Jesus, I used to dread the library performances by my college a capella group The Testostertones.  I would quickly step outside to smoke a pack of cigarettes and avoid their rendition of “Jesse’s Girl.”

Thus, I was more than wary of this a capella cover of Grizzly Bear’s “Shift.”

Fear not though.  Cartoon squirrels and rain segue nicely in to a surprisingly creepy version of the song.  This isn’t Carmen Sandiego, this is eerie, twisted, darker than the sugar pop you usually hear drifting from the peach-fuzzed lips of the a capella set.

Levek - Shift(GB A Cappella Cover) from David Levesque on Vimeo.

The Maldives ::: Photo by Josh Lovseth

These are the albums that defined my 2009. Some I consider to be the strongest local albums of the year while others held my attention and memory in a special way such that I kept coming back to them. While many of these albums are admittedly made by bands whom I’ve also developed a strong affinity for over the past year, this is an albums list, and not simply a “my favorite bands who over the last year put out a record list.” Seven of the top ten are acts I was not familiar with at prior to the start of 2009. This includes the Ironclads. Man, a lot has happened this year.

Though the concept of the “album” may not be as relevant as it once was, I still consider myself to be an album person, for me such a group of songs is an important body of work for helping me come to relate to and really like a band. A single song usually just doesn’t do it for me. Simply put, these are the releases from this year that I listened to all the way through, over and over and over again.

1. Listen to the Thunder by The Maldives on Mt. Fuji Records
Listen: Download an mp3 of “Tequila Sunday” courtesy of Mt. Fuji Records
If any band conquered Seattle in 2009 it was the Maldives. For so many reasons, this record was the most important record in my life this year.

2. Curse Your Branches by David Bazan on Barsuk Records
Listen: Stream the entire record at Barsuk.com
David Bazan isn’t simply a musician. He is a religious philosopher. You might say this is “The Book of Dave.” A deeply personal record with very real ramifications for those who might have questions like he did about the consequences and realities of his long held beliefs. Though I don’t count myself particularly religious, I identified. To my mind this is the best album about religion and family that Bazan has ever done.

3. Apple’s Acre by Nurses on Dead Oceans
Listen: Download an mp3 of “Caterpillar Playground” courtesy of Dead Oceans
Through the power of the Internet I came into the possession of a 30-minute single-file live recording of Nurses. I can say without hyperbole that this recording is the most played “song” of the last year on my iTunes. They are playful, unique sounding, and completely DIY. This is the quintessential example of what everyone hopes a Portland band can and will be.

4. The Space Between the Maps by The Ironclads (self-released)
Listen: Download an mp3 of “Alamagordo” courtesy of the Ironclads
Advanced garage pop that’s well traveled and downright bombastic. Inventive lead guitar work and imaginative storytelling are this foursome’s forte and the record is a successful recreation of their live aesthetic.

5. Lust for Life by Girls on True Panther Sounds
Listen: Watch “Laura” on Youtube
Sad Bastard pop that doesn’t make me sad. Sign me up!

6. Zoe Muth and the Lost High Rollers by Zoe Muth and the Lost High Rollers (self-released)
Listen: Get an MP3 version via KEXP Song of the Day
I’m waiting for one (or three) of these songs to be covered by Dolly Parton. Another record like this and Nashville is gonna scoop her up, post haste.

7. A Strange Arrangement by Mayer Hawthorne on Stones Throw Records
Listen: Watch “Just Ain’t Gonna Work Out” on Vimeo
A DJ becomes a soul crooner, FTW. An album that you never want to turn off.

8. Keep it Hid by Dan Auerbach on Bloodshot Records
Listen: Download an mp3 of
What’s old is new again. More please. Other bands should take notes. The Blues are your friend, and mine.

9. Fanfarlo by Fanfarlo on Canvasback Music
Listen: Stream the record at Fanfarlo.com
Fronted by a clarinet playing choir boy, Fanfarlo take the cake for making this year’s most accessible orchestral pop record, and the best thing I heard out of the U.K. all year long.

10. I and Love and You by the Avett Brothers on Columbia
Listen: Stream via theavettbrothers.com
The Avett Brothers made a massive followup effort to Emotionalism, that drops the emo that marked it’s predecessor while striking a more hopeful and romantic note. This is another album that I feel wrong turning off in the middle.

