Three Imaginary Girls - The Lashes

For The Archive: The Lashes

bobby mchugh — Mon, 30 Nov 2009 21:49:32 +0000

28 Nov 2009

Saturday night, The Lashes rocked the Crocodile. For a reunion show, their antic filled set felt less like a nostalgia trip and more like a gosh darn celebration of what's good and fun in the world. The night included appearances by an oversized Santa, tons of fake snow and an onstage phone call to one very disoriented grandmother. Oh yeah, and Ben Lashes kissed a fan from the stage. Here are a selection of dizzying photos from the night. Enjoy!

Northwest goodness at the Georgetown Music Festival

elle — Tue, 10 Jun 2008 21:18:45 +0000

There is plenty of Friday and Saturday afternoon to catch the route 60, 131, 134, or 170 to catch this little festival with a big Northwest line-up.

A bit of a leak on the Noise for the Needy festival two surprise headliners

Chris Estey — Mon, 09 Jun 2008 17:13:46 +0000

Rumor mill: Noise for the Needy has some exciting new headliners for their festival, and they are...

Top 50 Imaginary keywords this month

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

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

The Lashes with Kay Kay and His Weathered Underground

Imaginary Kiku — Wed, 09 Jan 2008 05:29:58 +0000

5 Jan 2008

lashes08jan-01.jpg

Last Saturday VERA was host to a rather eclectic line up of local bands, which included relatively new band Ships, the Lonely H from Port Angeles, and two Seattle favorites Kay Kay and His Weathered Underground and the Lashes. I think that this line up really proved something that I believe is true: everyone in Seattle has about 2 degrees of separation. The night was full of amazing music and pleasant surprises everywhere, which made it, as Ben Lashes said, "The party we've been waiting for all week."

Kay Kay and His Weathered Underground play so effortlessly together that you would never guess over half of the band are transient members. The band is made up of three core musicians: lead singer and guitarist Kirk Hoffman, keyboardist Kyle O'Quin and electric cellist Phil Peterson, also of Tennis Pro.

Last Saturday at VERA Kay Kay recruited the Lashes' bassist Nate Mooter, Ships' drummer Garrett Lunceford and a host of other musicians who played everything from electric violin to maracas to the flugelhorn. I imagine that it's hard to make all these unusual instruments work together and appeal to an audience of young indie rock enthusiasts, but Kay Kay manages to incorporate every strange sound into a myriad of jazzy, funky pop songs. The band performed so naturally that if felt to me as if I was watching them compose each song as they played it. The various sounds complimented each other beautifully, but they never sounded rehearsed or forced; each song was like the best improvisation imaginable. Every band member seemed passionate about the music and their constant dancing and moving to the beat added to the lighthearted air of extemporaneous jamming. Unfortunately, for whatever reason, Kay Kay's set was fairly short, but they left with us with the tantalizing information that they will be playing another all ages show soon, at the Triple Door on February 18.

I saw (and heard) Seattle powerpop band the Lashes for the first time at Bumbershoot last year, and for me, they really raised the bar for live shows. I came to VERA on Saturday with the thought that there was no way they could match their incredible performance last summer, but I left knowing never to doubt the Lashes. As soon as they took the stage the crowd got considerably rowdier than it had been for Kay Kay, and I found myself in the first moshpit I'd seen at VERA.

The Lashes know how to get people energized, which unfortunately resulted in one kid leaving the dance floor with a bloody nose. But the rest of the night went injury-free and the ever charismatic lead singer Ben Clark (nee Lashes) worked the crowd into a dancing, cheering frenzy while he and the rest of the band played a set full of catchy and powerful melodies. And, of course, at the end of the night, confetti was poured, silly string was sprayed and hundreds of noisemakers were thrown into the audience by Ben so that we could all hum along with the last song. I had previously assumed that the party favors were unique to the Bumbershoot show, but now I have to guess that this is trademark Lashes. They have the unique ability to involve their audience and make each show special and memorable.

I know there has been a fairly heated debate on TIG concerning the Lashes and that some have called them "gimmicky", but I disagree. The Lashes have in fact taken live shows to the next level by allowing their audiences to do more than just listen and watch. I whole-heartedly believe that they do what they do because they love the music and they love their fans and want everyone, themselves included, to have a good time.

