Three Imaginary Girls - Carissa's Wierd

Imaginary Liz's favorite songs of 2010

imaginary liz — Sat, 01 Jan 2011 19:01:47 +0000

It usually isn't in my nature to go against the John Roderick grain, but when it comes to end of year lists of favorites, I can't help myself. I have to gather all of my favorite songs into an MP3 scrapbook for my own current and future mental sanity.

Perusing the song stacks of the past year allows me to recall and file the past year before opening up my next year's calendar. Having an MP3 scrapbook gives me a one stop shop when, a year or even 15 days from now, I ask my-list-driven-self "What was 2010?" {because aren't all of our best memories tied to a song?}.

The answer to that question is below in the form of the playlist of my Imaginary Liz's Favorites Songs of 2010 mix:

1. Stornoway - Zorbing / Beachcomber's Windowsill
This is a solid album that is a soothing blend of a bashful Mumford & Sons, randy Features with a pinch of John Denver. This is the most rocking song on the album and the best Stornoway gateway drug, although I nearly featured "Long Distance Lullaby" on this record because I'm a sucker for love letters about late night phone calls. If I was the kind of girl that would have two songs by the same band on a single mixtape, "Long Distance Lullaby" would be a great way to end this year's wrap up.

2. Drums - Let's Go Surfing / The Drums
I'm a sucker for their Spector-esque take on the new wave of the retro reverb. I also love that igDana suggested that the chorus is actually, "Obama, I want to go shopping!"

3. Allo Darlin' - Kiss Your Lips / Allo Darlin'
It is far from hyperbolic to say this is my album of the year if not the decade. I can't recommend it highly enough. It's got the sweet coy of Heavenly, the foresight of Weezer (name checked in this song), and the jangle guitar of the Wedding Present. I've got several candles lit in hopes Allo Darlin returns to Seattle this year {they are set to play the San Francisco PopFest over Memorial Day weekend - which is just a hopskipjump away!}. They are getting a lot of attention from critics and record store fans far and wide, so I can only hope that Allo Darlin' is the future of sweetheart pop {and that sweetheart pop is the future of twee}.

Imaginary Mixtape {December, 2010 - part 1} - featuring Clem Snide, Lovesick Empire, S, and Liam Finn

three imaginary girls — Wed, 01 Dec 2010 21:06:04 +0000

The turn of the weather and shortness of days in Seattle over the last couple weeks has left little room to deny that winter is upon us. Thankfully, imaginary victoria has gathered a subtle and soothing mix of songs that is warming our tootsies as of late.

You can listen to a stream of the podcast below or download the MP3 version of the podcast on the imaginary bandcamp page.

If you are the type that likes to listen to podcasts in itunes, 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 and Indie Pages for hosting the file!}.

Tracklisting: Imaginary Mixtape - December 2010 {part 1}

They'll Only Miss You When You Leave: Songs 1996-2003

Chris Estey — Wed, 07 Jul 2010 19:17:44 +0000

8.9

http://www.amazon.com/Theyll-Only-Miss-When-Leave/dp/B003LFIOZE/?tag=wwwthreeimagi-20

carissaswierd.jpg

This is the way to do it. A properly posh and keenly-selected collection of band and fan favorites from the tribe that split open to become Grand Archives, Band of Horses, S, and (a lady named) Sera Cahoone. Call them time travel super troopers; elements of each of those smothered-by-hugs Seattle groups make up the melodic, melancholy, dialectically anxious and delicate anti-anthems swarming sixteen tracks deep here. Hardly Art has done an ace job of stringing up pearl upon pearl, purifying and balancing the sound of the scrappy original songs, and tying it together with a fact-filled little book (hardly a booklet) thrilling for followers and fun for beginners.

I bring up the phrase "super troopers" as they remind me of ABBA, for in a weird way Carissa's Wierd was the alternately icy and passionate twin sister of those pop opera experts. But instead of bouncy bass and sweeping ballads, on They'll Only Miss You When You Leave, CW explores pretty little wounds, beautiful but heartbroken days, bonfires with lovers clenching more than clutching each other. All set to the strum and pluck of a booze-soaked acoustic left after a party, some really gorgeous strings, and an occasional surge in emotion best exemplified by the photo of the "Ugly But Honest" sign on the lyric sheet. Strong emotions of all type are shared, with (S's) Jenn Ghetto's nectarous voice often more than hinting at a bitter center.

The handsome but tense tones of Mat Brooke (Grand Archives) is a perfect accompaniment to everywoman Ghetto, the two of them destroying the tradition of the masculine male with the demur feminine counterpoint. Through the piano-bedded impressions of the closing title track, a neo-madrigal like "Phantom Fireworks," or the more general reaching "Die" (all hale singles that weren't, or at least haven't been yet) these are both young spirits caught in awkward confusion, and no one is coyly flirting or pretending to be who they aren't.

There is a problem with that: So much arch sincerity, the immersive sad-core could slash razors into the psyches of more tender listener. But fans of the bands spawned from Carissa's Wierd already know that, from the releases that came later from each of its parts. Though the big booming pine-rock of Band of Horses or Band-style Americana of Grand Archives is merely hinted at here, for those too depressed by S or find Cahoone too traditional will find them all in wonderful balance together on this anthology. It would be amazing to think what would happen if a reunion were to ever occur now, hint hint.

{Carissa's Wierd play the Showbox at the Market on July 9th with Aveo}

Imaginary Mixtape {July 2010}: Summer love's in the air, we're gonna make it ours

imaginary liz — Tue, 06 Jul 2010 15:44:50 +0000

This month's imaginary mixtape features a slew of Seattle finest who are taking to the clubs {and some even reuniting!} during the next few weeks, but kicks off with a perfect summertime song by a band that we wish was coming to town.

You can listen to a stream or download the MP3 version of the podcast on the imaginary bandcamp page.

If you are the type that likes to listen to podcasts in itunes, download the .m4a here {with fancy chapters even!} and then open it in your itunes {Thanks to Jigsaw Records for hosting it!}.

Tracklisting: Imaginary Mixtape - July 2010:

Let's make stuff and listen to the new Femurs and Carissa's Wierd records

imaginary liz — Wed, 16 Jun 2010 09:46:39 +0000

Join us Sunday, June 27 from 1p-3p at Neptune Coffee for the second edition of our Imaginary Crafty Listening Party! Last month we had a glorious time making new crafty friends and debuting the new Math & Physics Club album. This time around, we'll fill the air with the likes of two album we think should be on your must-have summer playlist:

Carissa's Wierd - They’ll Only Miss You When You Leave: Songs 1996-2003
This retrospective reminds us why Carissa's Wierd should be counted as one of the most important bands to come out of Seattle. They perfected elegant sadness and inspired the beard-core movement that has penetrated today's music charts.