11. In Dearland by Elvis Perkins on XL
Listen: Watch “Chains, Chains, Chains” Directed by Seattle’s Sean Pecknold
Elvis and his cohorts delve deep into old Americana and early rock for a record that is uniquely sad in it’s disposition, but overflowing with happy in the energy and passion of the full band performance.

12. Vecktamist by Grizzly Bear on Warp
Listen: Stream the Video for Two Weeks
Maybe this album should be higher on the list, but when I first got a hold of it I felt like it was just too much. Now, I’ve come to feel like this is a bold statement, and these guys are the vanguard of modern pop.

13. Year in the Kingdom by J Tillman on Bella Union/Western Vinyl
Listen: Download an mp3 of “Earthly Bodies” courtesy of Western Vinyl
Just when I thought J Tillman’s voice was an ideal, he goes to work for the Fleet Foxes and comes out the other side an even stronger singer.

14. Logos by Atlas Sound on Kranky
Listen: Get an mp3 of “Walkabout” via FADER
This was my official go-to chill record this year.

15. The Life of the Of the World to Come by the Mountain Goats on 4AD
Listen: Download mp3 of “Genesis 3:23″ courtesy of 4AD
As many of John Darnielle’s albums can be, this one is a grower, that really hooks you after you listen to it by yourself for a while. Seeing the songs performed live with a bit of Darnielle’s humor added in between songs for context allowed me to listen anew, and understand better than how the songs initially came off on the record.

1. Widower by Widower (self-released)
Listen: Stream at Myspace

2. VS. by Macklemore & Ryan Lewis, (self-released free digital EP)
Listen: Download EP via Myspace

3. The Moondoggies by The Moondoggies on Hardly Art Records (for Record Store Day), Ltd. Ed.
Listen: Stream at Myspace

4. Don’t Piss into the Fire/Magic Mtn Single by Arthur & Yu for a Sub Pop Singles Club release for Record Store Day
Listen: Stream via Myspace

5. Fun & Laughter Land of Talk on Saddle Creek Records
Listen: Watch “The Man Who Breaks Things (Dark Shuffle)” at Vimeo

The ones I missed in 2008 and I banged the most in 2009:

Hometowns by The Rural Alberta Advantage (originally released 2008, digitally released with eMusic November 2008, then re-released by Saddle Creek Records in mid-2009).

We’re Still Here Missing You by Kaylee Cole (self-released in November of 2008)

The one from last year’s list that’s stood the test of time and stayed strong into this year

Caught In Trees by Damien Jurado, SOTS’s #20 Northwest album of 2008.
In retrospect, I should’ve probably lobbied for a top 10 spot for this album on that list.

Nick of Elvis Perkins in Dearland ::: photo by Abbey Simmons

I have to say,  with such a vibrant year of local music, I spent the vast majority of my 2009 exploring things made in the Pacific Northwest; rather than venturing out in to the vastness of the internets and the rest of America. So most of these are pretty well known tracks, albums, and artists or from Noah’s Daily Choices — though I do hope you discover a new favorite you hadn’t heard before too.  These are the records and tracks recorded outside of the 206 that I most enjoyed and listened to on repeat in 2009.  (The top 10 may be in some sort of hierachal order, but after that the order is not nearly as thought out or meaningful.) 

“Much More Than That” and “For You” by Sharon Van Etten | download ‘For You’ |
“Blood Bank” by Bon Iver | download ‘Blood Bank’ |
“Airplanes” by Local Natives  | download ‘Airplanes’ |
“Two Weeks” by Grizzly Bear | listen to “Two Weeks” |
“Eet” by Regina Spektor | watch video |
“Shampoo” by Elvis Perkins in Dearland | download ‘Shampoo’|
“A Violent Translation of Concorida Headscarp” by Emperor X | download track |
“Andrew” by Crystal Antlers | download ‘Andrew’ |
“Kick Drum Heart” by The Avett Brothers | listen to track |
“Lust for Life” (though “Laura” is also tempting me) by Girls | download ‘Lust for Life’ |

