Three Imaginary Girls - Fruit Bats

Saturday's recommended {benefit} show: SubPopFest with Mudhoney, Fruit Bats, Shabazz Palaces, and more {12/4}

imaginary liz — Fri, 03 Dec 2010 16:28:18 +0000

It's far from hyperbolic to say that *the* place to be this Saturday is the Showbox. SubPop has put together an amazing line-up for an even more amazing cause: to celebrate the life of Andy Kotowitz {beloved member of the music community and SubPopper} and, more importantly, raise money for the Andy Kotowitz Family Foundation, which supports Andy’s wife, Jocelyn, and young daughter Anna.

The benefit show is this Saturday (December 4th) at The Showbox (Market) and will feature performances by some of the bands Andy was the A&R representative for, including: A-Frames/AFCGT, Fruit Bats, Mudhoney, Michael Yonkers, Pissed Jeans, Shabazz Palaces, Vetiver, and Wolf Eyes. This is an all-ages event, with doors at 7pm. Tickets are $20.

Tickets go on sale for SubPop fest for the Andy Kotowitz Family Foundation {noon today, 11/12}

imaginary liz — Fri, 12 Nov 2010 15:29:51 +0000

The music community is still reeling from the passing of Andy Kotowitz, a beloved member of the music community. It's wonderful to hear that his SubPop family has put together an amazing show to celebrate him and raise money for the Andy Kotowitz Family Foundation, which supports Andy’s wife, Jocelyn, and young daughter Anna.

The benefit show will be December 4th at The Showbox (Market) and will feature performances by some of the bands Andy was the A&R representative for, including: A-Frames/AFCGT, Fruit Bats, Mudhoney, Michael Yonkers, Pissed Jeans, Shabazz Palaces, Vetiver, and Wolf Eyes. This is an all-ages event, with doors at 7pm.

A line-up like that should not be missed and it will surely sell out quickly. Tickets are $20 and go on sale at noon today {11/12/10} via Ticketmaster.

Weekend recap - Sasquatch! Festival 2010

Diana Salier — Tue, 08 Jun 2010 08:23:56 +0000

30 May 2010

Every Memorial Day Weekend, scruffy hipsters and hippies alike who lack the cash to drop on a desert jaunt -- complete with $5 bottles of water and scorching heat -- descend upon the Gorge Amphitheater in George, WA (yes, that's really the name) for the 3-day Sasquatch! Music Festival. There are considerably less stages and less big names, but the views are gorge-ous (har har), and you can easily find all of the previous year's blogworthy acts and at least a couple legendary ones before the weekend is through. And since this is Washington, the festival organizers provide a free water bottle refill station to save plastic. And did I mention it's beautiful out there?

This year my Concert Companion (hereafter known as the CC) and I packed the car full of hoagies, Coronas, yogurt, fiber bars and a nice sturdy tent, and set out Friday night on the 2 1/2-hour trip from Seattle to George. In the morning we woke up to sunny skies and a slew of young, unwashed, bleary-eyed yet still really attractive festivalgoers. Everyone was friendly and out to have a good time. Some entrepreunerial folks set up a grill with hot dogs, tacos and breakfast burritos in preparation for the drunk munchies. Once you've all shared the same lineup of Portapotties, had a few beers, and brushed your teeth together in a makeshift sink, the camaraderie pretty much starts a-flowin'.

And now, here's a breakdown of noteworthy events, day-by-day...

SATURDAY, May 29
Laura Marling - I was really curious about the woman who had served as Charlie Fink's breakup muse on the latest Noah And The Whale album. She turned out to be a charming 20-year-old (contrary to the brochure which listed her as 17, for some reason) UK singer/songwriter who played mostly acoustic folk tunes, and the audience seemed to enjoy it from their various positions lying on the grass basking in the sun, or clumped up by the stage.

Edward Sharpe & The Magnetic Zeros - Living in LA I've probably overlooked a handful of chances to see these guys, with no good reason. We stood on the guard rails in front of the soundbooth and watched Alex Ebert (former member of Ima Robot, though you wouldn't know just by listening to Ed Sharpe) dressed in white and lookin' as Jesus as ever, traipse around the stage with fellow singer Jade Castrino and 8 other musicians. First festival high point: the entire crowd bursting out into "Home is wherever I'm with you!"