The album releases July 13, 2010 on Hardly Art and they will knock our socks off at the Showbox at the Market on July 9. Listen to "Die" on repeat.

Who's playing the Capitol Hill Block Party and/or Bumbershoot? {a wish list, rumor mill, et cetera}

imaginary liz — Tue, 27 Apr 2010 16:04:46 +0000

(Photo: Explosion 5000) from the Imaginary Flickr Photo Pool)

Last week I had a dream that I found out that Carissa's Wierd is going to play the Capitol Hill Block Party this year. Sometimes my dreams prove prophetic, sometimes they make me wonder what is going on with my subconscious (and involve eating pizza and/or hanging out with Michael Stipe). My fingers are crossed that this Carissa's Wierd sleepy vision will come true. You never know, right?

Who do you want to play the 2010 Capitol Hill Block Party (subconscious or otherwise)? Any rumors flying around the locker room?

And while we're talking summer Seattle festivals... has anyone heard any Bumbershoot whispers?

imaginary liz's favorite albums of the last decade

imaginary liz — Tue, 05 Jan 2010 16:52:00 +0000

Yesterday I divulged my favorite albums of the year. Today I am ready to let go of my latest obsession: My album recap of how I spent my 00's.

The below listage rant is my own little time capsule to remind myself why 2000-2009 musically ruled. As with my other list posts, I'm certain I totally forgot to add something really important to my end-all-be-all-recap. It's up to you to remind me by posting your favs of the 00's below.

Top 50 Imaginary keywords this month

imaginary dana — Fri, 14 Mar 2008 04:10:25 +0000

For the keyword curious, here's the full top 50 ways folks found TIG in Google last month.

Photo of the day: Carissa's Wierd

imaginary dana — Fri, 27 Apr 2007 15:46:50 +0000

n honor of tonight's Grand Archives show at the Crocodile (that I am very, very, VERY excited to see!), our photo of the day today is of Mat Brooke...

More on Grand Archives: Pitchfork and show scoop

imaginary dana — Mon, 09 Apr 2007 20:54:56 +0000

I think Eric Grandy over at the Stranger might be as huge of a Carissa's Wierd fan as I am, as he's doing a stellar job keeping me and the rest of Seattle up-to-date on the haps of Grand Archives, a brand new band featuring Mat Brooke (Carissa's Wierd's somber front-man) as well as Ron Lewis (Ghost Stories, ex-Mines) and Curtis Hall (ex-Jeunes).

My Love Affair with Carissa's Wierd

Jake Barnes — Sun, 16 Nov 2003 08:00:00 +0000

16 Nov 2003

cw.jpg

"Let's start at the beginning" Mat Brooke said as Carissa's Wierd launched into "Heather Rhodes" and the first song of their last show. The only way for me to truly talk about their last show is to start at the beginning — maybe not the beginning of Carissa's Wierd itself, but the beginning of my love affair with the band.

It seemed fitting that my experience with Carissa's Wierd started at the same place it would end: the Crocodile. Back in November of 2000 when I went to see the Delgados, I noticed a lot of Stranger press for the opening band, Carissa's Wierd. That night, that first show, was one of the best moments. I still remember: I was leaning against that post near the devil-headed bar in the back and they started to play. It was one of those moments that you see hundreds of unknown bands for, when you suddenly raise your head from getting liquored up and find yourself squarely faced with brilliance, and push forward through the crowd trying to get a better look at the band members, while thinking "What's this? This is it!"

They had the soft, melancholic intensity that has always been dear to me and drawn me to it — like Elliott Smith, Belle and Sebastian, or Leonard Cohen. That first show was a wonderfully personal show full of nervousness and misqueues and it felt fresh and new. I bought a copy of Ugly But Honest that night and began listening to the cd for the first of what must be... well, I listened to it a lot.

It was the best of times, like with any new love affair. I poured through the tracks, through the unrefined but beautiful songs like "Drunk with the Only Saints I Know" "One Night Stand," and the aforementioned "Heather Rhodes," songs that blended the voices of Mat Brooke and Jenn Ghetto along with the elegant violin of Sarah Standard and percussion that would be covered by many different people, but always seemed to include Ben Bridewell.

It was the little things I loved about CW in those early days when I was dragging friends to the shows with me. You know those little things: the way Mat Brooke always played sitting down and spent forever tuning his guitar (and the other band members gave him a hard time for it). The sheer appreciation that the band members had for you being there, or that people were actually 'shushed' for talking during the show. The little things, like how Microsoft Word would automatically switch the 'ie' back to 'ei' and how you could spend a couple of hours trying to turn that little 'feature' off.

Those were the best days because it was all so new and I was trying to soak up as much of that radiance as I possibly could because, well, you never know what is going to happen with bands, or love affairs, and I was very, very afraid. I feared that CW's second album could not possibly top the first.

{ed note: commonly known as the Exile in Guyville effect. -igDana}

And then, so slowly, You Should Be At Home Here came to exist.

I had heard from a friend that CW would play some new material at the Baltic Room in what must have been early 2001. They had just finished recording the album, and this was going to be the first real chance to listen to them go through the new material. This seemed dangerous, it was a weekday night — we were tired, they were tired, and we had never heard the music. Plus, rumor had it most of them were sick with the flu. How can that go well?

But it did go well, and I immediately noticed three things about the new songs. First, Jenn Ghetto only did back up vocals on the album and I thought that was bad. Second, the violin was much more integrated into the music and I thought that was great. Third, it didn't really matter what some pretentious fan like myself thought: it was obvious that CW knew exactly what they were doing on their own path, and I was totally lucky to buy a ticket and enjoy the ride. After the show there were only really two questions — when and where could I get my sweaty little palms on a copy of the cd, record, or 8-track tape? Then it became apparent that it was going to be a much longer wait than I wanted.

See, you actually have to have this thing called money to put out an album — and it turned out that Carissa was going to be a very poor girlfriend. As the months began to pass by the rumor started circulating that Sonic Boom was going to pony up some money to help cover the cost of making cds.

