KEXP: Seattle's Living Room

I needed to settle in with WiFi for a bit to catch up on work so I drove over to the KEXP studio public space.

Plenty of reasonably comfortable couches and chairs, KEXP playing over the nice sound system, espresso counter, this is Seattle's living room.

I got my usual coffee drink, settled in and took care of the electronic work. The WiFi worked fine, so I was able to get done in time to join the group let into the hall outside the studio to watch an interesting performance.

Gerald Collier, Friselle and John Doe each performed some Woody Guthrie material and spoke about Guthrie's influence.
The performance was mic'ed and produced extremely well, the sound we got through the speakers in the hallway was exceptional. A crew of 3 or 4 cameras operators stood and squatted in the middle of the circle of musicians, filming and taking pohotos. We had been warned not to try to take any photos or they'd remove us, so the photos available from KEXP are all I've got. They took enough footage and I'm sure they recorded the whole thing on multitrack equipment so with any luck they'll provide the performance video at some point. KEXP's videos have wonderful sound and clean clear video.
Not that this video has much to do with the performance we saw, but it's a nice example of KEXP's video ouput. Perhaps 30 of us, from geezers like me to 4 year olds being held by their dad all stood rapt and listened. Then the performance ended and we went back into the public area, Seattle's living room. I pulled the laptop out to get back to work in a better frame of mind than usual, I have to say I enjoy getting to hang out at the KEXP space.

Fisherman's Village 2016

Carina and I made it to all 3 days of Fisherman's Village Music Festival in Everett. I'd missed it previously and regretted it, they had a great lineup of local talent. We made up for it this year, seeing all kinds of new (to me) bands, different styles, great venues, we had a blast.
I didn't track band names, no notes or anything. That's be too much like work! That means I have tow work out who the bands are by looking at the schedule and relying on my weak memory. I think this is Bear Mountain based on their late Saturday slot in the historic Everett Theater. Probably.

Bands I know more about or have seen before are easier to track. I recognize Julia Massey and the 5 Finger Discount, we saw her/them at the Anchor pub. Great set!

Julia Massey had been highly recommended to me and I'd never quite managed to catch a set so it was satisfying to finally catch them. They're great just like my distant cousin told me. Fun local act having a good time performing for an appreciative audience, Fisherman's Village delivered and then some.

Star Anna played an intense, intimate set at the Anchor. I've seen her at Bumbershoot and looked forward to this set, I'm glad we made it. The Anchor is actually several blocks from the rest of the festival, and by this time (Sunday) our feet were getting sore. We drove the car down to the waterfront and back a few times to save our energy and I'm glad we did. We eventually wore out, but not before seeing Star Anna putting on a show and I suspect we might not have made it without the car to save our energy.



We also got some nice sushi next door at J Ramen and Sushi. That and the tea warmed us up and got us motivated to stay for more music. 



It was a cold and occasionally wet festival, which is unfortunate when there's an outdoor stage. It's still fun when the band is good, like Fauna Shade, for example.

But even for local heroes like Fauna Shade, fewer people show up when it's raining and crowd energy tends to be a little more muted. Harder to be hot when you're cold? Great set and the crowd enjoyed it, but if it had been 20 degrees warmer we'd have all been dancing and moshing and there would have been twice as many people. Outdoor Festivals in the greater Puget Sound area face this risk, at least we had some cooperative evening weather, anyway.

We did get a little bit of action at Zippy's early Saturday, catching Tobias the Owl, a personal favorite, Robert Blake, and Johanna Warren

The indoor stages were great. The historic Everett Theater is an awesome venue.

Plenty of room up front for the crowd to get in close and dance. The Ramblin' Years definitely had us packing the aisles and the front area, dancing and having a great time.
Grace Love and the True Loves played a spectacular set at the Everett Theater late Friday night.


They brought down the house, powerful music and powerful vocal performance, tight band with chops, the guitar and horn section are standout and the bass, drums and keys fill in the sound and rive the beat and the whole thing just has us dancing and jumping and yelling, definitely a peak experience.
I'd be remiss if I didn't mention all of the great bands we saw at Tony V's Garage.
Many of our favorite new discoveries were here all weekend. Skyemonkey, Sundries, Hollers, Cracker Factory, Campion, Sphyramid and Leava all played great sets.

Notice the dude playing a slide in this picture. There were more slide players at this festival than any other event I've ever seen.
I've been writing this post by wandering through my pictures to trigger my memory. This has the interesting effect of generating content in backwards order. Sunday bands are first up in my photo stream, then Saturday, and now I'm finishing up with Friday, the first day of the festival. Slightly odd how the minor tech details can dictate how you create something.

EMP Pop Conference Get UR Freak On

This is a longer version of a blog I already published; I spent some time talking and thinking about the theme - transgression and weirdness - in this one, ended up editing it out at the time but I wanted to publish the longer and more opinionated version, so here it is.

I've mentioned that I like to take engineers visiting from out of town out to see some local music. Recently the EMP held the annual Pop Conference with the theme "Get UR Freak On: Music, Weirdness and Transgression" and booked TacocaT, Chastity Belt, S and Childbirth for an opening show in the Sky Church.

This is the sort of different musical experience available in Seattle that would be hard to come by in most cities. The top few cities have comparable and better - NY, Chicago, LA, and a few other huge cities have truly varied and huge music scenes, but few cities under 1 million have the variety and depth and deep bench that Seattle has. This is exactly the sort of show I look for to take the visiting engineers - it's even all ages!

There are challenges, though. The Get UR Freak On theme and sexual content and tone are generally not appropriate in a business environment. On the show web page there were links for the bands & one of the links led directly to "I Only Fucked You as a Joke"

From the album it's a girl!

While this is a valid artistic expression and probably more common than anyone wants to admit (and a great song!), this is inappropriate in a business context.

On the other hand, we're talking a business context in Seattle, after all. And I've had mild problems with boundaries on occasion too, I overshare on occasion and... well, I talked myself into it.

I mitigated the risk of triggering corporate pain and HR investigations (can you tell I work at a large corporation?) by adding a "BTW If you follow the links and listen to the bands, use headphones. Some of this stuff is NSFW - REALLY!" clause to the email and sent it out to 10 coworkers at Cisco. I wouldn't try that with a larger list or a list that included more people that I didn't know well, but I felt safe in forwarding it to my coworkers, we're all adults with reasonable senses of humor.

It was a great call, of course, but that was never in doubt as far as bands go. About the only thing that didn't go well is that we took so long eating dinner before the show that we missed Childbirth - dang, they had songs I wanted to hear live. Better luck next time, I'll have to keep an eye out for them.

We managed to make it for a classic S set: introspective and haunting, guitar driven without wailing, more a reverb and space approach. Sometimes the lyrics were more out front with multiple parts, sometimes the lyrics faded into the songs yet echoed with emotions felt from a distance or remembered with fading intensity. The instruments change up on occasion for some keyboards but the haunting quality and the feeling of remembered emotional intensity remains.

