Three Imaginary Girls - Built to Spill

City Arts Fest 2011: really, how can you not?

imaginary victoria — Mon, 10 Oct 2011 15:42:31 +0000

Bands. Art. Comedy. Community. These are just a few of the things you can expect from the upcoming City Arts Festival, taking place at various venues throughout the city from Thursday, October 20th through Saturday, October 22nd. They've done a damn fine job of showcasing a ton of local artists as well as featuring some national acts, both sure to pack their respective houses -- and thus, it's through a sea of tears that we give you some of our picks for what you should do to make the best of those seventy-two hours.

City Arts isn't bringing us to tears, of course, unless you count tears of JOY at reading the full lineup! But we are a little sad to report that part of our imaginary team will be in New York for CMJ this year {for those of you keeping score at home, yep: it's the same week / weekend}.

THURSDAY

The Don't-Miss: The Long Winters / Campfire OK / Cobirds Unite / Cataldo
Where: Showbox at the Market
{tickets}

The Long Fucking Winters. At the Showbox. Seriously!! The rumors are true -- we're presenting this show, it's going to kick ass, the night will be full of surprises, and the lineup is killer. Cataldo will be warming up the night, fresh off the release of their latest album Prison Boxing, Cobirds Unite will send the masses swooning, Campfire OK will undoubtedly win the house over... and all of this before John Roderick and Company take the stage. Any night when he and Rachel Flotard are in the same house, whether they perform together or not, is sure to go down as one for the books.

The Runner-Upper: Seateeth
Where: Theatre Off Jackson
{tickets}

City Arts Fest knocks our socks off with huge headliners, sing alongs and lasers

imaginary liz — Mon, 01 Aug 2011 15:46:07 +0000

{John Roderick/Long Winters photo by Victoria VanBruinisse}

City Arts announced their over the top City Arts Fest line-up late last week. If you haven't seen it already, prepare yourself, it's a doozy (and it's cut and pasted after the jump)! It looks like our schedules for October 20-22, 2011 will be filled to the brim with radness!

The core of the fest hones in on the rich medley of bands saturating the Seattle music scene, from royalty like the Fastbacks and the Long Winters to a fine sampling of up and comers like Don't Talk To The Cops and Lovesick Empire. The organizers also secured some of the finest international acts to mix it up (Ryan Adams, Built to Spill). Oh, and then there are the laser dome shows (Grunge and Helio Sequence) and fantastic film sing alongs, including Hedwig and Purple Rain.

I wonder if Bumbershoot is looking over it's shoulder a bit and feeling the heat of such a diverse, jam-packed festival offering?

The Smiths as covered by members of Built to Spill, Wedding Present, Vivian Girls, and...

imaginary liz — Fri, 18 Mar 2011 21:54:08 +0000

(Doug Martsch covering a Smiths song that isn't "Reel Around The Fountain")

It's been a while since we've heard anything new from a member of the Smiths, so it's perfect timing for a new Smiths covers album... especially one with tracks interpreted by the Wedding Present, Doug Martsch (Built To Spill), The Rest (one of my favorite new Arcade Fire-ish Canadian bands), Katy Goodman (La Sera, Vivian Girls), and Tanya Donelly. This latest tribute will be released on American Laundromat Records this Fall and they are still adding folks to the track listing... which currently includes:

Some things sorta change...

bobby mchugh — Tue, 24 Nov 2009 02:38:01 +0000

20 Nov 2009

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Built to Spill came out with an energetic show, an abundance of talent and a prime selection of songs including many off their latest release There Is No Enemy. And for a band that has being playing the hits since 1992, they seemed to have a revised sense of energy and urgency.

Fans crowded in to the Showbox Green Room early for Friday night's sold out show. Some were hoping to score tickets, others were scarfing down much needed corndogs, but everyone was emphatically discussing which songs they hoped to hear. "I hope Doug plays 'Kicked It In The Sun'" one women literally shouted at her friend - while at the same time trying to convince Showbox security to let her up to the clearly closed off box office to buy a ticket. And the chatter didn’t stop in the venue or during their set. In fact, the intensity of some of the fans was a little distracting. During a lovely selection of songs, the audience kept yelling out favorites like “Strange,” “Stab” and “Liar.” One guy worked himself up into such a frenzy during a twenty minute rendition of "Conventional Wisdom" that he jumped up on to the stage after the song ended to give Doug a HUGE hug (before being promptly escorted out of the venue by security). But maybe the audience was picking up on something very rare and real - a chance to hear Built to Spill, energized from a new album, play old songs with renewed intensity. And I have to admit, despite the distractions, it was pretty magic.

