Three Imaginary Girls - Noise for the Needy

TIG recommends: Noise for the Needy 2011 {starts tonight!}

imaginary victoria — Tue, 07 Jun 2011 14:59:56 +0000

{John Vanderslice at the Tractor, Noise for the Needy 2010}

It's that time of year again, where the fine folks over at Noise for the Needy get together a slew of stellar shows to benefit a local non-profit. This year the funds are being raised for Real Change, and suffice it to say, there's bands out there to suit every taste -- the Fucking Eagles, Mal de Mer, the Builders and the Butchers, Drew Grow, Goldfinch, Fresh Espresso -- scroll down for more! The list quite literally goes on and on.

Rather than wax poetic about the details, we'll just give you the quick & dirty lineup with links to venues and tickets so you can go and get your charity on. And away we go!

:: June 7th ::

Detroit Cobras, Girl in a Coma, The Fucking Eagles
Neumos / 8p / 21+ / $13 adv {tickets}

:: June 8th ::

Brendan Perry (Dead can Dance), Robin Guthrie (Cocteau Twins)
Neumos / 8p / 21+ / $22 adv {tickets}

NFTN Preview Party w/ DJ Toast
The Bus Stop / 8p / 21+ / FREE {info}

Karaoke for the Needy
The Crescent / 9p / FREE {info}

:: June 9th ::

The Golden Blondes, Mal De Mer, Soft Hills, Ivory in Ice World, Surrealized
Comet Tavern / 7:30p / 21+ / $8 {tickets}

Tonight's Noise for the Needy recommendation: Sallie Ford and the Sound Outside

imaginary victoria — Wed, 09 Jun 2010 14:25:27 +0000

Sallie Ford and the Sound Outside are playing tonight at Chop Suey, and you don't want to miss it. Seriously. Here's why:

A. First off, Sallie Ford and the Sound Outside rules.

Really. I've raved about them before, but in case you missed it: these talented folks are the by-product of listening to all the right records. They've got a basic fifties-era guitar sensibility, with modern, dark (but not too dark) lyrical content -- more alt.indie.thinker than alt.indie.brooder -- and a voice that's been filtered through a Gramophone. Think of it this way: If Buddy Holly and Amy Winehouse were cousins, and existed in a time warp, and had a younger half-related sibling, it would be the sound of SF&TSO. Only better.

B. One-two punch: it's a benefit for Noise for the Needy.

In fact, it's kicking off all the amazing NFTN shows, which run through Sunday at various venues about town. Your hard-earned, well-spent eight dollars will be put to good use, as all the proceeds from this year's NFTN are benefitting the fine folks over at Teen Feed.

C. Furthermore, it's at Chop Suey.

Rad bands for a great cause: the NFTN 2010 lineup

imaginary victoria — Fri, 04 Jun 2010 09:48:45 +0000

{photo credit: the lovely Laura Musselman, courtesy of our imaginary flickr pool}

Now that we're all done with Sasquatch, it's time to set our sights on the next raddest lineup to hit the west coast: it's Noise for the Needy, 2010 edition. There's close to seventy-five bands and djs playing a baker's dozen of venues next weekend, when NFTN takes over every corner of Seattle from June 9th (Thursday) through the 13th (Sunday). Among the notables in big font this year are John Vanderslice, Visqueen, Horse Feathers, Delta Spirit, the Maldives, The Album Leaf, Animals at Night, The Portland Cello Project, and The Redwood Plan -- along with enough supporting acts to make your head spin. Tickets are available at Brown Paper Tickets, or you can just buy a la carte at each show / venue -- although there's some sweet all-access wristband deals being offered if you want to rock it like that.

Jason Tang's Top Ten Concert Photos of 2009 (plus a few extras)

Jason Tang — Thu, 31 Dec 2009 03:20:32 +0000

As I was picking out my favorite shots from this past year, it quickly became apparent that I couldn't just leave it at ten. I've posted my top picks below (in no particular order), but you can check out the rest here.

Huge thanks to the TIG crew, especially Chris and Keenan, for giving me the opportunity to share these amazing moments with all you lovely people! And thanks to all my fellow photographers, both in Seattle and elsewhere, for giving me inspiration every day. Hope you all have a safe, prosperous, and Happy New Year! Here's to an even bigger and better 2010!