Mumford & Sons -- Lots of people recommended we check out this band, including some of our neighbors with the U-Haul rig next door. The CC liked the set a lot more than I did, but if you like your folk music with a healthy dose of banjo, here's a good place to look. Some of the bluegrass-tinged songs were dancier than others, and lots of people got down with their flip-flopped feet.

The National - Say what you will about Matt Berninger's lack of vocal range, but "Bloodbuzz Ohio" is one of the best songs of the year so far. These New Yorkers' performance on the main stage was awesome, even though Berninger looked troubled and pained, closing his eyes and gripping the mic stand through every song. Halfway through the set we realized that the guitarist and bassist were twins! ("Hey, how'd he change his clothes so fast?")   This was our introduction to the second tier of the pit area, and we were glad to be so close during the terrific performance of "Bloodbuzz" -- though it would've been cool to have been in the real pit when Berninger walked through the crowd.

Vampire Weekend - No alarms and no surprises here, people! Not like anyone expected anything different, but the Columbia prepsters delivered a mega-energetic set of new and old material to a pit full of folks frantically dancing and fist pumping. Unfortunately Ezra Koenig busted out the autotune on "California English," but the band all but made up for that with singalongs "A-Punk," "Cousins" and "Walcott."   I'm not a big fan of their records but this was the most downright balls-to-the-wall fun set (of the ones we made it to) of all 3 days.

SUNDAY, May 30
Local Natives -- After waiting in the entry line for half an hour, we sprinted to the Honda Bigfoot Solar Stage to see one of my favorite LA acts. I've been following them since spring 2009 and watching them grow has been amazing. Apparently everyone else outside of LA has caught on as well, because the huge crowd seemed to know all the words to songs like "Sun Hands," "Camera Talk," and "Wide Eyes." The 3 and 4-part harmonies were spot-on as always, and I may've teared up during "World News" and "Who Knows Who Cares" (dedicated to guitarist Taylor Rice's girlfriend on her birthday). 3-way tie with The National and Vampire Weekend as my favorite set.

Avi Buffalo -- Recent SubPop signees and another LA act -- the city really represented this year! They played on the smaller Yetti Stage and the crowd wasn't as big as it could've been, but they just seemed really happy to be there -- ever since breaking out of the Long Beach/LA scene, Avi, Rebecca, Sheridan and Arin have gone around with this endearing bewilderment at their rising success, and totally enjoyed the hell out of the ride. The girl standing next to me had never been to an Avi show and belted out the words to every song, to her friend's either dismay or enjoyment, I couldn't really tell. There were some awkward tuning pauses in between, but nothing that couldn't be saved.   The outro to "Remember Last Time" killed, and I'm continually impressed by Avi's mad guitar skillz.

The Tallest Man On Earth -- Another point of discrepancy for me and the CC. I'm usually all for the one-guy-with-a-guitar thing if he can command a stage (see: Bon Iver, AA Bondy, Jose Gonzalez, Conor Oberst, and the list goes on), but everything started to sound the same after awhile -- that is, up until closer "King Of Spain." Kristian Matsson does have one of the most unique voices in folk these days, though.

Pavement -- It was his birthday and all, but I'm not sure if Stephen Malkmus was really drunk, or if this was just Pavement being Pavement. We camped out on the lawn high above the mainstage and kept exchanging "what the hell's going on??" glances as the band started and stopped, ostensibly out of tune and just not really keeping the set in line. Massive Attack was up next so we moved down to the pit, and towards the final 3 or 4 songs they seemed to hit their stride, but it didn't really salvage the performance.

Massive Attack -- A few months ago one of my co-workers mentioned Massive Attack, totally taken aback that I wasn't familiar. And now I can see why. They played an hour and a half of trance-inducing music with the best light show of the weekend, and if you were sitting anywhere too far away you wouldn't be able to see the LED messages scrolling across the board behind the band -- everything from celebrity newsbits to political commentary and words of wisdom. Everyone we talked to that night agreed it was mindblowing.

Booka Shade (DJ set) -- The first 2 nights closed out with "late-night" DJ sets on the Honda Bigfoot Stage following the headlining act; after Massive Attack we joined the huge dance party on the grass for more light show, pumping synths, beach balls like your college graduation and a mass of happy youth getting it all out. It was like being at a warehouse party, but out in the open air...after having your mind blown by Massive Attack. Awesome end to the day.

