Sleepy Eyes of Death at Bumbershoot ::: Photo by Marcella Volpintesta for Sound on the Sound

This week Seattle’s Sleepy Eyes of Death spilled the beans on their plans for coming back into the performing fold after taking a short break to record and recharge. Today they posted a song from a forthcoming record on their myspace, a record that they’ll separate the release of on Friday April 30th at Neumos in Seattle, with Feral Children and Talkdemonic. “Data Grave” is the name of the new track, and it’s the lead track from Toward a Damaged Horizon which will be officially released Tuesday, May 4th.

You can get tickets early to the record release show via Neumos new web ticket vendor eTix.com.

Because I’m a Northwest kid, most of Death Cab’s early efforts were notable records in my life. And Give Up via the Postal Service with Jenny Lewis associations is on another level even. Thus Chris Walla and Ben Gibbard and friends have been a significant presence in Northwest rock for nearly a decade now, and no doubt a significant influence on my perception of where the music is headed and what I like. At this point in my mind they’ve made their mark on the “Northwest Sound” just as much as bands like Pearl Jam, Nirvana, Sleater-Kinney and Murder City Devils all have. Thanks to Owl City and a #1 spot on the iTunes and Billboard charts for whatever period, we’re all now painfully aware of the fact the Gibbard has been in the game for nearly 15 years and has spawned imitators, just as the other aforementioned bands have as well. This is all to say that it’s always nice to see when a band is building on what came before them and is remaking a sound for themselves, instead of simply repeating it back verbatim and unadorned. Colonies are the that band I’m speaking of in the context of Northwest modern rock, and their new record Thirty Thousand. In it they’ve harnessed their own perspective onto the roaming herd of the last decade of Northwest influences.

Instead of being imitators, they’ve largely taken their favorite elements of Death Cab or Built to Spill or New Pornographers, and re-purposed them to support a modern melodical pop point of view, featuring with vocal harmonies not unlike those of the the Local Natives. Guitar-wise in certain intro’s and breakdowns it sound’s like they love Built to Spill as much as I do, while In a number of songs they’ve replicated Gibbard’s loping style of arpeggiating his electric. They even recreate some of the same tonal qualities that Death Cab achieves, which is an element I also absolutely like. Despite references aplenty the one thing that remains constant throughout is vocals that remain consistently pop and adventurous with the melody.

I happen to think these guys are ably carrying the torch of Northwest rock into the next decade, and this is something I don’t say lightly. Stream Thirty Thousand right here, and see if you don’t agree:

If you like what you hear you can catch Colonies at Neumos March 25th with Conservative Dad, Lemolo, and the Mopes. I’m definitely going to be there.

Kasey Anderson ::: Photo by John Meloy

As a follower of visuals and photojournalism,  I’ve been a huge fan and reader of the news analysis blog BAGnewsNotes for some time now. In my early day’s of reading that blog I strongly remember a particular image, and the ensuing analysis of that image and it’s antecedents in portraying the story of our invasion of Iraq.

It’s a gritty image of a dirty and bloodied Marine smoking a cigarette, finding a moment of respite from the battle of Fallujah and a night of avoiding bullets. The day after the photo was taken it graced the front page of over 100 major newspapers. It’s a quintessential image of the American psyche: of a noble survivor who perseveres in service of freedom and democracy (can there be anything more American? ). Ironically the image could have just as easily been whipped up verbatim as a political cartoon in the Guardian to depict the emerging reality that the U.S. was realizing about the task in Iraq, with the soldier standing in for U.S. Resolve in the face of Fallujah. Dirtied and sleepless, he looks wistfully off into the sunrise as if to say, “I’m now starting to begin to understand the scope of my task, and I’d rather be anywhere else right now.”

The young Marine made famous by that photo is Lance Cpl. James Blake Miller. The senseless death of war weighs heavily on those who are doing the dirty work on the front lines, and Miller was no different in this sense when he returned to our shores and became burdened by inescapable guilt and fear. Post Traumatic Stress Disorder (PTSD) became a constant presence in his own life, as it had in his grandfather’s life after he returned from serving in Korea. Through the coverage of his story he became a unofficial representative for those affected by PTSD, struggling with treatment and then becoming acquainted with the consequences of ignoring treatment. Being unable to properly sleep for instance.

His story has persisted long after his discharge from the Marines and today brings us another chapter in the story. Portland musician Kasey Anderson, who has a new album called Nowhere Nights on the new release rack right now, has deftly committed this complex and dense story to song:

MP3: “I Was a Photograph (Blake’s Song)” by Kasey Anderson from Nowhere Nights on Red River Records

I asked Kasey to answer a few questions to offer some context as to why he felt like he had to write on such a heavy topic as PTSD and Cpl. Miller:

SOTS: How did you come to this story and what about it affected you enough to write a song about it?

