Three Imaginary Girls - Self-released

Wasted Youth Blues EP

Andrew Boe — Thu, 05 May 2011 18:03:30 +0000

7.8

http://themorningclouds.bandcamp.com/album/wasted-youth-blues-ep

The Morning Clouds is sole product of Josh Wambeke, a Denver resident who has been involved in numerous projects, but is perhaps best known for his work with a band called Fell, who was apparently lauded by none other than Thurston Moore. As if that is not impressive enough, Wambeke has recently recorded and released Wasted Youth Blues, an EP written and recorded alone. I am not sure if this was all recorded at home, but if so, one wouldn't notice as the clarity of the mix and production quality are beyond professional in breadth and sound.

"A Walk Home" begins with a simple three note guitar riff, not too dissimilar from a PJ Harvey track. Then keyboards, percussion and additional guitars combine layer upon layer of hazy, soporific bliss. Wambeke's soft, nondescript vocals are not dull or grating. Rather, they create another gentle augmentation to the overall sound. "The Wrong Things" is a cross between 1960s pop and Darklands era Jesus and Mary Chain. The reverb heavy lead guitar certainly recalls a sound close to that of The Cocteau Twins. The title track, "Wasted Youth Blues," is a slow, distorted dirge that is lead by echoing overdriven guitars and stomp-like Phil Specter style drumming.

Wasted Youth Blues closes with "Ends," which again combines reverb heavy guitar, organ and simple, yet completely effective percussion. This one falls somewhere in between Mazzy Star and Radiohead's Kid A, while still retaining strong 1960s elements.

The EP is available for download via this link, and I would highly recommend it. Hopefully, there will be a physical release at some point as well. There is supposed to be more material to come, so keep your eyes open if you like what you hear.

Favorite band alert: Dangerous Ponies {at the Comet this Wens 4/27}

imaginary liz — Mon, 25 Apr 2011 15:05:22 +0000

In this era of sponsored hype nonsense and corporate grassroots initiatives, it's time to get back to the core of why we get dirty fingernails flipping through record bins and sacrifice respectable sleep patterns and clean laundry to recharge the batteries of our hand-stamped hearts.

Enter the Dangerous Ponies from Philadelphia. A seven-piece who describe themselves as a "queer and allied band, slathered in gold and rainbows." But, they are more than that. Dangerous Ponies are a reminder that great things happen when calculated postures are replaced with giddy enthusiasm.

Combining the DIY-or-Die mantra of the Pharmacy and the elegant cleverness of the Starlight Mints, the songs on the Dangerous Ponies self-released, debut full-length album, would be equally comfortable at a beach dance party, house party sing along, or played from the decks of a Linda's happy hour DJ set between Modest Mouse and Heavenly.

The opening track "We" is a fitting introduction to the band as an indie-dance party carousel ride - weaving between splashes of Tilly and the Wall and Queenish 60's glamrock. From there they dive deep into sweeping theatric mid-song breakdowns and churning indie-rock Built to Spill guitar rifts that lay the groundwork for comparisons to Los Campesinos!, Quasi and Stereolab. (listen to the album for free on bandcamp).

Month of May

Imaginary Amie — Thu, 17 Mar 2011 17:50:52 +0000

7.8

http://www.cdbaby.com/cd/romeojuliet

RomeoJuliet.jpg

One-half of this new musically-inclined duo has been a friend of mine for years: Celene Ramadan, AKA Leeni - so just to be clear, this isn't lip service or me trying to pump up a pal's music, as I've been a genuine fan or her pretty tunes since the moment she started creating. I've got all her stuff in my library, and am particularly fond of her 8-Bit work, so naturally when I saw she had a new band happening, I was intrigued.

The other half, Jon-Michael Kerestes, I was wholly unfamiliar with. This Pittsburgh, PA musician apparently reached out to the internets (via Craigslist) to find collaborators around the US, and lo & behold, Leeni answered his call. The result is Romeo + Juliet, a trippy psychedelic alt-rock band that could be direct from a Quentin Tarantino soundtrack.

Their debut, Month of May, is packed full of music with a gritty, full-on 60s sound. Leeni & Jon-Michael sometimes switch lead vocals, and other times go for it with a full duet, always incorporating beautiful harmonies at just the right moment.

The opening track, "Get in Your Square" turns up the funk with some deep beats and stompy good-time riffs, leading right into the duet "Another November" - possibly the most Doors-esque song on the album, featuring lots of keys. And in fact, Jon-Michael's voice isn't that far off from Morrison's, so it wouldn't be impossible to imagine the shaggy-haired rock God belting this one out.

"The Acrobat", features Leeni's pretty signature vocals, followed by the dark "True Love", while the next song, "Goozy", takes it up a notch with some over-the-top lyrics hauntingly sung by Jon-Michael, "She is good and junk and goozy | all the time | I will buy her favorite beer | I'll spend the night in jail."
And "Red and Black" seems like it was made to go over the credits of a James Bond movie - as the chorus goes, "Will you kill me dead? | Or kiss me instead? |Take me out or take me back | Make it red, make it black"

All in all, the album brings to mind running through grassy fields in flowing dresses, sunflowers tucked behind ears, and long hair blowing in the breeze - but it's not all sunny. Dark missives are peppered throughout, like the solemn attitude of "Live in the Light" (which has a decidedly "Personal Jesus"-like riff), and even though "Pretty Girl" sounds like it should be full of goodness, it's really very very very sad.

My favorite tune, "Moon Was Full and Bright" is injected with a touch of witchcraft - bringing to mind dark woods, broken-down cemeteries and secret rituals....and yet, I think this is a....love song? "Man or Woman" changes gears a bit with some down-home-bluesy-country sound, bringing to mind dusty bars, floors sticky with booze, and a jam band with a soulful singer to entertain the clapping patrons.

And then there's the giddy "Wondergirl", which somehow sounds like the theme song to a Sid and Marty Krofft show - if that show were slightly depressing and a little morose. "Skeleton Bride" makes me think of an island shrouded in mystery and ancient customs, simliar to the one in The Wicker Man (I know, I know, I can't help it guys).