The EMP Sky Church is a great place to see a show, nobody is very far from the performers and the sound is excellent. My cell phone shot above doesn't do it justice, but it gives you some idea of where we are and the scale of the performance space, anyway. I found a nice creative commons photo from Joe Mabel (here's his flickr page)

I enjoyed it but the Indian engineers were subdued - it's kinda subdued music as far as that goes, I suppose. They were looking for more active music, stronger beats and motion and dancing preferred. Dancy pop music would be more up their alley.

Chastity Belt was up next and while they're not poppy, they certainly brought a higher energy level, louder beat and more positive subject matter to the table. Chastity Belt is more guitar oriented rock and roll, loud with backbeat and a full sound - rhythm and lead guitar, bass, drums and solid rock and roll vocals. Not pretty and polished, more powerful and sneering or laughing - sometimes with us, sometimes at us, a committed performance with a fuck you if you don't like it attitude. That very attitude makes it more appealing and evocative. I just convinced myself they're punk rock too (coming from me that's a complement) but I've never sweated the categories all that much..

They use irony and hit subjects that aren't often covered, or cover them from an angle different from what you're used to. Rock and roll was originally about transgression and so was punk and so is Chastity Belt if you look at it that way. Chastity Belt holds up the great "outsider music" tradition of providing a voice for an attitude, a point of view, and excluded people that is usually drowned out and preached against and trivialized or worse still demonized.

Since my cell phone photo is lame as usual I dug up another creative commons photo so you can see what we saw. Heck, with my nearsightedness we're probably seeing more than I saw at the show in this photo, it's got details! (This photo is from Joe Mabel again; his flickr)

The vocals in Chastity Belt are classic rock and roll, not pretty but expressive, able to get raw, to surge to a powerful crescendo and wind it back, but used in a pretty aggressive manner. This is not subtle music, this is loud amplified music that knows it's load and amplified and likes it and has a swagger or maybe a strut.

Fun set, talented band worth seeing in a great venue.

Next up was the sheer (surf?) pop sweetness of TacocaT. This was the perfect for the visiting engineers. Well executed songs, guitar driven with a great beat, very dance friendly. Bright and exuberant, TacocaT has so much fun you can't help but have fun too.

I have no idea if the visiting engineers were able to hear the vocals and understand them, they all speak and understand English very well but getting TacocaT's word play and underlying meaning can be challenging. Figuring out cultural references the first time you hear a song in a live setting in a non-native tongue would be challenging.

That's OK, they loved the show based on the music and the beat and the performer's visual appeal and what they got of the word play, it was a wonderful upbeat fun set. TacocaT always puts on a great live show - you should see them outdoors on a sunny day with a bubble machine!

Knowing what the songs are about, they are another example of songs that are "outside" of the usual POV for rock and roll. Most rock and roll has a leering attitude towards women; when Ted Nugent's song sang "Hey Baby" it was followed by "Get into the back of my car." Direct and brutal and not even remarkable back then. When TacocaT sings "Hey Girl" their purpose is exactly 180 degrees in the opposite direction: to push back on street harassment, not glorify and justify it.

The booking for this show delivered. Get UR Freak On indeed. All of the bands are out of the rock and roll mainstream in a way that seems like it shouldn't be a mainstream criteria at all: they're groups with reversed sex ratios. Some are all women, some have a token dude. This is the exact opposite of the commercial reality in the business of music. Check out Coachella and Sasquatch where the norm  is all dude bands (5 out of 6) and the cutting edge bands have one woman. All-woman-bands are unusual at festivals and that's not because there aren't a ridiculous number of talented all-women-bands out there. Anybody not mired in their privilege knows that there's structural, cultural, financial, and who knows how many other roadblocks and barriers placed in the way of creative outsiders.

Music can be a serious business that moves the cultural consensus and penetrates our careful structures of falsehoods and prejudices and silences and taboos that allow us to ignore our privileges. Ignorance of privilege and it's relative plausible deniability are important elements in helping us continue to behave as ignorant privileged assholes. I swim in privilege and I have a hard time seeing it - our culture is just that good at hiding it and normalizing it and justifying it and misdirection, and it's hard to motivate myself to give up on the illusion that I'm better than most and earned the good stuff that privilege brings.

When someone steps outside of the fake cultural construct it forces us to see our privilege or at least makes it harder to miss. Not to get all meta and cosmic about it, but music can provide access to the marginalized and disrespected, allowing them to pull back the curtain a bit.

Men have been writing and performing explicitly raunchy songs about sex with violent overtones and outright rape for decades. A few women do songs about taboo subjects like menstruation and being sex positive and they're the ones who are transgressive? This brings the ludicrous nature of things, how out of balance it is, into a clearer focus, and at the same time it increases the cultural space available for previously taboo topics. Rock and roll and the outsider music genres like it (blues, hip hop, rap, genres originally considered transgressive that have been mainstreamed) allow us to see some of the problems and illusions and fallacies of our situation if we're paying attention.

Thanks to three kick ass bands for providing a great show and a different perspective and challenging me to try to get out of my comfort zone, It ain't easy and it's never particularly done, but I'm better for the attempts.

TacocaT, Chastity Belt, S and Childbirth at the EMP Pop Conference

I've mentioned that I like to take engineers visiting from out of town out to see some local music. Recently the EMP held the annual Pop Conference with the theme "Get UR Freak On: Music, Weirdness and Transgression" and booked TacocaT, Chastity Belt, S and Childbirth for an opening show in the Sky Church.

This is the sort of different musical experience available in Seattle that would be hard to come by in most cities. The top few cities have comparable and better - NY, Chicago, LA, and a few other huge cities have truly varied and huge music scenes, but few cities under 1 million have the variety and depth and deep bench that Seattle has. This is exactly the sort of show I look for to take the visiting engineers - it's even all ages!

There are challenges, though. The Get UR Freak On theme and sexual content and tone are generally not appropriate in a business environment. On the show web page there were links for the bands & one of the links led directly to "I Only Fucked You as a Joke"

From the album it's a girl!

While this is a valid artistic expression and probably more common than anyone wants to admit (and a great song!), this is inappropriate in a business context.

On the other hand, we're talking a business context in Seattle, after all. And I've had mild problems with boundaries on occasion too, I overshare on occasion and... well, I talked myself into it.

I mitigated the risk of triggering corporate pain and HR investigations (can you tell I work at a large corporation?) by adding a "BTW If you follow the links and listen to the bands, use headphones. Some of this stuff is NSFW - REALLY!" clause to the email and sent it out to 10 coworkers at Cisco. I wouldn't try that with a larger list or a list that included more people that I didn't know well, but I felt safe in forwarding it to my coworkers, we're all adults with reasonable senses of humor.