As the weekend progressed the energy grew and the cleanliness quotient dwindled just as quickly -- notably, the line for beer at the general store was consistently longer every morning than the line for showers. The food was pretty much what you'd expect for a weekend festival, except one of the happiest small moments for the CC and I was stumbling upon a pizza stand Monday morning and walking to the grounds with a slice and a coffee. Perfecto.

MONDAY, June 1
We stayed pretty close to the main stage on Monday, mostly because we were tired and always agreed that if in doubt, just sprawl out on the lawn and take a nap. This was also the day of the long-awaited 1-2-3-4 punch of Passion Pit, She & Him, Band of Horses and MGMT slated for the 4-8 pm slots.

Mayer Hawthorne and The County -- I told the CC he might like this Michigan-bred white dude playing soul music. The band looked sharp in their white suits, and it kind of reminded me of Marvin Berry & The Starlighters (even though they wore blue). They played a few bars of Biz Markie's "Just A Friend" before seguing into single "Just Ain't Gonna Work Out" (both songs use the same beat). Overall it sounded as good as the record - no more, no less.

The Temper Trap -- You might know them as that band with that song on the 500 Days Of Summer soundtrack -- the part where Tom and Summer meet on the Amtrak to San Diego, wedding montage, and so on. We came into this set only knowing "Sweet Disposition," but came out of it with a newfound interest in these Aussies.

Passion Pit -- When we finally moseyed into the pit, the party vibe was in full force -- Michael Angelakos sang the synthpop dance hits that made these guys a buzz band, while the audience turned into a dancing mob of neon shorts, face paint, beer bottles and fratty Abercrombie-looking dudes pumping their fists and singing along to "The Reeling," "Make Light" and "Little Secrets." Someone brought a huge blow-up whale. It looked like MTV Spring Break. Apparently bros love Passion Pit!

She & Him -- No one expected this to be epic, but it was upbeat and entertaining and the backing guitarist/bassist/drummer were all solid musicians. The Chapin Sisters came out on the 2nd or 3rd song and stood awkwardly at stage right, singing backup and hitting a triangle that no one could really hear. All the predicted comments apply here -- Zooey Deschanel was beautiful, though not with the most engaging voice in indie music, and M. Ward is still the effin' man. He rocks those shades like no one's business, too. Every time he played a solo, or the few times he contributed vocals, the crowd went nuts. Apparently bros love She & Him!

Band Of Horses -- Everyone expected this to be epic. "Factory" (from the new album) and "No One's Gonna Love You" were definite set highlights, and then we were all anxiously awaiting "The Funeral." Lead singer Ben Bridwell had to pause to grab his pick between verses and choruses, putting a bit of a splinter in the song, but still a strong set.

Stomachs full of hot dogs and fries, we hightailed it out of the festival grounds 2 songs into MGMT's set -- the CC was bent on avoiding the crush of cars we'd encountered Friday night, and we both agreed that we weren't going to be missing much after 2 songs. When we got back to the site it was eerily still and quiet like a zombie flick -- except instead of the undead there were huge piles of trash bags, a lonely line of Portapotties under the fading sunset, deserted tents in the foreground, the opening line of "Kids" somewhere among the mountains in the distance.

While there were definitely some artists we didn't catch due to time constraints -- Phantogram, Camera Obscura, New Pornographers, Miike Snow and The Middle East among them -- we drove back to Seattle listening to a mix of the best Sasquatch artists, and reveled in another Memorial Day Weekend made good!

Laura Marling (Courtesy: Adam Forslund)

Pavement (Courtesy: Victoria Vanbruinisse for City Arts Magazine)

Tallest Man on Earth (Courtesy: Adam Forslund)

New Pornographers (Courtesy: Adam Forslund)

The Middle East (Courtesy: Victoria Vanbruinisse for City Arts Magazine)

Miike Snow (Courtesy: Adam Forslund)

Fruit Bats (Courtesy: Adam Forslund)

(Courtesy: Victoria Vanbruinisse for City Arts Magazine)

Pavement (Courtesy: Victoria Vanbruinisse for City Arts Magazine)

Photo of the day: Fruit Bats {at Vera tonight}

imaginary liz — Fri, 22 Jan 2010 15:39:01 +0000

Only a few more hours and the weekend will officially be upon us (that is, unless you started it last night... is so, my hat is off to you!).