Accompanying BTS was Disco Doom, from Switzerland, and Finn Riggins, of Idaho. Disco Doom played a solid distortion soaked set that felt a little bit too much like 1997. So it was openers Finn Riggins that got the crowd buttered up for the night. Anthemic stompers like "Wake (Keep This Town Alive)" are the reason they went from playing the tiny Blue Moon in October (proof) to the Showbox in about a month.

Here are a selection of photos from the night:

{Be sure to check out the whole set of shots from the show in the imaginary flickr pool - photos by me!}

Built to Spill came out with an energetic show, an abundance of talent and a prime selection of songs including many off their latest release There Is No Enemy. And for a band that has being playing the hits since 1992, they seemed to have a revised sense of energy and urgency.

Capitol Hill Block Party 2009 {Friday}

Chelsea Werner — Wed, 29 Jul 2009 07:43:48 +0000

24 Jul 2009

Block party started off mellow enough with the sultry blues of The Dutchess and The Duke kicking off Friday on the main stage at 4 pm with “Reservoir Park,” the gravel between Jesse Lortz and Kimberly Morrison’s deep vocal harmonies foreshadowing the fine layer of grit that would coat my skin by the end of the day.

As far as I could tell The Dutchess and The Duke didn’t have much of a set list planned and they informed the audience that their bassist had only practiced with them three times before. Considering Lortz has a new-born and the band is gearing up for a month long tour with Modest Mouse to release their new album Sunrise/Sunset, their unplanned set seemed effortlessly smooth. I guess this can be expected from these two Seattleites who have known each other since high school and played in a multitude of bands in and around Seattle (watch the imaginary interview).

In the four songs I caught the end of the Flexions eclectic set on the Vera Stage, they ranged from droned-out synthy shoegaze to catchy surf tunes, their songs breaking and popping into variations on intstrumental themes aided by the computer behind guitarist Devin Welch and bassist Robin Stein. Their wide range of sounds allowed one song to cast a heavy darkness over the late afternoon or drop an up-beat ray, reminiscent of Tom Waits’ Real Gone, onto 10th avenue. Despite all their ambience, their stage presence was lacking.

From the little I overheard of Spinerette I didn’t need to get any closer to make out Brody’s distinct singing that failed to make Spinerette its own beast, distinguishable from The Distillers. With little to learn from that set, I headed back to the Vera Stage for Bow + Arrow.

Since Benj Rouse has been a powerhouse drummer behind this band on his own, I was excited to see what Bow + Arrow would do with the inclusion of a second drummer. The division of drum duties didn’t deliver any overwhelming energy to their set. The drums mostly served to bring together the choppy transitions. Lucas Thilman’s apology for being a jam band at the end of their set felt out of place. Despite the improvisational nature of this show, Bow + Arrow’s show was a genuine display of a hardcore band enjoying themselves in light of their immanent disbanding (watch the imaginary interview).

As I was headed to Neumo’s stage to see The Blakes, I got distracted by a cover of “Born to Be Wild” being played by The Black Lips on the main stage and lingered behind the beer barrier long enough to hear “Hippie, Hippie, Hoorah” and realize that the sound of crackling coming from their equipment wasn’t intentional, but sounded great.

I left the sweet yips and hisses of the Southern trio to be smothered by the deafening heat and distorted guitar of The Blakes inside Neumo’s. Their audience couldn’t help but be enthused by the sheer volume of the sound blowing over them--every single one of their instruments could have been turned down. Over all they were a solid bang-out band and the end of their set was comprised of songs that sounded like a mix of The Stooges and The Stones—Their recorded material is not so straightforward. If you care to look closer into this anomaly, look for their new album, Souvenir, out in October.

Back at the Vera Stage I was immediately sure that Micachu and The Shapes were the gem of the festival. Little Mica Levi strummed away on her modified guitar, a tiny little thing played with a hammer action called a chu and a bowed instrument fashioned from a CD rack. Next to Raisa Khan’s keyboard there were two empty wine bottles on cymbal stands and two cowbells. Attached to the full drum set, manned by Marc Pell, was more cowbell. Let’s just say, no one could ever fault Micachu and The Shapes for a lack of cowbell.