Girls at Capitol Hill Block Party ::: photo by Josh Lovseth

“Garble Arch” by Blame Ringo | watch video |
“The Walls are Coming Down” by Fanfarlo | listen to track |
“Flirted With You All My Life” by Vic Chesnutt | download track |
“The Ballad of the RAA” by Rural Alberta Advantage |listen to track |
“Safe Word” by Vampire Hands | download ‘Safe Word’ |
“Future Primative” by Papercuts | download ‘Future Primative’ |
“Tidal Wave” by Thee Oh Sees | download ‘Tidal Wave’ |
 ”Crystalised” by The xx | listen to track |
“Lisztomania” by Phoenix | watch videos |
“Norway” by Beach House  | download ‘Norway’ | 
“Vanderlylle Cry Baby” by The National | listen to track |
“Can’t Talk” by Ty Segall | download “Can’t Talk” |
“Day of Sunshine” by Lee & Willbee | listen to track |
“Summertime Clothes” by Animal Collective | listen to track |
“Save The Day” by Huck Notari 

The Ironclads CD Release Show ::: Photo by Josh Lovseth

As a person who goes to grippa shows, it’s a hopeless task to put properly put into any meaningful order the favorite shows they’ve been two beyond saying a few were the very best or stand out as special moments and deserve recognition as such for the annals. So I’ve chosen a list of twenty shows and sets from this year that I’ll never forget, presented in chronological order.

Blind Pilot @ The Triple Door (January 2009) - read the full review

The Murder City Devils first show back at the Showbox at the Market (February 2009) - read the full review

Dan Auerbach at the Showbox at the Market (March 2009) - read the full review

The Ironclads CD Release w/ Hands, Whore Moans, What What Now (April 2009) - read the full review

Blue Moon 75th Anniversary Show w/ High Class Wreckage, Thee Emergency, Hopscotch Boys, and The Whore Moans (April 2009) - read the full review

The Lonely Forest CD Release at the Vera Project (April 2009) - read the full review

Bon Iver at Sasquatch (May 2009) - read the full review

Nurses at the South Pole (DIY venue) (June 2009) - read the full review

David Bazan in a Living Room in Edmonds (June 2009) - read the full review

Robin and Josh ::: Photo on Film by Josh Lovseth

Robin Pecknold at Neumos (July 2009) - read the full review

Rural Alberta Advantage at the Sunset Tavern (July 2009) - read the full review

Widower, Pearly Gate Music, Final Spins at Sunset Tavern (July 2009) - read the full review

Doe Bay Fest (August 2009) - read the full review

The Maldives CD Release at the Tractor Tavern w/ The Moondoggies and Zoe Muth & The Lost High Rollers (August 2009) - read the full review

Macklemore at Bumbershoot (September 2009) - read the full review

Dirty Three at the Crocodile (September 2009) - read the full review

Fanfarlo at Chop Suey (September 2009) - read the full review

Grizzly Bear at the Moore (October 2009) - read the full review

Black Eyes & Neckties Last Show (October 31, 2009) - eulogy never written

Regina Spektor at the Paramount (November 2009) - read the full review

Taking in the Bay at Doe Bay Music Fest ::: Photo by Abbey Simmons

“Eet” by Regina Spektor

Here is my list of thirty songs that dominated my iTunes, the songs that moved me to learn them on guitar, and the songs I will identify with 2009 forever. In no particular order. Though I suppose the top five could be my top five.

“Walkabout” by Atlas Sound + guest Noah Lennox from Logos (Kranky/4AD)
Listen: Get mp3 via FADER

“Technicolor” by Nurses from Apple’s Acre (Dead Oceans)
Listen: Download mp3 courtesy of Dead Oceans

“Lisztomania” by Phoenix from Wolfgang Amadaeus Phoenix (Glassnote)
Listen: Stream at Myspace

“World News” by the Local Natives from Gorilla Manor (Rough Trade/Frenchkiss)
Listen: Download a live version via a Daytrotter Session

“Come Monday Morning” by Widower from Widower (self-released)
Listen: Stream at Myspace

“At the Cut” by the Cave Singers from Welcome Joy (Matador)
Listen: Download mp3 courtesy of Matador Records

“Comets” by Fanfarlo from Fanfarlo (Canvasback Music)
Listen: Stream at Fanfarlo.com

“Alamagordo” by the Ironclads from The Space Between the Maps (self-released)
Listen: Download MP3 courtesy of the Ironclads

“Young Heart Sparks Fire” by Japandroids from Post-Nothing (Polyvinyl Records)
Listen: Download MP3 courtesy of Polyvinyl Records