After the last song was played, Ben announced something that I honestly couldn't hear over all the noisemakers, but eventually I understood from the shouts of people around me that there was pizza in the lobby. The crowd poured out of the dance floor and into VERA's cozy entrance hall where there were dozens of Pagliacci’s pizza boxes open and wafting delicious smells throughout the venue. The Lashes truly offer everything anyone (specifically a mob of teenagers) could want: great music, a fun time, and occasionally good food.

The night was full of amazing music and pleasant surprises everywhere, which made it, as Ben Lashes said, "The party we've been waiting for all week."

A thank you for Thank You

Sarah Joann Murphy — Fri, 28 Dec 2007 15:19:08 +0000

If Ben Lashes stops writing songs, he should go into PR.

"fuck oj, don't you wanna know where kato is?"

imaginary dana — Tue, 18 Sep 2007 16:41:22 +0000

It's not every day I get an email from Ben Lashes, frontman for Seattle pop band the Lashes, and I've certainly never gotten one with such a compelling title before.

My favorite three Bumbershoot photos, by photographer Michael Alan Goldberg

imaginary dana — Thu, 06 Sep 2007 15:53:36 +0000

Here are photographer Michael Alan Goldberg's favorite three, in his own words...

Bumbershoot 2007: The Lashes

Imaginary Kiku — Sun, 02 Sep 2007 17:30:49 +0000

1 Sep 2007

BumbershootTheLashes07sept3.jpg

I am loath to begin my very first live show review with such a terrible confession, but here it goes: before today, I had never heard the Lashes. I had of course heard their name dropped by plenty of local scenesters, and have been told more than once that their sound is right up my alley. They all told me I would love the Lashes, and they do know me well.

The Lashes delivered pure power-pop excellence to a huge audience packed with teenagers. The crowd's energy was palpable as the band made their way through one incredibly catchy song after another. But what really won me over was the remarkable stage presence they have. Their frequent banter and hilarious pranks made their show one of the most entertaining I've ever seen.

The most notable moment in the show came right after the band played the new song "Eric's Song," when lead singer Ben Clark suddenly rushed off stage, yelling at his band mates to play some filler. He returned moments later with a cell phone in his hand and shushed the entire audience (an opportunity some used to shout their praises when they could actually be heard). Holding the phone up to the microphone, Clark called King 5 news and shouted to the poor receptionist, "Look out your window, it's a breaking news story, the Lashes are here!" No one bothered to tell him until much later that the news building facing the stage was actually KOMO 4.

Of course, the real story here was the return of guitarist Eric Howk, who suffered a terrible fall in May and was consequently paralyzed from the waist down. He came on stage to the massive applause of an audience who were truly thrilled to see him there, and then proceeded to play some kickass guitar.

This band definitely has me hooked, and I am so grateful to ChrisB for letting me cover them. Even in the ungodly heat (or was that just me?) and the pounding headache from the copious amounts of smoke (tobacco and otherwise), I could not help but dance along to such masterful powerpop. The show ended with a shower of silly string, streamers, and other treats, poured onto the crowd by Ben Clark.

Honestly, after such an incredible show, I don't know why I didn't see that coming.

More photos of the Lashes by Eduardo Brambila:

The real story here was the return of guitarist Eric Howk, who suffered a terrible fall in May and was consequently paralyzed from the waist down. He came on stage to the massive applause of an audience who were truly thrilled to see him there, and then proceeded to play some kickass guitar.

The Lashes to play Bumbershoot

imaginary dana — Thu, 23 Aug 2007 00:27:16 +0000

The Lashes have confirmed that they'll be playing Bumbershoot next weekend, in their first appearance since the injury of guitar player Eric Howk, who was tragically paralyzed from an accident back in May.

Also tonight: Eric Howk benefit, VIP DJ sets

imaginary liz — Thu, 24 May 2007 15:56:57 +0000

The smell of SIFF is in the air and boy is it tasty! But if you're in the mood for something less cinematic, there's a couple other things that could tickle your fancy.

Eric Lashes benefit at the McLeod Residence this Thursday

imaginary liz — Tue, 15 May 2007 15:32:21 +0000

This Thursday (May 17) the McLeod Residence is hosting a special benefit happy hour with a donation-supported bar from 6pm - midnight.