Throughout their set the keyboards hummed over spoken and spewed vocals, suddenly turning into an electronic thrashing for your eardrums. Harnessing the crackle of technical difficulties that The Black Lips hadn’t intended and placing it with meaning into the jarring keys, their songs slowly settled into brief melodic interludes and frenetically moved into syncopated blues. Overarching melodies were discernable through the veneer of cowbell and cymbal tinkling down over Mica’s horrendously perfect throat moans into the microphone, like raindrops jaggedly making their way down a window pane in a thunder storm.

At the end of Micachu and The Shapes’ most straight forward song, “Golden Phone,” Khan started slamming her palms along the keys and the song dissolved into a brief stint of insanity before it became even more pop-along-to and descended once again into what makes this band great—Not writing straightforward songs, but using punk sensibilities to contort pop into fun and unexpected shapes.

Even while I couldn’t tear myself away from Vera Stage even a little early, I knew, throughout Micachu and The Shapes’ set, Deerhunter was starting any minute. Thankfully, Mica and the band were also extremely interested in Deerhunter and so we all headed over to the main stage, pushing to the front of what had, in the past hour or so, become a packed to capacity and much more intoxicated block party.

What summed up Deerhunter’s set was the look plastered on the bassist’s face. His expression was as dreamy as even their most aggressive songs can be. They escalated from instrumental ambience to catchy melodies and on into extended bridges rife with riffs and danceable drums without ever falling into a self-indulgent solo.

Lead singer, Bradford Cox laughed off mistakes during “Rainwater Cassette Exchange,” and while playing “Agoraphobia,” the bassist turned his sunglasses upside down. A little guy ran out on stage in a trench coat with a bottle of Makers Mark, yelled incoherently into the mic and ran back off. Was it one of the members of The Black Lips? The bottle stayed on stage and they ended their set with “Operation,” off Weird Era Cont.

Built to Spill played a set packed full of audience picks and it was nice to know that my fellow city dwellers share much the same taste as me in the songs that make Built To Spill’s albums meaningful, including “Carry the Zero,” “You Were Right,” and “Reasons,” to name a very brief few. After reveling in sing-a-longs and a youthful nostalgia, made all the more sensory for the scent rising from the damp cement in the slight drizzle, I sauntered over to the Vera stage once again.

I am pretty sure that my pinky toe is broken from jumping around in the Mika Miko mosh pit with a crowd that seemed more excited by the dance injected punk noise than the band. Singer/saxophonist/keyboardist Jenna Thornhill repeatedly lamented that last year they played the small stage and this year, they were playing the small stage. The size of the stage hardly mattered, as they were the perfect way to regain a bit of the enthusiasm that had waned as day one of Capitol Hill Block Party came to an end.

(Mika Miko photo by joshc from the TIG flickr photo pool)

All of the photos without photo credit noted above are from Trickshot Photography... see them all!

Free Built to Spill, Ra Ra Riot, Smile Brigade show at UW

ChrisB — Fri, 29 May 2009 00:04:34 +0000

The lineup is Built to Spill, Ra Ra Riot and Smile Brigade and it will be on the HUB Lawn at the University of Washington from 3-7pm and it's free.

P4K Fest adds Lips to “Write the Night: Set Lists By Request" closer

Imaginary Shrie — Fri, 27 Mar 2009 16:51:35 +0000

As if Yo La Tengo, Built to Spill, Jesus Lizard and Tortoise weren't enough.. the brilliant minds (or not so) behind the lauded Pitchfork Music Festival have added the infamous Flaming Lips to the Sunday ender show, "Write the Night: Set Lists By Request". Ticketholders will be emailed a link to a website in which they can vote on which song they'd like to be played by each band.

Setlist decided by audience!!! ("Kim's Watermelon Gun", "When You Smile", "A Spoonful Weighs A Ton"! I can't decide.)

Built to Spill covering M.I.A. (!?!?)

Imaginary Shrie — Tue, 28 Oct 2008 16:05:28 +0000

Watch as Doug Martsch skillfully axes his way through "Paper Planes."

Best of 2007: elle's favorite shows

elle — Fri, 04 Jan 2008 16:44:17 +0000

Being a regular contributor on here on TIG takes the show going experience from something you do on the weekends to part of your regular routine. I'll never forget shoving five shows in one week, or running from set to set during Bumbershoot trying to frantically interview all the local bands. Sometimes I still can't believe I'm here.