It was a great call, of course, but that was never in doubt as far as bands go. About the only thing that didn't go well is that we took so long eating dinner before the show that we missed Childbirth - dang, they had songs I wanted to hear live. Better luck next time, I'll have to keep an eye out for them.

We managed to make it for a classic S set: introspective and haunting, guitar driven without wailing, more a reverb and space approach. Sometimes the lyrics were more out front with multiple parts, sometimes the lyrics faded into the songs yet echoed with emotions felt from a distance or remembered with fading intensity. The instruments change up on occasion for some keyboards but the haunting quality and the feeling of remembered emotional intensity remains.

The EMP Sky Church is a great place to see a show, nobody is very far from the performers and the sound is excellent. My cell phone shot above doesn't do it justice, but it gives you some idea of where we are and the scale of the performance space, anyway. I found a nice creative commons photo from Joe Mabel (here's his flickr page)

I enjoyed it but the Indian engineers were subdued - it's kinda subdued music as far as that goes, I suppose. They were looking for more active music, stronger beats and motion and dancing preferred. Dancy pop music would be more up their alley.

Chastity Belt was up next and while they're not poppy, they certainly brought a higher energy level, louder beat and more positive subject matter to the table. Chastity Belt is more guitar oriented rock and roll, loud with backbeat and a full sound - rhythm and lead guitar, bass, drums and solid rock and roll vocals. Not pretty and polished, more powerful and sneering or laughing - sometimes with us, sometimes at us, a committed performance with a fuck you if you don't like it attitude. That very attitude makes it more appealing and evocative. I just convinced myself they're punk rock too (coming from me that's a compliment) but I've never sweated the categories all that much..

Since my cell phone photo is lame as usual I dug up another creative commons photo so you can see what we saw. Heck, with my nearsightedness we're probably seeing more than I saw at the show in this photo, it's got details! (This photo is from Joe Mabel again; his flickr)

The vocals in Chastity Belt are classic rock and roll, not pretty but expressive, able to get a bit raw, to surge to a powerful crescendo and wind it back, but used in a pretty aggressive manner. This is not subtle music, this is loud amplified music that knows it's load and amplified and likes it and has a swagger or maybe a strut.

Fun set, talented band worth seeing in a great venue.

Next up was the sheer (surf?) pop sweetness of TacocaT. This was the perfect for the visiting engineers. Well executed songs, guitar driven with a great beat, very dance friendly. Bright and exuberant, TacocaT has so much fun you can't help but have fun too.

I have no idea if the visiting engineers were able to hear the vocals and understand them, they all speak and understand English very well but getting TacocaT's word play and underlying meaning can be challenging. Figuring out cultural references the first time you hear a song in a live setting in a non-native tongue would be challenging.

That's OK, they loved the show based on the music and the beat and the performer's visual appeal and what they got of the word play, it was a wonderful upbeat fun set. TacocaT always puts on a great live show - you should see them outdoors on a sunny day with a bubble machine!

Thanks to three kick ass bands for providing a great show and a different perspective and entertaining some friends who flew pretty much all the way around the world for the privilege. I love showing Seattle's music scene off, especially when the bands are so talented and fun. Another great show!

Shane Diamanti: Upcoming EP Release Show at El Corazon

Shane Diamanti has a sold out EP Release show this Friday May 22 at El Corazón.

I interviewed Shane two years ago and figured it was time to check back in.

It’s been a couple of years, what've you been up to?
Shane: I did “Dictionary Freestyle” on Facebook and that blew me up (over 1,000 likes & 100 shares, feel free to check it out and give it some love), I got tons of messages, I walked around my city and people knew who I was. That was crazy.

I went and saw Sam Lachow, he came up to was like “I’m a fan of you man” “What?” “Yeah, your dictionary free style!” what the heck, and Raz Simone came up to me “I know who you are.” I look up to these guys, it was cool.

I wrote a lot but I wasn't recording for a while.

Shane “worked” the Sam Lachow w/Gifted Gab & BFA show at the Neptune in November of 2014 from the audience
Shane: I met people that night, when Sam called for people to get on stage they yelled “pick Shane” and Sam said “I know Shane, get up here Shane” and people might’ve been rapping and having fun, but I was talking to everyone on stage so I could get the connections. I already knew Ariana DeBoo and I was talking to Sam’s saxophone player and we’re cool now, I was just talking to him today. I talked to Raz that day, Sam, to all of them.

That inspired me – damn, I could be on that stage again! The last time I did shows was in High School and only 30 people came, it wasn't that cool.

I’m going to book a show, I booked it at El Corazón lounge – when I messaged them first they were like “you want a weekday?” and I said “you want it to sell out?” and they said “all right, you can have a Friday.” 

It’s about to sell out. (It sold out weeks ago now.)

I’m excited for that, I’ve never headlined before, this is my first headline.

Who are you playing with? 

Shane: Ronnie Dylan & Dyllyn Greenwood, my DJ Jay Battle & Ronnie Dylan’s DJ is Jake Crocker

Release show? 

Shane: Yes, my EP release, my first professional recorded EP. I always recorded in my room but now I’m recording down at Jay Battle place. It’s called “Changed My Mind.” Over time I changed my mind about what style I should have, so I was like I should just have an EP with every style, trying something out.

I’m still going to do stuff off my album, I’m working on getting that out next year in December. I’m working on a mixtape that IS my style so people know what my style is like. I’ve been trying to get a whole bunch of music written. I’ve been working for this for six years.

I always dreamt this stuff – one day I’m going to be on the radio, I’m about to be on the radio. One day I’m going to sell out a show, I’m going to sell out a show! (Sure enough, he sold out the show).

I always dreamt this stuff, but now I’m about to do it so now I gotta make dreams that are even higher. Next year I want to have an album release in December and I want to sell out the Neptune. That’s my goal.

I want this show to be for the fans. They’re not really my fans, I call them friends. I took the bus to Olympia, Lacey, Everett, Arlington, Marysville, I’m going to Wenatchee taking the train this weekend, to meet everybody. It’s one thing to send someone a link “yeah, come to my show” but it’s another thing to meet them in person, hand them their ticket and see their face. They’re happy to meet me and I’m like “I’m happy to meet you!” it goes both ways.

 It’s going to be crazy!

EMP Sound Off! Round 3

The first two Sound Off! shows were epic, featuring great music and great showmanship and an embarrassment of riches. Laser Fox came out ahead in round 1 and Thee Samedi took round 2. Now for round 3!

I ended up volunteering to help the Vera Project load in at the Triple Door for the gala in the afternoon, then running out and picking up Greg and heading back downtown to see the show. We parked in my office's underground secured lot and walked over to the EMP and headed up the SF stairs to the venue. Coming off the stairs we stopped by the Vera table and said hello. I didn't end up tabling for the Vera Project so I didn't get a seat between acts after all. Dang.