“Eet” by Regina Spektor from Far (Sire Records)
Listen: Watch the Video above, Stream at Myspace

“Walk Away” by The Maldives from Listen to the Thunder (Mt. Fuji Records)
Listen: Stream a Video from a KEXP In-Studio

“Just Ain’t Gonna Work Out” by Mayer Hawthorne from A Strange Arrangement (Stones Throw Records)
Listen: Stream the Video at Vimeo

“Ready, Able” by Grizzly Bear from Vecktamist (Warp Records)
Listen: Stream the Video at Youtube

“For Now” by People Eating People from People Eating People (The Control Group)
Listen: Stream at Myspace

“Lust for Life” by Girls from Lust for Life (True Panther Sounds/Matador Records)
Listen: Download MP3 courtesy of True Panther Sounds/Matador Records | Watch the Video Below

“Lust for Life” by Girls (Safe Version)

“Lazerbeams” by Fresh Espresso from Glamour (Out for Stardom)
Listen: Stream the Video at Youtube

“The Town” by Macklemore from The Unplanned Mixtape (self-released)
Listen: Stream the Video at Youtube

“Otherside” by Macklemore and Ryan Lewis from VS. (Sound Records)
Listen: Download VS. EP courtesy of Ryan Lewis Productions

“You Only Believe Me When I’m Lying” by Zoe Muth & The Lost High Rollers from Zoe Muth & The Lost High Rollers (self-released)
Listen: Download MP3 via KEXP Song of the Day

“Stillness is the Move” by the Dirty Projectors from Bitte Orca (Domino Records)
Listen: Stream Track via Domino Records

“Magic Mtn” by Arthur & Yu from Don’t Piss into the Fire Sub Pop Singles Club Record Store Day Release and Hardly Art Label Sampler (Sub Pop/Hardly Art)
Listen: Download Track at Amazon via Hardly Art

“Let Me Fall” by the Final Spins from THIS IS THEN/THAT WAS NOW (self-released)
Listen: Download MP3 via KEXP Song of the Day

“Ed Jackson” by See Me River from The Great Unwashed EP (Aviation Records)
Listen: Download MP3 via KEXP Song of the Day

“Oh Oh Oh Oh Oh Oh Oh Oh Oh” by Say Hi from Oohs and Aahs (Barsuk Records)
Listen: Download MP3 courtesy of Barsuk Records

“Please Baby Please” by David Bazan from Curse Your Branches (Barsuk Records)
Listen: Stream a solo version at youtube

“The Perfect Space” by the Avett Brothers from I and Love and You (Columbia)
Listen: Stream via theavettbrothers.com

“What Took So Long” by the Moondoggies (unreleased)
Listen: Download a live session version via Luxury Wafers

“Summer of Hate” by Crocodiles from Summer of Hate (Fat Possum Records)
Listen: Download MP3 courtesy of Fat Possum Records

“Isabella” by Lands & Peoples from Lands & Peoples EP (self-released)
Listen: Stream via Bandcamp

“Norway” by Beach House from Teen Dream (Sub Pop)
Listen: Download MP3 courtesy of Sub Pop

Grizzly Bear ::: photo by Lauren Daniels for STG

On the whole, the rules of the blues and rock and by extension most modern western popular music have remained pretty static in terms of form and structure over time, and few ever seek to deviate from the accepted norms. On average we’ll get a few verses and a chorus, maybe a bridge, with each vocal part attached to a corresponding musical part, and that connection rarely ever being broken. It’s a scheme built around repetition and expectation, and usually any violation of that expectation, “a variation on the theme” one could term it, is reserved for after the original theme has been pounded into our head, say once two or three verses have happened. So what happens when the music doesn’t closely follow those rules for theme development? What happens when the song we’re listening doesn’t find the groove, climax, or resolution we’ve been conditioned to anticipate? This is the conundrum for listeners of Grizzly Bear, a band for whom bending those rules structure, if not outright disregarding them, is the norm.

Last Friday as we seated ourselves at the historical Moore Theater during the intermission following openers The Morning Benders, one enthusiastic superfan with a newly procured Grizzly Bear t-shirt affixed to his neck as a cape skipped back and forth, up and down the aisle, occasionally busting a move to the music and obviously chemically primed for the promise of what the ensuing hour and a half might bring. As he was coaxed by security from the main seating area he had to stop in his tracks and hop twice each time the bassline started over, which ended up being about every five seconds, much to the usher’s chagrin.