Tonight's Recommended Show: U.S.E at the Redmond Firehouse {Erik Lashes Benefit}

imaginary liz — Fri, 11 May 2007 15:12:53 +0000

There're a lot of good shows tonight, but we must recommend that we all head to Redmond to the Old Firehouse for an all ages benefit show with headliners U.S.E.

Benefit for Eric Lashes this Friday!

imaginary liz — Wed, 09 May 2007 22:12:13 +0000

U.S.E has stepped up to the plate and is headlining a benefit for Eric this Friday (May 11th) at the Firehouse in Redmond. The show is ALL AGES and all proceeds from our earnings will go to Eric's rehabilitation.

Our thoughts are with you, Eric Lashes

imaginary dana — Wed, 09 May 2007 04:21:19 +0000

For those of you who haven't heard yet, the Lashes' guitar player Eric Howk (aka Eric Lashes) took a bad fall on Saturday and is currently at Harborview Medical Center for treatment and therapy.

The Catch, the Lashes, and U.S.E. at the Comet

Sarah Joann Murphy — Mon, 30 Apr 2007 06:55:47 +0000

27 Apr 2007

use07apr5.jpg

Friday was an amazing night for Seattle music fans, and also an impossibly difficult one; if only there were a way to be absolutely everywhere at once. Blood Brothers at the Showbox, Night Canopy with Cloud Cult at Neumo's, the Stooges in a venue in which they should never be seen, Siberian out in Kirkland... and nearest and dearest to my heart, Grand Archives with the Lights at the Crocodile. Phew. With all of these choices, I was nonetheless ecstatic to be crowded in at the Comet to see the Lashes and the Catch, with their pseudo-secret guest United State of Electronica. Trusting that Imaginary Dana would report back every detail of Mat Brooke's new endeavor, I settled in comfortably for a night many of us have been waiting a whole year for.

Even the first online rumors of this "secret" show set off blog dialogues about every band on the bill. All over Capitol Hill were Ben Lashes' smart and snarky handmade flyers - "If you heard that U.S.E. are playing the Comet this Friday, please don't tell anyone!!" The show opened with a last minute addition from San Francisco, Music for Animals. The band was charming both on and off-stage, though their sound leaned a bit too much toward Sublime-infused cock-rock for my taste. Despite the fact that the room was eager to get to the rest of the bill, the crowd responded with enthusiasm to their set.

After some jumbling of equipment in such tight quarters, the Catch took the stage. Lead singer [and U.S.E. member] Carly Nicklaus has earned comparisons to another charismatic diva, with the Stranger's Trent Moorman declaring her "Seattle's own Beyonce." Stepping up to the mic in four inch heels and tauntingly singing with searing energy, it's apparent she's holding true to her title. Amy Rockwell, on keys, has a sweet sexy voice that shines through on her backing vocals. The once all-girl lineup has transformed over the past year to include the Pale Pacific's Justin Harcus on bass and the Divorce's Garrett Lunceford on drums. Their new songs clearly demonstrate the strength the two new members have brought to the band. For those of us who still [and will always] miss members in the original incarnation, there's nonetheless no denying that Garrett's hard hitting drums give the songs a much dancier feel. The bass solo midway thru whip-smart track "'06: 101" is a uniquely Justin addition.

Jenny Jimenez — the Catch's former bassist who can now be found playing any number of instruments in Night Canopy — appeared mid-set and wrangled her way up to the microphone. The timing couldn't have been more perfect, as it allowed her to join in on "Nothin' But Time," soulfully crooning the refrain, "I really, really miss you." It was an absolutely magic moment.

The Lashes took it up a notch further, turning their monitors out to the crowd before they launched into their first song. Everything good and bad has already been said about this Seattle-gone-major-label band, but this was the perfect setting to see them perform their pure pop music with frantic energy, and unending showmanship from lead singer Ben Lashes. The line between band and crowd blurred as he sang alongside those standing in the front row. To match the track "Nate's Song" (a song penned by bassist Nate Lashes, off of their major label release, Get It) they debuted "Eric's Song." Guitarist Eric Lashes had multiple solos during the set, Ben miming the predictable crowd reaction by kneeling down in front of him in only slightly mocking excitement.