Very few shows I regret seeing, the vast majority were really good. But there's a distinct ten still stuck in my mind, shows I talk about to this day. The bands who made this list are not just comprised of musicians who stood up there and played -- these were performers who demonstrated how their band is more than a job or hobby, it's their lives. In each case they provided a memorable experience where I left feeling I'd just witnessed the most talented artists making music today.

Built to Inspire

elle — Fri, 12 Oct 2007 18:27:09 +0000

5 Oct 2007

builttospill07oct.jpg

Autumn has descended upon Seattle in full force -- tree droppings litter the sidewalks, dark and grey skies extend late into the morning, breath can be seen in the chilly night air. Nothing goes better with all of this than some chai tea and indie rock shows to take the edge off the chill. Hardly two weeks into October and we've already been treated to some excellent music by local cornerstones. I was still reeling from Seattle legends Kinski, when scarcely a week later the Showbox was treating us to a three night block of those Idahoans Built to Spill.

My wariness of indie bands stems from the strong feeling I get when I hear one and think, "Built to Spill was doing this a decade ago!" The band has been around since the early 90s, and maybe it is a bit unfair to immediately snub a new band just because they lift some of Built to Spill's sound. After attending my first Built to Spill show, I now understand how inspirational they truly are.

Standing front and center, there was too much visual stimulation to take in without my head whirling. Three guitarists working their instruments, gliding up and down the necks with finger slides. Their sound is definitely not enclosed in the indie-rock box; the wall of guitar sound produced could put even many of the post-rock bands this writer raves about to shame as well. I couldn't decide which band member to watch, feverishly craning my head back and forth to catch as much as possible.

If watching the band wasn't enough to move you to artistic action, the addition of more visual display certainly was. Dark surreal drawings and paintings of creatures with grotesque facial features graced the projector screen in the background. Some were crude and elementary, but most were macabrely interesting. It felt a bit like an art exhibit had stumbled upon the concert.

Humility is hard to find among rock-stars, especially those as well-established and long-run as Built to Spill. Their actions displayed a deep level of humility while on stage. Despite fanatics in the crowd loudly professing their love for the entire band or just front man Doug Martsch, the band meagerly gave thanks or went about their business as if oblivious to the yells. Perhaps in some cases such a small show of gratitude would be written off as pretension, but there's something about those five guys which makes me think otherwise.

Besides, what they lacked in eloquence, they demonstrated in set structure. I'd say an hour and half long set is the best way to show gratitude to your loyal fan base. A very hearty jam of an encore took place for an extra fifteen minutes, incorporating openers Camper Van Beethoven's members.

One more inspiration the band provided was on the crowd during the show. I've heard many a time over how Seattle show goers don't know how to dance, no one moves during the shows, so on and so forth. Apparently Built to Spill must have some special effect on us passive arms-crossed-slight-head-bobbing Seattlites because pretty much the entirety of the sold out, packed in Showbox crowd was swaying and moving their feet. Perhaps those grumblers just need to attend a Built to Spill show to have their preconceptions changed.

Do I still fully fault those bands who have an awful lot of influence from the sounds of Built to Spill now that I've seen them live? No, not so much anymore. Hell, some aspects -- like the humility and creative risk-taking -- all bands should aspire to.

Standing front and center, there was too much stimulation to take in without my head whirling. Three guitarists working their instruments, gliding up and down the necks with finger slides. Their sound is definitely not enclosed in the indie-rock box; the wall of guitar sound produced could put even many of the post-rock bands this writer raves about to shame as well.

"Randy Describes Eternity" by Built to Spill

Erik Gonzalez — Wed, 11 Apr 2007 16:12:24 +0000

One of the dangers of being a scientist is that you tend to overthink things. Take this gem from Perfect From Now On, one of the best albums of the 1990's. Here, Doug Martsch does a pretty good job of, well, describing eternity*. Let's get the gist of it — big object (10 times the size of Jupiter) swings by every once in a while (every thousand years) and you decide to hack at it with a feather, but you're not very good, so you don't hit it too often (hit it once every thousand years). However, you happen to a persistent bugger and you do this long enough really make a dent (you've worn it down to the size of a pea). So, that means you hit it every 1,000,000 years. Now, the diameter of Jupiter is 142,800 km, so ten times that is 14,200,00 km and if you assume that you take 1 micron of the material off each time you hit it, how long is this song actually describing to get down to a pea (~3 cm diameter)? Well, let's figure it out!