There are so many good shows to thrust us to and fro. Tonight, the Fruit Bats will be at the Vera Project with Sonny Smith and Tu Fawning while another TIG recommended show, Drew Grow and the Pasters Wives will be at the Comet. And then there's Steve Earle at the Moore (zow!). Here's the full list of tonight's choices:

The Ruminant Band

Chris Estey — Wed, 19 Aug 2009 16:24:06 +0000

8.5

http://www.amazon.com/Ruminant-Band-Fruit-Bats/dp/B002C6K82K/?tag=wwwthreeimagi-20

ruminantband.jpg

It's hard not to cheer for Eric D. Johnson. Recent collaborating with The Shins and Vetiver just proved what good taste us early-Aughts fans of the Fruit Bats' debut Echolocation (2001) had. Our initial enthusiasm had been proved right by Sub Pop releases Mouthfuls (2003) and Spelled in Bones (2005), yet larger reception eluded the Chicago multi-instrumentalist who started in the band Rowboat. In the past few years, echoes of his hayride, clap-infectious, intelligent songs have streamed like fresh water through the body of wide-spread rock-pool, even to the point we may have forgotten about the Fruit Bats. Their music seems like just another shimmer on that great music surface. But their use of major keys, lack of drama or urgency or melancholy, seems like a world other kind of band sometimes, a "ruminant band."

The new album The Ruminant Band is Johnson's most assured work, a tight novelette with girls being taken to see Three Dog Night at the fair ("Singing Joy To The World"), odes to a "Feather Bed," broken down TVs, Rains of May pouring like the Genesis flood ("Flamingo"), poison frogs, doves, and dogs. This is a record both ample and snug, close and incandescent. "Do what thou wilt, do as you please" is its message ("The Blessed Breeze"), touching on our primitive but timeless needs for romance, community, and chooglin'.

A round of applause should be given drummer Graeme Gibson, for not just driving the gently shaggy tunes along without the dour excess of certain other rhythm-fixed contemporaries, but also produced "The Ruminant Band" to be as pleasurably considered as the album title suggests. "The Hobo Girl" goes in its natural direction, falling into the chaos of a party laughing and missing the beats in their singing along. "Feather Bed" features the kind of piano John Cale would have played on the third Velvet Underground album if he'd been allowed to stay in the band -- joyfully driving it along like a Chuck Berry of the 88s. The Van Dyke Parks-style parlor pop of closer "Flamingo" could be a Neil Young song, and the Wurlitzer swirling beneath sounds like caramel on the melting ice cream cone.

I don't know if Johnson and Gibson and his other players can pull off something this elegant live, but we have a chance to see it this week, and I'll bet with all his experience on the road and carefully romancing his muse will have a pay-off with in-person performance.

{Fruit Bats play on Thursday, August 20 at the Crocodile with Johnny & the Moon and Palmer Electric Co. and on Friday, August 21 as part of KEXP's Concerts at the Mural series at Seattle Center with Johnny & the Moon and The Moondoggies.}

New Fruit Bats album out August 4th

Chelsea Werner — Fri, 31 Jul 2009 14:43:17 +0000

In the four years since Fruit Bats last album, Spelled in Bones, I have found myself frequently wondering if this band was one of many that I discovered too late and would never get to see live. Originally I fell in love with "Seaweed" off 2003's Mouthfuls. That was in 2004 and something about the folky tinged nostalgia it inspired within me, made me think that Fruit Bats had formed and disbanded before I was old enough to experience nostalgia.

Thankfully, this is not the case. In the interim of Fruit Bats releases, songwriter Eric D. Johnson has been keeping busy playing with bands like Vetiver and The Shins. In 2008 the band reformed and recorded the new album in the same Chicago studio where they recorded Echolocation, nine years ago.