Closing with nothing less than debauchery, Ben emerged from behind the drum kit with two pitchers of beer. Marching thru the crowd and up to the dividing wall between the stage floor and the bar, he refilled glasses before finally showering the crowd with what remained. Suffice it to say not everyone was thrilled, but it certainly was not lacking in entertainment.

Creeping past midnight, the overworked soundman began the task of getting ready for U.S.E. to take the stage. The crowd was already chanting "U! S! E!" and the sold-out venue filled with palpable energy. A multicolored ball shot out color from the corner of the red-lit bar as the band huddled behind a black curtain before finally taking the stage. Launching into their first song, there was roughly a minute of everything U.S.E. is famous for before — BLAMMO! — the power blew and launched the packed Comet into quiet darkness. After not one but two of these mis-starts, Nicklaus smiled into the mic and declared, "Turn off the TV's! No one is watching them!" How true.

Soon enough they began in earnest, minus the colored lights and a fog machine for the sake of keeping the mics and amps on. Two songs in, I abandoned all illusion that I could capture the proceedings. In all honesty, it was the Catch's Lunceford who put his hand on my shoulder and wisely pointed out, "You have to put that camera down and dance." It was an utterly intoxicating show, sweaty and screaming and laughing in absolute joy. Those lucky and brave enough to stand front and center had to brace themselves to keep from becoming one with Noah Star and his dual keyboards.

It's phenomenal to think that this group of musicians can consistently create such love and enthusiasm amongst themselves and all within earshot. A friend visiting from Austin asked just what U.S.E. was, and the best text reply I could give was that it's an insane electronic dance party with the most loving, empowering, D.I.Y. heart. The band's requests for hard-earned drinks was granted by honorary member [and Chop Suey booker] Kris K. Running out of time as last call drew near, trying to choose between a new song and an old favorite. The as of yet unnamed track is currently referenced as "When You Get That Feeling" after the lyrics "What's the reason we party? / Love is the reason / When you get that feelin' / Love is the only reason." The band launched straight from the new material into their closing song. Sadly, there wasn't time to grant the crowd's requests for ten more, not two. By the end, the band was surrounded by friends, family, and near members all dancing amongst them. Any hopes of taking photos descended into crossed fingers and blindly pressed shutters; the floor shook so much that even standing still you'd nonetheless be moved about.

Walking home that night I was exhausted and bedraggled, covered in glitter, ears ringing, but most of all completely blissed out on all the "Emerald City" goodness.

It was an utterly intoxicating show, sweaty and screaming and laughing in absolute joy. Those lucky and brave enough to stand front and center had to brace themselves to keep from becoming one with Noah Star and his dual keyboards.

Friday night's special secret guest at the Lashes/Catch show at Comet will be....

imaginary dana — Tue, 24 Apr 2007 22:38:24 +0000

I thought they were supposed to stay secret, but the Lashes themselves let the proverbial cat out the bag...

SXSW 2006 Preview

three imaginary girls — Wed, 01 Mar 2006 08:00:00 +0000

16 Mar 2006

sxsw06mar1.jpg

The Three Imaginary Girls posse is heading south and partaking all that is South by Southwest. For years, we've heard recounts of the good times and once in a lifetime showcases. Folks, we are beyond excited to experience it for ourselves.

My head has been reeling with each 10 page highlighted print out igLiz hands me. There is so much amazingly fun stuff to do and see and I don't want to miss a minute of anything. Obviously my overachiever self will need to take a Texas-sized (veggie) chill pill in order to focus on the matter at hand: musica, musica, musica!!!

Yeah, I had a hard time figuring out what would make the list and what to prioritize. I created an indie-rock logarithm that, among other factors, weighed out the probability that a band would come to Seattle + the historical nature of their performance + the likelihood that I'll be able to get into the venue before it reaches maximum capacity (nothing like being denied and long bathroom lines to marsh the mellow). Given these factors, I found those Nordic bands rose top!

And for you non-Seattle-ites, we are proud to have a slew of our highly recommendable local bands representing there. If you aren't coming to SXSW from the Pacific Northwest, make sure to check out those fine Seattle / Portland folks! And if you really want to go where the cool kids are, make sure to stop by any one of the KEXP events taking place at the festival.