This isn't exactly music to dance your ass off to; it's more like music to sway to slowly, or something you put on the stereo (remember that term, kids?) when you have friends over - talking, drinking, and enjoying some good conversatoin. And most of the time the lyrics don't make much sense, but honestly? You won't care.

You definitely have to be in the right (open) mind for Month of May, but the driving beats and glorious harmonies are guaranteed to catch you - and then you're just gone, man, gone.

Enchanted Chapel

Chris Estey — Wed, 25 Aug 2010 15:49:58 +0000

8.6

www.facebook.com/theyoungevils

YoungEvilsCover.jpg

{The Young Evils have a bunch of shows coming up: 9/8 at The Crocodile, 9/25 at Easy Street Records (West Seattle), 10/9 at the Reverb Festival}

According to genius Stranger scribe Trent Moorman in a recent Line-Out interview, the debut from The Young Evils opens with a song singer/songwriter Troy Nelson wrote during Seattle's most recent snowstorm, to cheer himself up during the isolation of being "trapped in the house for five days."

The point is, it doesn't sound at first like a self-soothing tune someone squeezes out from their claustrophobic loneliness, but after a few listens, Nelson's and co-vocalist Mackenzie Mercer's simple, acoustic guitar-pillowed singalong seems to be beating back that awkward timelessness of abandonment. "Faith to love to glory all the time", they chime together, and then as a philosophy throughout the rest of Enchanted Chapel; "let's just celebrate ourselves and why ask why?"

Cleanly and attractively produced by bass player (on all tracks) Barrett Jones, with additional guitar and playing on the album by Cody Hurd, Enchanted Chapel is one of the most eagerly awaited albums from the Seattle area for some time, and sounds totally worth it. There's no gimmicks or adherence to stifling genre in any of the ten tracks created out of artfully accurate portrayals of love gone entropic ("Get Over It"), damaged people getting by ("Crazy People"), and snappy stories of rock and roll rescue and failure ("This Rock And Roll City Is Done").

Unlike most albums you'll hear these days, musical peak moments are spread throughout, with some of my favorite tracks near the end of the record: "Sleepwalking" for example, like the best Prefab Sprout-era pure indie pop last tapped long ago. "Two nights ago, we were kneeled down and stoned, you played me 'My Shadow In Vain'", with Nelson and Mercer's vocals entwining magically about an after midnight epiphany that will delight everyone who hears it.

Strumming, crisp drumming on a kick, tambourine, and a bright blue briefcase full of melodic punk-blues defines the schema for Enchanted Chapel, and there's no telling if the musicians involved have ever heard the various greatest hits of Aussie or New Zealand underground pop I feel here (from bands such as The Chills, Triffids, The Bats, and others).

It doesn't matter; the Pacific NW has its own extreme climate to endure and get away from in song, even if that weather is more morale-crushing gloomy than beer-swilling balmy. The Young Evils are coming out of the gate with a gallop, like Johnny and June Carter Cash resurrected to rhapsodize over wrestling with the broken past but sure to dig new love. I sure do dig my new love: The Young Evils.

{The Young Evils have a bunch of shows coming up: 9/8 at The Crocodile, 9/25 at Easy Street Records (West Seattle), 10/9 at the Reverb Festival}

Band Crush: World History

imaginary liz — Tue, 17 Aug 2010 16:52:13 +0000

I haven't quite been able to pinpoint exactly what it is about You Can't Stop Trying, the latest release from World History, that charms my socks off. It could be the Neutral Milk Hotel croning up and over vocals on songs like "It's Okay to be Alive" and "Ricardo, You Run Free" or the alt-Americana mountaineer singalong march of "Take Our Your Swords." My favorite point in the album is near the end when they veer into upbeat lo-fi sweetness of boy/girl harmonies on "Shine."

The album is flush with restrained instrumentation with a strong focus on autoharp, guitar, drum with flute and melodica thrown in for a touch of a suavity. Add in a couple guest star friends like Adam Oelsner (LAKE, Kickball) and Zach Burba (iji, Sundance Kids, Megabog) and you've got a notable debut album.

For a limited time, you can go download the new album now (for free, or $5, or whathaveyou) on the World History website or hear the songs at their next show on August 27 at Carousel Festival.

And if you've got friends around this great big country that you think should see them for themselves, you can help with a stop or two on World History's massive US tour. They are going to stop at every pin point on the map during their course of their seven month tour from August 2010-March 2011 - so completist that it includes two stops in Delaware!

Empty Words Fill Lonely Spaces

Andrew Boe — Fri, 13 Aug 2010 20:36:54 +0000

http://www.cestlamort.com/node/70

mort.2.jpg

{C'est la Mort is playing Saturday, August 14th at the Comet in Seattle.}

To be concise, Empty Words Fill Lonely Spaces by Seattle’s C’est la Mort is a masterful record that has helped me realize that there are still some fine groups out there. This band has been around for some time under various incarnations, but the one that recorded this album -- their debut -- has honed down their sound to an immaculate result.

C’est la Mort consists of a drummer, a bassist, and two guitarists; whose delicate interplay weaves a sonic concoction full of ethereal beauty and urban angst. Their style instantly evokes the classic 4AD sound combined with a not-so-subtle adoration of The Chameleons. This said, the vocals are much the opposite and provide the listener with a unique experience: singer Kim House’s voice falls somewhere in the realm between Miki Berenyi (Lush) and Elizabeth Fraser (Cocteau Twins).

In addition to track after track of fantastic songs, Empty Words Fill Lonely Spaces actually sounds amazing. The production quality is stunning and the songs are perfectly mixed, with just the right levels in the final product. “Drown Out" starts out sounding like Pornography-era Cure, before morphing into something more reminiscent of the Pale Saints; while “Paper Ships” stands out as an epic track, blending all of these influences with layers of guitar that recall The Church circa Hologram of Baal.

