk music. I think the point is to hear the lyrics, head bang, and mosh if you can. I remember running into a group I had met at the TacocaT show 2 weeks prior. We saw each other, and next thing you know we were moshing. I finally got to get into a pit at a Hot Snakes show! I was tired after the Hot Snakes set, and made my way to Shabazz Palaces. At this point in the afternoon, the clouds had opened up and it was a beautiful afternoon. I don’t know if it was the sudden nice weather, or that more recognizable names were taking the stages, but this is when the crowd began to swell. Up to this point in the afternoon the crowd was also a lot of people I’ve seen around the local concert scene. People you would recognize as faces in the crowd at shows. I would say around 6:15pm in the afternoon, it was less of those familiar faces, and more families, folks who didn’t seem like the regular “stand for hours for your favorite band” concert crowd, and people who were more interested in the spectacle than the music.

I couldn’t see Shabazz Palaces. The crowd was too large to navigate and was it extended into the beer garden which was a “soccer field” away from the stage. I stood as close as I could get (close to the back but still mid crowd-ish), but everyone in the spot I was standing were talking full volume as the show was going on. It’s as if a concert wasn’t happening. Mid set I decided I would get a good spot for Mudhoney. I got there early and posted up mid crowd. The crowd looked excited. Many of which looked like some of their fans from the 90’s sporting various very worn Mudhoney shirts. As Mudhoney began playing, inevitably a pit formed. As I tried to make my way to it, several crowd members blocked myself and a few others from joining. This ring of dudes had decided no one was going to get past them as they wanted a great view of the show and anyone who would make them shift from their spot, would ruin it. They weren’t dancing, head banging, or smiling, they just watched the show from their spot and talked. Like the whole set they stood and chatted. Eventually it got very contentious. A lot of people got in their faces about preventing people from joining the pit or moving up, and they did things like push people back or put palms in people’s faces when they would try to talk. I felt like they had a point in not wanting others to ruin their view, but it really killed the vibe. Not to mention it didn’t seem like they were having a good time. After seeing a handful of scuffles and someone climb the port-o-pottys, I decided to check out Beach House.

The crowd for Beach House was just as packed. It was full and people were talking as if a show wasn’t happening. I decided I would let this one coast and met up with a friend in the beer garden. We drank as the sun began to go down, and Beach House played in the background. We ended the night by making our way to Father John Misty. This would be my 5th time seeing Father John perform and I was pretty excited. The crowd seemed good. A lot of families were posted up for this set. There were also a lot of tense looking people. This was evident when Father John began his set, and seconds into the first song, stopped and called for security to take care of some situations that sprang up mid crowd. Father John was as incredible as he always was and as the sun hit that point between day and night where the sky was almost purple and orange, the moment was almost surreal. You had to stop, listen to Father John talk about humanity, take in the setting and Alki, and think this was a perfect ending to the event. As Father John wrapped, I made my way back to the Water Taxi and that was my memory of SPF 30.

For me, SPF 30 was great before 6:15pm. I saw a lot of familiar faces, got to see a lot of bands I enjoy seeing perform live, and everyone seemed to understand regular concert etiquette. After 6:15pm, it felt tense and crowded. I felt like it wasn’t a crowd that attended shows regularly, but rather were there to see the spectacle and also catch a lot of the bigger names. This in no way is a negative. It’s good that Sub Pop was able to throw an event that could draw a diverse audience, but when people were willfully getting into fights at the drop of a hat over positions in an audience, or talking full volume during a concert not close to the back of the crowd, it makes you wonder what shows has this person attended where that was normal/acceptable behaviour? Overall, I’ll remember SPF 30 as one of the most Seattle events I’ve ever attended. On Alki, in the rain and the sun, we danced, moshed, head banged, and had a great time until it got too crowded, then those of us who were already there from the beginning made the best of the situation (haha). It was very Seattle.

(All photos were taken by me. I have a bunch more from the day. The one of the sun finally coming out of the clouds, I call “My view of Shabazz Palaces from SPF 30”)

My 10 Favorite Albums of All Time (Part 2)

October 21, 2018 — Leave a comment

I think the hardest part about making a list of 10 albums that I love listening to from top to bottom, is that there are more than 10 albums I could think of that I enjoy from top to bottom. I really think lists like these are dependent on the author’s mood when they came up with the list. Know that just because I list these 10 as my favorite albums, other albums like Hunky Dory by David Bowie, 36 Chambers by Wu Tang Clan, and a number of others could have easily made my list.

Here’s the second half of my top 10 favorite albums ever in no particular order (part 2 of 2):

I Love You, Honeybear by Father John Misty – 2015 – The first time I heard Father John Misty was on the KEXP Live podcast. I thought his voice was amazing and his words were devastating. Songs like “Bored in the USA” and “Holy Shit” are what make him so great. They’re poignant and biting. It’s commentary on our daily lives, while also being somewhat satirical and sarcastic. This album is the epitome of this music style before it becomes pretentious. I always recomend this album when people want to hear music off the regular radio rotation.

Day and Age by The Killers – 2008 – Rarely is there an album I listen to where I think any of these songs could have been used as the lead single to promote the full album. You rarely find albums where every song could have been released as a single, been a hit, and it could have re defined what the band was about. Day and Age is an album of hit singles in a compilation. That’s what I love about it. “Dustland Fairytale” is different from “Spaceman” which is different from “Neon Tiger”. Most albums, artists try to tell a story in the track progression. Day and Age feels more like a greatest hits package.

