The Jet City Redhead

One of my favorite local bands is Tacoma’s own Mono in VCF. Their CD is out in US stores today. If you’ve read my review of their CD, this is one you will want to own. Pick up a copy at your local record store or download it from their website - either way it’s good stuff. And to promote the record, they are headlining Neumos on Saturday, June 21st. Check with Neumos regarding tickets. I’ll be there taking photos and enjoying the show. Hope to see you there.

Check out www.myspace.com/monoinvcf for more info on this fabulous band.

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Cloud Cult

Minnesota’s indie Cloud Cult played at KEXP’s Hood to Hood Challenge at Sonic Boom Records in Ballard late in the afternoon of May 9, 2008. Then after a short break and sound check they did two back-to-back sets at Neumos that night, the first of which I attended and I was glad I did. That early set was quite simply awesome. Only way to describe it, really.

Cloud Cult began as a solo project of singer-songwriter, Craig Minowa in 1995. The group has grown and changed over time, but despite a change in personnel a couple of times, they played like folks who knew each other well. Craig Minowa (lead vocalist/electric & acoustic guitar) deftly handled vocals and the audience. Affable and slightly corny but sweet and definitely Midwestern, Minowa is a great songwriter and his genuine love of people and the planet shows through in all he’s doing on stage and off. The rest of this talented and big-hearted group are Sarah Young (cello/vocals), Shannon Frid (violin/vocals), Shawn Neary (Bass/trombone/vocals - formerly of Tapes ‘n’ Tapes), and Arlen Peiffer (drums).

Watching Visual Artists, Connie Minowa (backup vocals) and Scott West (backup vocals/trumpet), paint to the music certainly added another creative dimension most rock shows never approach. When I left, the second show of the evening at Neumos was beginning and the bids for the artwork were well on their way to “getting up there.” I have no idea what they could fetch for their artwork, but both were fabulous, original and most interesting. Loved them. Would that I had a grand to spend on them, I would have dropped it in a second.

The swirling, ethereal lyrics and broad orchestral-rock sound Cloud Cult has developed over time and delivered with verve last night rocked and rolled. It surrounded and embraced and held the audience captive during their entire set. Many have compared them to Arcade Fire in sound and style and lyrically to Modest Mouse, but they are unique paint a broad swath of continually surprising elements to make them a standout in a copy cat world. Indeed, they genuinely have their own distinct flavor and it’s damn tasty. So, kudos, Cloud Cult artists, musical as well as painterly, all well done.

The band’s eighth and newest full-length album Feel Good Ghosts (Tea-Partying Through Tornados) was released in April 2008 on Earthology Records. Earthology Records is an indie, not-for-profit environmental (”green”) record label Minowa created in 1998, with a home base on an organic farm in Northern Minnesota. All of their albums are award-winning material, but to date this album is the best yet. They will be touring this Spring and Summer in support of the new album, but rumor has it that they will be taking a hiatus this fall/winter to spend time tending the home and hearth. You can find out more about Cloud Cult at www.cloudcult.com or www.myspace.com/cloudcult.

Opening for Cloud Cult was another Minnesota act, Kid Dakota, who are Darren Jackson (vocals/guitar) and Ian Prince (drums). Their laid-back, pop-rock style was complimentary to Cloud Cult - so a good choice! Their 2008 release, A Winner’s Shadow on Speakerphone Records is quite good with a nice display of their musical abilities. You can check them out at www.myspace.com/kiddakota.

Although I generally cover local music I was happy to have the opportunity to experience Kid Dakota and Cloud Cult. Catch them if you can, whenever you can.

Kid Dakota

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Audioasis at The High Dive 4-5-08

Yeah, it was one of those bills that makes you go, “Hmmmm - what were they thinking?” Putting such a diverse and unusual group of bands on one ticket - gutsy. Ballsy even. So, to whomever actually decided the line-up, sorry for doubting. You did GOOD! I should not have wondered at all. KEXP’s Audioasis at the High Dive came together harmoniously and it was awesome all the way around. And that the local non-profit was the library made plenty of sense. Reading is fundamental. Remember that?

OK, I must admit that I didn’t get there as soon as I wanted to and parking is always an issue in Fremont. That said, I did get there in time to catch the tail end of The Dimes‘ last number. I was listening on KEXP on the way though so caught a lot of their set that way (pretty good but not my favorite way to cover bands). This quartet is straight up, clean cut Northwest indie pop-rock. The crowd was appreciative, enthusiastic and fascinated with this Portland band that doesn’t come to Seattle often enough.