Finally the day came, along with a midnight release party at Sonic Boom in Fremont, and then an official release party a few weeks later at Graceland. Several friends and I showed up early in Fremont for the show and it was a great, intimate affair where I learned one very important lesson: don't try and get a good 'seat' for the show at a record release party — go get the record first, because sometimes they run out of that little cd and you have to wait until the 'official' record release party. But that was ok, because anticipation is often something enjoyable in itself.

{ed note: this was the first time I ever saw Carissa's Wierd, and the monumentous event did indeed occur at Jake Barnes' influence. JB, I thank thee. -igDana}

The Graceland show began a long string of Carissa's Wierd appearances — that first Graceland show was not to be forgotten because they had the "You Should Be At Home Here" poster by 'Paulus' that reminded me of Mexico's the Day of The Dead.

The next six months of shows were the really good days for Carissa's Wierd. They seemed to be building enormous momentum and there were always rumors that they were about to be signed. Show after show was packed. You see, it turned out that "You Should Be At Home Here" was not a good album, it was a great album. It moved into my High Fidelity Top Ten Albums of All Time, like "XO," the Smith's and the Psychedelic Furs' self-titled albums, "Exile in Guyville," PJ Harvey's first two albums, "The Head on The Door," "Frank's Wild Years," and "Unknown Pleasures."

"Wait, wait, wait!" I told myself at some point. "I'm just doing that thing that you do where you think you really are in love but it's all going to wear off and then you are going to just feel a little bit like a fool because you were liquored up and you compared some local band to the Smiths, right?" Well, no, that didn't quite turn out to be the case.

You see, "You Should Be At Home Here" is (and always will be) an amazing album. It is one of those records where you immediate gravitate to two or three songs and then slowly the album keeps rolling you into other songs that you enjoy for months and months. I grew to appreciate Mat Brooke's voice and why it was a good decision for Jenn's vocals to play a less prominent role (but hey, I always knew that I was partial to female vocals and in the end I got my cake and ate it too because S released the divine Sadstyle). The depth of the lyrics and the complexity of the vocals, violin, drums, and accordion/keyboards on the second album combined to make a masterpiece, with "The color of your eyes changed with the color of your hair," "You Should Be At Home Here," and "Ugly Valentine" leading me gently to discover the rest of the record.

At some point there came the infamous letter to the Stranger (May 10th, 2001), pointing out that the Stranger had plugged Carissa's Wierd 38 times in the last year and half. The letter wasn't written to cry overexposure, but to express concern that the Stranger wasn't doing nearly enough because, "...this situation is clearly unacceptable. Carissa's Wierd is still nowhere near as famous as they deserve to be. The Stranger is just going to have to try harder in the future." This was the spirit of the times.

So 2001 rolled into 2002 and the momentum continued to grow. Then I finally heard that the band was working on the third album. Sometime that summer I went to a friend's house (actually the TIG house) and we listened to a couple of bootleg songs. They sounded great. Carissa's Wierd were moving from Brown Records to Sad Robot (I swear I see that Sad Robot guy at every single show I go to). With their improved distribution, it seemed like this was it; this was when they were going to make the jump to the national scene.

Songs About Leaving released at the pinnacle of Carissa's Wierd's success. The shows were great, and the record was great; there were long tours and 'go away' shows and 'welcoming home' shows and there was the best Valentine event I have ever experienced at the Crocodile, when the band dressed up and gave us loners something to do that night that didn't involve throwing food at couples in the middle of restaurants.

Then the fear began to rise in me. For the first time I began to really wonder if they would ever get signed to a major label. Now don't get me wrong, I didn't have any expectation that CW would become a Nirvana or Radiohead, but I did think they could do a lot better than bands that often topped the college charts-bands (say like Apples in Stereo or Low). That was the recognition (and cash reward) I felt they deserved, but it hadn't happened — and it seemed to be making people a little concerned. The band seemed nervous as they went off to tour, including an important show at South by Southwest (which I felt was probably the worst place for a soft sound band like CW to be 'discovered'). That show came and went without event, and then during an east coast tour (rumor has it, in North Carolina), it came up that they didn't think it was ever going to happen. And that that was it — end of show, time to move on and all that.

The news broke in Seattle and the goodbye shows began, including the final three events: a very large gathering of about 750 people at Bumbershoot, a surprise show at the Re-bar, and the final two shows at the Crocodile.

It's over now and I probably sound a little bitter about it as sometimes happens after things that you really like go away. I am not really sad about it: sometimes you know things have to end and that it is the right time for things to end. But I couldn't help feeling that last night that if the right A&R guy had showed up to one of the shows, if one of the soon-to-be-successful independent film makers had used a song on a soundtrack, that all of us would have seen Carissa's Wierd race up to the top of the college charts. In truth, the lack of recognition makes me feel very, very disappointed with the world but at the same time feel optimistic about living life.

Yes, I am disappointed because what does it mean is that so many bands are regarded so highly and they are just absolute crap. I mean, I thought that with all the Matador records out there that it would give the CW crew the recognition they deserved for their hard efforts — working jobs while practicing and writing songs and taking weeks out of their life to tour around to semi-filled venues where most people had never heard of them. I mean, I'm not complaining that people like Radiohead more than they like CW — I'm saying that they never got a major label record contract! That is pure insanity. It all makes me think back to the end of "The Bookshop," a story in which a wise elderly woman opens a bookshop in her small seaside town and tries and tries to make her dream come true. But in the end, not enough people buy books and the store closes down. The story concludes with, "As the train drew out of the station she sat with her head bowed in shame, because the town in which she had lived for nearly ten years had not wanted a bookshop."

Conversely, I also must confess that CW's lack of commericial success has left me secretly elated in a very, well, weird (wierd?) way. I take comfort that in these days of the internet and amazon.com where it seems that you can find anything, buy anything, and learn anything — that no rock in the world has been left unturned — enchanting things still exist out there left undiscovered. It's profoundly amazing that you can chance upon something special, that at any moment you might look up from whatever drudgery you have bought into and say, 'What's this? This is it!' and unexpectedly fall in love with an idea, a book, or someone's music.

And if there is anything optimistic about the end of Carissa's Wierd — it's that.

"Songs About Leaving." The final Carissa's Wierd show...

Bumbershoot 2003: An Imaginary Preview

three imaginary girls — Mon, 25 Aug 2003 07:00:00 +0000

1 Sep 2003

bumbershoot_2003.jpg

Not sure what to see at Bumbershoot? Here's our imaginary input on the shows we don't wanna miss...