Three Imaginary Girls Best Northwest Releases of 2005 Readers' Poll Results {40-31}

three imaginary girls — Fri, 06 Jan 2006 08:00:00 +0000

{50-41} * {40-31} * {30-21} * {20-11} * {10-1}
{top 100} * {imaginary picks}

#40 Vendetta Red — "Sisters Of the Red Death"
(Sony)

{official website} * {buy it}

#39 Matthew Shaw — Convenience
(Self-released)

{official website} * {buy it}

#38 Fruit Bats — Spelled in Bones
(Sub Pop)

{official website} * {buy it} * {review}

#37 Aqueduct — I Sold Gold
(Barsuk)

{official website} * {buy it} * {review}

#36 Laura Veirs — Year of Meteors
(Nonesuch)

{official website} * {buy it}

#35 The Emergency — Far Out
(Self-released)

{official website} * {buy it}

#34 Tim Seely — Tim Seely's Funeral Music
(Slow Love Records )

{official website} * {buy it} * {review}

#33 Kelli Hanson — Lullaby for an Astronaut
(Bigger Than the Barn)

{official website} * {buy it} * {review}

#32 Crown Aruba — alotisalot
(Unsmashable Records)

{official website} * {buy it} * {review}

#31 Crystal Skulls — Blocked Numbers
(Suicide Squeeze)

{official website} * {buy it} * {review}

See all the winners in the TIG Best Northwest Releases of 2005 Readers' Poll (see winners #40-31 here).

Spelled In Bones

Joseph Riippi — Tue, 06 Dec 2005 08:00:00 +0000

6.9

http://www.amazon.com/exec/obidos/ASIN/B0009W5KCC/wwwthreeimagi-20

fruitbats.jpg

Every once in a while, it's really nice to listen to an innocuous pop record: something that's just plain delightful, music like cotton or a worn baseball cap. It's comfortable to listen to an acoustic guitar pop song layered with melodies and hand claps. It's like climbing into a big, safe quilt.

Oh, you silly Fruit Bats. I really adore you for this supremely lovely and simple record. You're the antithesis to your Wolf Eyes labelmates, the fraternal twin to The Shins (people tell you apart as the calmer, nicer one, who moved to the country for a while); your new record Spelled in Bones has a sort of sad-words-with-happy-sounds idea to it, even in the title. I mean, if you spell something in bones then you're either a creepy dude named Hannibal or a two-dimensional Flintstone's character. That's a big difference.

So Spelled in Bones begins with a quick-strum acoustic guitar (stolen from Nickel Creek) on "Lives of Crime," a really nice song with pseudo-sad lyrics ("Your tears are just the creek / on which you float away from me") and Dear John Letters-caliber harmonies. It's also one of the more instrument-heavy tracks on the record, basically putting on the table all the tools the Fruit Bats will use throughout the rest of the record: handclaps, acoustic guitar, piano, organ, crunchy electric guitar (like biting a Tootsie pop), a little computer bleep-bleeping, and minimal drums.

In between "Lives of Crime" and the last track — the gorgeous honky-tonk ballad "Every Day That We Wake Up It's A Beautiful Day" — are nine sad-happy tracks, each a lovely pop song in its own right and composition, and each just a little bit melancholy enough for the average person to care about what they're saying. Hinting to similar artists whom excel at the sad-words-with-happy-sounds genre, Spelled in Bones could be the perfect soundtrack to a cold day in July, or the perfect record to play while snuggling in bed on a weekend afternoon, trying to convince yourself the purring cat on your lap is an adequate replacement for your ex.

You're the antithesis to your Wolf Eyes labelmates, the fraternal twin to The Shins (people tell you apart as the calmer, nicer one, who moved to the country for a while)...

AstroPOP! for July 2005

chilly c — Fri, 03 Jun 2005 07:00:00 +0000

Gemini {May 21-June 21}
You want to know if you're going to find true love this month? You're asking the big questions this month, Gemini, and I applaud you for it. And I'm guessing that you're onto me — I'm applauding so heartily because I don't really have an answer for you. My usual sources (star charts and Jane magazine) have failed me. So I turn to the excellent new Long Winters cd When I Pretend To Fall (Barsuk) for answers. John Roderick's deceptively complicated song structures contain just as deceptively complicated romantic situations: subtle break-up's, sleepless resignation, to feel love so much you either can't breathe or you breathe fire. The songs crash from emotion to emotion, from the plead of "Cinnamon" to the need of "Prom Night at Hater High." But guess what, Gemini: if the Long Winters can't solve their own romantic problems, how are they going to solve yours? So keep at it, and if you find the answers, please call me.

