Three Imaginary Girls - The Walkmen

Live at KEXP vol. 7: on sale now!

imaginary victoria — Tue, 04 Oct 2011 15:27:53 +0000

Welcome to Rocktober, everybody! And what better way to start the month than with a celebration of what makes the Seattle music scene so great? Yep, we're talking about KEXP. The fall pledge drive is on, and it needs your pledge of support!

You can call anytime this week {locals call 206.903.KEXP, toll free is 866.903.KEXP}, log in online and do an electronic pledge, or walk yourself on over to the station and give. There's tons of great thank-you gifts -- shirts, totes, lunchbags, 500 Club memberships -- nothing is too small to count. Whether you can give five dollars, five dollars a month, five hundred dollars, or five hundred dollars a month, everything makes a difference and everything is appreciated. We've given to the station at varying states of financial gain (and diress), we've been one-time donors and Amplifier Club members, and year after year we remain in good standing in whatever capacity we can, giving our hard-earned money (and time, when we can!) to support a cause that's near and dear to our hearts for so many reasons.

Here we go, Austin! Here we go! clap! clap!

imaginary victoria — Thu, 15 Sep 2011 15:53:00 +0000

Yup. There sure are a lot of exclamation points up in that headline, and with good cause: we're heading off for Austin City Limits this weekend, to catch some bands and some tan in the near-hundred-degree sun. Between pre-trip laundering, hydrating, charging our camera batteries and getting all that three-ounce-or-less business handled for the flight, we thought we'd take a minute to let you know about some of the acts we're particularly excited about this year -- especially since there seems to be a particularly strong PNW presence to be reckoned with every single day of the 'fest.

The start of the fest on Friday is kind of like easing in to that hot, soapy, not-too-dirty-yet festival bath. Hometown heroine Brandi Carlile will be getting things going early in the day, and we're hoping her sweet sounds will put us in the right kind of mood to slide over into Ray LaMontagne's late afternoon set -- they're both playing at the AMD stage starting around 2p. As the day darkens, we hope to get a little more gritty with the Cave Singers, and while Cold War Kids and Bright Eyes blow their sets out back-to-back {on the Honda and AMD stages respectively, for those of you following along in your custom-made schedules at home}, we might have to weasel our way forward to get a bigger-than-Bumbershoot-sized helping of Charles Bradley as he closes out the Vista Equity stage just before forever-legend Mavis Staples. As to whether we end day one with Kanye West or Coldplay -- my vote's on Kanye. But seeing as the fest is all sold out except for a few Sunday passes, we might not be able to make it close enough for a photo report. Fingers crossed!

Pending crowd surges (and weather permitting), we hope to also make time to get a little Delta Spirit, Smith Westerns, Kurt Vile, and Santigold into our schedules too!

Countdown to Musicfest Northwest in 3... 2...

imaginary victoria — Wed, 08 Sep 2010 23:35:02 +0000

Technically, you can get your Musicfest Northwest (MFNW) on starting tonight -- there will be a few gigs going on around town down in Portland to warm up the masses -- but our imaginary coverage will officially begin tomorrow and we can't hardly wait! There's quite a few acts and sorta-showcases that we're espcially stoked to see... so without further ado, here are some of our picks for the best-of-the-fest shows for the next four days.

Please note: the approximate start times are listed for the first band only and are subject to change -- always check your internets before heading out!

Sallie Ford and the Sound Outside
Thursday, 10p @ Berbati's Pan

Having seen and heard a lot about these darlings since their 2009 blip on our Seattle radar, it's going to be quite a treat to catch them at a hometown show. Full of good ol' fashioned big-bodied electric sound and a pair of lungs that just won't quit, Sallie Ford and the Sound Outside are as swoon-tastic as it gets!

David Bazan + band / Joshua Morrison
Thursday, 9p @ the Doug Fir

Does this even need an explanation? Hot on the heels of two stellar performances at Bumbershoot, David Bazan (along with the current installment of his band) have fine tuned their sound to some true indie rock perfection. Achy and anthematic to the core, we're super-stoked to catch them at a venue like the 'Fir. Add in local favorite-home-safe Joshua Morrison, and you've got a night on your hands to remember.

The Thermals
Thursday, 10:30p @ the Crystal Ballroom

The Thermals killed Bumbershoot, the new album rules, and we'll be there with bells on. 'nuff said.

