Posts Tagged ‘Seattle’

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First digital release of long out of print limited-edition vinyl-only release from 2007. Mudhoney live from Mexico City, recorded December. 10th, 2005 by Brett Ellason at Patacio de los Deportes. It opens with “Mudride” and ends with “Hate the Police”. The merits of this alone are worth the purchase. In between you get a blast of Mudhoney adrenaline directly to your cold, dead heart. Audio quality and band energy are both excellent.

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Released June 5th, 2020

Smokeys are all sorts of excited to release our newest single today ‘Save Us Sarah’ in anticipation of our upcoming third full length record “I Love You But Damn” (July 10th on Freakout Records babyyyyy!) This one is a rock and roll powerhouse.

We wrote Save Us Sarah as we were getting involved with the Save Our Showbox campaign here in Seattle. With the rallying cry to save one of our most beloved music venues ringing in our ears, we thought a lot about our music community and the people and places that make it come alive. The folks that do it for the passion, the joy, and the belief in rock and roll. The old punks that dole out guidance to the younger generation, sneer at the stuffy transplants, and might kick your beer over in the name of a sweet guitar solo.

This song has taken on a different meaning during COVID as a lot of the music venues we hold dear may not make it through. For us, it’s now a rally song to save what brings life to Seattle and to any city worth its salt: the music.

Stay safe, stay strong. We’re with you in spirit, and in song. Xoxo-
Smokeys

“Save Us Sarah” is the fourth single from Smokey Brights new record “I Love You But Damn.” Out summer 2020 via Freakout Records.

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The “Seattle” EP was created in (you guessed it) Seattle; the city without a doubt most synonymous with the 90s; the era undeniably pulsating through Bloods’ DNA. Pouring through rock mags and staying up late watching music videos on Rage, trying to catch a glimpse of her flannel-clad rock heroes, it would’ve seemed unthinkable to teenage MC that one day she’d be standing in a studio in Seattle about to record with her own band.

But here is where MC and her bandmates Dirk Jonker (drums) and Mike Morgan (guitar, bass and backing vocals) found themselves – recording at Jack Endino’s Sound House (y’know just the guy who recorded Nirvana’s Bleach, no biggie), with Steve Fisk on production and mixing duties (yep, the dude who’s worked with Soundgarden and Mudhoney) and using the very amp Kurt Cobain played through on his band’s debut record.

Bloodsh have dedicated their free-spirited new EP to that very place – Seattle is out May 15. Along with the infectious lead track “U & M E” (premiered recently by FLOOD Magazine), Seattle also boasts the middle finger waving kiss-off of “The New Guy”, the buzzsaw sugar rush of “Waste Of Time”, and the Ten Things I Hate About You (set in Seattle btw) homage “I Hate It”, to the EP’s biggest blow “Girls Are Just Fucking Cool Like That”, Seattle’s six tracks are dripping in a wry, couldn’t-care-less attitude that would have been right at home in the Seattle of the 90s.

Releases May 15th, 2020

All songs performed by Marihuzka Cornelius, Dirk Jonker and Mike Morgan

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Portage is one of those indie bands that will hit you in the head, but slowly and gently, in the soulfully, independently thoughtful kind of way. The spirits of these songs capture many of life’s real essences, and throughout this album, simply cannot be contained. Bands like this just don’t exist every day.

Native to the cold, northern shores of Minnesota, Portage bellows a sound reminiscent of the rootsy-folk music that runs as deep in the region as Lake Superior itself, the inspiration behind their attic-recorded debut album, The Unsalted Sea. Since their move to Minneapolis, Portage can be found howling their intimate lyrics at full volume from stages and living rooms alike. With the release of their sophomore album, Landings, these four young men put on memorable shows that can make even the bitterest Midwestern night feel warmer. Here’s a New Song that I wrote seven years ago. Sometimes it’s good to give things the time they need. “Inside Out” is part of my project to release a new song for you all every month. 

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We recorded this song, “Stop Pretending”, this week, as we were continuing to stay at home. The song was written using a collaboration exercise that we had given to our fans as an outlet to create and find connection in a time of duress & isolation (we called it the “Stay Home Stems” series) —and it ended up also working for us— this song was written, recorded, mixed and mastered in two days at our house, & this what we have to show for it.

If often write apocalyptic songs as way to enter a new world that juxtaposes despair with hope.. I hope it can bring a little bit of light in a dark season.