Break out the SXSW venue map, the show schedule and the cowboy hats 'cause here's our list of must sees:

WEDNESDAY, MARCH 15
Bourbon Rocks
8:00 p.m. The Carrots {Austin TX}

Buffalo Billiards
12:00 a.m. Derby {Portland OR}

Dirty Dog Bar
1:00 a.m. The Ark {Malmo SWEDEN}

Emo's Jr.
11:00 p.m. Aloha {Cleveland OH}

Emo's Main Room
9:00 p.m. Voxtrot {Austin TX}
11:00 p.m. Serena Maneesh {Oslo NORWAY}

Eternal
9:30 p.m. Jose Gonzalez {Gothenburg SWEDEN}

Flamingo Cantina
12:00 a.m. The Eighties Matchbox B-Line Disaster {Brighton UK}

Lava Lounge Patio
12:45 a.m. Maritime {Milwaukee WI}

The Parish
8:00 p.m. Envelopes {Stockholm SWEDEN}
12:00 a.m. The Ponys {Chicago IL}
1:00 a.m. Art Brut {London UK}

THURSDAY, MARCH 16

Austin Music Hall
8:00 p.m. the Zutons {Liverpool UK}
9:45 p.m. Morrissey {Manchester UK}

The Drink
Nordic Night
8:00 p.m. Astrid Swan {Helsinki FINLAND}
9:00 p.m. Loney Dear {Stockholm SWEDEN}
10:00 p.m. The Latebirds {Helsinki FINLAND}
11:00 p.m. The Royal Highness {Copenhagen DENMARK}
12:00 a.m. Disco Ensemble {Helsinki FINLAND}
1:00 a.m. Sign {Hafnarfjord ICELAND}

Emo's Jr.
10:00 p.m. Headphones {Seattle WA}

Karma Lounge
1:00 a.m. Figurines {Copenhagen DENMARK}

Molotov Lounge
12:00 a.m. The Hidden Cameras {Toronto ON}

The Parish
8:00 p.m. smoosh {Seattle WA}
Barsuk/Saddle Creek
9:00 p.m. John Vanderslice {San Francisco CA}
10:00 p.m. The Starlight Mints {Norman OK}
11:00 p.m. Two Gallants {San Francisco CA}
12:00 a.m. Mates of State {East Haven CT}
1:00 a.m. Nada Surf {New York NY}

The Parish II
Barsuk/Saddle Creek
8:30 p.m. Detachment Kit {Brooklyn NY}
9:30 p.m. Rocky Votolato {Seattle WA}
10:30 p.m. The Long Winters {Seattle WA}
11:30 p.m. Criteria {Omaha NE}
12:30 a.m. Aqueduct {Seattle WA}

Redrum
Sidecho/Made In Mexico Showcase
8:00 p.m. The Catch {Seattle WA}
9:00 p.m. Some By Sea {Seattle WA}
10:00 p.m. The Divorce {Seattle WA}
12:00 a.m. Stars of Track and Field {Portland OR}
1:00 a.m. Damien Jurado {Seattle WA}

The Velvet Spade
8:00 p.m. Velella Velella {Seattle WA}

FRIDAY, MARCH 17

Antone's
1:00 a.m. Neko Case {Tacoma WA}

Blender Balcony at the Ritz
11:30 p.m. volcano! {Chicago IL}

Blender Bar at the Ritz
8:00 p.m. Brakes {Brighton UK}

Cedar Street Courtyard
9:30 p.m. Billy Bragg {London UK}

Dirty Dog Bar
9:00 p.m. Isobel Campbell {Glasgow UK}
10:00 p.m. The Lashes {Seattle WA}
11:00 p.m. OK GO {Chicago IL}

The Drink
Nordic Night
8:00 p.m. Ane Brun {Stockholm SWEDEN}
9:00 p.m. Real Ones {Bergen NORWAY}
10:00 p.m. Sarah Hepburn {Copenhagen DENMARK}
11:00 p.m. Animal Alpha {Oslo NORWAY}
12:00 a.m. Veto {DENMARK}
1:00 a.m. Quit Your Dayjob {Malmo SWEDEN}