Okkervil River / Bobby Bare, Jr.
Friday, 10p @ the Crystal Ballroom

One of those lineups that makes you grateful that the bookers are playing close attention: a headlining set with OKR and a warmup by local favorite Bobby Bare, Jr. sounds like the next best thing since sliced bread. The boys of Okkervil have been hard at work, following up their last album with some amazing work next to the great Roky Erickson, and judging by the sound of the twitterverse, on to the next recording of something beautiful.

It's time to prefunk! Music Fest Northwest is coming, September 8-12

imaginary victoria — Mon, 30 Aug 2010 21:53:07 +0000

While everyone is prefunking Bumbershoot, we'd like to take a moment to officially get the prefunk to the prefunk for Music Fest Northwest going. Starting today.

If you've never been, MFNW is like a crazier, spread-out-ier Bumbershoot -- spanning four days and venues all over town -- or a tinier, cleaner SXSW. Minus the industry hoo-ha and power-showcases and seminars. Beginning on Wednesday, September 8th, our sweet sister-city will be hosting a veritable slew of amazing bands all over town. Acts like Okkervil River, Menomena, the Decemberists, the Cave Singers, Sallie Ford and the Sound Outside, the Thermals, Dave Bazan, Bobby Bare, Jr., the Walkmen, the National, and the Tallest Man On Earth -- among many, many others -- will be bringing an extended weekend of bliss to Portland for our listening and viewing pleasure.

Photo Essay: I think the Walkmen broke my face

imaginary victoria — Tue, 27 Jan 2009 17:08:40 +0000

24 Jan 2009

walkmen09jan.jpg

That's what I tweeted on Saturday (well, Sunday) around one in the morning when I got home from seeing the Walkmen at Neumo's. And I meant it. They were so loud - so unbelieveably loud. But it was loud on a frequency I'd never heard before, not earplugs loud or "I have to get out of here" loud. It was good loud. Blissy loud, amazing loud, that can not be possibly coming from one guitar kind of loud. To the point where I sought out the sound tech after the show and thanked him for it.

I felt the reverb in my molars the same way you can feel bass in the floor at a dance club, which I had never experienced before. And similar to a good DJ's set, the sound made me want to stay there for hours, for as long as my eardrums -- and teeth -- could take it. I swore we were going to come outside to cracked windows on the cars. In short, this band was simply amazing, as many of you know, and their shows don't disappoint. The ambient, second-slot crowd pleasing Beach House set was the perfect warm-up for what was to come; Johnny and The Moon's warm, jangly vibe started the night off right as one of the best opening acts I'd never heard of so far this year.

Also, I was lucky enough to get a sneak peek of the show at the Triple Door, where the band was doing a gold club performance for KEXP. Two songs in, I moved to the back of the room to listen to the forty-minute set, to experience my first listen of live Walkmen. Simply put, they knocked me off my chair. It was as if the sound cracked open my chest, reached in, and pulled out my heart for me so that I could throw it at the stage. I wanted to hear them write love songs; epic, emotive love songs.

I knew immediately I'd have to get to Neumo's early, to insure a spot up front for their set. Here's what it all looked like, I'm amazed these shots even came out -- all three bands played in almost total darkness. Which made the show sound even better, if that makes any sense at all.

I will not take the breadth or space to discuss the details of the girl next to me, crying -- yes, crying: the Beatles are coming, I'm sobbing and clutching my hair kind of crying -- but I will take time to point you over to the flickr set for this show, as well as the sparkly pool of goodness, where you can always see more photos.

See you at the shows!

Blissy loud, amazing loud, "That can not possibly be coming from one guitar" kind of loud.

Best of 2008: Top 10 Albums from Pete Greenberg of Chop Suey

ChrisB — Sat, 03 Jan 2009 20:18:16 +0000

The top 10 albums "that made my head spin (in a good way)" from Chop Suey booker Pete Greenberg.

Erik Gonzalez's best o' 2008

Erik Gonzalez — Fri, 02 Jan 2009 21:57:04 +0000

It has now been 2.5 years since I moved out of Seattle for the Golden State. I've slowly drifted out of the NW music culture, so sometimes I wonder if I know what to say on TIG these days.

Combine that with the fact that I was so distracted from music for a lot of 2008, this year's "best of" lists were especially difficult. Heck, I don't even think I can make a Best of NW music list this year, not because there was insufficient music, but because I just missed so many of those important-but-not-well-known releases that make these lists. I did enjoy Fleet Foxes, Common Market, Colin Meloy live, Malkmus and the like, but really, that isn't a "Best of the NW" list but rather a list of albums I liked that happened to be from the NW.