{Friday recommendations}

Broadcast Oblivion
2pm - 3pm: EMP Sky Church
Visqueen
2:45pm - 3:45 pm: What's Next Stage
The Decemberists
3:30pm - 4:30pm: EMP Sky Church
The Divorce
4:15pm - 5:15pm: What's Next Stage
Modest Mouse, The Shins, & Quasi
6pm - 10:15pm: Comcast Mainstage

Bumbershoot does this to me every year, goddamn them! They schedule two amazing bands at overlapping times, leaving me in the huge ethical quandary over the feasibility of whether human cloning can be perfected within the next 48 or so hours so I don't have to miss a note.

I mean really: Broadcast Oblivion overlapping Visqueen overlapping the Decemberists overlapping the Divorce????

C'mon, Bumbershoot. Show some mercy.

{Saturday recommendations}

Ian Moore
12:00pm - 1:15pm: The Backyard Stage
Minus the Bear
1:45pm - 3:00pm: What's Next Stage
Kinky
2:45pm - 4pm: Bumbrella Stage
The Pale
3:30pm - 4:30pm: EMP Sky Church
The Catheters
3:45pm - 5:00pm: What's Next Stage
Kinski
5pm - 6pm: EMP Sky Church
Bobby Bare Jr.
6pm - 7:15pm: The Backyard Stage
Dusty 45s
6:15pm - 7:30pm: The Blues & Volkswagen Stage
Kathleen Edwards
8pm - 9:30pm: The Backyard Stage
The Dandy Warhols
8:45pm - 10pm: What's Next Stage

Minus the Bear get the "Hardest Working Band" of the day award. After their killer Bumbershoot set, they are going to head over to our Buttrock Karaoke Event at Chop Suey to kick it Buttrock style. They are just finishing off an impressive US tour with these Saturday performances as the last on said massive tour... so, be sure to catch this surely no-holds barred set.

Oh God, how I love the Pale. Don't miss the Pale. 3:30 at the Sky Church. Mmmmm, Pale...

As I hope you have noted in your palm pilots, we will be opening the doors to the big ole first ever Buttrock Karaoke Event at Chop Suey when the Dandy Warhols take the stage. And I, for one, am extremely happy about that. Their debut album {"Dandy's Rule OK?"} is a masterpiece and their new album isn't so shabby either. They are sexy and can charm the pants off the most stoic of hipster record store employee. They put on quite the fetching live show and, I am sure, will whip the What's Next crowd into a frenzy. Thank goodness I don't have to deal with all of the skinny, beautiful Dandy Warhol fans or be faced with the decision of which Dandy Warhols t-shirt to buy.

{Sunday recommendations}

Hip Hop 101 w/Common, De La Soul, & Black Eyed
1pm - 5pm: Comcast Mainstage
The Thermals
1:30pm - 2:30pm : What's Next Stage
Vendetta Red
3:15pm - 4:30pm : What's Next Stage
American Hi-Fi
5:15pm - 6:30pm: What's Next Stage
Hell's Belles
7:15pm - 8:30pm: What's Next Stage
Supersuckers
9:15 pm - 10:30 pm: What's Next Stage
Rhett Miller
8pm - 9:30pm: The Backyard Stage
Radio Nationals
12:30pm - 1:30pm: EMP Sky Church
Dolour
2pm - 3pm: EMP Sky Church
The Spits
3:30 pm - 4:30pm: EMP Sky Church
The Ruby Doe
5pm - 6:15pm: EMP Sky Church

Kathy Foster, the bass player from the Thermals, and also the drummer/back-up vocalist/bass player {um, anything I'm missing?} for the All Girl Summer Fun Band is amazing to watch play anything in any band. She doesn't have that over calculating concentrating look when she's playing. She naturally knows what to do. Plus, she's always bouncing to the beat and looking like she's having a good time. I can't wait to see the Thermals again. 1:30pm at the What's Next Stage.

Hey, did I tell you? I have a cousin named Zach Davidson. Ever since I read an interview of Vendetta Red in the Seattle Times I've harbored this delusion that Zach Davidson from Vendetta Red is, in fact, my cousin and he's too scared to reveal his mid-western roots for fear of being laughed at. Zach and I look alike, right?

{ed. note: Exactly alike. Except he has curly hair, your hair is straight. He looks like Roger Daltry, you look like Donna R. But other than that you're like twins. ~ igDana}

Anyway, I'm excited to see him perform on Sunday at 3:15pm, also at the What's Next stage {might just have to pitch a tent there, what with American Hi-Fi, Hell's Belles, and the Supersuckers taking us into the night}. This will be a much better family reunion than Uncle Earl's annual pig roast.

Ooh, and don't forget to slip over to the The Backyard Stage at 8pm to see Rhett Miller. He's talented, he's charming, and well, he's gorgeous. What's not to love?

{Monday recommendations}

Nickel Creek & Leftover Salmon
12pm - 3pm: Comcast Mainstage
The Cripples
12:30pm - 1:30pm: EMP Sky Church
Carissa's Wierd
12:30pm - 1:30pm: What's Next Stage
Ms. Led
2pm - 3pm: EMP Sky Church
Mountain Con
2:15 - 3:45: What's Next Stage
United State of Electronica
3:30 pm - 4:30pm: EMP Sky Church
The New Pornographers
4:30pm - 5:45pm: What's Next Stage
The Long Winters
5pm - 6:15pm: EMP Sky Church
Imperial Teen
6:30pm - 7:45pm: What's Next Stage
Jesse Sykes & the Sweet Hereafter
6:30pm - 7:45pm: The Backyard Stage
R.E.M. & Wilco
7pm - 10:30pm: Comcast Mainstage
Pedro the Lion
8:30 pm - 10pm: What's Next Stage
Bumberslam
8:30pm - 10pm: Starbucks Literary Stage

OK, first of all, no one should go see Carissa's Wierd. No one should go because they have announced their imminent breakup, and this is one of the last CW shows ever, which means if I can't get over to the What's Next Stage because so many other people are gonna be there, I will weep endless tears of sadness. Oh wait, Carissa's Wierd have broken up; I will be weeping regardless. Don't miss your last chance to see them while you can. Sob!

Then console yourselves with the badass rock of Ms. Led at 2pm, the feel-good-dance-your-pants off of United State of Electronica at 2:15pm, the helium harmonies of the New Pornographers at 4:30pm, and the gorgeous melodies of the Long Winters at 5pm, and remember that the Pacific Northwest music community continues to thrive. God bless the local music!