C’est la Mort is the perfect local act for enthusiasts of finely layered, reverb laden gothic and/or psychedelic music. They have all the hallmarks of memorable bands, in that their music consists of excellent influential elements -- while still remaining engaging and not at all contrived. This Saturday's CD release at The Comet also features Romance and Black Nite Crash, which is pretty much bringing some of the best acts in Seattle together, on the same stage, for one show that is not to be missed.

{C'est la Mort is playing Saturday, August 14th at the Comet in Seattle.}

Connor Desai returns with her sensual, smart, simmering sounds to ToST this Friday, July 30

Chris Estey — Thu, 29 Jul 2010 15:48:12 +0000

Connor Desai is set to play ToST in Fremont this Friday night with two bands, including Benyaro. She'll be going on about 9 PM, and though her excellent second album Use Your Hands features delightful playing from other musicians (including Paris Burley on violin), this will be a stripped down solo set to show off the strength of new songs like the simmering "Waiting" and the mesmerizing "Friend of the Devil" to friends and strangers alike.

Desai makes creatively personal, deeply attractive, very cool, roots-based pop music. Released earlier this summer, Use Your Hands (awesome title) hints at the often direct and confessional aspect of her lyric writing, but the music is not lost in an icy swirl of indie rock distance. Instead, it's hollow-bodied warmth, tube amp glow, and dark lounge haunt-drama. The title track itself, finishing off the full length, is seven and a half minutes of beauty perfecting itself. The Jazz Music Examiner was right to say that Desai is an "extraordinary Seattle artist with a voice all her own," and she was recently featured on a Channel One profile.

Spacemaker

Andrew Boe — Mon, 12 Jul 2010 16:03:54 +0000

http://www.myspace.com/microtia

microtia.jpg

Half of what you get with the new Microtia album, Spacemaker, is nine smoking songs recorded by the Portland trio. The other half of the equation is the packaging for the new release, which was made exclusively from Pabst Blue Ribbon and Marlboro Lights boxes. This alone seems like every hipsters dream release. This CD has been in the works for quite some time, but is officially coming out this month. Here is a rundown:

The energy fueled opener, “Can You Hear the Jets,” interestingly bridges the ground between Muse and Soundgarden. There is an immediate energy to the song that is missing from a spectrum of artists in the current scene. “1000% Sure” follows suit with similar Muse/OK Computer-era Radiohead rock and roll disorder.

“I’ll Fight Harpsichord” introduces some wah guitar along with more metal undertones. By this point, the eighth or ninth PBR is starting to really sink in. “Tone Mountain vs. the Body of Riffage” is perhaps the album's highlight. The one and a half minute introduction alone is close to sublime and there are some memorable progressive rock melodies interweaved in the track. Acoustic number “Add Insult to Injury” is one of the standout songs as well. Distorted handclaps initiate an unnerving atmosphere just before the full on electric ensemble is launched.

There is a West coast tour taking place during September where the new album will be available, however, there do not appear to be any Washington state shows scheduled yet. For further information, please refer to the group’s myspace page. Maybe something local will soon pop up.

Bounce up and down and cackle madly with We Wrote The Book On Connectors this Saturday at Chop Suey

Chris Estey — Fri, 02 Jul 2010 17:33:00 +0000

I first saw We Wrote The Book On Connectors' Ben Baier live playing with H Is For Hellgate, and if you've seen him too you know there's few people that can charm and move a crowd's collective heiny like this vocalist/bassist can. Because he can play superbly while friskily shambling about a stage or crooning with honeyed voice, always adding a non-sequitur or "Hooray!" just when a music-loving mob needs it, he was great with that progressive-rock/riot grrrl band.

But his own We Wrote The Book On Connectors is where his sense of humor really spikes the song-punch and intoxicates hummable, head-rattling anthems like "Almost Magical" (the delirious hand-clapper the Young Fresh Fellows would be proud to call their own), "The Saddest Wrestling Man" (keyboard-driven WWF fetish They Might be Giants funk pop a roll), and the exquisitely power ballad "Balls In The Face."

These are all on 2008's Ride It Out Like A Turbo Horse, a necessary part of any Seattle music fan's collection, and whiskey-breathed rumor has it they have another fucking-a funny and frug-inspiring full-length coming up soon. More on this soon, because I'm eagerly waiting for it. (The first album also features an ode to their drummer, Rick, featured in the video above.)

Come out to see WWTBOC play Chop Suey this Saturday, July 3, for what is called the ALL AMERICAN COMEDY & MUSIC EXTRAVAGANZA, also featuring Tina Beers & The Violet Line, eight bucks advance and ten at the door. The WWTBOC site also lists Afraid of Figs and "that this will be an early one."

The Purrs album release, with Brent Amaker & The Rodeo and Battle Hymns this Thursday, June 24

Chris Estey — Tue, 22 Jun 2010 20:22:13 +0000

Pent-up, viciously provoked, ready to shred psycho killer line-up this Thursday night at the Crocodile (June 22) as The Purrs give an official release for their delectable collection of new songs, rare tracks, and covers, Tearing Down Paisley Garden.

The CD has been available for a few weeks now, and has been gaining new fans who hadn't the chance to fall deeply in love with thoughtful, caustic, clever previous long-players Amused, Confused & More Bad News, The Chemistry That Keeps Us Together, and The Dreams Are Stuff Are Made Of. But this is the official kick off party to begin celebrating new Purrs material, a feisty band about to spring out of nowhere on tour and clobber the world before it can defend itself. Bad ass, but charming as hell. Eat this up, as a new full-length isn't till next spring.

Tearing Down Paisley Garden

Chris Estey — Wed, 02 Jun 2010 07:17:34 +0000

http://www.myspace.com/thepurrs

TDPG cover.jpg

The Purrs are a veteran Seattle rock band who have recently put out their sixth release, Tearing Down Paisley Garden, a seven song DIY statement they'll be celebrating the release of with Brent Amaker and the Rodeo and Battle Hymns at the Crocodile on Thursday, June 24, 2010. The reason I'm writing this review a few weeks beforehand is that their music gains so much power by replaying it over and over, I want to encourage old fans and new seekers alike to seek out this mini-album and get into its songs before they see them played live.