First up was Calico the Band who drove 10 hours from Boise to play for us and brought plenty of supporters.

The instruments were acoustic, upright bass and acoustic guitars and fiddles and banjos and mandolins. At least I think they used a mandolin, they switched around freely. They also had a drum set that was played standing up on occasion and another drum up front. They had a more percussion driven approach than I'd anticipated and got the audience cranked up quickly. The energy level was high and the band was very good, with a rich sound and good vocals and a presentation that just pulled you right in to the stomping beats and fun music. The lady on the keyboards was the "front-woman" handling the majority of the vocals and her charisma put them over. They put in a solid set that warmed up the crowd and had us dancing and yelling, but they had the difficult challenge of winning from the opening slot. The next band had a better chance simply because Calico the Band warmed up the audience. Unfortunate, but somebody had to go first.

Next up was K Sneak. I saw her at a Knowmads show a few years back, if I remember correctly. Oh yeah, I remember, the Japan benefit show in 2011 when she was in 9th grade. She's grown and matured and had a good time working the crowd and rapping, good to see her getting some love and attention and rewards for sticking to it and working at it. A hip hop act with a prerecorded track or sequence has a challenge keeping the EMP crowd engaged; bands like Tommy Cassidy add a full band to the rapping so the sequencing is minimal and the performance has more going on. K Sneak was fearless and carried her set and filled the stage like she'd been doing it for years (at least 3 so far!).

Good flow and an assortment of fast and interesting rhythms along with some nice cover choices got the crowd into it and enjoying it. Two good sets with 2 more bands to go.

Next up was Fauna Shade. My friend Eduard Contreras plays drums in the band and I enjoy their sound, which Troy Nelson described as "reverb drenched" or something like that - and he wasn't wrong.

I enjoy their sound and already have a couple of favorite songs that I enjoy hearing live, so they had me and a corner of the crowd by the stage dancing away and having a sweaty good time. The crowd intensity definitely spiked up with the distorted loud guitar driven sound and the bass lines occasionally replaced by psychedelic sounding string scrapes with Eduardo pounding away keeping time and tempo. Greg (the photographer) mentioned that he was particularly impressed by Eduardo's drumming, and he doesn't give out all that many compliments. Great sound, great rhythm, tight band in a fun groove. Without a pure lead vocalist the guitarist vocalist was somewhat rooted to the vocal mic which made it harder to put on a show while also playing and singing, so the music got much of the focus.

Fauna Shade finished off a great set and our corner of the crowd wiped the sweat off of our brows and re-hydrated aggressively. Things were looking good for Fauna Shade, I was leaning towards them as the best act of the night but it was tough, all the acts were good.

Then Otieno Terry came out. He opened with an a cappella vocal that showcased his beautiful rich voice and got the front row and the center of the crowd eating out of the palm of his hand.

Then the band came out and finished the takeover, and we went on an awesome musical journey. Soul music and thumb popping bass lines, crooned sections with rich backing parts and the occasional doo-wop overtones and brilliant piano work all just served to amplify the charisma and effect of Otieno's performance.

The band was dressed in nice suits with dark slacks and grey sport jackets and ties and looked sharp, and also a bit like a throwback to the rat pack days. The backing vocalist in particular was talented and a great addition to the sound and attitude of the band, and his whistling was phenomenal.

Yet even that and consistently hot musicianship didn't come close to overshadowing Otieno, who gave each of his band mates a chance to shine - then emphatically took back the spot light to bring the show home. Intense soulful lyrics and a joyful performance made sure that the musical journey took us exactly where we all wanted to be even if we hadn't known it. This was one of those commanding performances that sucked us in and took us along with Otieno through the emotional wringer that he sang so powerfully to us about. The final number got the crowd screaming and moving and roaring, and once again the night ended with a band strutting off the stage on top of the world, conquerors of several hundred adoring sweating fans, and the inevitable confirmation of the judges that Otieno Terry was going to the finals was almost anti-climatic. They were eff-ing off the charts in a style I haven't seen anybody do, much less do well, in ages, and the judging has been pretty good (if maybe a little biased towards the later acts, just like the crowds). Fauna Shade got the wild card slot, so I'm keeping my fingers crossed until Sunday afternoon.


Update: Fauna Shade did indeed get into the finals as the wild card band. Hot damn! Now we get to see Laser Fox, Thee Samedi, Otieno Terry and Fauna Shade at next weeks EMP Sound Off! finals. This is going to be a great show, and I have no idea who's going to win. They're all talented and amazingly fun so the audience is going to have a great time no matter what!

My Blogging Style

For my New Years Resolution in 2011 I decided to record and photograph and blog about every show I went to that year. It was fun and interesting and thrilling and hard work. I blogged just over 100 times that year and saw more than 380 acts.

Committing to recording and blogging every show made things a bit of a production, almost a job. This inevitably diminished my enthusiasm to go out and listen to music somewhat since I had to have enough energy to also record it and take pictures and blog about it immediately before I forget the details. The rate decreased until I finally threw in the towel and started going to shows as a fan again last year. No requirement to blog or record anything. 2013 was my most media free Bumbershoot in a while.

My blogging ran out of gas and I posted my last blog in August 2013 for Mudhoney's free Mural Amphitheater show.
If you're paying attention you'll notice the Mudhoney video is from Bumbershoot rather than the Mural show.
I continued to go to an occasional show though not too often. As the New Year rolled around I decided to get tickets to the EMP Sound Off! shows. I got my friend Charles Oppelt to go with me and he took some wonderful pictures and the show was fun and energetic and I decided to blog about it. The next week was arguably even better so I blogged about that too. I enjoyed blogging again after the layoff, and I got a pretty large amount of traffic for some reason. I even got linked by the Seattle Weekly, a first for me! It was due to Charles' awesome photo of Noah Fowler really, but I was happy to get the traffic.

Speaking of traffic, my EMP Sound Off! blogs got more traffic faster than any of my blogs ever did before which was gratifying on some level. Don't get me wrong, I'm only talking about hundreds of views so it's not going to make me wealthy - heck, it's not going to make me any money at all, it's just a hobby. I do get some ego inflation out of viewers and it encourages me and predisposes to blog more.

My live show blogs are all pretty similar and largely follow the sequence of acts in the show and comment on each, always saying something positive.

At the end of the year I did some retrospectives and Best-of-2011 lists. I enjoyed doing those both for the fun memories and the ease of using already recorded, processed and uploaded videos.

I've been playing with the idea of blogging about who I thought the next breakthrough Pacific Northwest act would be, so I went ahead and finished writing it and tossed in videos I've recorded live for many of the bands I single out, which was fun: the videos are already recorded and wrangled up to YouTube properly so again it's quick and easy, no cameras to operate.