The Dimes are Johnny Clay (vocals, guitars, pianos, melodica, glock), Pierre Kaiser (guitars, vocals, Moog, foghorn tape loops), Ryan Johnston (bass, vocals, synths, static) and Jake Rahner (drums, vocals, percussion, stomping). Those descriptions of what parts they play comes off the record jacket of their 2007 release, The Silent Generation on Pet Marmoset Records. These fellas hoot & holler and clap their hands and generally have fun with it. They remind me a bit of Blue Checkered Record Player meets The Decemberists meets Simon & Garfunkel due to their tight harmonies and excellent lyrics. Check them out at thedimes.com or myspace.com/thedimes.

Next up, The Transmissionary Six, a soft rock/pop/nearly alt-country style band, with, um, nine and more members listed on their MySpace page but I counted only five onstage that night, got everyone in a mellow mood. The female vocalist, Terri Moeller, has a strong, smoky voice that carried their tunes with style and feeling. Paul Austin was on acoustic guitar; Graig Markel was playing bass; Jon Hyde was playing pedal steel and electric guitar; and Eric Eagle (a friend of the band) was sitting in on the drums. Each musician in the group, particularly the lead guitarist/pedal steel player, were quite talented and take it seriously but clearly enjoy what they’re doing. Their new full-length CD, Cosmonautical, on Tarnished Records shows the breadth and depth of their work up to this point. They explore the outer edges of pop and alt-country on this one - stylish, chill and more introspective than earlier works. As an extra treat, a couple of cuts feature Daniel G. Harmann and also Michael Well & Chris Eckman from The Walkabouts. The album Check them out at myspace.com/transmissionarysix or rodeosatellite.com.

Next up - A Gun That Shoots Knives. The name alone should tell you something. Mostly these guys like to be considered on the outer edges of the fringe, which admittedly they sort of are, but despite their crazy costumes worn for this gig, they were nothing but fired up to play crazy ass, straight up rock ‘n’ roll. They are Stubby Abbot (vocals, keyboards, extra percussion - such as a GONG! and dressed as a WWF-Spiderman), Jimmy LaRue (vocals, bass - dressed as the one-eyed Elvis), Kelly Sorbel (vocals, drums - the glittery prom queen) and Jeff Greenwood (vocals, guitar - our own cheerleader complete with blonde curly wig). AGTSK is highly engaging and entertaining, not to be confused with just hamming it up as they truly connected with an adoring audience, these fellas put on a show and were dead-on for the theme of literacy with “Literate Man” and “Stay in School Mother Fucker.” I think of AGTSK as the Seinfeld of the Seattle music scene because they write songs about everyday things and nothing in particular really, but despite that the songs are about “Sushi“, (”Hey) Soap“, and Sex (“Really Bone“), the songs are well-done, catchy as hell and fun. Some of them even do make social commentary without the finger-wagging. Swagger maybe, tongue in cheek, yes indeed, but finger-wagging- no fucking way. Dita Vox (Thee Emergency) helped write and even sings on the cut, “Chicken Pox” on their 19-song CD ,”Miracle,” released in 2007 on Bad Horses Records. Check them out at myspace.com/agunthatshootsknives or agtsk.com.

Cancer Rising took the stage with that “let’s start some shit” attitude they bring each time but with smiles and hands waving in the air. DJ TilesOne never missed a beat and handled the wide variety of styles during the set with finesse while MCs Judas and Gatsby invigorated the crowd with their rhymes and Northwest workmen-style hip hop and soul. Note: These fellas really move for big guys. No, I mean it - I kept trying to get shots of them but man these boys MOVE! They’re movin’, groovin’ and trading verses all the damn time. Their soulful hip hop grabbed everyone by the collar and made them wake up. They are the Northwest’s “every man” (make that working man) hence their appeal to just about everyone. The way they integrate soul and rock into their verse is nothing short of magical. Even if you didn’t think you liked hip hop, you could totally get down with Cancer Rising. They even shared the mic with a beer drenched Matt Brown and the crowd sang and danced along. As an extra zinger fellow rapper, Grayskul, even came up and did a couple of numbers. And, just so you know, CR is apparently “206 proof since 2001” because their shirts said so. Check out their new, extremely limited edition EP, “Cancer Rising” (Cancer Rising Music label) which features Bruce Illest. Cancer Rising represents. They do. To quote an audience member who did not give their name, “Cancer Rising is totally ill but totally chill.” Check them out at myspace.com/cancerrising or cancerrising.com.