Jimo (lead vocals, bass), Rob Silverstein (drums), Jason Milne (guitar), and Craig Keller (drums) have a deceptively straightforward song style, often called "psychedelic" I think because of the ace use of Nuggets-style garage-druggy guitars cushioning the briny observations, bitter laments, and pissed off observations carefully sung like a snug couch on a long, slow, buzzed afternoon. There is no nostalgic over-painting of cheap effects, background vocals oozing everywhere at once, trying to cram in as many mimetic and mnemonic riffs to capture short attention spans. It is exactly in the band's use of restrained stoner euphoria and dejection that makes them sound just as savvy in a rotation next to the power pop of The Only Ones or The Posies as with more gritty bands like The Seeds or The Nomads.

The original and cover songs on this lengthy sampler seem to have been crafted in a period in which we're all sharing, of hesitant hope and brimming outrage over the hollowing of our pockets and relational abilities. Pain mixes with pleasure in the fantasies of "Only Dreaming," a cover of a Red Lorry, Yellow Lorry song that seems like a lighthearted "Venus In Furs": A quietly desperate cry of venue-lingering mopers wanting to feel something new, anything real. "I'm Slipping" casually mentions fucking the friend of a lover, but it's just another betrayal in a world where they all run together, and "I'm losing control." "Pie In The Sky" opens the gas can and lets us smell the promise of burning down all the suburbs and their useless wares that have fallen down around us. An early track, "It Could Be So Wonderful," gets resuscitated here, and it's hard to tell if it's sarcasm or genuine yearning. This is probably answered by "Always Something In My Way" which is ontological protest at its plainest, reminding me of that Bukowski line about wars not driving us utterly mad, it's our shoelace busting in half when we're running late in the morning. In the meantime, a sweet run-through of the Hazelwood gem "I Move Around" offers the only existential solution here. Stay tough, stay free, keep moving.

Tearing Down Paisley Garden is a transitional record, and its content sounds like a bit of a bummer when you describe what its words mean, but it is the work of an extremely bright band in training, still punching the bag hard with some of the best rock poetry in town and a gym full of hooks you might underestimate. Catch them near the end of the month to see how they work this out, catch them on the upcoming spring tour, and be prepared for a feistier major bout with another full length release next spring.

The Purrs are a veteran Seattle rock band who have recently put out their sixth release, Tearing Down Paisley Garden, a seven song DIY statement they'll be celebrating the release of with Brent Amaker and the Rodeo and Battle Hymns at the Crocodile on Thursday, June 24. The reason I'm writing this review a few weeks beforehand is that their music gains so much power by replaying it over and over, I want to encourage old fans and new seekers alike to seek out this mini-album and get into its songs before they see them played live.

The Hate Album

imaginary liz — Mon, 03 May 2010 18:22:05 +0000

KissingPartyHateAlbumcover1.jpg

Just in time for our carefree summer soundtracks of 2010, Denver, Colorado band Kissing Party has arrived to infuse our sunny days with coy refrains and enough jingle jangles for a sunset beach dance party. Dissecting an indie-pop library stocked with the likes of Strawberry Whiplash and Black Tambourine, Kissing Party encourage even the wallflowers amongst us to take to the dance floor, or at least give us a reason to drink up.

The band fuse Belle and Sebastian understated acumen with Darling Buds beguiling charms while carving out their own niche with upbeat songs laced with ambition and bittersweet sentimentality. It's an easy task to bestow the Murdoch crown on them. The band themselves tip their hats to the the gods of Lazy Line Painter Jane with the album art design of their latest, The Hate Album. The title signaling not only their own Pains of Being Pure At Heart leanings, but also the wry humor we love most in our songsmiths.

Notes from The Primitives swirl in with commanding girl vocals and relentless splashes jangle happiness of "The Heart Of It All" and "King Graves Rd." From there Kissing Party plunges us into the loneliness of love in "Donna Joy" and "Lets Face These Times," wavering with fuzz and longing backdrops of infectious ohs and ahs.

All is not always fair and kind in the world of the Kissing Party. I'm just thankful that they've used their broken heart lessons to our advantage.

How I Learned to See in the Dark

imaginary victoria — Tue, 13 Apr 2010 16:57:03 +0000

8.7

http://www.cdbaby.com/cd/cpureka5

ChrisPureka_CoverLoRes.jpg

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

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

Believe it or not, all that adjective is just at the album's first drive-by -- some hastily scrawled notes from a casual listen on a car stereo. A proper sit-down with How I Learned to See... and a decent pair of headphones yields an example of what's becoming much too rare in our world of instant satisfactions and single-track purchases -- an actual album. A recording. A start-to-finish, go-in-order, give-it-the-time-it-deserves thing -- a living, breathing thing that takes on a life of it's own as each subsequent listen merges in with the chapters of your life, song by song, year by year, line by line.

Track after track, Pureka's songs paint landscapes that integrate seamlessly with a gorgeous composition of sound. "Wrecking Ball" grabs a hold and ushers us into the house effortlessly, a perfect setup for what lies ahead: build, crescendo, fade... while "Barn Song" and "Broken Clock" show us sightlines of sadness, of straings of regret and acceptance, and of met demands and strong backbones -- a veritable modern day alt.americana orchestra that explodes full-force through the speakers. Inside a single breath, however, it all strips itself away to hand over one of the saddest (and most hopeful) love-lost standout tracks of the whole album, "Landlocked." As we hear tales of woe and hope spun around a magically tracked acoustic, Pureka's performance allows for the very bones of everything she's composed here to come to life, almost tangibly, as if something is suddenly sitting right in the room with you.

The imagery and range on yet another standout track, "Song for November," gives it the kind of legs to suit the best mixtapes ever made from here on out, regardless of subgenre preference or personal taste -- because it's true composition. It's the very definition of music. It's incredibly accessible, managing to translate flawlessly while staying anything but predictable. "Damage Control" eases into an explosion, another perfectly crafted crescendo of build-then-break... with a perfect slide into "August 28th" as the credits begin to roll -- credits in the movie Chris Pureka has hand-crafted and permanently embedded into our personal landscapes.