I'm playing with the occasional "non-(show w/bands in order narrative)" post like this one. Not that I have that much to say at the moment, but I want to try playing around with saying things in different ways.

EMP Sound Off! Round 2

After an epic week 1 of the EMP Sound Off! battle of the bands I was wondering if week two could possibly top it. Unlike week one, when all the bands were new to me, I'd seen Thee Samedi before so I had a suspicion that just maybe week 1 could be topped, but it was going to take some pretty dang good bands having very "on" nights to do it.

The luck of the draw really figures into Sound Off! placing: it's very tough to win from the first slot. The crowd is cold, and by the end of the show the judges and audience will remember the last acts best.

Still, somebody has to go on first and for round 2 it was Manatee Commune. Troy Nelson introduced him and Manatee Commune took the stage with his guitar. He started with electronic and synthesized or sequenced music, rapidly changing settings and interacting with a touch interface app on his tablet.
The music was spacey and electronic, with fairly dense layers of sequenced and pre-recorded material whirling around. After a few songs he played guitar on top of the atmospheric synthesized music and got some more intensity into the performance. He also switched over to a violin which had a nice interaction with his loops and sequences.
Manatee Communion warmed the crowd up and played interesting music, but his focus down onto the devices and button pushing and knob twiddling gave the set a more remote atmospheric vibe. Coming from the lead off slot, Manatee Commune was going to have a hard time winning.

After rocking out at round 1 of Sound Off! the prior week and then aching pretty badly afterwards I was wishing there was somewhere to sit down between acts. I got lucky - I volunteer at the Vera Project, and they are tabling at the Sound Off! and sent out an email asking for assistance with tabling. Which involves sitting behind a table. Sitting. I responded quickly: "I'm already going, I can table before and between bands!" and the volunteer coordinator was happy to have the slot filled. Score! All I have to do is talk about one of my favorite volunteer run non-profits to anybody who's cool enough to come to the Sound Off! and hasn't heard about it yet, or has heard a little and wants to hear more. Well! If you know me, you know I kinda like the sound of my own voice. This show went much better for me as I was able to sit down and rest my feet and legs between acts and let my vocal chords do the work.
We're tabling through round 3 and the finals too, so I'm relieved. Man, I have got to get into better shape before Bumbershoot arrives, I can only make it through 4 acts in an evening and then I need a day to recover. That's not going to cut it for a 3 day festivel with 11 hours worth of bands and a pile of walking needed to see as much of them as possible.

Sorry, I digress. Back to the second act at Sound Off! round 2: the Onlies.
The Onlies are three high school students who've known each other since grade school with a classic blue grass instrument lineup: guitar, mandolin, and fiddle.
They proceeded to put on an awesome old school bluegrass show. I grew up on this stuff, often listening with my dad to the live KRAB bluegrass show on every Saturday night back in the seventies. The Onlies played their instruments well, and when they launched into beautiful three part harmonies on top of it I was into it and so was everybody else in the audience. From fast and flashy leads and party songs to romantic laments they nailed it. They passed leads back and forth and switched up the instruments some, swapping the mandolin for a second guitar and then a banjo - the most dangerous instrument in the world. Their between songs patter was good too.
They were cute as heck which is a horribly patronizing thing for me to say I suppose, but they enjoyed the music and the audience and each other and made me happy just by being so upbeat and amusing as performers. When you add in all the technical chops and harmonies where they get that beautiful blend going, I was beyond happy. The audience responded and was loud, and the music got me moving some and sweating - and sadly enough, my sweat is a rough figure of merit for shows. The more I enjoy the show, the more I move. The more I move, the more I sweat. Hence the more I sweat, the better the show. This was a hot and bothered show, but they weren't on long enough to get me to the sweating through my clothes state.

Another great band with another completely different approach, and another great set. They had the bluegrass showmanship down: their hands were always occupied making music, yet they moved their instruments and moved in relation to each other and kept things lively and physically dynamic while always staying within 2 or maybe 3 feet of the centrally placed microphones so that the instruments and voices came through the PA clearly. The crowd ate it up.

Next up in the penultimate slot was Nabii Ko$mo, a hip hop duo with a live drummer.

The dude on the left handled most of the leads with the duo jumping on words and phrases to add some punch. The live drummer was a definite plus, giving the show a dynamic feel as the hard cadences of the raps lined up with the rhythms from the drums, increasing the rhythmic power of the performance. Hip hop music with rap leads uses rhythm, word play and rhyme without much melody to get it's message across, so the organic feel of the live, on the fly rhythm and the interplay between the drummer and the vocals stands out for me. Nabii Ko$mo put on a hot set and got the audience going, working us hard with arm raises and waves, call-outs and responses, engaging us more fully in the show. Another sweaty set that basically made you move, totally the sort of experience I get off on. Thank goodness we got to sit down and table for the Vera Project to recover, the bands were just too good and my feet and legs were paying the price from all the dancing.

The final act was Thee Samedi, the first band I've ever seen at Sound Off! that I'd already seen. They were nice enough to come in and play for free at a Veracity show show for us. And I DO mean put on a show. Their lead vocalist Noah Fowler is a committed performer who put an amazing amount of energy into the show and the band plays hard crunchy guitar oriented rock played loud - right up my alley.

As you can see here Noah had some sort of fuzzy shawl like wrap and something red spread across his chest - and the shawl is about to come off. The band smashed through their songs, playing loud and hard, with Noah wailing away and using the mic in unusual ways and the crowd just exploded. The security staff had to move to the edge of the mosh pit to try to keep things a little calmer, and pretty soon the foolish stage dives started - at least two times somebody leapt out and pretty much missed everyone, splatting to the floor. Good thing they were young resilient flexible kids, if I tried something like that I'd break things and end up in the hospital. The mosh pit was more than enough physical abuse for me!

The guitarist in particular had a great smile as he faced right into the writhing crowd and banged his way through the power chords that just got us all writhing even harder. Noah start writhing around on the ground and stuffing the mic into his mouth and screaming away, classic stuff.
I didn't quite see how Noah did it, but he managed to knock himself in the face a bit. As the blood trickled out of his nose onto his upper lip the audience just lost it's shit. Noah eventually noticed it when he got blood on his fingers and then he rubbed it all over his chest on top of the ketchup or whatever the heck it was that was already there. For some interesting effects he rubbed the mic back and forth across his chest until you couldn't tell if he had smeared the earlier red stuff or the blood, or maybe had just made the skin red from irritation.

We had ourselves one heck of a mosh pit. I ended up in bouncing from nearly up to the stage back to the line of security folk holding down one end of the mosh pit, fending off the flying maniacs, redirecting and catching the staggering kids to avoid falling and pileups, getting a hand or a hip on the frenzied sideways pogo fanatics before they managed to nail me or someone else with an elbow or a knee, taking the occasional elbow or knee anyway, riding the surges of frenzied kids back and forth and back and forth. We managed to only have 2 major pileup/tramples and no fights, so it was a good clean bruising mosh pit in the best Seattle tradition. Nobody was bleeding in the mosh pit, although at least one tee shirt got shredded. As far as I could tell, all the blood was on the stage.