That being said, I did get a last minute music revival for the year. Maybe it was the election being over (and the good guys winning), maybe it was finally getting a faculty position after many years of trying (lets just say Erik will be moving east in 2009), maybe 2008 just didn't mesh with me musically. Who knows? However, there was a lot of great music anyway, and here are my top 20 (for your praise or fist shaking). Feel free to read the full commentary.

Bumbershoot 2008: Day 1

three imaginary girls — Mon, 01 Sep 2008 20:36:21 +0000

30 Aug 2008

bumbershootday1.jpg

Bumbershoot is a musical extravaganza, spanning the three-day Labor Day weekend with more bands, arts, and elephant ears than anyone can possibly capture. We had a posse of imaginary writers (ChrisB, Chris Estey, imaginary elle, imaginary dana, and Cory), and photographers (Chona, Kyle, Nathan, and Andrew) all over Seattle Center, trying to capture the frenzy and mayhem of Bumbershoot 2008. Below you can see and read about our adventures during the first day, which kicked off with local electronic duo Beehive and ended with superstar Beck, and covered over 20 other bands in-between.

Enjoy!

Beehive, Wells Fargo Stage

Beehive must be one of the most hard-luck bands in Seattle. The local electronic duo had gotten a difficult timeslot - Saturday at noon but tried to make the most of it. They played an energetic rock set that lasted about 35 minutes, simulating a rock band with electronic instruments. To get the crowd on their side early started off with two covers known by everyone in the fairly large crowd - "We Will Rock You" and "Helter Skelter." Overcoming a scratchy microphone, they got a lot of the crowd to stand and even a few danced. They found their groove early and singer/programmer Alethea, or "Butterfly Beats," delighted the crowd with her soulful voice. (ChrisB)

Beehive photos by Andrew Waits.

New Faces, EMP Sky Church

I've seen this band a bajillion times -- I practically stalk them -- and this was a very good show. They had a great dynamic with a pretty big turnout. They owned that huge stage. (Chona Kasinger)

New Faces. Photos by Chona Kasinger.

Throw Me the Statue, Rockstar Stage

An important aspect to booking festivals is kicking things off with a band to set the right mood. Throw Me The Statue was just such a band, with their undemanding pop tinged with elements such as a backing horn section. Their crowd was comfortable enough to stand or sit, a few head bobbers sprinkled here and there. (imaginary elle)

Throw Me the Statue. Photo by Chona Kasinger.

Throw Me the Statue. Photo by Kyle Johnson.

Neko Case, Samsung Mobile Mainstage

It makes sense to put former Washingtonian Neko Case on the mainstage at Bumbershoot because it was the first time I've seen her in a venue big enough to contain her voice. She played for about 75 minutes and was funny and likeable throughout, making note of playing depressing country songs in the middle of the day. "Deep Red Bells" and "That Teenage Feeling," played back to back sounded enormous and expansive - especially with three different guitar parts (Jon Rahouse on petal steel, Paul Rigby on electric guitar and Case herself playing acoustic guitar). She and longtime collaborator Kelly Hogan joked midway through the set that it was too early in the day for them to get wasted. Their humor was hilarious and provided a necessary balance for the emotional content of her set. {see the setlist} (ChrisB)

Neko Case and Kelly Hogan. Photo by Nathan Feder.

Neko crowd. Photo by Kyle Johnson.

Das Vibenbass, Wells Fargo Stage

The aptly titled quartet Das Vibenbass bring the jazz vibe and bass to the 21st Century music listener, bringing the genre to a more accessible level. Hell, as their set progressed, I started to realize I wished we were listening to the local band--an upright bass, saxophone, drums, and vibraphone--in an exclusive, smokey hidden jazz club with a gin, rather than out in the sunshine on fold able chairs. Wait a minute… are they playing a jazz rendition of "Black Hole Sun" not in a cheesy Kenny G covers Top 40 sort of way, but a very slick, enjoyable way? Never mind, they do know how to bring jazz to the modern ear. Their entire set was brilliant, definitely fetching all the praise they have received, such as being nominated in the Seattle Weekly for Best Jazz act. Doesn't hurt that their saxophone player was a good looking, well-dressed fellow as well. (imaginary elle)

Das Vibenbass photos by Kyle Johnson.