It's a vast understatement to say that there's a lot of music out there today. An overwhelming amount, so much so that it's easy to miss real gems in a landslide of good-enoughs and great-for-nows. But the real music, the keepers -- they always manage to float to the surface and embed themselves into our personal soundtracks. Just like the people we come across, some albums are great for a few reasons, some are merely front-loaded, some stick around for a few chapters of whatever is happening to us at the moment -- and some, like this one, are honest-to-goodness lifers. As Lester Bangs (by way of Cameron Crowe, by way of Phillip Seymour Hoffman) tells us in Almost Famous:

"Music, true music, not just rock 'n roll, chooses you. It lives in your car, or alone, listening to your headphones; vast, scenic rituals and angelic choirs in your brain. It's a place apart from the vast benign lap of America."

This album is that music. True music. And if you just take a moment to trust in that truth, in Chris Pureka's abilities, and take this album with you for a while, to those proverbial rooms emptied of furniture and full of memories, dust on the mantel, with a photograph someone forgot to come back for on the floor by the window -- you'll end up seeing for yourself.

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

Fantastic and free and all ages in-stores this Saturday {1/23}: Your Favorite Book in Ballard, DJ YETI's Gospel Fest in Cap Hill

imaginary liz — Thu, 21 Jan 2010 16:08:44 +0000

This Saturday {1/23} is a big night for shows! But my wallet and adoration of these two fine folks will have me hitting a series of (FREE and all ages) in-store performances this Saturday night.

Saturday at 1p: Marathon DJ YETI 'Fire In My Bones' Gospel Fest at Wall of Sound in Capitol Hill
YETI mastermind and all around genius nice fella Mike McGonigal has spent the last few years compiling of rare, raw and otherworldly post-ww2 African-American gospel. The result is Fire In My Bones, a recently released 4 hour 3 CD gospel box set that has gotten rave reviews (from Pitchfork to Christianity Today).

DJ YETI will take to the decks at Wall of Sound (315 E. Pine St) from 1p-6p. The set will also be on sale for the duration of the DJ set for $23.98 (deal!)... and DJ YETI might even have a few extra goodies floating around as well.

Saturday at 9p: Your Favorite Book at Bop Street Records in Ballard
It's no surprise that with my adoration of all things Your Favorite Book I'm headed to this Saturday's (free and all ages) in-store performance of the one-man+guitar+barstool lo-fi folk project at Bop Street Records in Ballard (5219 Ballard Ave. NW).

The performance celebrates Seattle's Your Favorite Book freshly released sixth album, Thank You for the Homicide. The album is the next installment of the early Mountain Goats with a wee bit o Jeff Mangum honey. Currently my favorite track is "Hello Kitty" (listen/download) -- narrowly beating out "If the Sun Sets" which you can download from the YFB website.

The performance starts at 9pm at Bop Street in Ballard.

As I mentioned earlier this week, Saturday also plays host to the highly anticipated Seattle stop of Adam Franklin & Bolts Of Melody (Swervedriver) at the Comet and the Rock Opera-ness of We Wrote the Book on Connectors and Discs of Fury. There's no excuse to not get out and about!

Where are you headed this Saturday night?

{Bop Street Records photo: Hot Avocados Photography}

Imaginary Interview: the Nightgowns... playing the Holiday Spectacular 2009

imaginary liz — Thu, 17 Dec 2009 17:12:14 +0000

The Imaginary Winter Holiday Spectacular {December 23, 2009 at Chop Suey} is less than a week a way! As we countdown to the big holiday party, let's replay our recent chat with one of the bands on the bill: the Nightgowns. We never know what's going to happen when the Nightgowns fellas are in the house, but it always ends fabulously. And for the record, we don't know what's going to happen when they play this year's Imaginary Winter Holiday Spectacular {December 23, 2009 at Chop Suey}, but we suspect it might involved swirly guitars, keyboard twirls and some mistletoe.

We chatted up Cody Nightgown recently and found out what happened the night they opened for Grand Duchy, their "lucky" charm, a loveletter from them to Wallpaper {also playing the IWH Spectacular} and what they want to find under the tree.

TIG: Is it true that you brought "Oh Tina" (from your days as The Elephants) with you into the Nightgowns fold?

the Nightgowns: Yeah it's pretty true to the original but there's real drums now.

TIG: Earlier this year, the Nightgowns opened up for Grand Duchy! How did that come about?

the Nightgowns: The show was great! Me and Trevor are pretty big Pixies/Frank Black fans. It's pretty cool of course to open for one of your childhood heroes. Trev met him and his wife Violet backstage and gave them a cd then we got 86'd from the club due to disorderly conduct (unrelated incident). But the next day they rescinded our 86'd status cause it's Tacoma and we're us (just kidding) (kinda) (actually not) (pfft! get outta here you!).

TIG: Are there any pre-show rituals or superstitions that you have in place to make sure you have stellar show?

the Nightgowns: Kind of - we used to have a small plastic purple cat that we would bring to every show and put on the guitar amp facing the audience. We never forgot to bring it. One show went really bad though, but not because we forgot to bring it. It was there.. and basically it let us down, or it's luck must have run out or something. We blamed everything on the cat and didn't bring it to any more shows.

TIG: If the Nightgowns were a sports team, what sport would you play?

the Nightgowns: A mixture of Tae Bo and Tonsil Hockey.

TIG: I've described your songs to my friends as futuristic, slightly hallucinogenic, love stories. What's been your favorite description of your Nightgowns sound?

the Nightgowns: Ha- don't know about favorite but The Portland Mercury recently said we play "dimly glowing romantic jams." Ha.

TIG: What or who influences the band and your music?

the Nightgowns: Everything from the scent of a woman to the scent of green papaya.

TIG: What's next for the Nightgowns? Are you working on songs to release in 2010? Do you have tour plans?

the Nightgowns: Yes we are recording new songs. We have some almost done and we'll probably just put them out as singles or something so they'll be out sooner!