The difference in diameter between the object originally and the pea is, oh, 14,199,999,997 cm. If you remove 1 micron (1 micron = 0.0001 cm) every 1,000,000 years, it should only take 142,000,000,000,000,000,000 years to pull off your mythic feat. Wow, that is a long time, isn't it?

And think, you though TIG wasn't going to teach you some science today? Thanks, Built to Spill!

* note: are "eternity" and "infinity" equal? Can two things with undefined bounds be equal? Where are the theoretical mathematicians when you need them?

{iPod Roulette is a daily feature from TIG writer Erik Gonzalez, where he highlights the first track his 11,400 track iPod picks for each day. Think of it as your imaginary daily affirmation. For past rounds of roulette, check the iPod Roulette archives.}

B000002NC4.01._SCLZZZZZZZ_SS500_.jpg

Where are the theoretical mathematicians when you need them?

Best Northwest Releases of 2006

three imaginary girls — Mon, 08 Jan 2007 08:00:00 +0000

Zow — it's been another great year for music everywhere, and a particularly amazing one for music straight outta the Northwest (we hate to brag, but the hometown pride has us beaming!). Thanks to all of you who voted in our fourth annual Best Northwest Releases of 2006 Readers' Poll. As always, we are pleased as punch by all your votes — and humbled to live in a region with such incredible talent.

Without further ado, our winners!

#50 Mon Frere Blood, Sweat & Swords (Cake Records)
{review} * {website} * {buy}

#49 Conrad Ford Don't You Miss Yourself (Tarnished Records)
{website} * {buy}

#48 M. Ward Post-War (Merge)
{website} * {buy}

#47 Head Like A Kite Random Portraits of the Home Movie (Pattern 25)
{review} * website} * {buy}

#46 The Hands So Sweet (Basement Empire)
{website} * {buy}

#45 The Village Green Feeling The Fall (Spin Art)
{review} * {website} * {buy}

#44 Skullbot Skullbot (Self-released)
{website} * {buy}

#43 Andrea Wittgens Alibi (Self-released)
{website} * {buy}

#42 Common Market Common Market (Mass Line)
{review} * {website} * {buy}

#41 Smoosh Free to Stay (Barsuk)
{review} * {website} * {buy}

#40 The Exploding Hearts Shattered (Dirtnap)
{review} * {website} * {buy}

#39 Iceage Cobra Brilliant Ideas From Amazing People (Self-released)
{website} * {buy}

#38 Transmissionary Six Radar (Glitterhouse)
{review} * {website} * {buy}

#37 These Arms Are Snakes (Jade Tree)
{website} * {buy}

#36 Coho Things Change (Lujo)
{website} * {buy}

#35 Sneaky Thieves Accidents (Self-released)
{website} * {buy}

#34 Harvey Danger Little By Little (Kill Rock Stars)
{review} * {website} * {buy}

#33 The Blood Brothers Young Machetes (V2)
{review} * {website} * {buy}

#32 The Sea Navy Oh These Troubled Times (Lucky Horse)
{review} * {website} * {buy}

#31 Argo Attack of the Firebots (Fish the Cat)
{review} * {website} * {buy}

#30 The Blakes The Blakes (Self-released)
{website} * {buy}

#29 Pearl Jam Pearl Jam (Sony)
{review} * {website} * {buy}

#28 The Blow Paper Television (K Records)
{review} * {website} * {buy}

#27 Central Services Central Services (This...Bodek Music)
{review} * {website} * {buy}

#26 Fleet Foxes Fleet Foxes (Self-released)
{review} * {website} * {buy}

#25 Carrie Clark and the Lonesome Lovers Seems So Civilized (Self-released)
{review} * {website} * {buy}

#24 The Purrs The Purrs (Sarathan)
{website} * {buy}

#23 Pleasurecraft This Is A Blackout (Pleasurecraft Music)
{review} * {website} * {buy}

#22 Thee Emergency Can You Dig It? (Blue Disguise)
{review} * {website} * {buy}

#21 Sera Cahoone Sera Cahoone (Self-released)
{review} * {website} * {buy}

#20 The Lights Diamonds and Dirt (Wantage USA)
{website} * {buy}

#19 Patience Please Parallel Plots (Jigsaw)
{podcast} * {website} * {buy}

#18 The Heavy Hearts The Heavy Hearts (Swingline)
{website} * {buy}

#17 Man Plus We Had No Sex (Self-released)
{podcast} * {website} * {buy}

#16 The Snakebites Love, Hate, Rage, and Sorrow (Self-released)
{podcast} * {website} * {buy}