As Thee Samedi wound down their set and left the stage with a triumphant strut I staggered back to the Vera table so I could sit down. They pegged the sweat measurement: all the way through my shirt over most of my chest and lower back. My feet and arms were sore too, so it felt good to relax and sit down. The judges weighed in with their decision and Thee Samedi came in first and is going to the finals.

As I recovered from the show physically I was still on an emotional high and I realized another one of those odd correlations I enjoy, this one's a painful correlation. It's not just sweat, pain is proportional to show intensity too. The awesome shows whip us into a frenzy that leaves me a bit beaten and bruised and sore.

I'm getting somewhat old for this, yet the pure intensity and transcendent joy in the collective experience makes it worth it every single time. I only hurt badly after a show if it was an awesome show, and I'll take that deal every time. I just need to remember to get a certain amount of time off of my feet to recover every so often, then it works well. Well enough anyway; I can't wait to go back next week for part 3 - Eduardo's band Fauna Shade is playing, and so is K Sneak, so next week I'll set a personal record and see 2 acts that I've seen before in a single preliminary EMP round, along the two bands that will be completely new to me. I'm also looking forward to getting to see the finals, the 2 bands in already put on a great show, and the wild cards are good as well. It's been a great Sound Off! already, and the shows are only half done. Lots of good music left!

BTW I want to thank Charles for the excellent photos from both rounds. You can click through to his flickr photos from the blog and check them out if you want.

EMP Sound Off! Round 1

For no good reason I haven't made it to the EMP Sound Off! events in a few years. This year I got tickets and rounded up my friend Charles to take pictures, and I'm glad I did: the first night of the Sound Off! was impressive. Troy Nelson from Young Evils (he also has a Saturday DJ slot on KEXP) was our MC.

First up was Tommy Cassidy. Just like Charles the photographer, Cassidy is from the Tri-Cities and went to Hanford High School. That plays a part in his message and we'll get to that, but first some details about the man and the band. Cassidy raps in front of a live band with horns. The band is fun and loud and has a women with a strong voice singing leads, alternating with Cassidy's raps and occasionally backing and filling during them. This band cooks along, and when the horn section comes in for some backing it's cool. When they run through some leads on the trumpet it's even better, and they even had some cool old school muted trumpet stuff giving a completely different sound and feel to one number.
Cassidy varied his approach in different songs, using a slower back-off-the-beat approach which somehow gave almost a visual quality to his raps, and also using a rapid fire intricate aggressive intense flow in another number that was visceral and powerfully emotional. Cassidy's range and lyrics and patter connected with us - his comments about being from the nuclear Tri-Cities and feeling like a stranger in his hometown resonated with everybody who's been a teenager.
Cassidy drew the first slot which is pretty much impossible to win from. He took a cold audience and warmed it up, did great work and impressed us, but then 3 more acts got to go on and distract us from the first performance, and they got to start with a warmed up audience. Cassidy showed he's more than capable of opening a show and I expect him to move up the bill quickly if he can make it to Seattle very often.
Quite talented and tight, Cassidy and the band got the crowd warmed up and into it.

Next Sophia Duccini took the stage with a violinist/fiddler and a backing vocalist. Duccini plays guitar and piano and sings, and the group gets an interesting range of sweet to haunting sounds and songs out of the lineup. The vocals stand out, with Duccini's strong leads carrying a good portion of the songs and the gorgeous harmonies reinforcing and ornamenting the songs and emotions. Duccini and her band cover a range of styles from piano based pop in the older sense to guitar and fiddle instrumentation with a folky Americana feel. Interesting music, I tend to think of it as small scale and a little quiet but Duccini instead made it introspective and recursive and filled with a different meaning each time they hit a repetition. It engages you and pulls you in without having to pound on you, it's almost a more hypnotic approach in some cases and more conversational in others. Getting the audience to connect to the music and get enthusiastic without that bottom end - no bass & no drums - is challenging but Duccini pulls it off, her music drives when she wants it to and she easily carries the rhythm on the guitar and piano, switching back and forth between songs. Already I'm torn between the first 2 performances, both groups are ridiculously talented and skilled. At this point I'm thinking the decision is between these two acts.

Next Laser Fox takes the stage. I've got to admit, the name is brilliant. It works really well in a chant - wait, I think that's a spoiler. Laser Fox kicked it off with a singer, drummer and two dudes at keyboards, one using an analog (or emulated analog) setup, and one of the two (couldn't tell which) filling in the low end so you had a good base line. It might have been sequenced or prerecorded bass, it's difficult to tell.

The lineup varied a bit from song to song, here one of the keyboard players is playing the bass guitar and the vocalist has taken over at the keyboard. The singer is the focus in this band. On a few songs he played a hollow bodied electric guitar and sang.
Laser Fox looked good, sounded good, and they sounded like they felt good. The crowd started getting into it and dancing and moshing, and the vocalist started strutting around and gesturing as he sang. The dude had charisma to spare and was totally pulling it off with the mosh pit getting bigger and more intense and just eating it up: we loved him. Laser Fox knows how to put on a show, and the pacing and slot (good hot hip-hop to warm up, internal and relationship songs (some were both) to whet our appetite, now a big loud testosterone filled performance - in a nice NW way, we are after all a polite Scandinavian influenced culture topped things off nicely. We were already having fun and then that danceable electronic music hit and we started moving, and the vocalist was moving with us and dancing and dropping and totally thriving on the attention. They got that feedback loop going where the audience intensity feeds off of the band's performance and then the band feeds off of the increasing audience intensity. Hot stuff, we were bouncing around and sweating and moshing.

I was sweaty and sore, and normally I'd expect a let down after 3 acts this good. On the other hand, a buddy had spoken highly of Dames. Dames plays a largely guitar driven sound with keyboards and (judging by the Macs) either sequenced or recorded bits too.

Dames brought their audience with them and turned in a rocking set, keeping the energy level high and making us sweat and bounce even more. The guitarist lead vocalist was the focus through much of the show and his voice held the songs together and felt very personal, like he was talking to you and a few friends, not to a few hundred sweaty fans bouncing around in the mosh pit.

The mosh pit was bigger than ever and fun, filled with smiling people bouncing around and surging off of each other. All the thrashing fans in the mosh pit showed an innate politeness and niceness, and those are not terms I usually use to describe a mosh pit. Seriously, it was the nicest, sweetest mosh pit I've ever been in. Don't get me wrong, it wasn't lame or low intensity at all, it was full of people flying around and surging forward and to the sides and sweating and thrashing, your typical intense mosh pit. Nobody was in studs and leather, no really big dudes who like bruising people, and none of those boneheads who like to cover their faces with a bandanna then do spin moves with feet flying, putting everyone nearby at risk. I was happy not to run into any of that, it made being in the mosh pit after more than 5 decades on this Earth much more manageable.