Thao and the Get Down Stay Down, KEXP Lounge

Thao and the Get Down Stay Down photos by Andrew Waits.

The Girls, EMP Sky Church

In the dark crowded Sky Church at the Bumbershoot Festival yesterday afternoon there was briefly the flavor of a late 70s small club show, with the one "wavo" band in town that "got it." The transgressive energy of sleazy humor ("Fixing The Chairs"), light-hearted Futurism, clipped robot rhythms, weird stop-starts ("TV Glow"), and shuffle beats from Shannon Brown (vocals), Elie Goral (drums), Derek Mason (keyboards), Vas Kumar (guitar), and (bassist) Griff happily entranced the hometown Seattle mob. The crowd wasn't frenzied but it was very cheerful. Just like the shared similar aesthetic Figurines and Futureheads, The Girls is even better live than their recordings, wishing they would add more of that spontaneity and rawness next time out to their songwriting. It would be great if this city had its next Screamers, and this band maybe could be a contender for that role. (Chris Estey)

The Girls. Photos by Chona Kasinger

Grynch, Fisher Green Stage

Grynch photos by Kyle Johnson.

Mono in VCF, KEXP Lounge

Nada Surf, KEXP Lounge

The KEXP Lounge is such an amazing refuge from the hurried, elephant-eared pace of Bumbershoot. There a few hundred lucky fans can see bands in a intimate dark (air-conditioned) setting. Catching Nada Surf acoustic style was definitely a highlight of my Bumbershoot experience; Matthew and Ira's spot-on harmonies positively sent chills down my spine. Also of note: the bassist for Osma did an admirable job filling in for an injured Daniel Lorca. Watch a video of the band performing "Weightless." (imaginary dana)

Nada Surf photos by Chona Kasinger.

Fall of Troy, Exhibition Hall

Fall of Troy photos by Kyle Johnson.

PWRFL Power, EMP Sky Church

The Walkmen, Rockstar Stage

The Walkmen. Photos by Chona Kasinger.

Estelle, Fisher Green Stage

Estelle, the British R&B/soul star, delivered what will be one of my favorite sets of the weekend. Playing before a huge crowd on the Fisher Green stage, she more than lived up to the buzz surrounding her new <em>Shine</em> album. On stage she reminded me of a cross between Sharon Jones and Lily Allen - two of my absolute favorite performers. Her band was tight and funky - although I wish they would have been funkier; their obvious influences are Parliament/Funkadelic, The Famous Flames and The Dap Kings and only on a few songs ("Pretty Please" and "American Boy") did they seem to break out. "American Boy", the #1 UK single that also features a cameo from Kanye West, closed the set and the enormous crowd sang along and danced - it was one of those great moments where a huge and diverse crowd shares a fantastic performance of a song that is the soundtrack to a whole lot of summers. (ChrisB)

Estelle. Photos by Nathan Feder.

Saul Williams, Fisher Green Stage

Saul Williams. Photos by Kyle Johnson.

Man Man, Rockstar Stage

Man Man. Photos by Chona Kasinger.

Man Man. Photos by Andrew Waits.

Nada Surf, Starbucks Stage

Nada Surf. Photos by Chona Kasinger.

West Indian Girl, EMP Sky Church

West Indian Girl. Photo by Andrew Waits.

West Indian Girl. Photo by Chona Kasinger.

West Indian Girl. Photo by Kyle Johnson.

Kinski, EMP Sky Church

Kinski. Photos by Kyle Johnson.

!!!, KEXP Lounge

I really enjoy !!!, the Sacramento-based, punk/funk/jam band but writing about them gives me fits with MS Word's grammar check; using Google isn't any easier. Still, their 30+ minute set in KEXP's music lounge was great fun. Playing mostly newer songs (singer Nic Offer even said that they would give us "a hit and a half"), they still delivered the same dance punk they are known for. Offer might have forgotten a few times that this performance was being broadcast on the radio because he dropped the f-word a few times. The funniest time was when he said that he thought the room was full because we were all "the fucks who are going to see Beck tonight" (!!! and Beck is the most unfortunate scheduling conflict of the weekend) and threatened to give a crappy performance for the last song. They didn't; in spite of their threats, they still rocked. (ChrisB)

M Ward, Rockstar Stage

M. Ward. Photo by Andrew Waits.

Beck, Samsung Mobile Mainstage

Did you think Beck was watching a legend in action, as Imaginary Kiku did? Or did you think he was, in a word, bullshit, as ChrisB did? Our imaginary coverage has a little something for everyone.