#15 Jeremy Enigk World Waits (Reincarnate Music)
{website} * {buy}

#14 Neko Case Fox Confessor Brings the Flood (Anti)
{website} * {buy}

#13 Racetrack Go Ahead and Say It (Self-released)
{podcast} * {website} * {buy}

#12 Rocky Votolato Makers (Barsuk)
{review} * {website} * {buy}

#11 Panda and Angel Panda and Angel (Jade Tree)
{review} * {website} * {buy}

#10 The Gossip Standing In the Way of Control (Kill Rock Stars)
{review} * {website} * {buy}

#9 Viva Voce Get Yr Blood Sucked Out (Barsuk)
{review} * {website} * {buy}

#8 Math & Physics Club Math and Physics Club (Matinee)
{review} * {website} * {buy}

#7 The Trucks The Trucks (Click-Pop)
{review} * {podcast} * {website} * {buy}

#6 Built to Spill You In Reverse (Warner)
{review} * {website} * {buy}

#5 The Thermals The Body, The Blood, The Machine (Sub Pop)
{review} * {website} * {buy}

#4 Band Of Horses Everything All the Time (Sub Pop)
{review} * {website} * {buy}

#3 The Long Winters Putting the Days to Bed (Barsuk)
{review} * {website} * {buy}

#2 The Decemberists The Crane Wife (Capitol)
{review} * {website} * {buy}

#1 BOAT Songs That You Might Not Like (Magic Marker)
{review} * {podcast} * {website} * {buy}

Thanks to all of you who voted, went out to live shows, came to our imaginary events, read our website, and helped make 2006 another amazing year to be imaginary.

The winners in the TIG Best Northwest Releases of 2006 Readers' Poll, including BOAT, the Decemberists, the Long Winters, Band of Horses, the Thermals, and um, 45 more.

Northwest Superbands Reviewed

Erik Gonzalez — Tue, 16 May 2006 07:00:00 +0000

8.5

builttospill.jpg

Built to Spill — "You in Reverse" {8.5}
Buy it!
{Warner Bros. Records}

Quasi — "When the Going Gets Dark" {6.8}
Buy it!
{Touch & Go Records}

Right now, I am probably doing the most quintessentially Pacific Northwest thing I could possibly due in order to review the two new albums by Northwest stalwarts Built to Spill and Quasi: sitting uncomfortably in an overpacked coffee shop drinking an overpriced coffee-type drink. This does not happen where I am from (for those of you not keeping score, that would be Boston). Baristas are not chatty and friendly. Coffee does not come in 10 different flavors. Or at least it didn't in the "good old days." However, it does seem horribly appropriate to listen to these discs here.

The Pacific Northwest is spoiled in terms of music. I mean, think of all the bands you can boast? Not all parts of the country can do that. Quick, name three great rock bands from, let's say, Delaware! No? Iowa! You get the picture. So, with the release of the latest from Boise's Built to Spill (You In Reverse) and Olympia's Quasi (When the Going Gets Dark), you can revel in the knowledge that even though you don't have a Dunkin' Donuts to save your life, you do have a bevy of great bands up here.

Doug Martsch took about five years off from Built to Spill since their last album Ancient Melodies of the Future. That album was not as well-received as other Built to Spill, and Martsch seems to react to that. You in Reverse is a very loose album from Built to Spill, with less reliance on giant, elaborate, cross-hatched melodies. Instead, the band seems to let the songs arrive organically and take it from there without so much ornate production. Of course, Doug hits us hard from the beginning with "Goin' Against Your Mind," one of the most bombastic Built to Spill songs ever. The dueling guitar intro that seems to go forever (in a good way) and the driving drums lead into the most frantically paced song to come out of Martsch since "Joyride" and it is incredibly refreshing. The band thrashes about, has a little interlude where Martsch tells us When I was a kid I saw a light/floating high above the trees one night/thought it was an alien/turned out to be just God and finishes with reckless abandon.