Cancer {June 22-July 22}
This month you need to concentrate on the details, Cancer. Ask yourself — really ask yourself — which book will you bring to read on the bus? Should you drink your root beer with a straw? Top shirt button: open or closed? Nothing is arbitrary, and the more attention you give the details, the smoother your ride will be. Seattle's Tableland also know the beauty of paying attention to detail. Their self-released full-length Tremulous Elemental (no label) soothes like aloe on sunburn, just in time for long June days. Check out a highlight like "Bested:" slow looped jazz drums under day-dreamy guitar that curls up with hazy trumpet and perking electronics. A place for everything, and everything in its place. Once you make all the right choices, it's easy to bliss out.

Leo {July 23-August 22}
You and your ex? Back together? That's quite a prediction, Leo. When you live inside your own head too long, you're liable to build a first-rate fantasy world. Speaking of, New York's Mercury Boy have spent so much time in their own heads that they have created a futuristic world in which David Bowie, Marilyn Manson, Poison, and the Strokes all talk trash on the space bus of desire. New release Get It Goin' (Jafzi Records) has got production bombast to spare but precious little post-90's irony - making for a refreshingly earnest take on glam swagger-rock. Bold if flawed, this cd isn't likely to cause the nation to overdose on the band's artificial reality, but as long as we are talking about alternate realities here, Leo, Mercury Boy's strange mix of laser eyeliner, twin Ronson guitars, and vaguely hippie lyrics makes way more sense than you getting back together with you-know-who. And that's my prediction.

Virgo {August 23-September 22}
Sometimes, Virgo, you don't even need me to tell you how to slip through the sensors. Just look at yourself: taking it easy, driving in the far right lane, staying at home on Saturday nights. You should be listening to Mouthfuls by Chicago's Fruit Bats (Sub Pop) to mellow out even more. "Folk music" in the way that "Landslide" was folk music: it relaxes even as it hints at high drama, but the acoustic guitars, banjo, and mandolin mix with just enough tape loops and synth bursts to say "the sounds of today!" Less trad than Hem and livelier than Kings of Convenience, Eric Johnson and Gillian Lisee's harmonies on "Seaweed" sound sorrowful, sweet, and just relaxed enough. Still, enjoy this calm now, Virgo, because next month — you're getting' the storm.

Libra {September 23-October 22}
I know you're sad, Libra, but it leaves me with little to tell you, since I want to be respectful, and I know you can't just 'snap out of it.' How about some perspective instead? Remember that no matter how sad and depressed you feel, Lisa Germano will always be sadder. That said, despite (or perhaps because of) her melancholia, Germano has been able to write and record six albums of gloomy but gripping music. Her latest, Lullaby For A Liquid Pig (Artist Direct/Ineffable) is Germano at her most disquieting: ranging from hushed ("Paper Doll") to more hushed ("Pearls"), these songs are lullabies you sing to a child who you want to give nightmares to. So imagine telling Lisa Germano "come on, cheer up" and you'll understand the dilemma you've put me in, Libra. Jeez, now I'm depressed. I'm playing this cd again, ok?

Scorpio {October 23 - November 21}
"Party, Life of (the)." That's your definition, Scorpio, without a doubt. Whether it's a tailgater, a kegger, or the Math Club's Carl Gauss Annual Dinner at Red Robin, you adapt to any party situation. And you rock it like all-get-out. Your musical partner in crime this month is Seattle's own Alien Crime Syndicate. Their brand of fist-in-the-air pop-punk puts the 'awww' in 'rawk!' ACS's new ep single for Break The Record (The Control Group) dishes out singalong platters like live versions of the crunch-tastic "Do It Again" and their timelier-than-ever hit "Ozzy." What's more rock than that? How about the crunchiest b-side imaginable, a massive cover of the classic "Don't Go Breakin' My Heart" with Kim Warnick on guest vocals and Duff McKegan on bass! So, Scorpio. Raise one hand because you like Ozzy and the Motley Crue. Raise the other hand because you like Elton John and Kiki Dee. Now that is a formula for a party that even the Math Club can calculate.

Sagittarius {November 22-December 21}
It's the way you speak, Sag, sometimes the things you say just sound cool. I could listen to you over and over again. You remind me of the Lights. Have you heard their new self-titled (and self-released) ep? Yah, it's that good, and remember, I predict stuff for a living. "I Am a Dangerous Snake" is one of the best singles released in Seattle this year. Like yourself, it just sounds cool: slightly distorted vocals, Black Francis lyrics, Jack White guitar. "We are the Victims of the Pleasures of the Sense of Hearing" is arch and arty like early Wire. Ok, you're calling me out on my crush, Sag, but that's fine. At least it keeps you from figuring out that I'm really in love with you.