Beck. Photo by Kyle Johnson.

Enjoy!

A Hundred Miles Off and 'Pussycats' Starring the Walkmen

Erik Gonzalez — Thu, 04 Jan 2007 08:00:00 +0000

7.5

http://www.amazon.com/exec/obidos/ASIN/B000F3AB1U/wwwthreeimagi-20

walkmen100-06dec.jpg

The Walkmen have been busy little beavers in 2006. Two full-length albums for our enjoyment and they couldn't be more different. One is made entirely of sprawling originals (A Hundred Miles Off while the other is a song-for-song remake of a classic 70's album ("Pussycats" starring the Walkmen). They each has its own merits and flaws, especially when you have to compare to their last album, Bows & Arrows that might be one of the peaks of the '00s indie music. However, an only OK Walkmen album is still much better than most of the music heard on the radio these days in the first place.

It is abundantly clear that Hamilton Leithauser, lead singer of the Walkmen, loves Bob Dylan. His vocals on A Hundred Miles Off, the album of all originals, border on undecipherable at times, slurred and dirty, but that's part of the charm of the band. Opening up with "Louisiana," you can tell right off the bat that the Walkmen want to have that sound of recording in a warehouse, full of echoes, distortions and imperfections. The song itself is actually quite beautifully arranged with intertwined guitars, pianos and horns, but never takes off. You can feel it building to something, but then it just ends. This is a recurrent event on A Hundred Miles Off, almost as if the songs are only half there, none seem to have the focus of classics like "The Rat" from Bows & Arrows. Both "Danny's at Your Wedding" and "Good For You's Good for Me" almost get lost in their own deformation, as if they were recorded in one take with Leithauser half in the bottle, and while it had its charms, leaves the songs lacking any cohesive center. There is a little more focus on "Emma Get Me a Lemon" (my vote for favorite song title of the year") but the best aspect of the song is a strong presence of the Walkmen's drummer, Matt Barrick. The Walkmen are one of the few bands that the drumming stands out, and Barrick is in top form on "Emma..." with thick rolls and foot stomping thunder.

If anything, A Hundred Miles Off is at least a sunnier, cheerier sound for the Walkmen. "Lost in Boston" is almost downright fun, with lightly strummed guitars filling in between the crashing drums. I would love to point out some lyrics, but after Leithauser's initial "Lost in Boston/drinking rum and chocolate/a hundred thousand blinking lights are making me exhausted," darned if I understand much else. If only they could have focused a little more, the new mood could have really shown through, but sometimes the looseness gets a little overboard (e.g., "Always After You (Until You Started After Me)") and bordered on outtake material rather than a finished song.

The flipside to the A Hundred Miles Off anarchy is the Walkmen's song-for-song remake of Nilsson's Pussycats. Here, suddenly the band has morphed into a later-day Afghan Whigs. Leithauser sounds disturbingly like Greg Dulli on the opener, "Many Rivers to Cross" (and you can actually understand his vocals. Go figure.) The original Nilsson album is half covers in the first place and has a reckless abandon that one might think would be hard to recapture, however, the Walkmen do an excellent job of not just rehashing but re-invisioning the album. It seems vaguely amusing to hear the Walkmen sing "Subterranean Homesick Blues" considering they perform it in such a non-Dylan fashion when compared to the sacrifices to the Dylan altar on A Hundred Miles Off. This amusement continues on "Save the Last Dance," which takes a great 70's ballad into a drunken plea. Leithauser transforms into a poor, abandoned lover, practically channeling a less raspy Tom Waits into the vocals and when you put those vocals over the languid piano, echoed drums and barroom harmonies, the song takes on an entirely new life. The same might be said for "Loop de Loop," that sounds like a lost Springsteen outtake recorded deep into a drunken party night. Not all of the album works, many times the covers sound a little too by-the-numbers (such as "All My Life" or "Mucho Mongo"), but is mostly made up by the oddness of tracks like "Rock Around the Clock" that is tackled like any good post-Sex Pistols band might hack at Bill Haley.

Overall, the Walkmen have had a good year. They released two pretty darn good albums, neither are classics, but they are a lot a fun. If I were asked at gunpoint which album was better (and I'd love to hear any examples of how this situation could arise...), I'd probably lean towards Pussycats starring the Walkmen for its quaint strangeness and more spontaneous but still focused feel, but A Hundred Miles Off is no slouch in itself. In any case, it still makes you pleased to see that as of late 2006, the Walkmen are already proudly proclaiming they are recording for their next disc. Yes gentlemen, go forth and multiply!