Vecktamist’s upbeat “Southern Point” opened the night (as it does the album) and the table was set: this wasn’t going to be your average rock set or blog-blessed show at The Moore. From the first song they’re adjusting our expectations of what a chorus might sound like in relation to the rest of the song, and allowing that it might be quite different each time around with even different instruments or voices carrying the thread of the melody. Maintaining consistency between each chorus is one of those natural rules we hardly even think about in our popular music, so when it’s violated so blatantly, we can’t help but notice. It can be a refreshing experience that rewards active listening, and confusing for those who need a beat to hold on to. Next was “Cheerleader,” a song that takes another simple bassline melody and then hands control of the song off to others where it finds a final reinterpretation in a round of chorus voices. The original theme is nowhere in sight, at least as we had heard it with a bass in the lead. The predictability of the twelve-bar blues was becoming a dim memory, from a time before intermission.

The unconventional “Lullabye” from Yellow House was a giant step in the direction of their early material, stuff one would probably never find on anything but a college radio station late at night. The people in front of us took this opportunity to refer to their iPhone’s and twitter accounts, while I marveled at the light show and stunning rendition of “Knife” that followed. For the duration of “Knife”, former Seattlite and multi-instrumentalist Chris Taylor alternated between blowing on a big baritone sax and cooing some marvelously distorted ooh-eeeeh-ohohoh’s into a free standing mic, and did so in such a way as to provide the song with an eerie sexual energy I’d never detected before.

The expansive ups and downs of “Fine For Now” and the oddball theme development of “Ready, Able” are both best appreciated when one immerses themselves entirely in the music removing all distractions, and the dark environs of the Moore were perfect for just that purpose. Given enough attention, the songs are mental roller-coaster rides one doesn’t ever need to move an inch to experience. “Ready, Able” features probably my favorite vocal moment of the group from Vecktamist, led by Ed Droste’s exacting choir boy meter. As Droste really hits the high notes on the chorus of “I go, we go, I want you to know, what I did, I did,” a psychedelic buildup of instruments and voices swirl around him, coalescing into one of the few full force moments of climax that the night offered. The memory of it resonated in my mind long after the song had past, as if it were a sublime epiphany facilitated by the influence of my own mind expanding substance.

Despite being far from my favorite song, “While You Wait for the Others” was no doubt the song most eagerly awaited by the crowd that also ended up being probably being the most impactful song of the night, even for me. The deep rhythmic tones of Daniel Rossen’s hollow-body guitar as he plucks and scrapes are the closest thing to an active danceable beat Grizzly Bear might have, and for this the entranced crowd came alive.

Wrapping up with “On a Neck, On a Spit,” they exited the stage to a standing ovation before finally leaving us with a cover of the Crystals’ “He Hit Me (It Felt Like a Kiss)” as an encore. Like Rossen’s earlier rendition of “Deep Blue Sea,” “He Hit Me (It Felt Like a Kiss)” is a haunting affair not just for the words, and is by no means the high note most bands would choose to leave on. (Deep down we all want to hear a Mellencamp cover right?) Yet it served as just another reminder that Grizzly Bear is not “most bands.” Given the level of appreciation offered in the final rounds of applause, a large portion of the audience was happily on board with that idea. The predictability of the twelve-bar blues had become a dim memory, from a time before intermission.

Grizzly Bear at Sasquatch 2009 ::: Photo by Josh Lovseth

When my brother introduced me to Grizzly Bear around the time of the release of Yellow House, I realized I had no proper frame of reference for this band or any notion that it would gain wide acclaim. What is this music that they are making that tickles so many senses all at once? Seeing the band live at Neumos (with a budding Cave Singers opening) only cemented that feeling of a sublime sensory overload predicated by group of geniuses. The interplay and swell of rhythmic and melodic themes they develop with their voices was only loosely restrained by the traditions of Western popular music. And they reveled in surprising our expectations over and over again, and only occasionally offering a moment of complete resolution.