Latitude 30
9:00 p.m. Tilly and the Wall {Omaha NE}
10:00 p.m. Sukpatch {Minneapolis MN}
1:00 a.m. Tapes 'N Tapes {Minneapolis MN}

La Zona Rosa
12:00 a.m. Arctic Monkeys {Sheffield UK}

Molotov Lounge
11:00 p.m. The High Violets {Portland OR}

Red Eyed Fly
8:00 p.m. The Brunettes {Auckland NEW ZEALAND}
11:00 p.m. Band of Horses {Seattle WA}

Stubb's
10:00 p.m. The Subways {Welwyn Garden City UK}

SATURDAY, MARCH 18

Antone's
11:00 p.m. Superchunk {Chapel Hill NC}
1:00 a.m Robert Pollard . {Dayton OH}

The Drink
1:00 a.m. The Village Green {Portland OR}

Emo's Annex
Secretly Canadian/Jagjaguwar
9:15 p.m. Richard Swift {Los Angeles CA}
10:15 p.m.Pink Mountaintops {Vancouver BC}
11:15 p.m. I Love You But I've Chosen Darkness {Austin TX}
12:15 a.m. Okkervil River {Austin TX}
1:15 a.m. Magnolia Electric Company {Chicago IL}

Emo's Jr.
11:45 p.m. Ester Drang {Seattle WA}
12:45 a.m. David Bazan {Seattle WA}

Habana Calle 6 Patio
7:30 p.m. Dressy Bessy Denver CO
8:30 p.m. Bedroom Walls {Highland Park CA}
Magic Marker Records
9:30 p.m. The Galactic Heroes {Portland OR}
10:30 p.m. The Owls {Minneapolis MN}
11:30 p.m. Tullycraft {Seattle WA}
12:45 a.m. The Bats {Christchurch NEW ZEALAND}

The Hideout
10:00 p.m. Instruments {Athens GA}
11:00 p.m. Gerbils {Athens GA}

The Jackalope
1:00 a.m. The Spits {Seattle WA}

Maggie Mae's
10:00 p.m. The Joggers {Portland OR}
1:00 a.m. Plan B {London UK}

Our recommendations for SXSW 2006 can't-miss shows.

Get It

imaginary dana — Thu, 02 Feb 2006 08:00:00 +0000

6.8

http://www.amazon.com/exec/obidos/ASIN/B000B5Y046/wwwthreeimagi-20

thelashes06feb.jpg

It's been nearly 18 months since Columbia Records came knocking for Seattle's favorite pop-hipsters The Lashes. During that time, the Spokane-originated group has rocked the stage at radio festivals, conquered the clubs, and recorded its first full-length record. The release of Get It was delayed several times by the Folks In Suits who make the important decisions about when the masses get to hear new music, leaving the local Lashes fans hungry for over a year.

But that's just the back-story, the basic bio any press kit can provide. To fully appreciate Get It, one has to literally get who the Lashes are, where they're from, and how elated they must be to get where they are right now, expectantly perched on their brink of their major-label debut.

The Lashes burst onto the Seattle scene a few years back, led by frontman Ben Lashes (nee Clark), Seattle's imaginarily-professed answer to Jarvis Cocker. The Lashes loitered in hipster haunts for years, building a fan base for their live shows as much as their antics (remember when they stormed the Sub Pop anniversary party with "Sign The Lashes!" signs?).

Initial radio hits came in the form of two cheeky pop hits off their The Stupid Stupid EP (on Lookout Records), both of which name-checked the local indie-rock music columns of the moment ("Death By Mixtape" and "It's My Party" referencing now-defunct music columns in Seattle Weekly and The Stranger, respectively). It was exactly this sort of audaciousness that has brought The Lashes to where they are now: they are no self-effacing Seattle hipster band. The Lashes want to be famous pop-stars; they want to be gossiped about in NME and hung in Tiger Beat centerfold posters on young girls' walls. They've been completely direct about this goal since the start, and if you don't get their honest ambition, you're not likely to fully appreciate Get It.