The rest of the album doesn't have the same adrenaline rush of "Goin' Against Your Mind," but the looseness of the arrangement still make them seem refreshing and spontaneous. "Liar" has the lo-fi feel of something from Ultimate Alternative Wavers, but at the same time has the pop sensibility of tracks like "The Weather" from Ancient Melodies. The darker tone that was set on Perfect From Now On is revisited on "Saturday," but in the Readers' Digest condensed version, clocking in at a mere 2:24. Some forays into the blues-oriented rock of Martsch's solo disc, such as "Wherever You Go," harkens to Neil Young live, with clashing guitars and feedback. These songs are balanced by lighter numbers like "Conventional Wisdom" that has a Matthew Sweet-type power pop feel as the sunny guitar line dances through the song. Overall, the guitars seem much freer than in recent Built to Spill albums, and this is especially evident on "Mess with Time." It has an eerie Middle-Eastern melody to it, but the guitars drive along like a cobra writhing in a basket, moving hypnotically through the song. The album closes with "The Wait," the most produced song on the album, but it feels like an outro sort of track that rambles along like a long drive to someplace you haven't been in a long time: everything seems familiar but not entirely the same. You In Reverse taps into the the entire Built to Spill discography to create an album that would make diehard fans happy along with gathering more into Martsch's flock.

Quasi started off as one of those bands that you couldn't talk about without constantly reminding the reader that it's made up of a divorced couple (Sam Coomes and Janet Weiss), just like I just did right there. They've transcended that tidbit since their debut in the mid 1990's, but somehow you feel that they might have gotten lost along the way. 1998's Featuring Birds was filled with brilliant indie rock gems that had hooks, melodies, and great lyrics. Since then, Coomes has become more and more obsessed with making Quasi rougher around the edges — and with only moderate success.

When The Going Gets Dark is Quasi's third album on Touch & Go Records and their first since 2003's Hot Shit. This new album is slightly toned down from the blues-oriented rock of Hot Shit, but it still lacks the fine song craftsmanship that set their earlier albums apart. The opening song, "Alice the Goon" starts off with an atonal thunder of sound (a recurring theme on the disc) and slowly reverts to a more typical Quasi rock song, but is still nagged by a vagueness that doesn't seem to fully mesh with the song. "The Rhino" takes it one step further as Coomes' piano borders on feverish Ben Folds madness but never has any coherency or hooks to speak of. Maybe that's what seems so missing: the unstoppable hooks, both musically and lyrically, that set early Quasi apart from the crowd. Some songs work a little better with Coomes newfound love of grandiloquent sounds, such as "Peace & Love" that thunders along like a 500-lb gorilla with Coomes shouting "Peace and love/cut through steel" until his voice grows hoarse. "Poverty Sucks" works in a throwback fashion much like the Black Keys, with a blues-rock feel that is appropriate for the subject matter. However, whereas "Beyond the Sky" captures some of the carefully crafted majesty from Quasi's by-gone era, with Sam & Janet's vocals blending wistfully over the melody, most songs like "Merry X-Mas" or "Presto Change-O" just feel so dissonant that you can't really sink your musical teeth into them. At least the closing number, "Invisible Star" has the tender yet slightly bitter feeling that many of us long for from Sam and Janet. Come back Sam, we want you back!

These two albums showcase two bands heading in the same direction, but with highly different results. The spontaneity that both bands want to capture seems to work for Built to Spill but not for Quasi. Why is that? It's hard to tell, but could lie in the nature of the band. Built to Spill seems to favor these guitar-oriented wanderings, while Quasi always seemed to favor Sam's vocals and piano, which feel like they've been lost in recent times. In any case, both bands have become the old guard of the Pacific Northwest indie scene and just like the Space Needle, thousands of needless referendums, Ichiro and Bigfoot, things wouldn't seem right without them around.

You In Reverse taps into the the entire Built to Spill discography to create an album that would make diehard fans happy along with gathering more into Martsch's flock.

Single Reviews: A Spring Mix of New Music

Erik Gonzalez — Mon, 03 Apr 2006 07:00:00 +0000

http://www.amazon.com/exec/obidos/ASIN/B000EHQ7L0/wwwthreeimagi-20

Ah, nothing like the coming of spring. Flowers start poking their heads out of the ground and bursting forth with color that we've missed since the end of the summer. The air begins to warm with the re-emerging sun. People slowly come inching out of the their winter seclusion to venture into the "outdoors". And, most importantly, labels start releasing albums in anticipation of the summer concert season. If you're like me, this spring is rather exciting, with enough new music coming out to make a llama swallow with discomfort. So, to get you up to date on what to expect, I thought I'd drift through my iPod's "New Music" playlist and report to you on some of the more anticipated new singles for the impending change of season.

