Don’t let the name, tongue-in-cheek song titles and subjects or their nonchalant, goofy online presence fool you. Salmon Thrasher mean serious business. While the band has clearly embraced the ridiculousness of their name, calling their latest release Thrashin in the USA (recalling some long lost Beach Boys cover band or a Beach Blanket Bingo gag) the bands songs and their ear for no-bullshit, hook-laden garage pop prove they are anything but a joke.

If they were a joke, they wouldn’t have worked nearly so hard. In the short 8 months since their first show Salmon Thrasher has played just about every venue in the city, most of them a few times. And in that same time, they (along with lead singer Justin Ripley) have release six solid EPs of original material.

Thrashin’ in the USA, their latest and last before Ripley moves to New York City, finds the band’s sound and DIY recording at its most fully realized, and dare I say, refined. Sure, this is still straight up sloppy lo-fi tunes, but the sound quality is better than many debut records that bands shell out thousands for in studio time and mastering. And these, like all of Salmon Thrasher and Ripley’s local releases, were recorded in basements and bedrooms. Ripley’s licks are as sharp as razor blades and drummer Tara Sloan drives the record forward with crisp stick work that never allows the momentum of the album to lag. Anchoring the album is Evan LeSure’s limber bass lines, in moving at a slower, but no less sure pace than the rest of the band he is the sunny spine to the songs; recalling the bass work on some of the surfy retro sounds sweeping the internet from Beach Fossils, Best Coast and Dum Dum Girls.

These might be DIY recordings and they might have a joke name, but there’s nothing amateur going on here and there’s no reason that Salmon Thrasher shouldn’t be able to find a larger audience outside of Seattle if they continue to write songs. There’s only two things about Thrashin in the USA that I don’t like. One: its just 15 minutes long and I want more. Two: its the bands last foreseeable Seattle release and I want more.

Download Salmon Thrasher’s Thrashin In the USA for free.

The Lonely Forest ::: photo by Josh Lovseth

We’ve known for years that this day would come for The Lonely Forest and we couldn’t be prouder. Today the Anacortes’ band debuted their first single from the forthcoming Trans Record release on Stereogum.

Download “Live There” courtesy of Stereogum

But there’s more than just a Stereogum debut to be proud of. The band’s first single, “Live There” is a love song to the Pacific Northwest and to the life we are afforded simply by the blessing of calling this slice of Washington home. The Lonely Forest have always been proud of where they come from. The band has always claimed Anacortes as their home, never bowing to the pressure or ease of selling themselves as an up-and-coming Seattle band. “Live There” finds the band still wearing their heart and their hometown on their sleeves.

While Stereogum strangely compares the band to Band of Horses, “Live There” seems to me to be the answer to Death Cab for Cuties “Why You Want to Live Here?” The Lonely Forest, as produced by Death Cab’s Chris Walla, sing the answer: we don’t.

Damien Jurado ::: photo by Abbey Simmons

For the second year in a row, one of my favorite part of Capitol Hill Block Party were KEXP’s semi-secret shows in Cafe Vita’s “Bean Room.” A humid warehouse, with walls lined and piled high with freshly roasted Cafe Vita coffee, it seems the most fittingly Seattle place one could see a show. During this year’s Block Party the Bean Room played host to the likes of !!!, Aveo, Blue Scholars, THEESatisfaction and Damien Juardo.

The four song sets served as tasty appetizers for what was to come for most of the artists who were also playing the Block Party, but Damien had been recruited to just come in a play a few songs for KEXP and a coffee warehouse packed with people. To start out the set, Damien debuted a new song, “This Time Next Year.” Accompanied only by his sparse acoustic strumming and his laptop for the lyrics, Damien joked when he finished, “that was a little rusty.” On the contrary, it wasn’t rusty but brand new. He admitted he’d written the song that very morning and it was so new, even his wife Sarah heard it for the first time in the Bean Room with the rest of us.

“This Time Next Year” seems to combine the sounds of Saint Bartlett (with its throw-back pop “doot-do-do-do-do’s) and the mossy hauntedness of Hoquiam, his side project with brother Drake. It is at once airy and heavy. It’s a twinge of a song, that tickle at the back of your throat or the slight quiver of your chin, the feeling of tears — be them happy or sad — that well up, but never run.