Dames also had the most elaborate set - they put up a vinyl goose. OK, not terribly elaborate, but probably the best I've seen since The Lonely H did the light sabre duel in the way back in the 2004 Sound Off - they came in second. Not only did Dames bring the crowd, they were great to mosh with and their joy in the performance was infectious and the night ended up being a sweaty dance party on top of a rocking show - and that's one of my favorite things to experience.

I'm amazed at the level of talent on display at the first weekend of the Sound Off contest, every band was great and did something completely different and unique. Laser Fox ended up winning, and they arguably put on the best show. Dames was the runner up so they have a shot to make it as the wild card band and for once the judge's selections seem pretty solid. In the past the judges always seemed to reward the weakest bands, so this was refreshing. I shouldn't be surprised, the judges included Hollis and Marco Collins and I respect them both for their musical taste - Collins helped form or should I say update my taste a few decades back when he was a DJ on a local Seattle radio station and Hollis performs and contributes to some of my favorite musical stuff at a ridiculously high level - you can't nail that many things that well without having exquisite musical taste and judgement. Definite hat tip and high fives all around to the judges for representing and choosing awesome dynamic performers to advance.

I've discovered that the mosh pit is a time travel device. When I get into the mosh pit, my age decreases by a decade or more: I'm much younger and more energetic, and it's a fun and occasionally joyous experience. Then I get out of the mosh pit and go into the cold outside air, and the missing decade comes back from his smoke break, and he's got another couple decades of his buddies he invited over, and I feel SO OLD. I shuffle back to the car lifting my sore feet with my sore legs, sweat evaporating and cooling me off rapidly.
While the end of the evening is a little painful, there's a tautology here that guarantees that it's always worth it. I was sore because I had been dancing and moshing, and that's a spiritual experience to me. At the best shows the music takes you out of yourself and engages you in every way. You move and respond to the music physically, just as you react and respond to it emotionally. You're sharing this experience in a fellowship with the rest of the crowd. Good lyrics engage your intellect too, and emotionally charged writing often fires off associations and memories.

It's a wonderful and intense experience, and I'm always happy to be introduced to more bands that are figuring out how to engage and move a crowd, how to create and present their art and entertain and thrill us. Here's to four new to me bands that are all worth keeping an eye out for and going out of your way to see. All of these bands know what they are doing and I look forward to watching them progress, and yes to, some day saying "I knew them when..."

Land of Pines, Special Explosion, Peeping Tomboys and Iji at the Vera Project

Land of Pines put on an EP release show on May 4 and I signed up to steer well ahead of time. I've seen Land of Pines a few times, opening for STRFKR/Champagne Champagne (a pretty epic show) and at the CHBP on the Vera Stage in 2011 and at Reverb Fest later in 2011 as well. They're always fun to watch and listen to, so I signed up as soon as I saw they were doing the show. I bused to the Vera - the weather was nice and hot so I got a little warm lugging the tripod and cameras and laptop and dinner and all, but it was really nice getting some sun and working on that vitamin D deficiency.

We got a good crew of volunteers and they made it easy to steer - all the critical front door posts were filled, and so was concessions and roaming security, so I just had to check in periodically. I was able to get the whole show on video and take lots of pictures. First up is Iji. Iji is a local Seattle (or nearby) band that I never quite caught. They play local shows, they toured with Megabog and I saw Megabog, but not with Iji. Must have been a different tour. Anyway, I was happy I finally did manage to catch Iji. Guitar, bass, keyboards and drums, with a woman on drums. I'm not sure I'd point that out normally, but we did get a shout out form one of the bands noting that we had many great women performers playing, more than you tend to see at most rock shows.
Iji has a nice guitar driven sound with good dynamics, I enjoy the way the guitar rhythms play against the drums in this one, their final song:
The song has a nice sense of movement and development, pulling us along with it's instrumentals during the break and circling back through the lyrics, with the upper end into the falsetto drifting over lightly, slightly questioning and detached, perhaps. Nice use of song structure and tone to set a mood.

Peeping Tomboys were up next. Funny name, tomboys culturally are "girls who act like boys" and peepers are usually boys or men, so the using that name for an all girl band definitely opens up some thoughts on sexuality and sexual identity. While looking through my pictures from this show, I noticed that I have photos from Peeping Tomboys playing with Silicon Girls too (Silicon Girls was all men, so the gender identity stuff which was never an explicit topic as far as I noticed was in play there too) but that's another story. They have the same power trio lineup with the guitarist doing most of the vocals, bass and drums. Good mid range guitar sound, nicely built rhythm carrying interesting songs along and supporting the vocals. The drummer does a good job filling some of the transitions and solos too, they never have a weak or anemic sound, it's always working in the context of the song.
This one uses a descending chord progression and some fun backbeats and rhythms to build into a fun song:

Special Explosion had the penultimate slot.
Lead, rhythm and bass guitar with drums and two vocalists. The guitarist/vocalists did most of the vocals, with the bass player also contributing on occasion.
On thos one they get an angular, jangly opening into a fairly rich, complex instrumental bit before the vocals come in a bt over 90 seconds in. I love the droning sound of the vocals and the transition from the vocals back out to the jangling guitars, and the building leads coming across the vocals around 2:45 to 3:00, then the structure changes and you get some repeated almost paused tempos, the rhythm is quite complicated. I enjoy the song structure and really like the leads and the sense of anticipation as he builds that delay into his licks. Nice stuff. The second song starts about 5:25 in and has dual vocals, also worth checking out.

There are several more tracks from each of the bands on my YouTube channel like this video of Special Explosion closing out their set, so if any of these pique your interest, by all means check out their other tunes on YouTube.

Next up was Land of Pines, the headliners.
They roll with 2 guitars, bass, keyboards, and drums. They have a great sound, mixing elements from the different band members as needed, making great use of dynamics. Songs have bits where fewer instruments are playing, then the song intensifies and more instruments join in, with nice rhythm guitar hooks and the rhythm section chugging along until the final climactic breakdown.
Nice song, nice sound. It's good to see Land of Pines headlining a good loud show with some interesting attitudes and themes on display, here's to hearing the new stuff on the radio and more chances to see all of the bands again. Special Explosions in particular look poised to headline their own shows, and Land of Pines should be increasing their draw with some radio airplay and perhaps getting some larger venue gigs. These bands are all working hard and putting on good tight shows - Seattle has an embarrassment of riches with so many solid bands at every level.

Ser Punto Cero, Memento Mori and Diztorzion Paranormal at Cheves and Beer - with Mariachi!