TIG: If you could choose someone to cover one of your songs, who would it be and what song?

the Nightgowns: We don't care as long as we get paid - know what I'm sayin?

TIG: If you were to cover one holiday song, what would it be?

the Nightgowns: "Santa Claus is Back in Town" (the first song on the Elvis Christmas Album)- that's my cut!

TIG: What's on your holiday wishlist this year?

the Nightgowns: Typical band nerd gear geek stuff: Toys that make noise, recording stuff... oh and jewels. Sparkling jewels. I want to cover my body in luxurious sparkling shining emeralds and rubies. And to travel the world... in luxury.. with jewels.

TIG: What albums or bands are on your favorites of 2009 list?

the Nightgowns: 2009? Yeah I pretty much know diddly about it. Ha- .. umm.. .. basically I only have a few records from 2009... I liked Begone Dull Care by Junior Boys. Royksopp record was cool. I like a couple of songs on the Bat for Lashes record.. and I like that norwegian girl.. Ave Maria or whatever.. err what else came out in 2009? Can I tell you the albums i heard that I hated?

TIG: If you could ask one of the other bands on the bill an interview question, what would it be and to whom?

the Nightgowns:

Dear Wallpaper,

Was everything you ever told us a lie? Did you ever actually care about us, or do you only care about yourselves?

Imaginary Interview: The Special Places... playing the Holiday Spectacular 2009

imaginary liz — Tue, 15 Dec 2009 16:59:33 +0000

{photo: John E. Hollingsworth}

Day 2 of the countdown to the big huge wonderful Imaginary Winter Holiday Spectacular at Chop Suey on December 23rd {an evening full of big huge wonderful fun including, but not limited to Christmas Belles, free mega-raffle ticket goodness, MC David Schmader!}.

The band that is going to kick off the evening is the Special Places, a Seattle duo who recently started to take Seattle by storm with opening slots at BOAT's album release show and Aussie Darren Hanlon's recent visit. You might know them as 2/5 of imaginary favs Tullycraft, so you can imagine we jumped at the opportunity to sit down with them for their first ever interview as the Special Places. Jenny and Corianton spilled some deets on how they started out and whether or not they are secret (or not so secret) lovers. Now we're doubly looking forward to seeing what they have in store for us at the Spectacular.

TIG: How did the Special Places concept come about? How did you meet and how did you decide to start playing together?

Jenny: I believe we first met through friends at a Lucksmiths show in 2001. Then he came to my housewarming party bearing a houseplant, and the rest is history!

TIG: You're kidding! I was at the show (alone) and imaginary Dana was celebrating her birthday in the balcony of that show too! It was a few months before she and I met for the first time. I had *no idea* that was even more magic dust sprinkled there! I guess it makes even more sense that I've been describing you as sweetheart folk. Is there a better term or sub-genre that you consider yourself to neatly fit in?

Jenny: Perfect! You really are smarter than the average bear...

TIG: I don't know about that... Are there any pre-show or practice-time rituals that you have in place for when you meet up?

Cori: We light candles around a picture of Zack Duffy {BOAT}.

Jenny: Well, Cori does. I'm more a Mark McKenzie kinda girl. As for practice, it generally consists of a couple of hours of beer and girl talk and 30 minutes of actual singing!

TIG: I actually expected that... You don't have any releases yet. Are you working on that?

Cori: Yes we're working with Chris Munford (Tullycraft producer) on an incestuous Tullycraft tribute track. As soon as that's done we're gonna jam out some sort of EP or seven-inch.

TIG: Do you have a vision for what you want it to sound like and achieve?

Cori: We want to sound like Simon & Garfunkel on a teenage reality dating show.

Jenny: I'm just excited about finally having a recording of these beautiful songs that Cori wrote. And we'll finally have something at the merch table besides buttons!

TIG: Nice! And t-shirts please? Are you thinking digital, cd or vinyl releases?

Cori: Vinyl with MP3 downloads, perhaps?

TIG: What would you consider the most amazing honor, a sign that you've accomplished something really sweet (within or outside of the Special Places since I suspect that with all the other things you rule at there's a bunch of benchmarks you have on your to do list)? For example at Three Imaginary Girls, we've always dreamed of playing scrabble with Stephin Merritt or having Thanksgiving dinner with Peter Buck would be so choice.

Jenny: I would like a bicycle tour of Denmark by the Figurines or a manicure with Dolly Parton. I don't think that's too much to ask for!

TIG: Is there a dream bill you'd like to be on or place you'd like to play?

Jenny: We've already lucked into some pretty dreamy bills: Los Campesinos! Parenthetical Girls, Darren Hanlon, Rose Melberg, BOAT. For dream places, how about a New Zealand tour? We could see Helm's Deep by day and play sweetheart folk at night!

Cori: Next stop, Nerdsville.

TIG: If you could choose someone to cover one of your songs, who would it be and what song?

Cori: I would like to hear Tom Brousseau cover "Bluebottle Flies."

Jenny: Or someone could cover one of our ironic covers!

TIG: If the Special Places was a sports team, what sport would you play?

Jenny: I could see us as a tennis doubles team, with matching 1960s tennis outfits!

Cori: Is boob-grabbing a sport?

TIG: What albums or bands are on your favorites of 2009 list?

Cori: Conor Oberst, BOAT, Hidden Cameras.

Jenny: Totally Boat!

TIG: If we could spread one rumor about the Special Places, what would it be?

Cori: That Jenny and I are secret lovers. Or that our band is named after my parent's term for genitalia.

Jenny: I was going to say secret lovers! It's not too big of a stretch. We do a lot of kissing on stage...

TIG: Do you have a favorite Winter Holiday tradition?

Jenny: I'm all about holiday rituals! Standing in the street with cocktails admiring our Christmas lights (which I have yet to help with), Swedish Christmas Eve (with way too much Aquavit), winter beers in Columbia City. Hmm. My holiday traditons seem to all involve booze...

TIG: Um, does that mean that you might already have a holiday song to cover?