Thankfully, the Bean Room wasn’t “This Time Next Year’s” only performance. Damien also recorded the song and has just posted it on the Saint Bartlett Soundcloud (along with another brand new song).

This Time Next Year by saintbartlett

Dead Confederate ::: photo by Abbey Simmons

When I heard that Dead Confederate was releasing a new tune for free, the aptly titled “Giving it All Away” featuring J. Mascis of Dinosaur Jr., I couldn’t download it fast enough. I’ve been a fan of the band’s moody growl since their self-titled EP in 2007 and the band even headlined a Sound on the Sound SXSW party in 2008. When I heard the band was teaming up with John Agnello (who’s worked with everyone from Sonic Youth to the Hold Steady) for the highly anticipated follow up of the crushing Wrecking Ball, my excitement doubled.

I should have clued in when the band announced the album would be called Sugar, that something was different. If the first single is any indication, the album is shinier, sweeter, with bright guitar in place of the rib-shaking riffs that thundered through Wrecking Ball. Hardy’s affecting bark is missing and in its place are smooth (albeit slightly nasal) vocals, that are most reminiscent of Band of Horses and Built to Spill’s most recent records. And it’s not just the vocals that are different, the foreboding fog that hung over Wrecking Ball has made way for sunshine and peppy-perfect production. (Which also reminds me of You in Reverse.) At least when it comes to this song, the edge and rawness that originally drew me to Dead Confederate in the first place is absent.

Thing is, if this song was by anyone but Dead Confederate, I’d probably love it. It’s a song that would sound great while driving 75 down some sunny US highway with the window rolled down, your hand riding the air. The drums are rolling and full, there’s a sunny pluckiness to the guitar and bass and the bright instrumentation plays with lyrics that aren’t always as upbeat. Word on the web is that the rest of Sugar will have more of what I’m hoping for from Dead Confederate (surging guitars, gloomy grunge, songs so loud they shake your bones and Hardy’s humongous growl), as well as songs like “Giving it All Away,” which find the band exploring new sonic territory. Even though my first taste of Sugar wasn’t nearly as sweet as I hoped, it still has me eager to hear more.

Share your email with the band and you can download “Giving It All Away” for Free (let me know what you think. The full album is out on August 24:

The Head and The Heart ::: photo by Robertsen Ashman

If you have ever liked a band we’ve suggested on Sound on the Sound … take our word again and listen to The Head and The Heart. In the process of writing the blog, we’ve been lucky enough to be introduced to and to introduce you to, too many bands to count. Few have ever excited us the way The Head and the Heart do. Their joyful brand of folk has captured our hearts and imagination since listen one … as well as dominating our ipods, playlists, personal recommendations and songs stuck in our head on repeat. We can tell you now, “Down in the Valley,” which we’ve probably listened to more than any other local song this year, will be perched very near the top of our Best of 2010 list. Ditto that for the full album.

The Head and the Heart sing of life’s greatest journeys with uncanny confidence, knowing and a genuine glow. They may be young and the band may be new, but they sing of leaving home, the trials, stumbles and exhilaration of finding yourself, the tumults of love and the inevitability of loss, all with a sage-like comprehension of our humanity. If you love bands drenched in pretense or that keep themselves metaphorically aloof, you’ll hate The Head and The Heart. This band is unadulterated joy and boundless hope for the future laid bare in three-part harmonies, bubbling bass lines and warm pop orchestration that embraces you in a full-on hug. They are a recipe for a palpable rise in your mood, an antidote to counter the poison of our fast-paced days filled with calculated and impersonal interactions. They are genuine, infectious, obscenely talented and the best new band that came out of nowhere that we’ve come across.

Unfortunately until today, all you could go on was our word, but as of right now you can happily take a listen for yourselves. As an exclusive to Sound on the Sound, the band has shared three of their favorite tracks from their forthcoming self-titled debut, out June 29th. The band is celebrating their record with a CD release show this Friday, June 25th, at Conor Byrne’s and an in-store performance just up the street at 3pm at Sonic Boom Records in Ballard the following day, June 26th. They’ll be supporting the Moondoggies at Mississipi studios in Portland on July 2nd.

