Were there a way to insert the needle-pulling-off-the-record noise here as the sound effect, we'd do it. Because this is the noise that rings out when someone talks about how they haven't heard of Chris Pureka or, more specifically, haven't listened to the album she put out about a year ago called How I Learned To See In The Dark. It's a literal symphony of earnest ache, of sadly-toned sounds fused with a glimmer of hope, of moments filled to the brim with faded photographs and creaky floorboards (worthy of a page full of adjectives, in fact, that you can read in their original context here).

The bottom line is this: simply put, Chris's music isn't this way because it's some trendy extension of some alt.americana.lumbercore sound that so many people seem to be jumping on the bandwagon of -- her music is this way because it has to be. It's got no other way, similar to how the alphabet lays out or how stairs connect us between the floors of our houses... it just is. And rarely these days do such honest leanings and compelling sound meet the way hers do.

So, with all that said typed: first off, head on over to the album's page on her website and pick up a copy of the record. (Shame on you for not owning it already, PS.) Second, take a minute to get yourself a ticket to her upcoming show at Chop Suey before it sells out -- she's taken the Tractor to near-capacity more than once her last few runs through town, and there's no reason to believe that won't be the case next Tuesday as well. And thirdly, if you're up for a little roll of the dice, take a minute to send us an email for a chance to win two tickets to the show, courtesy of the fine folks over at Chop Suey.

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Somehow, in the avalanche of amazing bands at Seattle Center this past weekend, we managed to scrawl some furious notes on a fistful of locals and indie bands that brought the noise / love / ache / bliss. Here's a few of our picks to start the best-of Bumbershoot chatter that we'd like to share, in no particular order:

1. David Bazan at the KEXP 'Secret Stage'

It's no secret at all that KEXP's hideout is one of the best things about Bumbershoot: a great selection of all the best acts of the weekend, in a cushy, sit-down theater that's got impeccable sound and flawless sightlines. Thanks to a thoughtful friend, we had two seats for the 1:15pm Sunday performance -- and sat rapt with attention while the band proceeded to rip the roof right off from above us. Longtime fans of Bazan's solo work and earlier Pedro The Lion need not hate on this revamped sound: the new (and reworked versions of older) songs are nothing short of big-guitar bring-it-ness. Anthematic, cinematic renditions from Curse Your Branches had us covered in goosebumps; and the six-song power set left us both satiated and eagerly anticipating the next show -- you can catch David Bazan + Band (with the lovely Head and the Heart opening) at the Showbox over Thanksgiving Weekend.

2. The Tripwires at the Mural

Honestly, I can't think of a better way to start a festival day than with a full-frontal rawk set from some of Seattle's very own power-pop royalty foursome, the Tripwires. Promptly at 11:45am, the band took to the Mural stage and shot a big bag of awesome into the waiting arms of the still-caffienating crowd. Opening with "Let's Get You Started" (one of the best tracks off their newest album, House to House), they set the tone -- and the standard -- for a truly excellent day. Sangster + Sangster + Ramberg + Pickerel + espresso + sunshine = a brunch-rock set to remember.

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{Visqueen photo: Ben Haley / Bunnygrunt photo: JoshBomb}

September marks the biggest festival season in the Pacific Northwest. In a move to test our endurance, the biggest of the mammoth festivals take place within days of each other: Bumbershoot from September 4-6 in Seattle and Music Fest NW from September 8-12 in Portland. But, besides those mega-shows, we've got plenty of our favorite Seattle bands taking to the stage. In this edition of the Imaginary Mixtape we'll share tracks from noteworthy bands with shows in the coming weeks, feature some exclusive live recordings from the Athens Popefest, and a sneak preview of brand new songs by The Thermals and Superchunk.

You can listen to a stream or download the MP3 version of the podcast on the imaginary bandcamp page. Bandcamp prohibits tracks longer than 25 minutes {I think it's some regulation against jam bands?}, so the podcast is split into three sections. Click below to listen via the bandcamp stream.

 

PART 1: Preview of some September Seattle shows, Bumbershoot and Music Fest NW

 

PART 2: A listen to more Seattle bands with September shows and a preview of our Imaginary Crafty Listening Party albums for September

 

PART 3: Live tracks recorded at the 2010 Athens Popfest and some lovely Seattle indie-pop

 

If you are the type that likes to listen to podcasts in itunes (and who doesn't), download the .m4a file here {it's one single file with fancy chapter markers!} and then open it in your itunes {big thanks to Jigsaw Records for hosting the file!}.

 

Tracklisting: Imaginary Mixtape - September 2010:

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If you've got plans tonight, cancel them and go to the Tractor.

I'm not kidding.

Tonight, one of our favorite Ballard venues is getting ready to host one of my new favorite imaginary artists -- the one and only Chris Pureka. Touring behind her latest release, How I Learned to See in the Dark, Pureka will be gracing Seattle tonight with her intelligent, swoonworthy, heartbreaking alt.americana amazingness. Over the course of her career, she's written some of the saddest songs you'll ever love to have been slain by -- especially so with the most recent compositions from How I Learned to See..., which you can read about in more detail here. (In case you missed us gushing about it the first time.)

There's not much else to say about tonight, aside from the fact that it's going to be one of those shows you wish you saw when... so if you haven't gotten your tickets for tonight's show -- act fast. As of late yesterday it was just about sold out!

We'll see you at the Tractor!

{Chris Pureka plays next month at the Tractor on May 12th, and in Portland at Mississippi Studios on May 14th. Ramaya Soskin opens both shows.}

From the very first strains of Chris Pureka's latest effort, How I Learned to See in the Dark, you're transported into an enveloping world of the saddest songs you'll ever love to have been hurt by. Instruments and vocals layer with dusty front porches and flickering sun through the trees, interspersed with moments of three a.m. on the bathroom floor -- all with a stomping bootheel to keep the time. The songs themselves are spontaneous, precise, soul-searing and soul-saving -- all at once. Pain and hope. Total clarity and utter heartache. Complete and not, locking eyes with someone across a thousand people on a Manhattan sidewalk, finding everything, and never reaching anyone.

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Now that the rest of the music community has moved on to bigger and better things, it's time to take a look at last month's adventures in Austin for SXSW 2010. Everyone is back, rested, over the post-festival flu, and digging their proverbial heels into favorite finds -- here's some of the highlights and likes (as well as a few dislikes) from this year's trip, in no particular order:

Hey Marseilles

Our favorite seven-piece alt.indie.orchestral conglomerate of goodness, Hey Marseilles, did Seattle proud in Austin this year, playing what seemed like a dozen different showcases over the course of three days. Each performance was spot-on, right up to and including Saturday night's rooftop-blowing-off official at St. David's. HM ran the rooms, raged every single performance, and left us giddy with anticipation for the release coming up later this year. If you weren't able to see Hey Marseilles (or your exes) down in Texas, you can come by The Tractor on May 22 (21+) or to the Vera for an all-ages show on May 21. Tour dates abound -- more news, mailing list and goodies here.

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at The Triple Door

It's not easy to get the combination that Chris Pureka puts forth -- she's confident without being cocky, lyrically defined but still tangible to a live audience, and equally adept at both technical instrument function and the actual crafting of her songs. But on top of checking all of that off the list, her literal voice was the resounding element that stole the show for me. Regardless of her subject matter, her voice was so crystal-clear and so bell-like in tone that I looked around a few times to make sure that she wasn't lip-synching. Literally.

 

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