KA: I was working two days a week at a little shoe store in Portland called Johnny Sole, where my duties consisted primarily of completing the daily NY Times crossword and dusting the shelves. At some point, I picked up an issue of Rolling Stone and found Jenny Eliscu’s piece on Blake, and Luis Sinco, the man who took the photograph. I was just incredibly moved by Blake’s story and felt immediately that both Blake’s story, and the larger issue at hand (Post Traumatic Stress Disorder), should be covered from every angle possible, and the only way I knew how to do that was to write a song about it.

SOTS: From the things I’ve read and the stories I’ve heard, Cpl. Miller’s story feels hardly unusual with regard to PTSD. Does that read of the situation with returning troops ring true to you as well? Is Blake simply an analogue for the peril every soldier faces?

KA: It’s not unusual but, for whatever reason, it is treated differently both by the press and by a significant portion of the American public. People don’t seem to understand that the psychological damage sustained in combat is every bit as debilitating as the physical damage sustained. In that respect, Blake is analogous, yeah, but his story is unique because his face was everywhere, and people used it as a mirror. Anything you want to see in that photograph of Blake, you can find it if you look hard enough and long enough. But, really, underneath what everyone has projected on his face, Blake was just incredibly exhausted. That’s what I see in that photograph and that’s what I hear when I talk to Blake. He was, and is, just truly exhausted in every sense of the word.

SOTS: The song read’s as a dedication, but also a scathing commentary about our new Americanism. Do you think a soldier can escape the notion that while his motivations and end goals are supposedly noble in pursuit of democratic nationalism, his sins are “all [his] own?” Though his country and everyone around him has proclaimed him innocent and righteous, he has found himself in his own heart of hearts guilty of something unforgivable.

KA: I think I will never understand the burden those men suffer - “the things they carry,” to paraphrase Tim O’Brien - during and after combat. However noble the cause, however these men and women - or anyone else - justify and rationalize their actions, they have to carry the death, the destruction, the exhaustion, and the impact of war with them for the rest of their lives. I can not imagine that feeling, the weight of that. It is immense beyond my comprehension. And humans are not equipped psychologically to withstand that kind of anguish, so they find ways to cope and deaden things.

SOTS: Should America feel guilty about what’s going on? I definitely feel guilty identifying myself as an American after listening to the song five times in a row thinking about these questions.

KA: There is a sort of culpability implicit in being involved by proxy in what’s happening over there. I mean, our government, our military, they’re supposed to represent us, the people of this nation. That’s the whole idea of democracy, right? Of the people, by the people, for the people. So, the question then becomes, how do you alleviate that guilt? How do you and I let our voice be heard? For me, it’s raising my voice against the war, and against keeping our men and women over there; it’s writing a song about Blake so that maybe people begin to look at the impact of this war in a different light, to understand that it’s about far more than a body count. At the end of the day, those are small things, but enough of those little sparks can light a fire.

Kasey Anderson who is at the beginning of a massive spring campaign in support of his record is having the official a record release show for Nowhere Nights at the Sunset Tavern in Seattle this Sunday February 28th. Tickets are $7 at the door and since it’s Sunday, I expect things will start around 9pm. Matthew Ryan and Shasta Bree open.

Portugal. The Man, Portland by way of Alaska’s foremost dabblers in pop psychedelia are unashamed about a strategy to that’s determined to develop them into a band completely and legitimately powered by their fans. In a press release announcing their new record American Ghetto, they also announce and “will be available to everybody” March 3rd. Andy by everybody they mean everybody:

Nobody gets the record early; we will not be soliciting reviews, airplay or any support from the industry. It is up to you to tweet about #americanghetto or to share or to send friends to buy. If you want to write/blog/play ‘American Ghetto,’ March 2nd is your opportunity. It will be the same for everyone.

First thing’s first though. They need a single to whet our glands. In the spirit of fan power, I’ve included the preview single from American Ghetto, “The Dead Dog,” through the provided embeddable widget above. Drop your email in the widget above and you can get “The Dead Dog” for yourself. (You can always unsubscribe from Portugal. The Man’s email list later should decide they are not your bag. They do need your email to be fan powered after-all.)

Once “The Dead Dog” really gets going, the late Beatles references that I had noted only here and there when I first got wind of this band, they are now pleasantly inescapable. Much like the Beatles, after alot of hard work over the past year in Europe and on the road honing their craft, Portugal. The Man themselves may have come out the other side sounding like a better version of themselves.

And since this video is so incredible, and we didn’t talk about it when it came out, please enjoy sort-of-new video for “The Sun” from Portugal. The Man’s last record The Satantic Satanist:

Portugal the Man 2010 tour dates, which kick off tomorrow in Fargo, N.D., are below the fold.

Read the rest of this entry »

The best part of celebrating Valentines Day at The Sunset Tavern? A set chalk full of new Kaylee Cole songs. Save her opening tune (”Uncertain World” off  We’re Still Missing You), Kaylee’s set was compiled solely of  new songs.  Kaylee’s never been someone who sang happy songs per se, but for her new batch of tunes her voice is filled with an extra punch of sad knowing, combined with the lyrical wistfulness I’ve always found so compelling. If lovelorn songs are your thing, your broken heart is about to swell for Kaylee Cole.