Capricorn {December 22-January 19}
At long last, Cap, money is about to be funneled directly into your pocket — your bluster and your brazenness have finally paid off. Same with Seattle's Post Stardom Depression — after some record label up's and down's, PSD lunges right at us with Ordinary Miracles (The Control Group) like a big dog just released from a tiny cage. "The Whore I Am" is a snotty f-u that's two parts 70's blooze (Zep, the Nuge) to one part hostile Guns 'n Roses disaffection. "When It Comes To Cars" is sassy like David Lee Roth on two bottles of cough syrup. Ya know, it's really hard to type while I'm making these devil horns with both hands, but that's what this music calls for, and I must answer the call. Post Stardom Depression are about to get paid, and if you listen to their rock and do what they say, Capricorn, then so will you!

Aquarius {January 20-February 18}
So you've embraced the outdoor life, Aquarius? Hiking, rock climbing, camping. That stuff's fine in the daylight, but what do you do when the sun goes down? Leave the campsite for the great indoors, and obey the Dance Commander! Picking up where Andrew WK left off, Detroit's Electric Six slap together schlock-metal with dance punk on their full-length debut Fire. The hilarious "Electric Demons in Love" is bound to be a karaoke classic in 20 years, but I'm not sure about "Naked Pictures (Of Your Mother)," which might have been rejected by "Weird" Al Yankovic at some point. I'm not sure, but I think that this another example of is non-irony pretending to be ironic... how high-concept can ya get? Best trick: rhyming "Taco Bell" with "Gates of Hell." So. Is the world ready for a band that sounds like Falco crossed with Kiss crossed with the Scorpions crossed with the Tubes crossed with... oh I give up. Is there room in that sleeping bag for me, Aquarius? I gotta get out in the fresh air!

Pisces {February 19-March 20}
I'll keep it simple. Short words. Brief sentences. Your fleeting attention span is a problem, Pisces. Let's work on it. Listen to 1234567APE, the first ever compilation by the Primate Five (Dizzy Records). Four monkey mask-wearing spazzes, tearing through reverb-heavy, lo-fi punk — no longer than two minutes, no more than three chords. Back in the mid-90's, the P5 were garage when the White Stripes were still sleeping in one. Still with me? Good. Start slow. Just one song at a time, Pisces. Go from "C&H" ("pure cane sugar") to "Button Nose" ("I took her picture, ooh, what a pose!") to "Soylent Green Is Still People" ("what happens to people when they're dead?") Once the Primate Five have your attention, they won't let go, and your concentration problems will be solved. Sure, the P5 may have never learned a fourth chord, but considering they were apes I think they did just fine.

Aries {March 21-April 19}
I get it Aries. You 'just weren't made for these times.' Your vintage clothes are thrift store treasures, you still listen to vinyl, you even handwrite actual letters out of distrust for this whole 'internet' thing. You wear your anachronisms proudly, hmmm, not unlike the self-released ep Clever Love by Peter Fedofsky (no label). Part Pet Sounds, part Beatles For Sale, part Burt Bachrach, the six songs here take a profound love of 60's vocal pop and wrap it up with a frilly 4-part vocal harmony bow. Fellow retro-pop dreamer Ben Folds would have given his bitter little heart to have written a chord progression as earnest and lovely as "The Unwritten Letter." Still, Fedofsky isn't above using the very un-60's lyric "bullshit" in the Geroge Harrison-styled "Silly Boy Dreams," hmmm, not unlike your secret obsession with reality tv. Just a reminder, Aries, that everybody's modern.

Taurus {April 20-May 20}
Your questions are more theoretical this month, Taurus. What is punk? Is the ukelele punk? How about the trumpet? On Paradise Island, the one-woman side project from Erase Errata's Jenny Hoyston, the answer to all these questions is "yes indeed." On the new full-length "Lines Are Infinitely Fine" (Dim Mak) Hoyston breaks it down with tasty lo-fi beats and some primo stuttering ("Came From T-T-Texas"). So, had Paradise Island resuscitated electroclash, or is this some bold new experiment? Sometimes, Taurus, your questions are a little too theoretical. Like the song says, "I Came To Party."

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See what's in the stars -- and the record stores -- for you for July 2005, including reviews from the Long Winters, Lisa Germano, Tableland, Fruit Bats, and more.