We can’t encourage you enough: take a listen, buy a ticket for an upcoming show and please get to know our favorite up and coming local band.

The Head and The Heart album preview by theheadandtheheart

The asphalt streets of working-class steel town Hamilton, Ontario are 2,500 miles from Southern California’s sunny beaches, but listening to Hamilton band Young Rival could easily convince you the regions neighbor each other. Young Rival blends a dreamy California vibe seamlessly with their hometown’s gritty urban feel, creating a fuzzy, melodic sound that begs to be blasted from your open car windows all summer long.

On their eponymous LP, due out Tuesday in the U.S., Young Rival pays dedicated homage to the hazy, fuzzed-out sounds of 1960s California. Echo-laden guitars accompany vocals that sound slightly distant, as if you’re listening from around a corner or through a window. Classic surf-rock riffs frequently pop in to say aloha, and the band even offers up some sweet Beatlesque harmonies. And hooks? This album has more of those than a fishing tournament.

Don’t let the coastal influences mislead you, however: Young Rival has not forgotten where they came from. Unabashed Hamiltonians, their blue-collar work ethic anchors their work both musically and lyrically. “It’s getting hard just to make a living. You gotta work with what you been given,” they sing in “Workin’,” a song filled with tough kid swagger. Driving drum beats imbue a sense of urgency and keep the airy guitars from floating away. California dreamin’ or no, these boys are city kids, in touch with their town’s culture and its cadence.

So how do these two worlds combine? It seems like it would be a messy affair, arhythmic and clashing. But, like watermelon and cayenne pepper*, the combination produces an unexpected alchemy. The beat will have you stomping your feet and the melody will have you singing the words out the car window as you fly down the highway towards summer fun. Not too sweet and not too spicy, simultaneously stimulating and refreshing, Young Rival should be on everyone’s plate this season.

*Seriously, try it sometime.

Young Rival play the Vera Project Monday, June 7.

Download Young Rivals “You Got What You Need”

Carissa’s Wierd ::: courtesy of Hardly Art

Just when I thought I couldn’t get any more excited about the Carissa’s Weird reunion (the show is a month and six days away, not that I’m counting …) Hardly Art has released a single from the band’s forthcoming ‘Best Of’ retrospective.

“Die” is exemplary of everything I love about Carissa’s Wierd. It’s heartbreak and harmonies. It is familiar in its longing, like some old friend you never got a chance to say goodbye to and could never get over.

Whether you’re unfamiliar with Carissa’s Wierd or an old fan, you’ll want to download “Die” right now.

Download “Die” courtesy of Hardly Art

Black Breath ::: photo courtesy of Southern Lord

Sometime last weekend I read a twitter message from Converge talking about how Black Breath was melting minds. Cheers to you, legends of hardcore from the snowy northeast. When I saw Black Breath with Converge and Coalesce last week at Neumo’s, Black Breath pried the top of my skull open like it was a can of tuna and inserted all sorts of sonic misgivings. I tried to protest, “Your guitar tone is too immaculate for my mortal body to handle!” They claimed it was for my own good, they were right. It was the second time in recent memory that a heavy local band arguably outplayed its “national” counterparts. (The other time I’m referring to is when Helm’s Alee played with Young Widows and Russian Circles back in November.) While on the subject I must say that Coalesce was really, really good. Whenever I heard them growing up, I thought of them as “short bus hardcore” that left a bitter taste in my mouth. Flash forward more than a decade later and my opinion has changed. I spent the entire duration of Coalesce’s set with a paper plate, plastic fork and knife, napkin tied around my neck, eating crow while quietly crying in the corner.

But I digress.

Gentle reader, do you want to know how to win my heart? Sure you do. One foolproof way is cooking really great Italian food. The other way is appealing to what I would call my “Dimebag Sensibilities.” Yes, I could be talking about marijuana, but in this case I’m really talking about my undying love of Pantera. The first time I heard the initial groove of “Unholy Virgin” I immediately thought of the chorus to Pantera’s “Goddamn Electric.” I don’t mind any band that reminds me of the Cowboys from Hell. “Unholy Virgin” is unlike the other songs off of Black Breath’s album “Heavy Breathing” because it’s not as fast and thrashy as the other tracks. It remains stuck in its seductive rattlesnake rhythm for the duration of the song and that is fine by me. Choosing this track over others like “I Am Beyond” and “Wewhocannotbenamed” was not easy. Especially considering the former has an atrociously brutal breakdown that makes me feel like kid again. I don’t mind “Picking up Change” before going into a wicked “Pizza Maker” then transitioning into a “Light-Saber Fight” that culminates with me stage diving onto my bed. As long as it’s in the comfort of my own bedroom and I’m the only one who might potentially get hurt, right?