Cori: I like "O Come O Come Emmanuel" but Belle & Sebastian beat us to it. Maybe our own version of Simon & Garfunkel's Latin hymn "Benedictus?"

Jenny: It's an obvous one, but I'd love to do the Pogues' "Fairytale of New York." So bitter, yet such beautiful harmonies.

TIG: What's on your holiday wishlist this year?

Cori: An acoustic flying "V" guitar!

Jenny: Tights. Can a girl ever have too many pairs of tights?

TIG: If you could ask one of the other bands on the bill an interview question, what would it be and to whom?

Jenny: I'd like to ask all of the bands what's their favorite way to honor the late, great Michael Jackson. For me, it's a tie between watching the Thrill the World dancers beat the worldwide record of simultaneous Thriller dancing (I'm so going to participate next year) and an MJ dance party in a Shelton garage.

{photo: John E. Hollingsworth}

Imaginary Interview: Skeletons with Flesh on Them... playing the Holiday Spectacular 2009

imaginary liz — Mon, 14 Dec 2009 16:59:49 +0000

We're counting down to the big huge wonderful Imaginary Winter Holiday Spectacular at Chop Suey on December 23rd {at which we'd be sincerely honored tol see your fine booty at}!

We are so delighted to have Seattle band Skeletons with Flesh on Them on the evening's bill with The Special Places, The Nightgowns, Wallpaper, and The Redwood Plan. On their 2009 album, All the other Animals, they've combined straightforward sweet pop guitar and songs vultures and lust that keep us on our toes and giddy.

I recently chatted with Scott of SwFoT about where that graphic band name came from and find out if they really are as nice as their songs suggest...

TIG: I thought I read somewhere that the band name was inspired by a Radiohead lyric. Is that true or did I dream that?

Scott / Skeletons with Flesh on Them: It was mostly inspired by a hangover. But who knows, I was listening to a lot of Radiohead at the time...

TIG: Hmmm... interesting... Scott, you lived in Madison, Wisconsin for a while? Madison has long been whispered about in indie circles as a super-indie-friendly community - how did it compare with Seattle?

Scott: I grew up about a half-hour away from Madison, in a super tiny town. So our "big city" was Madison, and that's where we'd go to shows, got to the mall, etc. I really honestly don't know much about the music scene there...I didn't start playing music until I moved out to Seattle. I think Madison is neat, but it's so small, and it's culture is dominated by the University, it felt like a place to be 22 forever.

TIG: One of the things I love most about SwFoT songs is that paradoxical Smiths' talent of melding cheerful melodies with vivid, sometimes gloomy lyrics. Is that intentional?

Scott: I wouldn't say it's intentional on my part, but it's an accurate observation about the songwriting. For whatever reason, all I want to write about is dark and gloomy stuff, although for the music, I like it to be energetic and upbeat. It just makes sense to me that you would be tapping your toe and humming along to a song that is about human extinction.

TIG: What or who influences the band and your music?

Scott: I can't speak for the guys, but for me, I was inspired early on by Jade Tree bands like Promise Ring, Jets to Brazil and Pedro the Lion. Another huge band for me was Sunny Day Real Estate, I was actually pretty obsessed with them. If I hadn't listened to Jeremy Enigk in those formulative years I don't even know if I would have picked up a guitar later on

TIG: From reading Andrew's imaginary interview, it sounds like your album All The Other Animals came out exactly as you had hoped. Are you working on a follow up release?

Scott: Well, to say it was exactly like we hoped would be far from the truth. I like it, and I think it's an improvement from our 2007 EP, and I think it's a fine reflection of our sound from that time period, spring 2008 or so. But when I listen to it, I am thinking about what we can do to get better, both from a songwriting and a production point of view. We are planning on a 2010 release and are determined to make a better album

TIG: What would you consider the most amazing honor, a sign that you've accomplished something really sweet? For example at Three Imaginary Girls, we've always dreamed of playing scrabble with Stephin Merritt or having Thanksgiving dinner with Peter Buck would be so choice.

Scott: Bumper cars with the dude from Blues Traveler.

TIG: If we could spread one rumor about SwFoT, what would it be?

Scott: That we invented the printing press.

TIG: If you were to cover one holiday song, what would it be?

Scott: "You're a Mean One, Mr. Grinch" by Dr. Seuss.

TIG: If you could ask one of the other bands on the bill an interview question, what would it be and to whom?

Scott: I would ask the Redwood Plan what their Redwood Plan is.

We're counting down to the big huge wonderful Imaginary Winter Holiday Spectacular at Chop Suey on December 23rd {at which we'd be sincerely honored tol see your fine booty at}!

I recently chatted with Scott of SwFoT about where that graphic band name came from and find out if they really are as nice as their songs suggest...

Amused, Confused and More Bad News

Andrew Boe — Wed, 26 Aug 2009 04:49:53 +0000

7.9

http://www.amazon.com/gp/product/B002LCKPMI/?tag=wwwthreeimagi-20

Amused_Cover.jpg

Hailing from Seattle, The Purrs create a fascinating concoction of psychedelic pop. The band is an amalgam of their influences, which range from Echo and the Bunnymen to Television to Oasis. Amused, Confused and More Bad News is a terrific blend of darkness and light. The album is their fourth full-length to date and it is also the most mature, fully realized disc that they have pressed thus far.

Most of the tracks are catchy, mid-tempo compositions. “Fear of Flying” is the type that resonates in the listeners’ head long after it comes to a close. The rhythm section recalls The Church or perhaps Love and Rockets and the sweltering lead guitar adds just enough trippiness to override the basic pop structure.

“Baby I Want You Back” is also unrelentingly infectious. Sonically, it is a bit of Rain Parade meets Neil Young. The song starts out great and ends even better with a change in pace and loads of reverb and echo drenched guitar along with an intoxicating, walking bass line. “The Outpost” is a melancholy standout track that also manages to be rather catchy. Singer Jima’s singing and lyrics puncture the driving, siren-like song. He sounds half inebriated and half lucid in his performance, but also comes across remarkably charismatically and it fits the melody quite well.