Last to take the stage for the evening was headliner, Mono in VCF. I did a full review of the band and their CD on this site earlier (look under CD Reviews) . What I want to say about this show on this particular night: awesome, superb, friggin’ amazing! They have grown as artists even in the short time since I saw them last. Their producer, Martin Feveyear, played keys and Moog for the set (although I don’t know if he played for the on-air session or not). Their sensational 60’s cinematic style is deep, emotional and thrilling. They also included some new numbers that have not yet been recorded (or perhaps not yet released). Lead singer, Kim Miller’s honey-dripping alto voice adds drama and verve to the set. Each member brings their own sensibilities and style yet it all comes together cohesively and stylishly. Amazing talent in this group. Catch them whenever you can. Find out more at myspace.com/monoinvcf.

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The Blakes

The golden ticket was a sold-out show at Chop Suey on Friday night, February 15. Completely full house and you couldn’t even get near the bar so it was with a great deal of patience that you got a drink that evening. All was well though in the the house of Chop.

Tacoma band, Paris Spleen, opened with a short but sweet set. MySpace lists the band as Joshua Vega, Brooke Envy and Dyb Arter, but I could have sworn I saw at least five members on stage…(clearly I made it to the bar before the line got really long). Unfortunately, I did not get a chance to speak with these fellas other than a few moments with Joshua before the set. They have been together about three years and undeniably sound like many of their wide-array of influences, such as The Rolling Stones, Them, Love, New Order, and MC5, to name a few. They have an EP, The Gentlemen’s Club, that’s been out a while and a new record coming out in the very near future on the indie Team Unicorn label.

Next up were the wacky, energetic, Magic Bullets who are Philip Benson (vocals and dancing), Corey Cunningham (guitar), Colin Dobrin (drums), Matthew Kallman (keys), and Ryan Lynch (guitar), and Nathan Sweatt (bass). The Magic Bullets formed in 2004, in San Francisco, and have toured extensively with The Blakes. They put on quite a show with lead singer Phil dancing his fool sox off (even jumped into the audience for a bit to dance with the girls in the front row). Their full-length CD, a CHILD but in life yet a DOCTOR in love, was released in May 2007, on indie Words Over Music label.

When The Blakes, Garnet Keim (guitar, vocals), Snow Keim (bass, vocals) and Bob Husak (drums/ percussion), hit the stage the venue was jam-packed and humming with excitement. Their sexy, dancey, jangling, rockin’ set was complete with most of the songs from their EP and October self-titled full-length release on Light in the Attic records, plus they brought several new songs. The audience was loud and raucous and sang along with every single song, including the newer ones. The pace was fast and furious and had a kinetic energy that I hadn’t noticed at other Blake gigs before. The sex-drenched lyrics and feeling in the room was a palpable sensuous, happy energy. Most of The Blakes songs are upbeat and about sex or other tangible things such as love & relationships, scratching out a living or otherwise making it, and I imagine this is why they are so popular - everyone can relate. Not to mention the musicianship and sheer energy and their dirty, irreverent Brit-60s Pop/Rock sound.

Garnet expressed great appreciation to the audience with a wide smile, saying, “thank you all - you just made my day!” Several of the Magic Bullets members joined The Blakes on stage for the last couple of numbers and sang along, played tambourine and danced. There was a call for an encore when the show ended and they came back out and played a number to a very drunk and happy crowd. Then Snow played bass and sang while a Magic Bullets member played drums for the very last number. At the end of the set, all three of The Blakes were completely sweat-soaked because they gave it their all. An awesome show all around to be sure.

This set was the last gig before jumping the pond to several dates in France and England, including a TV taping in Paris. After the show, Garnet was concerned about shaving and perhaps wearing a little more upscale clothing but a local who has lived in Paris and several visiting Frenchmen told him to just be himself and that the band should just wear whatever they wear and be who they are because that is what people love - The Blakes as The Blakes.

If you ever get a chance to see The Blakes in action - take it - you’ll be glad you did.