2009-09-05: Hotels @ Bumbershoot - EMP | SFM's Sky Church

Point Juncture WA, The Pica Beats and more at Chop Suey

Chelsea Werner — Wed, 17 Jun 2009 15:31:24 +0000

13 Jun 2009

ptjuncturewaNFTN2009.jpg

Next, Black Whales played a derivative set accompanied by an epilepsy-inducing light show. Song by song, Black Whales delivered tunes that wore their influences on their sleeve. The extra toms and cymbals next to the full drum set seemed superfluous, as the main drummer was the best part. The band seemed to flounder for a distinct sound, something that would make a listener say, “hey, isn’t this Black Whales?” Rather than ask if it’s The Stones.

The Pica Beats, a band whose sound leaves a gentle wake behind it, followed them. Often compared to The Decemberists, The Pica Beats have a majesty all their own. First, Barrett doesn’t sing like he’s got a mouth full of “r’s”. Second, his lyrics are not as narrative driven as Maloy’s. Also, The Pica Beat’s are more rooted in a mystical, otherworldly quality, brought on by the use of sitar.

I first saw The Pica Beats at Healthy Times Fun Club. I was immediately impressed by how good they sounded in a basement space. Colin English’s drums were clean and Adam McCollom’s keyboards were clearly audible over them. Alice Sandahl’s mic wasn’t loud enough, but Ryan Barrett’s vocals and Garret Kelly’s bass-playing antics made up for it. I bought their album, Beating Back the Claws of Cold, immediately.

The floor at Chop Suey got crowded and the band’s enthusiasm was infectious. Their set was comprised of enriched, energetic versions of their songs. The intensity of the show was so amped-up that Kelly broke a bass string, smacking away on “Hope, was not a Smith family Tradition.”

Back on stage with fresh strings, The Pica Beats played “Summer Cutting Kale,” a mellow tune whose hues shift in technicolor with the notes played on the melodica. Live, this slow-starter was consumed by an instrumental fervor that rose fast, the percussion crashing, the bass romping, and by the end the entire band was yelling.

They ended on the hard-hitting “Territoire,” a song whose impact lay in the contrast of sparse verses and an intense chorus. The drums thrust their weight in and continued to accelerate till the song’s end. The band stopped playing and their voices rang out in slightly out of key, and completely endearing harmonies.

The broken bass string led to the unexpected performance of “Work in Progress,” played solo by the brainchild behind The Pica Beats, Ryan Barrett. The song was a hopeful sign of a future release that does them justice. The band has a new lineup since the recording of their second album, out last year on Hardly Art. With the addition of Alice Sandahl’s vocals they are showing their full and mighty potential.

Point Juncture, WA had a tough act to follow. After the revelry created by The Pica Beats, Point Juncture, WA’s dreamy 90’s inspired rock felt complacent. Lead singer Amanda Spring had her drum set in the center of the stage and the guitarist, Wilson Vediner, alternately strummed and banged on the drums to fill in beats.

Theirs was a display of talent and teamwork. The songs were well crafted, but their melodious groove sometimes got stuck in a rut. The exception to this was “Viking Mission to Mars” off their new album Heart To Elk. The trumpet, played by the keyboardist, gave this song a climax that the others were lacking.

The moral of this on again, off again night of bands? Go see the Pica Beats as soon as you can.

The lineup at Chop Suey on Saturday night was uneven. It started strong with Grant Olsen’s project away from Arthur and Yu. The country twang of his songs was subsumed by The Moondoggies harmonies ringing out behind Olsen’s slow, almost spoken, singing. The songs were tight and the bass hooks kept even their simplest songs interesting. This didn’t sound like a side project.

Next, Black Whales played a derivative set accompanied by an epilepsy-inducing light show. Song by song, Black Whales delivered tunes that wore their influences on their sleeve. The extra toms and cymbals next to the full drum set seemed superfluous, as the main drummer was the best part. The band seemed to flounder for a distinct sound, something that would make a listener say, “hey, isn’t this Black Whales?” Rather than ask if it’s The Stones.