When I was in high school, a boy I had a crush on gave me a Wilco CD to listen to. I carried it around in my backpack all day anticipating what it would sound like. When I got home, I popped it in and hated it. {I was going through a really hard rock phase at the time}. It was a sad day when I returned the CD back to my crush and had to admit {to his frustration} that I didn't like it because it was too country-ish for my taste. Years later in college, I went through this fanatic alt-country binge and found Being There on sale at the local Meijer Thrifty Acres. I bought it and it soon became one of my favorite albums. I called my high school crush to tell him the excellent news and his number was disconnected. I still have that album and it rotates monthly from my car stereo, back to my house stereo. I have never seen them live and am SO EXCITED to hear those talented licks in real time.

My exposure with Nickel Creek began a few years ago when I worked in a cramped room with three other women of varying ages, backgrounds and musical tastes. Nickel Creek's 2000 self-titled album was one of the few CD's we all agreed on. Luckily for me, the album got more and more addictive with each listen. The folky blue-grass roots connection is easily heard in their beautiful harmonies and violin/guitar/banjo switch offs. I'm ecstatic to see how this energy will come alive on stage.

Live music shows are great. It's flabbergasting how many of these shows I frequent in a year. {I would need a personal accountant to figure out the exact number}. I'll be the first to admit, I have a short attention span and used to frequent the Poetry Slam nights at Sit-n-Spin to break up the indie rock monotony once in awhile. Ever since Sit-n-Spin closed its doors {sniff, sniff} I've been feigning for some aggressive political spoken word. You'll find me at the Bumberslam getting my fix on Monday night.

Some of our picks for the best bands to see at the big Bumbershoot fest. Woo hoo!

Carissa's Wierd: For the next 50 years we will still write you love songs

three imaginary girls — Wed, 19 Feb 2003 08:00:00 +0000

14 Feb 2003

cw2.jpg

Shall I compare Carissa's Wierd to a Valentine's Day? They are more somber and more elegant.

Could there be a more perfect Valentine's Day show than Carissa's Wierd? Whether lonely-hearted or blissfully coupled or somewhere longingly in-between, igLiz and I both knew as soon as the show was announced that this was where we'd be spending the holiday of hearts.

Any regular readers of the site know that my adoration for this band has no bounds. They inspire hope, they comfort, they allow for the solace that only darkness can provide. For me, the music is incredibly personal and powerful, nearly sacred...

Live, this translates to either transcendently beautiful or painfully jarring, depending on whether 1) there are no sound difficulties and 2) whether the audience can just shut up and pay attention (see Graceland CD release party write-up for a full-on expression of my ire when the audience is non-cooperative).

But we're not here to talk of hatred now. It was the dia del amor, and this seemed to put everyone in a contemplative or swoony mood. The audience was ardently respectful, taking care not to gab over the exquisite silences or clink glasses over the heartbreakingly narrative vocals.

Plus they sounded even stronger and more confident live than I've ever heard them. Frontman Mat Brooke even stood the entire time, the vocals were louder, they smiled and they even dressed up for us. Decked out in ties and pressed shirts, they looked absolutely spiffy. There is little sexier than tattoos peeking out from dress shirts.

I'm not sure if it was the holiday or if their excitement about the fact that the next show they played would be on their NATIONAL tour, but it was the most comfortable and assured I've ever seen them. It is safe to say that this was my favorite of their performances.

I am not just saying that because I labeled them my Valentine's Day date, either. But now that I mention it, just for the record — if you've never done the "date with a band" thing before... you should. Being on a date with five people is great. It is usually someone else's turn to run to the bar and the conversation never gets boring.

Signs and swoons. The Carissa-ed violin resonated like heartbreak, and the keyboards echoed to hope. Was there anyone who didn't find some source of inspiration from this performance? If only I were a poet, I'd write an "Ode to Carissa" instead of some silly music review that will never do them justice. I'd write it in iambic pentameter, and it would make you yearn 'til your heart ached.

But since I'm not, I will instead provide some wise words from some of the cooler cats who we talked to at the show, as we weren't the only ones enamored with the Wierd ones that night...

Fellow attendee and all-around super-guy Michael McGonigal (Sad Robot Records) said, "I fell back in love with Carissa's. They looked so nice, they played such a great show, I re-discovered them that night! I don't think I've ever seen them play that well ever before — their shit is SO TIGHT right now."

He continued on to say, "I would love to date the entire band, but of course that would not be cool — record label guy dates all five members of band on his label, people would be in an uproar. Because even though there is admittedly a LOT of Mike, clearly there is not enough Mike to go around, and that just wouldn't be fair, to any of them! It would be scandalous, to tease others so maliciously..."

What Mike doesn't realize is that he can't date the entire band because they were my date for the night. Sheesh!

Other feedback we heard about Carissa + Valentine's Day...? When we asked our imaginary boy friends Greg and Tracy, they kinda looked at us with that look-thing they do before muttering something about another round and then staggering barside for more Jack and Cokes.

But we already know how those guys felt — they are such hard-core CW superfans they wouldn't miss a show, no matter if it was Valentine's Day, Mardi Gras, or the eve of the birth of their first-born sons. So no further comments were needed, really.

Our newly-imaginary and new to the live CW experience friend "Lloyd" was overheard saying, "C.W.'s set was beautiful and tender.... the setting was quite romantic and perfectly suited for loving couples as well as new acquaintances. All in all, a great setting for a first date or V-day outing."

Aww, that's positively dreamy.

Imaginary photographer Ryan Schierling was so moved by the show he wrote us an entire article. And here we thought all he could do was take pretty pictures!

"I had every inclination to drink myself into an alternate universe on Feb. 14," he muttered, "But with In Praise of Folly, The Decemberists, The Prom and Carissa’s Wierd playing at The Crocodile that evening I decided to forgo the alcohol-fueled self-loathing pity party and shoot some photos. I could always drink myself into a loveless stupor the following night, right?"

That's the Valentine's spirit, Ryan!

Read all of Ryan's ramblings....

Back to the show. Death Cab frontman Ben Gibbard joined them onstage to cover an Avril Lavigne song. You know, that famous one, causing igDana to fall over herself in a libation-fueled pop-music-infatuation-haze to rush Ben post-show to tell him just how much she loooooves the new Postal Service CD.