Last traveling through these parts for Sasquatch, Grizzly Bear returns to Seattle in a few weeks at the Moore Theatre on October 16th. It’s an opportunity that shouldn’t be missed for the ardent fan who will savor the full frequency experience that is Grizzly Bear in a controlled setting, away at the mercy of poor acoustics, a rushed setup time, wind, or other factors that might interfere with the work. I still agree with what I wrote about them for a Sasquatch preview earlier this year:

In my first live review of Grizzly Bear from over two years ago I called their show a “transcendental experience.” It sounds a tiny bit cliche I know, yet to this day, the sentiment rings true. Standing front row in the swirl of their building harmonies is one of those experiences you are constantly trying to recreate. It’s almost impossible to believe they can recreate the setting of the album live, yet they did just that and more, to the point where you need to see and hear it again to confirm that you weren’t just having a magnificent hallucination.

Courtesy of STG Presents, we’ve got a pair of tickets for the October 16th Grizzly Bear show to offer to one lucky reader who throws their name in the hat in the comments of this post. We’re going to give this one 24 hours since I think there will be a bit of interest. Then tomorrow, October 8th at 5pm PST I’ll randomly select a winner. If you’re a first time commenter, please use your real email address (which remains hidden to the public) so we can make sure you’re setup properly.

For those who don’t win and are still needing tickets, advance tickets for Grizzly bear can still be had via the STG Presents site for $23.

The Morning Benders are opening.

Grizzly Bear - While You Wait for the Others from Grandchildren on Vimeo.

Today brings us the latest video out of the imaginative mind of local director Sean Pecknold. Recently he’s been making his name working on stop motion animation video’s for his brother’s band Fleet Foxes and Elvis Perkins in Dearland. While in keeping with the playfully weird visual themes of previous Grizzly Bear video’s, similar to his Foxes video’s, this treatment of “While You Wait For The Others” is a gloriously strange sensory-overload experience. I’ll never be able to look at a fencing mask the same.

Grizzly Bear ::: Photo by Josh Lovseth

Some notable calendar listings have appeared in the past week or so we thought you might want to be aware of:

Grizzly Bear coming to the Moore Theater, Friday October 16th
$23 - presale starts Thursday July 16 through the Moore. PW: KEXP.

Monotonix coming to Neumos September 19th
$13 - 21+ - Tickets available at Ticketswest

Pearl Jam coming to Key Arena September 21st and 22nd
$68 - Tickets go on sale to the General Public, Saturday July 18 at Ticketmaster.

The Dirty Three coming to the Crocodile September 18th
$15 - 21+ - Get tickets from the Crocodile

Fruit Bats coming to the Crocodile August 20th
$12 - 21+ - Get tickets from the Crocodile

MP3 - “Ruminant Band” by the Fruit Bats courtesy of Sub Pop

KEXP Summer Mural Concert Series at the Seattle Center Mural Amphitheater
All these shows are free and all-ages, including the BBQ. Food and beverages will be available for purchase.

Friday 7/31, 5-8pm
Blitzen Trapper
Throw Me the Statue
This week daytrotter posted their session with Blitzen Trapper.

Friday 8/7, 5-8pm
Dyme Def
Fresh Espresso

Saturday 8/8, 7th Annual KEXP BBQ! 2-9pm
Dinosaur Jr
Viva Voce
Cymbals Eat Guitars
Japandroids
Born Anchors
Champagne Champagne

Friday 8/14, 5-8pm
The Dodos
Army Navy
We highly recommend streaming the Dodo’s new album Time to Die at timetodie.net.

Friday 8/21, 5-8pm
Fruit Bats
Johnny and the Moon

Girl Talk ::: Photo by Josh Lovseth

There is no question that day three of Sasquatch for us was all about Monotonix’ set, their last set in the U.S. for a while before heading back across the Atlantic to release a new record. Grizzly Bear’s main stage set came in a close second. I also had the privilege sneak in an interview and a Gorge portrait with Hardly Art’s the Pica Beats after their longish very good set at the Yeti stage, so look for that later today. We ended the day with Girl Talk’s non-stop dance party, which of course jumped off an expansive conversation on the legitimacy of sampling, legally and as an artistic device. See all of our day three pictures at our flickr page.

Other Lives ::: Photo by Josh Lovseth

The Pica Beats ::: Photo by Josh Lovseth

The Pica Beats ::: Photo by Josh Lovseth

Black Moth Super Rainbow ::: Photo by Abbey Simmons

Blitzen Trapper ::: Photo by Josh Lovseth

School Of Seven Bells ::: Photo by Josh Lovseth

Grizzly Bear ::: Photo by Josh Lovseth

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