The Walkmen have been busy little beavers in 2006. Two full-length albums for our enjoyment and they couldn't be more different.

Sushirobo

imaginary dana — Sat, 20 Sep 2003 07:00:00 +0000

19 Sep 2003

sushirobo.jpg

And on the fifth day, Seattle's own Sushirobo played their CD release party at Graceland with Kaito and the Walkmen, to support their brand-spankin' new CD, The Light-Fingered Feeling of Sushirobo (Pattern 25 Records). igDana heard what they played, and she knew it was good.

I think Donny and Marie Osmond said it best when he said: "They're a little bit funky... and a little bit rock and roll." Here's a band that named themselves after a Vancouver restaurant where robots make sushi, playing music that intentionally de-emphasizes traditional guitar, instead opting for spacious tones with plenty of room for the irreverent. With saucy, well-articulated lyrics, Arthur Roberts made me giggle by rhyming a sentence ending in the word "Belladonna" with, "You light a candle and pretend it's marijuana." Tee hee.

And I don't even think that lyric was from a real song — I believe it was his consummate-front-man-filler-schmutz while guitar player Dave Einmo troubleshot his instrument's technical issues. Now while it might cause a "normal" rock band anxiety to have guitar functionality meltdown during a CD-release show, that effect must have been exponentially greater for Sushirobo, as they had wacko guitar effects a-go-go.

Not that their anxiety showed. Their effortless charm was infectious, and after one improv song, Sushirobo were back up playing, deconstructing the very notion of guitar — as in, eliciting wildly-wacky sounds from it that didn't even sound like guitar-like — part swirling weirdness, part scary little Asian-sounding guitar blips and pings and wizzbangs, all the while carrying their songs along with a strong methodical rhythm section and quirky vocals.

While at times I found the overall sound was a bit thin — hey, I like driving indie guitar rock! — I totally dug that Sushirobo elevated indie-rock sound effects to a new level of ingenuity. I've decided to dub them Seattle's capricious-pop masters.

Here's a band that named themselves after a Vancouver restaurant where robots make sushi, playing music that intentionally de-emphasizes traditional guitar, instead opting for spacious tones with plenty of room for the irreverent.

The Thermals

imaginary dana — Thu, 06 Feb 2003 08:00:00 +0000

4 Feb 2003

thermals2.jpg

I arrived to my first Vera Project show to a hella-line on a barely post-frigid night. After queueing for 45 minutes outside, I entered the showroom with no expectations beyond warmth. As my freezing body drew comfort from the heat of the all-ages throng around the stage, it was my ears that received the greatest delight when the opening band came crashing onstage. Who the hell are these guys (and girl), I thought?

Turns out they are The Thermals, a Portland-based band who have a new release due out on Sub Pop in March. And oh goddamnit, they were amazing! I heard new wave punk influences, with incredibly catchy hooks, and a driving and amazingly tight rhythm section.

They were also really professional — not in any sort of over-produced or polished way, but rather in their ease with performance, with a commanding stage prescence. Lead singer Hutch Harris has the strongest, most unabashed male vocal I've heard in quite some time. He is a fantastic showman — without being showy, if that makes sense. His eyes roll back in his head when he sings, flails, or madly gestures, but he never postures; his onstage delivery approaches evangelical.

The Thermals sound incredibly earnest, but not like their bill-mates The Walkmen  a band who were also good but so serious about being good that they couldn't just let loose and smile. These guys are serious musicians but they play with unbelievable energy and passion, and look like they're having a blast while doing it — a rare combination.

If they set the film Valley Girl in 2003, The Thermals would be on the soundtrack, and Nicholas Cage would still be cute. Did I mention cute? They have the hottest quirky girl on bass (Kathy Foster), and Hutch is as much a swooner as a crooner. I might lose 6.2 points on my indie-cred scale for saying this, but he reminded me of Ed Kowalcyzk (Live) when he was still young and cute and earnest, before he starting singing about weeping sea life.

I love when this happens — when I enter a show with no expectations, and am completely astonished by such a blazing performance! Did I come in here to warm up? Done. And then some. I didn't write any notes about The Walkmen, so onward to Hot Hot Heat!