Yeah, I'm sorry to say that's a true story. In a fit of post-show kissy-bliss, it suddenly seemed overwhelmingly crucial that I stop Ben, who was just minding his own business, and gush on and on {see Rhett Miller for further details on how mortifying this practice can be}. Luckily, Ben was as charming and gracious as I would expect him to be. He uses his powers for good, and this blathering idiot appreciates that.

{But can I mention one more time how much I really love that Postal Service CD?}

Know what else I love? I love that our local Carissa's Wierd has quite the national tour schedule planned, including a performance at SXSW at the end of March. Awww! I swell with hometown pride! They're touring with the Prom, and also playing several west coast dates with the Long Winters (we heart Barsuk!)... which just might be worth the cost of a plane/train ticket or a road trip...

Carissa's Wierd played a very lovely and romantic Valentine's Day show at the Crococile, with the Decemberists, the Prom, and In Praise of Folly.

Cupid Rhymes with Stupid

Ryan Schierling — Sun, 16 Feb 2003 08:00:00 +0000

14 Feb 2003

ipof1.jpg

A Very Crocodile V-Day synopsis: four bands, two imaginary girls, 148 photographs, three drinks, five cigarettes, and one torn-in-half heart on the mend.

I’d like to start out with a reminder that "Cupid" rhymes with "stupid," which should give a clear picture as to how I really feel about Valentine’s Day. Or, at the very least, this year's 'holiday' compared to previous years. Am I bitter? Fuck yes, I am. Deal with it.

I had every inclination to drink myself into an alternate universe on Feb. 14, but with In Praise of Folly, The Decemberists, The Prom and Carissa’s Wierd playing at The Crocodile that evening I decided to forgo the alcohol-fueled self-loathing pity party and shoot some photos. I could always drink myself into a loveless stupor the following night, right?

I’d seen In Praise of Folly, The Prom and Carissa’s Wierd the previous week in Anacortes, a short side-trip on the way home from Bellingham to visit an old high-school crush. It may have been the venue (The Department of Safety), it may have been the crowd (all-ages) or it may have been the air of apathy that one hundred high-schoolers seated cross-legged on the floor seems to bring to a LIVE MUSIC SHOW, but I really didn’t enjoy myself. This isn’t a movie. You don’t have to be quiet. And you certainly don’t have to feign a coma through some great sets. Not to take anything away from the Anacortes performances, which, as with the Valentine’s Day show at The Croc, were excellent. I just didn’t get that tingly feeling that you associate with seeing bands for the first time. (That’s right, for me, the first time.)

So. Speaking of tingly feelings — back to Valentine’s Day.

I met igLiz and igDana out front as In Praise of Folly were beginning their set. We guest-listed it into the show and in our different ways, went to work.

The wonderful thing about photographing live music is, well, I get to photograph live music. The drawback is, I don’t really get to enjoy the set as a fan would — aurally. I’m busy focusing on 1/100 of what’s going on. Tiny, intense visual moments — a lead singer’s facial expression, the follow-through on a nasty guitar downstroke, a drummer biting his lip with a rock-and-roll sneer as he pounds the crap out of his kit, smoke from the keyboard player’s cigarette wafting up around his head, perfectly illuminated by a blue stage light. To listeners, they amplify stage presence. To me, they constitute fractions of seconds I’ve either visually captured or missed, picture postcards that no one else takes home with them.

Ask me for intellectual comments on what I thought of the set, and you’ll get a laundry list of visual cues that most audience members don’t catch on to.

You want text, a review of the show? I leave that to igLiz and igDana. I just shoot the photos. You’ll get my thousands of words in the form of colored pixels.

Which, on this Valentine's Day, was a wonderful distraction from feeling a little low, partnerless and in want of female companionship. And, I did get that nice tingly feeling watching them all play this time (especially The Prom and Carissa’s Wierd).

Just in case you were wondering.

A Very Crocodile V-Day synopsis: four bands, two imaginary girls, 148 photographs, three drinks, five cigarettes, and one torn-in-half heart on the mend.

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...}

Carissa's Wierd

three imaginary girls — Wed, 14 Aug 2002 07:00:00 +0000

10 Aug 2002

matJeff02.jpg

you should be HATED here

First off: the Girls saw Carissa's Wierd twice this week. So if you haven't already read the review from the Sonic Boom Records show on Monday, go read it now.

It's far more focused on how goddamn sublime their new CD Songs About Leaving is, versus how annoying and distracting the crowd was at this show. In fact, you could just skip this review. Unless you enjoy obnoxious crowd stories centered around the titles of songs from their new album (and I ask, who doesn't??!?)

SILENTLY leaving the room
OK, audience members: if you're going to a Carissa's Wierd CD release party, you had better be a fan. And part of fan-dome for a band as luscious as Carissa's Wierd involves being QUIET during their set.

Carissa's Wierd's music soars and plunges, ranging from tumultuous layered rhythms to barely whispered hopes. It's all gorgeous and breathtaking... but not exactly overt. So chit-chatting during a Carissa's Wierd show is NOT acceptable. Please show CW some respect and SHUT THE FUCK UP!!!

so you wanna be a SUPERHERO
"I might be leaving soon..."
This song is one of my favorites from the new CD. Jenn Ghetto's voice sounds so haunted, so ghostly, so tremulous, she sounds nearly other-worldly, her connection here tenuous.

"just thoughts of how I might struggle through tomorrow.
too much time in one day too much time to occupy..."

Fans of Jenn's side project S will especially appreciate this track, as she recorded it on her four-track at her home (as the entire S album Sadstyle was recorded).

Unfortunately, the live version of the song was marred by the incredibly buzzing amp, which BUZZED in our direction the whole show, and was especially annoying and distracting during the quieter songs, such as this one. Argh, how I suffered.

SEPTEMBER come take this heart away
"I hope the seasons treat you kind."

The violin on this tune gets me every time.

Wait — did someone just say "Woo?" They did! I appreciate cheer and vocal enthusiasm as much as the next guy, but I can bet money that the next morning the individuals who yelled the aforementioned "Woo!" and "DRUM SOLO!" during this song were not only a bit dehydrated, but also were damning the individuals who yelled the aforementioned "Woo!" and "DRUM SOLO!" during this song.