"Gold Lion" by the Yeah Yeah Yeahs from the album Show Your Bones {8.0}
Buy it!
{Interscope Records}

If anyone were to tell you that the Yeah Yeah Yeahs are due for an atomic-scale explosion with their new album, then they are either the type that gathered intelligence for the Bush administration on Iraq or quite delusional (I suppose those two types of people are more or less the same come to think of it). Not only did they come this close to superstardom with their debut, but they are fronted by a dead-sexy (albeit somewhat frightening) leader singer in the form of Karen O and they know how to write catchy tunes. That being said, "Gold Lion," the first single off of their new disc, is a little bit of a disappointment on first listen. It lacks the passion of "Maps" or the intensity of "Date with the Night". It reeks of snazzy studio production. It, in fact, sounds like a revamped version of Love & Rockets "No New Tale to Tell". However, if you let the song spin through a few times, you find yourself inevitably singing the song in the shower. Or the kitchen. Or on the bus. Or in your sleep. Yes, they have another hit. Enjoy the Yeah Yeah Yeahs before they become the next-generation No Doubt (hopefully with the Gwen Stefani-hip hop mutation potential).

"You Have Killed Me" by Morrissey from the album Ringleader of the Tormentors {7.7}
Buy it!
{Sanctuary Records}

I have to admit, I have long had a mancrush on Morrissey. I honestly have no idea why. I wish I did. I'd be the first to admit I was pleased (and a little shocked) at his renaissance with his 2004 album You are the Quarry. Who knew that so many of us have been salivating for the return of Mr. Gloom himself. Now that Moz has realized that the world really does love him as much as he loves himself, he's come back much quicker with the early frontrunner for "Best Album Title of 2006," Ringleader of the Tormentors. The first "You Have Killed Me" pulls no punches, it more or less is an extension of the Quarry sound, rich with guitars and Morrissey smooth-as-silk voice. Sure, his lyrics are still ridiculously over the top: I entered nothing/and nothing entered me/'til you came with the key/and did you best/but as I live and breathe/you have killed me. Yes my friends, Morrissey has become the Frank Sinatra of alternative rock and this is his "My Way".

"Goin' Against Your Mind" by Built To Spill from the album You In Reverse {9.0}
Buy it!
{Warner Brothers Records}

You have to give Doug Martsch credit. Only a certain type of person can get away with having the first single from two major label albums clock in at over eight minutes long. Unlike Perfect From Now On's dirge "Untrustable/Part 2 (About Someone Else)", the first song to be released from Built to Spill's You in Reverse is a veritable barnburner. "Goin' Against Your Mind" starts off with a reckless abandon that we haven't heard from Built to Spill since There's Nothing Wrong with Love, with throbbing drums and dueling guitars that crashing in like waves during a storm. It is a full two minutes before Doug's vocals even come in, but the complexity of the song makes the 8+ minutes fly by. The song is broken up by a quiet interlude where the bass drives the music as Doug laments When I was a kid I saw a light/floating high above the trees one night/thought it was an alien/turns out to be just God before the tempo kicks back to have the song roar to a close. It seems that Built to Spill has finally found that balance between the sprawling epics of Perfect and the infectious rock of Love.

"When You Wasn't Famous" by The Streets from the album Hardest Way to Make an Easy Living {9.2}
Buy it!
{Vice Records}

Mike Skinner has learned something that many rappers never learn: rap about what you know. Sure, A Grand Don't Come for Free was brilliant, but is anyone going to believe that with the uberstardom that the Streets have attained worldwide that Mike Skinner would be concerned about losing a thousand quid? Heck, he probably lights his massive joints with £100 notes. So, what is a man to do? Write a song about how easy it is to get girls when you're famous. And, if you want to get back to feeling like you are famous, starting dating with other celebrities. Honestly, who of us can't relate with that sentiment anyway? (Ok, maybe not.) What makes "When You Wasn't Famous" so great is the infectious production - the marching beat and flute - it might be the first foray into highland Scottish hip-hop. Teamed with some of loosest rapping Skinner has ever recorded and some downright comical lyric like I realize with you the truth can be a whole lot worse than the flak/my whole life I never thought I'd see a pop star smoke some crack, the Streets might have dialed in the song that makes them huge stateside. Ah Mike, if only we knew what celebrities were talking about, but at least you're having fun these days.

If you're like me, this spring is rather exciting, with enough new music coming out to make a llama swallow with discomfort.

Sasquatch 2004 Preview

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

16 May 2004

sasquatch.gif

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

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

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

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

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

What????

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

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

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

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

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

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

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

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

Plaza (food area) Stage:

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

Enjoy it all.

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