The folks at Pop Matters didn't get it *, giving Get It a 4/10 and accusing The Lashes of playing it safe, of creating Hot Hot Heat's next record instead of their own. But what the folks at Pop Matters don't realize is that The Lashes likely wanted nothing more in the world than to be accused of recording the next Hot Hot Heat record. Ben himself proclaimed Hot Hot Heat as his "favorite record of the year" back in the day. We saw Ben at the Ashlee Simpson show last year (sorry Ben, but outing you also outs igLiz, if that's any consolation). The Lashes are a true pop band who aspired to create a pop record. And they succeeded.

The record starts with "New Best Friend" and finds Ben Lashes rhetorically asking, "Do you wanna be my new best friend tonight?" Catchy, and a promising start. The record peaks with the next two tracks: "Daddy's Little Girl" and "Sometimes the Sun" are outright challenges to rock radio to reintroduce the POP back into pop rock.

From there, the record follows with eight more tracks that don't quite live up to the formidable one-two punch of a wakeup call of those first three tracks. Admittedly, almost every song on Get It involves Ben Lashes singing about his girl troubles, which can become monotonous and makes repeated listens of the album all the way through tough. But The Lashes aren't here to conquer philosophical dilemmas or solve world hunger. If their worst offense is that discerning listeners will likely skip around the CD player to listen to their favorite three or four tracks (I recommend "Safe To Say"), rather than listen to Get It as a body of work, so be it. Doesn't that just mean better mix-tape fodder? Isn't that exactly where The Lashes would like to be, perfectly nestled between Hot Hot Heat and Pulp on your favorite iPod mix?

Overall, Get It is a noteworthy record by a young local band with the backing of a major label and a fan base ravenous for new music. Ranking this record was challenging, and almost irrelevant, superfluous. Get It is surely not likely to re-route the course of contemporary music. But it likely is the exact record that the Lashes wanted to release, and that their fans want to hear — in and of itself an accomplishment, especially on a major label debut.

So don't be surprised if the record makes some noise, but also don't be surprised if it fizzles. And definitely don't be surprised if you start reading about Ben and company's exploits in NME. Something tells us that they're just the folks to get Get It.

*
{ed note: It should be noted that while I think the reviewers might have missed the point of Get It, I completely concur with his assessment of the Lashes nicking off the Magnetic Fields for a song title ("A Pretty Girl Is Like a Melody") without even approximating Stephin's wit or metaphors. And the 'Please please please let me get what I want," bit (from "Please Please Please") was a bit disconcerting in a too-close-to-the-original way as well. Was it homage? ~igDana}

The Lashes want to be famous pop-stars; they want to be gossiped about in NME and hung in Tiger Beat centerfold posters on young girls' walls.

Live from the Morning Alternative

ChrisB — Thu, 03 Feb 2005 08:00:00 +0000

yes

http://www.sonicboomrecords.com/

LFTMA.jpg

Since the fall of the oppressive Teen Dance Ordinance, the underage music scene in Seattle has been thriving. The best example of this is the amazing Vera Project—a wonderful club that has been a great place for kids to see some of their favorite bands in a clean, safe environment with a great sound system. They keep ticket prices low and don't allow alcohol in the building—but doing so isn't free.

To help out, the people from 107.7 The End have made a commitment to raise $50,000 for Vera and this compilation CD, Live from the Morning Alternative, is part of the fundraising effort. It has assembled an electic mix of Seattle-area indie-rock heros such as Death Cab for Cutie and MxPx. Each track is a live, intimate recording from either End broadcasts or "Endsessions". Some of the songs (live or not) have never seen the light of a studio — "Yes!" by the Divorce, "Rock Song" by Smoosh and "We Don't Serve Pork, But We Do Serve Pigs" by Pretty Girls Make Graves (in which frontwoman Andrea Zollo sounds like she's channeling Debbie Harry in this neo new wave tune) are the strongest.

Also notable are the stripped-down and acoustic versions of previously memorized songs—"A Viewing" by Visqueen, "Death By Mixtape" by the Lashes, "Lump" by the Presidents and "Sad Sweetheart of the Radio" by Harvey Danger).

There are plenty of songs to love on this comp, but the fact that it is a benefit disc for the Vera Project is the best reason of all to pick this up. And because it is only $6.99.

107.7 The End hasmade a commitment to raise $50,000 for Vera and this compilation CD, Live from the Morning Alternative, is part of the fundraising effort, including the Divorce, Death Cab, Smoosh, and Pretty Girls Make Graves.