IGNORANT piece of shit
"I like the way you rolled your eyes right before the fall.... down." This is my favorite Carissa's Wierd song (although on Tuesdays and bank holidays "They'll Only Miss You When You Leave" is my favorite). It is just genius how it builds from the unassuming, with the relentless Jenn picking on her guitar, holding the whole thing together only to hit a wall at the end — leaving me in utter bliss and lying in the floor in defeat. The ferocity at which she plays during this song is to be both feared and admired. I was so wrapped up in the moment that I was able to over look the crimes of my neighbors.

the PIANO song
The piano song, the violin song... the instrumentation on this new CD is phenomenally exquisite. The piano is so humble, the violin is so sad... the effect is staggering.

No snotty comments here. Sublime.

they'll only MISS YOU when you leave
"try to find some friend between the lines at least now i can see... torn out pages don't know how i'll fall asleep tonight"

"Don't know how I'll fall asleep tonight.
outside the window awful weather.
the storm will slowly close in on me when its time to leave"

They played this song as an encore. Mat told us, "There's two ways to look at encores. You're either pompous for doing them or pompous for not." Then they played this song, an apt finale, ending with the chilling...

"When it's time to leave"
"When it's time to leave"
"When it's time to leave"

a new HOLIDAY (november 16th)
"you'll be here."

November 16th is a holiday in Kentucky (it was on this day in 1907 that it entered the Union as the forty-sixth state), in Hawaii (only slightly though — the Oahu Railway and Land Company began operating on Hawaii's third largest island on this day in 1889) and in 1981 Luke married Laura on General Hospital (which means this is a national holiday for those who religiously spent the three o'clock hours indoors that year). And it's Imaginary Girl Marlene's brother Seth's birthday too. Is this useless and bothersome info? So was that conversation that the lady to the right of me was having with her escort. This is one of their shortest songs (1 min 50 sec in length), so at least the talkative couple had to take a break from their conversation to applaud as CW once again pulled off the understated majesty of this short song.

FAREWELL to all those rotten teeth
To the pony-tailed lunkhead in the front row, the one who talked throughout the set while he groped his two female companions... the one who yelled "You fucking RAWK!!!!" to the band... some more friendly words from imaginary friend Greg:

"That guy needs to be beaten...
harshly...
in a dark alley...
for about 45 minutes."

sophisticated fuck princess please LEAVE ME alone
"so please just leave me the hell alone...
cause now i know this isn't at all right.
how much more times will i have to tell you?
you try to cry but it's just for show you know i know you know."

I would like to dedicate this song to the girl next to me, who stood in the front of the stage and talked ON HER CELL PHONE during the show. Her cell phone!! During Carissa's Wierd! Oh, the OUTRAGE! I burned with indignation.

At one point, Imaginary Boy Greg (also a HUGE Carissa's Wierd fan) wadded up a piece of paper from my pad and lobbed it at her head. And you know, it seemed to work for a little while. Perhaps next time he should use something a little heavier...

sophisticated MGD princess please HANG UP the phone!

low budget slow motion SOUNDTRACK song for the leaving scene
"where is your sweetheart who shelters her from the cold now?"

I was hoping that I would get this song to talk about. Rather than continue to point out the negative, I will wind down on the the positive tip. Every once in a while a perfect break-up song appears. This is one of them. Of course, every time this happens, I am in no situation to use it. Now I am old enough and wise enough to use it to my advantage. Rather than reserve it for therapy to recover from a broken heart, I use it as consolation that I don't have a broken heart. Ah, the sweet feeling of singleness.

(march 19th 1983) it was PROBABLY GREEN
None of this criticism has to do with the music, of course. It's absolutely reverent, a gorgeously mournful requim. Forget what we said about the annoying crowd, go buy the CD, and savour the sadness.

It's far more focused on how goddamn sublime their new CD Songs About Leaving is, versus how annoying and distracting the crowd was at this show.

Carissa's Wierd in-store

imaginary dana — Wed, 14 Aug 2002 07:00:00 +0000

5 Aug 2002

cwtat.jpg

A new Carissa's Wierd CD! How great are CD release parties? Not only did we know we would get to (finally!) own the new Carissa's Wierd CD, but we also got to hear all the songs live first... I can't remember a happier Monday night.

During the first song, I found the sound a little too soft, and the traffic noises a bit too distracting. Carissa's Wierd have a sound so gentle that it doesn't translate well to a non-optimal sound setting. I needed to be enveloped in that magical grace that Carissa's Wierd creates... and because of this, background noises were jarring, traffic horns, abrasive. Even the crackle as I turned the pages in my notebook echoed loudly in my ears. When the band paused after the first song, the applause just burst forth. It was like people have been yearning for a chance to express gratitude to this amazing band. And CW responded in kind. Their sound got louder and less timid... and purrr.... we all got sucked into that lushly brooding CW vortex.

The audience was transfixed for the next 40 minutes, as we listened to them present the songs from their third release, Songs About Leaving.

I don't even understand how Carissa's Wierd could sound more sublime than their last album... but here it is for all to hear. They've retained every bit of their subtlety, their honest fragility, their humble ability to convey and evoke incredibly tender pains and particulars... and yet, they sound so much stronger and confident. They're still stepping forward gently and painstakingly, but they're so much more sure-footed than ever before. The addition of a bass guitar and a stronger drum has fortified their structure without sacrificing any of their delicacy.

And you know, I think they may know it. While part of Carissa's Wierd's charm lies in their self-effacing presence, it was nice to see them smiling, and even addressing the audience. "Thanks to all you people for coming out to see us tonight," said Mat Brooke, CW vocalist and acoustic guitar player. I think that's the longest utterance I've ever heard him say. Pure banter, by CW standards! They just possess such a quite and quiet elegance. They're music envelopes so it nearly coats, not in a sticky or cloying way, but like a warmth and a comfort. It's translucent and soothing, cradling. Damnit, it's evoking all these poetic words, but no poetry for me. It's just exquistite. Sarah Standard's violin is so fucking beautiful, you could cry.

I think I did cry.

They're still stepping forward gently and painstakingly, but they're so much more sure-footed than ever before.

Carissa's Wierd: Smoke Gets In Your Eyes

three imaginary girls — Tue, 18 Jun 2002 07:00:00 +0000

14 Jun 2002

cwtat.jpg

Yes, the Three Imaginary Girls are such HUGE Carissa's Wierd fans that when we found out they were playing material from their upcoming release, we got tickets for both shows! Friday night they played at Chop Suey, Saturday night they played an all-ages show at the Paradox. Philadelphia band Boxstep played with them at both shows, with Loveless (not to be confused with the record label of the same name... or the album of the same name that inspired said record label) playing at the Friday show. And the biggest treat of all: the LONG WINTERS played at the Paradox show - a CW/LW double bill was good enough to get our old selves to the all-ages show on the Ave and rock out with the kids.