You might think Black Breath is named after some sort of unfortunate affliction, but this is one instance where disease feels almost to good to be true.

Stream “Unholy Virgin” courtesy of Southern Lord Records - from the album Heavy Breathing

The Moondoggies “It’s a Shame, It’s a Pity” from Yours Truly on Vimeo.

It’s a big week for The Moondoggies. Not only is the band preparing to embark on a national tour backing Blitzen Trapper, complete with a stop off at Bonnaroo, but the buzz around Tidelands, their follow-up to Don’t Be a Stranger, has begun four full months before its release. Clearly, it’s not just me who is anticipating the Moondoggies follow-up with more eagerness than any other 2010 release.

Lucky for us all, we got a sonic peek at Tidelands courtesy of Yours Truly who filmed The Moondoggies performing “It’s a Shame, It’s a Pity” in the ladies’ restroom of The Independent.  For the clear acoustics and sweet harmonies you would think The Moondoggies were in a church rather than some cramped bathroom, a testament not only to the band, but the skillful filming of Yours Truly. When two of your favorite things come together and collaborate, it is a beautiful thing, and this video is proof.

But the video wasn’t all us Moondoggies fans were rewarded with this week, Hardly Art also announced that there would be a special limited edition EP of left-over tracks from Tidelands, scheduled to be released on June 8th. And these aren’t throw-away tunes, if you’ve seen the Moondoggies in the past year, some of the tracks from You’ll Find No Answers Here will be fond favorites.  Courtesy of Hardly Art we have one such track for you to download: “Fly Mamma Fly”.

And if a brand new video and song weren’t enough for you, The Moondoggies will also be playing all over Seattle in the coming days. Tonight the band is headlining Neumos, as well as opening the show as Grant Olsen’s backing band for their new side project “Magic Mountains.”  As if two gigs in a single day wasn’t enough, the band will be playing the next night as part of the “Bare” all a capella evening at the Fremont Abbey. It should come as no surprise, I’ll be at all three sets and I recommend you do the same.

Check back on Sound on the Sound for more from the Moondoggies soon, the band will be sending us postcards from their national tour in another installment of “Postcards from the Road.”

Follow the jump for the complete tracklists for Tidelands and You’ll Find No Answers Here.

Read the rest of this entry »

Damien Jurado ::: photo by Abbey Simmons

In a year of highly anticipated local releases, there are few we’re looking forward to more than Damien Jurado’s Saint Bartlett. Not only is it the follow-up to Caught In The Trees (a quintessential Northwest album), Saint Bartlett finds Damien exploring new, happier territory without losing any of the intensity  that made his earlier songs so compelling.

One only need listen to the swooning and swelling strings that introduce “Cloudy Shoes” (the first song on Saint Bartlett) to realize there’s something different about Damien and this album. And it’s not just the warm embrace of the orchestration, which stands in contrast to Damien’s previously sparse arrangements, it’s the content. I mean, “Cloudy Shoes” finds Damien singing the word ‘magic’ in a way that seems full of joy and wonder, not snarling irony. Sure, “Cloudy Shoes” isn’t the sunshiniest song I’ve ever heard, this is Damien Jurado after all. And while there’s plenty of Damien’s signature longing (in both his voice and subject matter), the longing of “Cloudy Shoes” is directed at the attainable, healthy and (mostly) happy.

Download: “Cloudy Shoes” (courtesy of Secretly Canadian)

What we long for is May 25th when Saint Bartlett will be released, so you can listen to what is sure to be one of Sound on the Sound’s most cherished albums of 2010. And don’t forget, you can catch Damien with the Saint Bartlett Band (Kay Kay and His Weathered Underground) on a nation wide tour starting May 29th at the Triple Door in Seattle.