Sasquatch 2004 Preview

Joseph Riippi — Sun, 16 May 2004 07:00:00 +0000

16 May 2004

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How does one write the beginning of a preview of this year's Sasquatch! Music Festival? There has to be a better way then just saying, "Grab you cameras, 'cause here comes a Sasquatch!" or "Is this a Sonics game? I thought I saw a gymnast in a furry suit running around somewhere," or "Got Sasquatch?" or "Don't give me that sass young lady, just give me a sass-QUATCH!!"

But that would all be pretty stupid. Some would even say worthy of restricting my imaginary status and ejection-seating me out of the imaginary world of html indie rock reviews. It would seem to me the result of having a very "twee" intellect.

So while struggling to write this at a kitchen table in Puyallup, I was lucky enough to have my girlfriend call from Richmond to see how I was doing with life back on the left side of the country. She was the editor-in-chief of The Flat Hat at the College of William and Mary last year, and she has a degree — with honors, mind you — in art history. That means she is a lot smarter than me. I asked for help.

"Hey Linds, how should I start a preview about the Sasquatch Festival?"

"With babies. Because everyone likes babies. And because they're cute and little. Plus, everybody likes them."

What????

That didn't help at all. But it was really late in Richmond when we were talking, so she was probably just really tired and talking nonsense.

But anyways, nonsense might as well work as a lead to the preview. (Thanks Linds)

The Sasquatch Festival was great last year, and I have no doubts that this year's will be excellent as well. Last year featured amazing sets by the likes of Northwest favorites like The Thermals, Maktub, Pedro the Lion, Neko Case, Modest Mouse... and Death Cab for Cutie debuted a new song, "The New Year," from their hit album "Transatlanticism" that didn't get released until Halloween time. The headliners were The Flaming Lips and Coldplay, the former of turned the Gorge into one gigantic fourth grade summer birthday party while the latter just kind of sucked. (They looped the acoustic guitar part to "Yellow" for crying out loud. Chris Martin, just play it yourself you pansy. And congratulations on the kid.)

This year's lineup is, in my humble music-snob opinion, even better. The only problem is, like last year, trying to decide what shows to miss on the main stage in order to run over and catch something on the side stage. Like, is it worth missing the Fruit Bats in order to see Harvey Danger? Do I want to see the Long Winters and sacrifice part of the New Pornographers' and Sleater-Kinney's sets? Decisions, decisions.

Anyways, I will be there, and shortly after the show I will be driving back to Seattle to make sure I am well-rested enough to see the Sasquatch After-Party at Neumo's, featuring The Shins and the Fruit Bats. You need to show a Sasquatch ticket stub at the door (and also be 21 years old and have 17 dollars.)

So for those of you that had the same problem as I did last year and weren't sure of the who was playing where and at what time until the day of the show when you were part of that crowd furiously writing down set times on arms with borrowed pens in front of the one posted schedule next to the fleet of portable toilets, here it is. (If you're looking for more of a preview, just know it will be awesome. Make sure you get there early enough, Aveo and the newly reunited Harvey Danger are well worth it.)

Main Stage:
Aveo:     12:15 - 1:00
Harvey Danger:   1:15 - 2:00
Visqueen:   2:15 - 3:00
Cat Power:   3:15 - 4:00
The New Pornographers:   4:15 - 5:00
Sleater-Kinney:     5:15 - 6:00
Built to Spill:     6:15 - 7:00
The Shins:     7:15 - 8:00
The Postal Service:    8:15 - 9:00
The Roots:     9:15 - 10:15
Thievery Corporation:    10:30 - 11:30

In between sets on the main stage you get to enjoy the music of DJ Cherry Canoe and the MC-ing of comedian David Cross.

Plaza (food area) Stage:

Apollo Sunshine:     11:45 - 12:30
Fruit Bats:     12:45 - 1:30
Ben Lee:     1:45 - 2:30
Preston School of Industry:     2:45 - 3:30
Alexi Murdoch:     3:45 - 4:30
The Long Winters:     4:45 - 5:30
Donavon Frankenreiter:     5:45 - 6:30
The Decemberists:     6:45 - 7:30
Gary Jules:     7:45 - 8:30
The Black Keys:     8:45 - 9:30

Enjoy it all.

Make sure you get there early enough; Aveo and the newly reunited Harvey Danger are well worth it.