On the first night of the Carissa's Wierd double shot (aka at Chop Suey night) we missed the first of three openers. And of the two that we did see, I must admit that wasn't as impressed as my friends were. Opening band #2, Loveless, scored high in the LOUD department. You wouldn't think that a band who's name first creates a My Bloody Valentine warm and fuzzy feeling would sound like... well... they sounded like the early Spin Art Records band Lotion to me. Guitar, pizza-delivery guy male vocals, strong rhythm section. And that just wasn't what I was expecting.

Loveless impressed me with one of the greatest covers I've ever heard, Dramarama's "Anything, Anything," to close their rocking set. For that, I would forgive them any other indiscretion. Philadelphia's Boxstep were likewise charming, featuring not one but two violinists, a male and female vocalist, and catchy alternative bluegrass melodies. And the lead singer (who just happens to be adorable) also teaches English in upstate Philadelphia. How much cuter could that be? Interestingly, just looked up the Boxstep web site, and I see that they've opened for the Magnetic Fields, one of my all-time favorite musical acts ever, and the second best concert I've ever seen. Strong work, Boxstep!

Those Boxstep folks are nice people. As individuals they were they are good at what they do. Again, one of my friends ended up buying their CD as he was so impressed with their finer moments. Me, I was fine when I arrived too late to catch them at the show the next night. Then Carissa's Wierd took the stage at 12.40a. With a set comprised mostly of new stuff (from their soon-to-hit-the-record-store-racks 3rd album on the new Sad Robot label), they predictably left the place stunned and counting the days until the release of their album in July. I even think they might have smiled more on stage during that show than in any other show. {helpful Imaginary Girl aside: if you go to the Sad Robot site, you can hear MP3s from the forthcoming Carissa's Wierd release!}

Carissa's Wierd sound like swirling; a cornflower blue, ethereal, magical swirling of melodies, harmonies, rhythmic crescendos, haunting and understated lyrics and a million other components that this Imaginary Girl could never describe adequately without just playing the music. It's gorgeous, it's lovely; it's indescribable why these combinations of sounds and players create such lush enchantment.

At Friday's show, they kicked off with an old favorite "the color that your eyes change with the color of your hair" — and then launched into a set of new songs from their upcoming release. These songs were familiar, yet delightfully new, and they sounded less self-effacing and had fewer sound problems than I've ever heard at a live CW show. They sounded sonorous, likely in no small part because of the addition of both bass and slide guitar to the instrumentation, and the presence of Aveo drummer Jeff MacIsaac on, well, drums.

I can't wait to hear that new CD next month.

I can't wait to hear them again tomorrow night... But before we move on, I would be doing you all a disservice, dear readers, if I didn't tell you about the early set imaginary girl friend Marlene and I caught at the Solstice Cafe before I headed to Chop Suey: Drew Victor and Passing Friends. Yum! In Marlene's words, "Yes! Drew Victor: future hottie. Wait, current hottie, future superstar. So this boy is talented, and he backs up his delicate voice and sweet guitar with a stellar back up band: a collection of "passing friends." These friends include a keyboardist, drummer, bassist and — incongrously — a saxophonist. It's a rarity in indie pop these days, but it sure works very well with Drew's song styling. When we entered, they were playing a somber song, gentle and emotive. After a few heartbreakingly sweet tunes, we got a treat: Drew "rocked out." Now, this isn't to say that his more Elliott Smith style songs aren't a treat, but when Drew and the band gt oloud it suddenly becames an attention grabber. His voice grew stronger, the band got more intense, and the sweet exterior cracked open to show a deeply passionate and intense band hiding beneath the surface. The contrast between the rockin' out songs and the softer ones surprises, but delights, and leaves you wondering what else to expect from this young but so-so interesting band."

In other words: Drew and the band demand your attention and they'll get it one way or another: either by making your heart sink during the softer songs, or by rocking your little world for a song or two. Let it be known that you heard it here first from the Imaginary Girls: Drew Victor and Passing Friends will be a future force in Seattle indie rock!

Now, onward to more shows!

Carissa's Wierd sound like swirling; a cornflower blue, ethereal, magical swirling of melodies, harmonies, rhythmic crescendos, haunting and understated lyrics and a million other components...

It Never Rains Enough to Cool My Fever

three imaginary girls — Tue, 18 Jun 2002 07:00:00 +0000

15 Jun 2002

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So I had a fever. It was 100.8 - a legitimate "Mom I need to stay home from school today" sickness. But the Long Winters! And Carissa's Wierd!! What's an imaginary girl to do? What would Sean Nelson do?

The irony of attending the show with fever proved too much to resist. It may never rain enough to cool my fever, but taking four Tylenols with a DayQuill chaser, that seemed to do the trick. "Medicine Cabinet Pirate," indeed! And I was not disappointed. The Long Winters just may be the most talented local band around.

They just write the most fantastic metaphors. I've been singing this one unreleased track that they played in my head ever since I heard it; it has an incredibly catchy melody and one of the greatest romantic longing metaphors I've heard in some time: "I'm waiting for you to throw more than... Shapes." Who isn't waiting for that? I just love it.

And I loved watching the show while seated in half-lotus on the floor of the Paradox. What a cool place. The Long Winters rocked my world. If these guys don't become famous, I shall weep and wail with sorrow that doesn't end. l

You said it, girlD! That Long Winters set made the all ages action at the Paradox really worth the price of admission. Yea, yea, everyone (and KEXP) has been telling me how great their new album is and how wonderful they are live — now I admit that I am behind the curve on this one. I left the venue convinced I had found my new favorite local band.

It is difficult to decide if the each song's strong points were the lyrics or the tight catchy melody. Ahh... puppy love is so fun.

They even shared trivia with us: John Roderick (the singer for the Long Winters) and Jeff MacIsaac (the new drummer for Carrissa's Wierd) used to play in a band together and once upon a time, they played the song "Mimi" with just drums and guitar one night, long ago, at the Rendezvous.

And yes, we did see Carissa's Wierd afterwards. They sounded hauntingly familiar (hmm, being that I had seen them less than 24 hours earlier), but could one ever tire of Carissa's Wierd? (the correct answer here being a resounding hell no!)

Carissa's Wierd and the Long Winters on the same bill. Sighs and swoons.