At one point, the new album was almost named after one of its songs, “A Century of Rain.” It is a shame that that title was rejected in favor of the winner as it is a much more effective way of describing the musical elements contained within the record. The Purrs are not to be missed live. They have an effortless manner of recreating their songs onstage.

{Be sure to catch the Purrs' CD release party this Saturday night, August 29^th, at The Sunset Tavern in Ballard with Black Nite Crash.}

Imaginary Interview: Skeletons with Flesh on Them

Andrew Boe — Tue, 09 Jun 2009 18:19:04 +0000

The up and coming band Skeletons with Flesh on Them has just released their debut album. It is a jangly pop opus that is chock-full of ultra catchy songs that sound definitively Seattle. Their contemporary musical style is both upbeat and dynamic. In a brief correspondence with singer and guitarist, Scott Roots, he has allowed us into the the world of the Skeletons, past, present and future.

Tell me about your new record. How did it come together and how was it recorded?

As a band, we were really concerned with making an album, not just stringing together songs and giving it a title. To help allow ideas to breathe and develop, we recorded the tracks in two sessions spread out over 6 months. We constantly revised the songs up to the point that they were recorded, and then [revised them] again when it came time to mix. Our producer Jeremy Park was insanely attentive to detail to the extent that he sent us up to 10 different mixes of each song before we agreed on a final version. We wanted each song to have a unique identity within the framework of a thematically consistent set of songs.

Did you have to gamble at all or take any risks to get what you wanted with the new album?

I'd say one of the biggest risks we took was in who we chose to record our album. To work with Jeremy again, who recorded our EP in 2007, meant having to work remotely, since he had moved to Idaho. We considered a ton of different options before making a more or less gut decision to go with him. While it meant the expense of travel and rigid date-planning, it was more than made up for with the passion and energy he put into the songs. We are lucky to consider him a fifth Skeleton.

What are you listening to lately and what kind of impact has it had on your songwriting/recording?

When I am listening to a song, I am often listening for the singer's phrasing and melody, and what separates a really [memorable] performance from a forgettable [one]. Over the last couple years, I've been particularly drawn to Craig Finn (The Hold Steady) and Will Sheff (Okkervil River) for their ability to tell interesting stories within the framework of rock and pop songs. Other artists that come to mind are John Darnielle (The Mountain Goats), Isaac Brock (Modest Mouse), Jeremy Enigk (Sunny Day Real Estate), Jeff Mangum (Neutral Milk Hotel) and Matt Berninger (The National).

Do you have any plans to tour soon? What kind of crap food do you envision yourself eating while on the road?

We are set to hit the road at the end of July for a 10 day tour down to California with Stencil. It's our first tour, and now definitely feels like the right time to go. As far as junk food, I have heard horror stories of bands living off of white-powdered doughnuts and jalepeno taquitos for weeks on end, and as much as I hate to admit it, such will probably be our fate. There is something so alluring and exotic about the 7-11 taquito.

Skeletons should be huge in Seattle. What can Three Imaginary Girls do to make certain that this degree of world domination soon occurs?

You could give us a really good quotable phrase for our Myspace. Maybe you could write something like: "Three Imaginary Girls hereby demands that you purchase Skeletons with Flesh on Them's new album because they are the best possible band, even if you consider an infinite amount of bands for infinity".

What shows do you have coming up in town and where will you be performing?

June 10th at The Comet - Noise for the Needy Benefit w/ Safer, This is a Process of Still Life, Coulter
June 27th at Mars Bar - w/ Son Things and Elba
August 1st at The High Dive - w/ Animals at Night and Elba (CD Release)

How did you settle on the band name, Skeletons with Flesh on Them?

It was around 2003, and I was delivering pizzas in Madison, Wisconsin. After a night of particular heavy drinking, the phrase popped in my head and I couldn't get it out. I thought it was the wackiest image in the world, that everyone was really a skeleton underneath all those clothes and skin, and I liked the way it sounded. As far as naming the band, it really was one of those intuitive things where I didn't give it much consideration. As with song-writing, I put a great deal of trust in subconscious processes to work things out without the brain actually ever catching on.

Where can Three Imaginary Girls' faithful find your new CD entitled All the Other Animals?

In Seattle at Easy Street and Sonic Boom, online at iTunes, CD Baby, and Amazon. You can also get it directly from us, with information about that on our Myspace page.

Thanks, Scott. Are there any other things that you would like to add? Do you have any words of advice or other anecdotes that you would like to share?

I would like to thank you for all the work you do supporting the scene, Three Imaginary Girls. Thank you!

swfot_cover.jpg

Alarm Bell City

Andrew Boe — Wed, 03 Jun 2009 04:43:45 +0000

7.5

http://cdbaby.com/cd/applewar

apple_war_cover.jpg

The Apple War came into existence when the founding members met in Bellingham in 2007. Upon relocating to Seattle in 2008, they recorded this engaging full-length album. Part funky post-punk, part progressive rock and a large part melancholy ballads, it is an amalgam of interesting sounds and textures.

Alarm Bell City took me by surprise. By the look of the cartoon adorned cover, I thought that this was going to be your standard contemporary Seattle indie rock, but the opening moments of the first song proved my prejudice to be dead wrong. The song, “Alarm Bell City,” is a refreshing exercise in songwriting. With scowling guitars and eerie keyboards layered on top of a fantastic drum performance, it sounds a little bit like OK Computer period Radiohead, but isn’t a shameless reproduction in the least.

“Old Thunder” has a spectral melody that is led by doleful organ notes that ring in reflective tones. The almost whispered vocals fit the mood of the tune and are drenched in late night regret. On the other end of the scale there are songs like “Sailor,” which features a snaky bass line that is augmented by more guitars and less keyboards.

The Apple War is a unique and welcome addition to the local music scene. They certainly don’t sound anything like the majority of bands that have popped up in the last few years and that alone makes them worth checking out. Besides that, Alarm Bell City is a charming debut that deserves some airtime on KEXP if it has not had some already.