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Sending all of our love to everyone during this time. We can’t wait to be together again.
XO
Jessica, Peter & Deep Sea Diver

Acclaimed Seattle band Chastity Belt have returned with their first new music . This heartfelt new record, simply titled Chastity Belt, from Hardly Art records and Milk! records (Australia and New Zealand). Chastity Belt was co-produced by the band and Melina Duterte aka Jay Som.

The music video for “It Takes Time” from directors Claire Buss and Nick Shively. In the spirit of earlier music videos like “Different Now” and “Cool Slut,” this new clip finds the band flexing their comedic chops, with members Gretchen Grimm, Lydia Lund, Julia Shapiro, and Annie Truscott inhabiting multiple roles, including a nightclub lounge act. As Grimm explains, “We had the idea for a video set in a jazz lounge for a little while and we’re very grateful to Weird Dog for helping us bring it to life. We’re all huge fans of jazz and pasta. We have a special pasta dish that we cook when we’re together called La Vasta. It’s our famous dish, we’ve been making it since college and have shared many fond memories slurping it down together. Before we dig in we join hands in the prayer: When you’re here, you’re family.”

Seattle’s Chastity Belt have just shared a new song from their self-titled album, released September 20th. “Elena” is placid and dreamy, with layers of tranquil guitars and complementary vocal parts. “Over the past year, we all read and loved Elena Ferrante’s Neapolitan novels,” says bassist Annie Truscott. “We individually related to the ways in which the main character’s sense of self is inextricably linked to her desire for love and validation both from lovers and friends. The overlapping voices on top of the whimsical wave-like instrumentals captures the universal feeling of having a conversation with yourself about yourself.”

Chastity Belt will be touring extensively this fall in Europe and North America in support of the record, and just announced a new run of North American tour dates

This is the third full release from Seattle’s Meagan Grandall, a project now 10 years old. A sweeping, symphonic expression of loss and the ache that comes with it, I have listened to this album this year at home, and in my car at the loudest possible volume while in the worst possible mood. Lemolo has been with me for many years now as a favorite, but Swansea was there for me this year. Another great collection of captivating dream pop from Meagan Grandall. The lush sounds and production are warm and welcoming, with intelligent arrangements full of varied instrumentation that never fails to impress..

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Meagan Grandall: Vocals, Guitar, Piano, Synth, Bass, Violin, and Vibraphone
Nathan Yaccino: Drums, Percussion, Guitar, Bass, Cello, and Vibraphone
Alex Guy: Violin and Viola
Maria Scherer Wilson: Cello
Jon Karschney: French Horn

released October 11th, 2019

All songs written by Meagan Grandall ,Lemolo is the Seattle dream pop project of songwriter and multi-instrumentalist.

This album has so much heart, so much sincerity behind it that you can’t help but love it. Beautiful lyrics, excellent guitar tones, just enough rhythmic complexity – it’s like a rich slice of pie you eat silently at a family gathering, waiting for the next big thing to happen.

With differing time zones and work hours separating the members of Great Grandpa, their follow-up to 2017’s grunge-influenced Plastic Cough had every reason to sound safe and familiar. Instead, without meaning to, the five-piece recorded an album of emo, alternative, and folk-rock hybrids. Four Of Arrows is an immediate listen; these songs are earnest and worried, seemingly always reaching for hope that’s just out of grasp. But they never sound defeated, at least not with friends by their sides. It’s as if by experiencing major changes individually, they saw all the ways in which Great Grandpa could blossom together.

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Four of Arrows, a creative turn toward introspection and Great Grandpa’s collective result of rest and solitude. Undoubtedly, the 11 songs comprising Four of Arrows are a departure from the playful nods to pizza and zombies on Plastic Cough. The writing and recording process had evolved – less Seattle garage jams and more vulnerable solo songwriting sessions. Most of the songs on Four of Arrows were written in isolation by Patrick and Carrie Goodwin while traveling and living in the Midwest.

The band instantly found common threads between their individual contributions, citing mutual love and admiration for vulnerable and emotionally resonate music. Four of Arrows embraces subtlety and pays close attention to the quiet. From the methodical dirge of “Dark Green Water” into the haunting and howling guitar of “Digger” – Great Grandpa try something new by letting the acoustic guitar and piano lay the foundation for many of the album’s tracks.