"You open your eyes... you hit the switch!"

Imaginary '02 Recap!

three imaginary girls — Wed, 01 Jan 2003 08:00:00 +0000

{And yes, we have included shameless promotion links to our affliated Insound and Amazon affiliate programs, where you can listen or buy. So sue us. Or buy something, and help us support our excessive web page habits...}

Best Releases:

Ooh ooh! I know! Dana's favorite three releases of the year are:

Pretty Girls Make Graves Good Health

Carissa's Wierd Songs About Leaving

The Long Winters The Worst You Can Do is Harm

Hey! I didn't say that! How did you know that?

Anyone who has been in your car knows. Hell, anyone who has ever read the site knows.

Oh god, am I *that* predictable? {don't answer that}. Geesh. She's right though, of course.

How about you, Liz?

OK. My favorite 2002 local releases are:

Tullycraft Beat, Surf, Fun

Carissa's Wierd Songs About Leaving

tHe drop Iceland

And my favorite 2002 Brit releases are:

Clinic Walking with Thee

South From Here On In

ballboy Club Anthems

Ooh yeah, I second the Clinic and South (and further nominate Clinic for the distinguished "Shortest show of the year" award, coming in under 40 minutes at their I-Spy show back in March.) And Doves The Last Broadcast. Mmmm, Doves.

Right. Back to me. My favorite 2002 New Yorker releases are:

Mooney Suzuki Electric Sweat

The Walkmen Everyone Who Pretended to Like Me is Gone

The Liars They Threw Us All in a Trench and Stuck a Monument On To (ok, so it was released in 2001 but re-issued this year... )

...and my favorite 2002 Scandanavian releases are:

Sondre Lerche Faces Down

Division of Laura Lee Black City

Cato Salsa Experience A Good Tip for a Good Time

...and my favorite 2002 Welsh releases are:

mclusky mclusky do dallas

Super Furry Animals Rings Around the World

um... Cinerama "Torino"

- ok... they aren't Welsh, but the Lostprophets (who ARE Welsh) opened up for Cinerama when saw them in July

Oh! And my favorite 2002 Nebraskan releases are:

Bright Eyes Lifted or The Story is in the Soil, Keep Your Ear to the Ground

Desaparecidos Read Music/Speak Spanish

Bright Eyes A Christmas Album

You are out of control...

Most Extraordinary Live Shows:

My favorites...

Robyn Hitchcock Sunday night at the Croc followed by the omigod-fucken-amazing Nick Cave and the Bad Seeds at the Paramount Monday night. Hot damn. Back in April (pre-TIG)

Pretty Girls Make Graves CD Release Party (w/ 764-HERO) at Chop Suey 6.13.02 (also pre-TIG)

Peter Paker & Aveo / The Malinks & Tullycraft — all in the same day — all free — all at the EMP.

Hmmm... my favorite live performances... this is so hard... can I break it down to local and non-local? I'll say it really quickly before igDana has a chance to stop me... first... local:

Scottish Men of Science / The Malinks / Yeek Yak Airforce , 11.14.02 at the Sit 'n Spin.

Hypatia Lake 8.17.02 at the Sit 'n Spin

The Long Winters / Carissa's Wierd 6.15.02 at the Paradox Theatre

And my favorite 2002 non-seattle-ite band music moments are:

Hives / Mooney Suzuki show on 5.31.02

Idlewild at T in the Park on 7.13.02

Bright Eyes at the Capitol Theatre, Portland on 10.17.02

Most Imaginary Moments:

Imaginary in Tablet!
Opening Tablet newspaper and finding that local artist – no, amazing local artist – Randy Wood had immortalized us, in comic form. I think we collectively took an entire trees worth of newspapers to send home to our Moms.

Imaginary on the Radio:
So I returned from my Spain trip and was spending a week with my folks in Florida, when I got an email from Marlene, telling me she had just heard (the ever-awesome) Sean Nelson talking about Three Imaginary Girls with (the ever-cutie) Drew Victor during his Audioasis. Sigh and pitter patter. What a thrill (and what a great welcome back into the country!)

Death Cab for Snooty
As you might recall, one of our pre-Death Cab for Cutie Bumbershoot performance activities was to approach a couple of guys in the beer garden who we mistook for two members of DCFC. Two months later a co-worker mentioned that he saw my picture on his friend's website. He sent me the link and low and behold, there we were, with the caption: These girls approached me in the beer garden. They thought--no shit--that I was "Ben" from "Seattle Indie Legends" Death Cab for Cutie. I always suspected I looked like a rock star. See, I told you they were snooty!