My daughters know the guitarist in Ser Punta Cero (which I mangled into Ser.0, oops), so I booked them for a Veracity show and enjoyed getting to see them play. I friended the band members on Facebook and heard they were playing a Spring show locally put on by the Seattle Latin Collective. I've seen some great videos of SLC shows posted by Omar Taboada (they are worth checking out) which made me want to check one out for myself, so I had the perfect opportunity.
Seattle's Latin music scene doesn't get much attention in the press, which is unfortunate. From the videos I've seen there are plenty of talented local Latin bands, and local live talent is one of my favorite things.
The first band up was Diztorzion Paranormal out of Yakima. They had 2 guitarists and a drummer, slightly unusual instrument combination, the vocalist tended to play low end parts on his guitar so he was almost playing bass parts. Fast, slightly thrashy rough rock and roll, nice stuff. The drummer is very active on this song, filling the low end nicely:
I enjoy good rock music, even when I don't understand the language - the emotion still comes through, and the backbeat makes you move.
One of the bands had to cancel, so they had a Mariachi band fill in. One of our friends at the table (they mostly spoke the language, I was the only mono-lingual person at the table) told me they were going to have Mariachi Karaoke and asked me if I was going to go up and sing. That made me laugh, and if I had known just how amazing the actual Mariachi Karaoke performers were going to be, I'd have laughed even harder.

The band had a deep catalog of fast intricate music, with horns and violins/fiddles and guitars and lots of vocals. Several members shared vocals, then they had guest vocalists from the audience sing songs too. This was the Karaoke aspect. The singers from the audience were all impressive, with powerful voices and a good command of vibrato.
Wonderful stuff, and they played a good solid set of moving, powerful songs.
The karaoke wrapped up and Ser Punto Cera took the stage for the headlining set.
Ser Punto Cera has a classic power trio lineup and gets a good guitar oriented sound, a little more on the spacey/droney side in this example:
On this one they drive the drone more to an interesting edgy, agitated sound.
For a dive bar rock and roll experience, this one stands out a bit. Notice in the Ser Punto Cera videos they have each of the 3 "home locations" for the musicians covered with bright lights that they switch on and off. They have a fairly careful placement of lights to enhance the stage performance, and they also put some effort into the look and are developing a more consistent sound. Perhaps consistent isn't quite the right word, since they change the sound from song to song. They're developing their own sound, which has an interesting range.

Good loud rock music and Mariachi Karaoke - the Seattle Latin Collective delivered a fun Spring experience, with the music in Spanish and the beer in two languages to start the Spring music season off right.

Defunked, Marina Beat and Junk Drawer at the Vera Project

I signed up to steer the Defunked show at the Vera Project without knowing anything about the bands, pretty much par for the course for me. We had a small volunteer crew but we handled things well enough and Junk Drawer took to the stage to open things up. I enjoyed their set quite a bit. They had guitar, bass, keyboards, drum, and vocals, a nice sound and a good group vibe.

Here's a nice number they did: The lead singer said something like "if you don't like this song's genre, just hang on a minute and it'll change with the next song" which was amusing. I got a chance to talk to her a bit between acts and she told me the different interests of the members of the band drove that wide selection of genres - the punk bass player, classic rock guitarist, jazz keyboardist - I'm misquoting her to some degree, I ought to take notes since I know I'm going to be blogging about it. I also thought from her shout-out to Riverside and the headliners that her band was from Riverside, it was more along the lines of several members were from there sometime back, they're a local northwest band.

Next up was Marina Beat

Marina Beat has dual guitars (strats), bass and drums, and a nice fast upbeat rock sound:

They played several songs I liked, this one is "Hey Josephine"

Two talented bands already, and the headliners perform with a horn section - I love horn sections!
Defunked took the stage, and they filled it. The horn section with two saxophones and a trumpet along with 2 guitars (1 Strat style and 1 Les Paul style), bass and guitar. They play fast loud rock and roll with a punchy horn section and plenty of noise and pounding to make you want to bounce around and work up a sweat. Nice stuff with that kick-in-the-rear beat that makes you want to move in time with it. Fun rhythm changes, ska sounding guitars, it opens a bit more punk, moves more ska in the middle, then back to that punk fast thrashy beat.

I like the breakdown that leads into this one, and the different paces that rise up, giving it a back and forth feeling. It switches back out to that slower feeling beat, more tentative or pent up, then back to the main beat - and the second horn breakdown around 2:00 in is pretty killer. They also just nail the ending, fun song done extremely well. I like this stuff!

Fun show with three talented bands, I hope these bands are able to connect with the kind of solid fan base they deserve, the music they cranked out was fun and makes you want to bring others to hear it. At it's best, it demands to be danced to, and I just love a good funky band that plays fun music that irresistibly gets you moving.

June Veracity with Ram Rams and Legion of Sparrows

We got a couple of interesting bands for the June Veracity show. One had to travel to get here and half of the other was about to travel to the other side of the US permanently so there was a random underlying theme to the show.

First up was the Ram Rams, who had a member that lived on the other side of the Puget Sound and would be commuting home by ferry after the show. They appreciated the early timing. I like the visual approach - the common color theme, each expressed individually. The women fronting the band were appealing and the placement (with the dude towards the back wearing less "dressed up" clothing) emphasized them, which was fine with me. As long as I can hear the guitar I'm OK.

Ram Rams have some songs with fantastic titles like "When You Touch Yourself the Baby Jesus Weeps" - an apparently solid bit of Catholic theology that is probably intended ironically but is done without all the ironic delivery that would have made it a less perfect song.

She really does sound concerned about the effects of your actions on the baby Jesus and I like the way that makes it ambiguous.

The music was fun with hilarious songs - the titles alone are gems, and some of the songs had the most inappropriate choruses that I immediately found myself singing even though it was so wrong - "He's a slut, he's a whore, he's the man that I adore!" It's just too catchy!

Next up was Legion of Sparrows, a duo with a guitarist vocalist and drummer. They Legion had been dancing around during the Ram Rams set and enjoying the show which I like - the more movement and the more people having a good time the better the show. They took the stage and pounded away and just obviously enjoyed the hell out of it. Loud and thrashy, messy stuff with an interesting vitality.

They brought up a backup singer and did a final song without a rhythm section. I probably should've trimmed out some of the patter but I enjoy it. This is also where they talk about the drummer going to Maryland after the show.

It was an interesting show, both bands put on engaging shows that were different in their own unique ways - I love the diversity of acts, all the different performers and bands that I'm privileged to see, and I really appreciate both bands being willing to put on a great free show for us!

The bands did get some vegan and vegetarian Mexican food for their efforts - Chipotle Mexican Grill donated 18 vegan burritos and 18 vegetarian burritos so we were able to feed the bands, the volunteers and the staff and have a few leftovers. Major props to Chipotle for supporting my favorite local non-profit!