Give Up by The Postal Service – 2003 – I can’t think of any major album of it’s time, that sounds like Give Up. The lyrics and the rythms are just unmatched. The fact that you hear so many of these songs at major sporting events, and people enjoy the songs but have no idea what the songs or album are, says a lot. It’s electronic music structured in a way that doesn’t sound like standard electronic music. Songs like “Recycled Air” and “We Will Become Silhouettes” don’t sound like Daft Punk, David Guetta, etc. I think that’s why I like this album. It stretches the genre, but is also very pleasant.

The Bones of What You Believe by CHVRCHES – 2013 – This is another album that I feel pushes a genre and is something entirely different from most other albums that were out at the time. When I first heard “The Mother We Share”, I knew I found one of my new favorite bands. Lauren Mayberry’s vocals backed by Iain Cook and Martin Doherty on synthesizers are reminiscent of a New Wave/Dance genre style but it almost feels like they improve on it. Like they pushed it forward. The Wiki for the album calls the genre Synth Pop, but when you listen to the album, I’ve always felt the genre being played is kind of hard to pin down. The thing I know for sure, it’s fun to listen to.

On the Radio by Donna Summer – 1979 – This one is a compilation album of some of Donna Summer’s most recognized hit songs. Compilation albums can sometimes be great collections of an artists work, but I feel can lose steam in either the arrangement of the tracks, the songs selected, or just the overall feel of the final album. This is the best example of what a compilation album should be. Donna Summer made songs for the dance floor. The songs curated for this album span her career but the way the tracks are arranged are how I think a DJ would curate songs for a set. The tracks flow into each other. There are fast tracks mixed with medium tracks and slow tracks. If you were to do a Donna Summer night at a club, and just play this mix from first track to last, the way it’s set in the album, it would work in getting the crowd moving. It’s just so smart in it’s track selection and arrangement.

Those albums were my top 10 favorite albums ever in no particular order. If you’re a fan of the same albums and ever want to talk about it, feel free to comment, otherwise if you’ve never heard of some of these albums and are looking for new music maybe give these ones a shot. I promise, you’re in for something different.

Have a Nice Day.

My 10 Favorite Albums of All Time (Part 1)

October 20, 2018 — Leave a comment

Have you ever been in a situation where you would be allowed to listen to music, but you wouldn’t be able to change or shuffle through the songs after selecting an album? For example, have you ever ridden in a car that didn’t have bluetooth or an auxiliary cord, rather than listen to the radio, you could pop in a CD (or tape) and just let it play as you rode? What album is your go to? Are there albums that no matter the situation, you could throw it on, let it play, no pushing next, and you’ll just enjoy what you’re listening to?

I sat down and thought, what are those albums for me? There are albums with a number of single songs that I could listen to, skip around, and still enjoy, but what are the albums I could throw on during a run and just let play? The albums that go beyond single song hits. The albums I love from top to bottom, and also through the years shaped my taste in music.

These are my top 10 favorite albums ever in no particular order (part 1 of 2):

Santana by Santana – 1969 – From the opening drums of “Waiting” to the final almost “jam session” like “Soul Sacrifice”, Santana’s debut album makes me feel like dancing. The talent in this group can’t be understated. Everyone always points to the guitar work of Carlos Santana, but every song is an example of musicians playing and riffing off of one another almost symbiotically. I always play this album when I’m in the kitchen. It motivates great food (haha).

My Beautiful Dark Twisted Fantasy by Kanye West – 2010 – You have to separate the artist from the art they create. Setting aside Kanye’s current rhetoric, this album to me was incredible. When I listen to this album, I think “Where can an artist go from here?”. The album has moments. It’s like watching a movie or reading a book. Each song is a punctuation in a story with songs that are political, empowering, and memorable. It’s hard to believe a person who ended an album with a spoken word piece by Gil Scott-Heron (“Who Will Survive in America”), is on television being the person he is now, but I guess 8 years is a long time.

Worlds by Porter Robinson – 2014 – There are few dance music albums I’ve heard that when listening to them I think this surpasses that genre and is just something fun. I’ve heard a few that have great songs that played alone are great representations of an artist, but this album from top to bottom has songs that make me feel like I’m watching a pseudo “Studio Ghibli” film. As time goes on, I think this album will pop up more and more throughout pop culture, but for now it’s something those in the know can really enjoy.

Dark Side of the Moon by Pink Floyd – 1973 – When talking about this classic album, the first thing reviewers point out is the production. It stands as one of the most well produced albums of all time. What I think isn’t discussed often enough are the lyrics. This album for me is a meditation. Songs like “Breath in the Air”, “Time”, “Us and Them”, among others are just profound. This is one of those few albums you could listen to, meditate on the words, and hopefully pull a lesson from.

So Long Astoria by The Ataris – 2003 – When I was growing up, if an artist had a hit song that you loved, you had to buy the full CD from a store, and when you played the CD you had to just skip around the CD until you found the song or songs that you bought the full CD for. The Ataris had a hit with their cover of the song, “The Boys of Summer”. I bought this CD for that song and I vividly remember during a road trip just letting this CD play through. I loved it. It was fast and as a teen when this CD came out, the lyrics spoke to me. It was the pop punk sounds of The Ataris that got me into punk music. You always remember the album that introduces you to one of your favorite genres, and this was that album for me. I suggest checking this album out just to experience that early 00’s pop punk feel. (haha)

(End of Part 1 of 2)

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Having Fun in the Seattle Music Scene

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