Best Live Cover Song:

Goddamnit I love it when bands throw in a good live cover! I am sure that now, while I'm trying to recall my favorite, I am inadvertently overlooking some really, really good ones. But this is what I remember at this point, in no particular order...

Saeta covering the Magnetic Fields' "Grand Canyon"

The Malinks covering Bell Biv Divoe's "Poison"

Loveless covering Dramarama's "Anything, Anything"

Robyn Hitchcock covering the Psychdelic Furs' "The Ghost in You"

Beck covering the Flaming Lips' "Do You Realize?"

Carissa's Wierd covering Morrissey's "Suedehead"

Sleater Kinney covering The Doors "Hello I Love You"

OK, so I had a hard time sticking with the limit of three...

OK I choose...

Earlimart covering Wire's "Strange"

Ryan Adams covering Bryan Adams' "Summer of '69" {hee hee} - sidenote: that Ryan Adams is out of control. First he's picking a fight with Rhett Miller, now with Jack White (White Stripes). I don't like this Noel/Liam Gallagher thing he's doing one bit.

M. Ward covering David Bowie's "Let's Dance"

Best to watch for in 03

OK, so at the risk of sounding incredibly predictable (again), can I just insert my vote again for:

Hypatia Lake, please? Thank you.

And as ever, Drew Victor and Passing Friends

... and Visqueen.

And thanks to a special imaginary friend, I have a an advance copy of this amazing up-coming on Sub Pop release called Postal Service. It's Dntel (aka Jimmy Tamborello) and Death Cab cutie Ben Hibbard on vocals. electronica CD (due out on Sub Pop this spring). It's dreeaamy good. As our representative of the indie-elektro community, Imaginary Boy Jason explained, "Jimmy and Ben worked on a track on Dntel's last album ("Life is full of Possibilites") and it appears they got along well enough to write an album together."

There, that's three (and then some). Liz, the rest is on you.

I second those, and wish to add:

Terror Sheets (first full length due out on Sad Robot, coming soon!)

Also, I know they're already signed and released, but I'm looking forward to hearing more from Okkervil River. Their 2002 release was on my top 10 list (but I was only able to list three here... the horror)

And another signed and released group, LA's Earlimart (who just rocked my little world opening for Rhett Miller this month).

Best Already Released International Album To Be Released in the US (and Immediately Purchased) in 03:

Ahh, this is easy...

Idlewild The Remote Part

Hoggboy Or8

Beth Gibbons Out of Season

Right. What she said. As I always say, never take an Imaginary Liz recommendation lightly...

2002 Sensations that We Don't Get

You know how sometimes there can be a band and everyone just loves it and you listen and are just like... um. Hmm. Now the Girls don't usually like to complain... but I have just two words to say. Coldplay. Yes, Coldplay. I don't get it. I didn't like "Yellow" and I haven't really liked anything since. I don't hate them... I just don't get it. I must be missing an essential chromosome on my Britpop gene helix. Oh well.

This might earn me a whole buncha indie-wrath... but I'm going to have to fess up to Ugly Casanova. Don't like 'em. I know, I know. Next thing you know I will confess my dislike for Sleater-Kinney and then it will all be over.

Best Three New Things Around Seattle We Wouldn't Want to Enter '03 Without

How many ways do we love this great city? But a few noteworthy mentionables...

Wireless internet access at the newly reopened Green Cat Cafe and Top Pot donuts.

Chop Suey, for great shows in our hood (read as: no need to park downtown)

Randy Wood sponsored One Night Only.

For awesome arty original clothes, Damsel Collective and Dumb Clothing

Karaoke at the Comet and Twilight Exit with Steve

Half price after 11pm Wasabi Bistro sushi.

And of course and most importantly, all of the readers, supporters, and contributors to Three Imaginary Girls. Ya'll better stick around for 03; it's gonna be the year to be imaginary...

Hey kids! It's the end of '02, so welcome to the first ever Imaginary Recap. Hold onto your seats kids, it's gonna be a bumpy year-long ride of favorite, in triplicate. Because the best things always happen in threes (ho ho ho...)

{And yes, we have included shameless promotion links to our affliated Insound and Amazon affiliate programs, where you can listen or buy. So sue us. Or buy something, and help us support our excessive web page habits...}