THE BLAKES NOW ON YOU TUBE

For those of you who are following our local rock band, The Blakes, click the following link to see their new video of “Don’t Bother Me” on YouTube: http://youtube.com/watch?v=QZ4WBue9bPU

Branden Daniel & Everybody Gets Laid

I’ve been having one of those years so far. Got a lot of stuff I need/want to write about but life just keeps coming at me. So, humble apologies for the lateness of this post…

January 18, 2008 at the Comet: On the bill - The Fucking Eagles, The Hands, The Knast, and Branden Daniel & Everybody Gets Laid. I went to the show because “The Nice Asshole” asked me to and because he is a Nice Asshole, he truly did ask nicely. And I proceeded to totally enjoy the show (all of it).

Portland/Seattle-based Branden Daniel and Everybody Gets Laid was the opener, so I interviewed them whilst The Knast was up. Front man, Branden Daniel (”BD”) is a tall drink of water - all blonde and blue-eyed soul - who plays guitar and handles just about all the vocals. BD is also the head song writer of this 3-year old trio, which includes scruffy but cute bass player Kyle Lawrence whom BD met at a CD store not all that long ago and awesome as well as beautiful drummer, Holly Gits, whom BD met about three years ago. Both Lawrence and Gits contribute to the songs with ideas, sounds, interpretation and style.

BDEGL is working hard to have the blues though touted as a rock ‘n’ roll band (psych rock at that). BD gets lost in the music, and about half-way through the set finds himself on the stage flailing about and dripping with sweat. Gits unfortunately got shoved in the background and that shouldn’t have happened because her beats are sweet and she has amazing energy beyond her diminutive size. She tended to hold back a bit and work more as a Seattle indie backbeat drummer rather than going for broke which she totally could have done. Same with Lawrence (aka The Nice Asshole), who interestingly has only been playing the bass a little over a year now (used to play guitar). He could actually play quite well and really got into the groove nearly smacking me in the face with the long neck of his bass when I was up front taking photos.

After they play together for a longer time, they will gel into something incredible but for now, pretty good, enjoyable, and somewhat unique. So if you’re interested, BDEGL produced a 5-song EP, Back Down, in 2006 (indie/no label), and you can find out more about Branden Daniel & Everybody Gets Laid on MySpace.

DAVE ANDERSON QUARTET

On January 10, 2008, the Dave Anderson Quartet played Egan’s Ballard Jam House for a wonderful two-set performance. The Dave Anderson Quartet is Dave Anderson, saxophone, Adam Kessler on drums/percussion, John Hansen on piano and Chuck Kistler on upright bass.

The sets consisted of timeless jazz classics and original material, some bold and daring, some carefree and light.

Set 1
Juror #2 (original)
Our Spanish Love Song (Charlie Haden)
JuJu (Wayne Shorter)
Fee Fee Fo Fum (Wayne Shorter)
Time Remembered (Bill Evans)
Free (original)

Set 2
Recado Bossa Nova (Djalma Ferreira)
One for Vienna (original)
Blues for Chas (original)

Dave Anderson told me that he wrote, “Juror #2,” about his stint pulling jury duty in New York City. This apparently means encountering some very distinct personalities. Anderson said, “After my first day of jury duty in 2004, I rushed home and sketched musical portraits of three jurors, including Juror #2. Juror #2 was a kind, older lady who described her sadness about seeing the Twin Towers fall in a really touching way. This tune has two series of descending chords, one for each of the two falling Twin Towers, so this is my “911 tune.” But thankfully the tune has a happy feeling.”

Describing “Free,” Anderson said it was “a free-blowing tune, with open sounding chords that feel to me like, well freedom!”

Asked for an explanation of “One for Vienna,” Anderson said, “it is a double dedication to the city of Vienna, which I was just leaving when I wrote this, and to my grandmother, Vienna. The compositional technique for the melody is “12-tone” from the “2nd Viennese School.” Since “Vi” always sang helplessly off-key I think she’d appreciate the irony that this quirky melody bears her name.” January 10th was the first public performance of this tune, which was appropriately followed by the tune, “Blues for Chas,” which Anderson described as “also a double dedication of sorts. I set out to write a song for my grandfather, Charlie, using a famous chord progression from Charlie Parker. The beginning of the melody is from one my grandfather’s favorite melodies, Sibelius’ Finlandia.”

Anderson was cool and direct, but carrying a wide-range of emotions through each piece. The foursome worked well together and each had a chance to shine a number of times. Egan’s is a great place to catch a jazz set or two and if you see that Dave Anderson is on the marquee, by all means, check it out.

THE BLAKES NOW ON YOU TUBE

For those of you who are following our local rock band, The Blakes, click the following link to see their new video of “Don’t Bother Me” on YouTube: http://youtube.com/watch?v=QZ4WBue9bPU