These songs, “David” and “Your War,” were two of my favorites from the night. Kaylee’s next Seattle show is March 10th at The Sunset Tavern and she’ll be singing these songs and more new tunes. Checking out the show, these new songs and Kaylee Cole come with my highest recommendation.

From our perspective today brings us a bunch of great new releases. Here’s a few we’re spending our dollars on:

The Local Natives long-awaited LP Gorilla Manor is finally out in the U.S. The gentlemen have been kind enough to allow us to stream it right here for you (above) in case you’ve neglected to see for yourself yet what we’ve been losing our minds about.

You can get the record on iTunes or on vinyl via Frenchkiss Records. And check their tour dates below the fold. They’ll be once again storming SXSW as well as making a Sasquatch appearance in there somewhere.

Portlander (and former Bellingham resident) Kasey Anderson sings with surety and a gravel of a man much older than himself, a man whipped by the winds of life and still hanging onto hope no matter what. If that sounds romantic, all the better; Anderson isn’t shy about his romanticism on his new record Nowhere Nights. “All Lit Up” find’s him acting true age though, pounding out an anthem you probably thought you heard a young Springsteen do first, and in the son after “Sooner/Later” he pours the workingman’s tale on even thicker.

MP3: “Sooner/Later” by Kasey Anderson from Nowhere Nights via Red River Records

Anderson starts a West Coast tour this Friday in L.A., and is having a release show for Nowhere Nights on February 28th at the Sunset Tavern in Seattle with Matthew Ryan and Shasta Bree. You can find the full list of Winter and Spring Kasey Anderson tour dates below the fold.

You can pick up Nowhere Nights via Red River Records.

And lastly, for some reason I’m really into Moon Duo’s new track “Stumbling 22nd street” from their new record Escape. I’m such a sucker for spooky organ’s and and spookier vocals.

MP3: “Stumbling 22nd street” by Moon Duo courtesy of Woodsist.

Tonight the L.A. band is creeping up the west coast and is in Santa Cruz. Thursday night they’ll be at Seattle’s Rendevous with Du Hexen Hase, Midday Veil.

Read the rest of this entry »

Hoquiam is the brother’s Jurado. Hoquiam is a coastal Washington town where brother Drake was born, just down the road from Aberdeen. Up until this point, Drake hasn’t been the musician in the family, Damien has been. And for Damien that was part of the fun:

The decision to form a band with my brother seemed like the perfect idea on so many levels. For one, drake was not a musician. I wanted there to be an innocence and excitement like I had not experienced since I first started music. No expectations. No set of rules. Just a chance to sing songs with my brother and chance to make art. That was it.

MP3: “Zombies of the Sea” by Hoqiuam from Hoqiuam courtesy of Secretly Canadian

500 Ltd. Edition hand drawn LP’s were pressed for Hoqiuam. You can order one via Secretly Canadian. March 5th, they’ll be having a record release show at the Cairo gallery. Also playing the record release show is Mongrel Blood a new project from Spencer Moody (Murder City Devils) and Cameron Elliott (Battle Hymns).

And for you Damien fans out there, don’t forget since he’s is a prolific mood right now, he’s posting a newly demoed song each week to his twitter.

Seattle’s Ravenna Woods just released their first full length Demons & Lakes and have a video to go along with the lead single “Ghosts.” I dig the song and find this video to another nice use of Creative Commons footage to make a video, albiet about a heavy topic: the Atomic bomb testing and the effects of fallout on the Bikini Atoll area. This should be right up the alley of people who are into recent SOTS faves Local Natives and Rural Alberta Advantage.

Ravenna Woods will be at the Comet Tavern this Wednesday January 27th, with The Pastiies, Koko & The Sweetmeats, and Corespondents.

The Ironclads ::: photo by Abbey Simmons

Though The Ironclads are on an official hiatus from performing at the moment, that doesn’t mean the band isn’t still hard at work on their quirky, catchy, character-driven pop songs. During the brief week in December that guitarist and vocalist Jamie Cotton was back in Seattle, the band not only played three shows–they also wrote a brand new song (that rivals their delightful best) and recorded a handful of new demos. We’re thrilled that The Ironclads have let us debut two of these new tunes  for your listening and downloading pleasure.

After seeing “Emily” performed live once, the strains of the chorus were the first things I heard in my head as I woke up for the next few days. By the third Ironclads’  show that week, I was singing along to every word.

mp3: “Emily” (demo) - The Ironclads

If you’ve been in the front row with us at an Ironclads show over the past year, “iii” will probably sound familiar. We’re just so glad the band took the time to record another one of our favorites.

mp3: “iii” (demo) - The Ironclads

The Sea Navy have a new album out in August called Memory Matches and a CD Release show happening August 21st at the Sunset Tavern. Today Jay Cox and friends are going all Internet 3.0 on us with their mash-up shared online resources like Creative Common’s footage from Seattle’s 1962 World’s Fair. It’s a pretty cool look at old Seattle Center.