Released October 25th, 2019

Like many important bands, Seattle quartet Versing got their start in college radio—Tacoma’s KUPS. The group’s main songwriter/guitarist/vocalist Daniel Salas served as alternative music director there, where he met guitarist Graham Baker, drummer Max Keyes, and bassist Kirby Lochner. Now Versing are poised to spread their coolly combustible brand of rock on those said airwaves…and beyond if the world knows what’s good for it.

Baker, Keyes, Lochner, and Salas have risen through Seattle’s competitive rock ecosphere with nonchalant élan. They cheekily titled a previous album Nirvana, but never mind the bleach: Versing isn’t emulating Sub Pop’s most famous artist. Rather, these four twenty-something aesthetes are forging an exciting sound that finds a golden mean between lustrous noise and ebullient melody.

“Tethered” is the lead-off single from Versing’s full-length album “10000”, out May 3rd 2019 on Hardly Art records.

With Versing, songwriting is obviously crucial, but much of the pleasure in 10000 comes from its guitar textures. They’re swarming, yet also spiky and agile. Gently chiding the Seattle music scene’s self-seriousness while acknowledging Versing’s playfulness and irony, Salas says, “There’s a ‘let’s just fuck around and see what comes out,’ aspect of what we do, which I think is uncommon for Seattle bands.”

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Versing’s freewheeling attitude has paradoxically resulted in 10000, an engrossing album that’s impossible to feel ambivalent about.

Released May 3rd, 2019

Owning the distinction as one of the original driving forces behind the short-lived Seattle-birthed but highly influential grunge movement, Pearl Jam administered a brutal blow directly to the nut sack of the international rock establishment when they dropped their dazzling debut record back in 1991. Yet, despite moving in excess of 13 million units and delivering an impressive string of old school classic rock staples (“Alive,” “Even Flow” and “Jeremy”), it can be argued (by me) that 10 isn’t necessarily the crown jewel of the band’s celebrated ten-slab studio catalogue.

Released 25 years ago this week (November 22nd, 1994), via Epic Records, Pearl Jam’s third released set, Vitalogy, burned hotter than its two predecessors, topping the Billboard Top 200 album chart and turning five-times platinum. A collaborative production effort between the band and famed go-to guru Brendan O’Brien , “Vitalogy’s” lo-fi sheen crackled — a detail noticed immediately by those who first experienced the record on vinyl. Thanks to its stripped-down, lean production, Vitalogy stands as Pearl Jam’s most original and uncompromising album. Not that there was anything easy about the album’s recording process, which was carried out in fits and spurts over several months amid Pearl Jam’s grueling tour in support of the previous year’s multi-platinum Vs. album. Sessions were conducted in New Orleans, Atlanta – the base of producer Brendan O’Brien – and Seattle.

While it isn’t a concept album, Vitalogy sounds like one. Death and despair shroud the album, rendering even the explosive celebration of vinyl “Spin the Black Circle” somewhat muted. But that black cloud works to Pearl Jam’s advantage

Accelerated by Dave Abbruzzese’s rib-cracking drum intro, “Last Exit” kicks off the collection furiously — demanding that you sit down, shut up and pay attention. My initial reaction upon first hearing the lead-off single, “Spin The Black Circle,” was something along the lines of, “holy shit!” Decades later, my opinion hasn’t changed, by the way. Driven by Mike McCready and Stone Gossard’s breakneck, in-the-pit guitar riffage, the song is pushed further by Eddie Vedder’s urgent, signature-style vocal performance.

If the accusation is that I’ve remained partial to Vitalogy’s radio tracks over the years, While the delicate “Nothingman” and the garagey “Whipping” still move me, I continue to connect best with the straight up rock crunch of “Corduroy” and the honest purity of “Better Man.”

However, Vedder’s “Not for You” remains my personal favourite of this 14-track litter. Speaking to then-current youth culture, the song opens with beautiful organic keyboards, glossed by Vedder’s transparent vocals. Then, as Vedder veers off the rails, Jeff Ament’s chugging bass groove grabs ya in the nether region while layers of crazed guitar work wash over in a blaze of glory.

I’ve bought several of the band’s albums over the years. Vitalogy is the one Pearl Jam record I rushed to buy on Day One  In sum, Vitalogy — still sounds fresh today as way back. it’s still intoxicating. Still relevant. And 25 years later it still is a great rock record.

Release Date: November 22, 1994
Record Label: Epic Records

Pearl Jam