This list represents the strongest 25 albums we heard in 2009 from bands based in the Northwest. We approximated the Northwest as Vancouver to the North, Eugene to the South, Boise to the East, and the Olympic Peninsula West. Even though we snuck in a few Portland bands and a Vancouver band, this is largely a list of Seattle releases. We did our best to feature the vast array of the Seattle Sound in 2009, though there’s no denying some genres fared better than others–genres that you might be surprised by, genres we were surprised by. If there was any doubt left, 2009 proved Seattle isn’t just a rock town.

2009 was an incredible year for local music in Seattle. There’ve been some unnecessary put-downs of Seattle’s musical output in 2009, because the scene didn’t spawn a new Fleet Foxes, Band of Horses, or Death Cab for Cutie, and the biggest local record label didn’t sign a single Seattle band. That’s “the industry” and Sub Pop’s loss, not ours. Just because the rest of the world isn’t blasting The Maldives or Macklemore yet (or even if they never do) it doesn’t reflect poorly on the scene or the talented folks who call Seattle home. From our front row vantage point, Seattle had an embarrassment of riches in the local music department.

The local hip hop scene bubbled with excitement and slowly-but-surely burgeoned into a topic on everyone’s lips, thanks to the energy of head-turning acts like They Live!, Champagne Champagne, Fresh Espresso, Macklemore, as well as the notorious antics of Mad Rad. Across town from Pike St., Ballard Avenue continued to cultivate a tight-knit community of Americana and rockin’ country bands where pedal steel and fiddle were the instruments du jour. The Maldives, The Moondoggies, Sera Cahoone, Zoe Muth and so many others inhabited both the stages and the bars at the Conor Byrne, the Sunset Tavern, Hatties Hat, and the now 15-year-old environs of the Tractor Tavern, feeding a spirit of collaboration and verve. King Cobra, a rock club which opened up in 2008 in the wake of the Crocodile Cafe’s closing, shut its doors after barely a year of rough business–just in time for a newly revamped Crocodile (without the Cafe in the name) to reclaim its place in March as one of the premier venues in Seattle to see live local music.

While Seattle didn’t spawn a new Fleet Foxes sized success in 2009, we certainly won’t be surprised if a few of the many bands on this list find national attention come 2010. No matter what, we’ll look back on 2009 with warm nostalgia as a vibrant year of local music, when we saw these bands play in living rooms and local bars: the year Seattle knew the words before everyone else could sing along.

25. Zebra by Karl Blau (K Records)

Psychedelic shape-shifter Karl Blau creates an utterly Northwest soundscape that identifies strongly with the output of the Haight-Ashbury facilitated psych movement, as well as the more modern creative likes of Grizzly Bear. “Waiting for the Wind” reminds me of Esquivel’s avant, arty piano, while “Welcome in NW” sounds like it was banged out of an actual sixties basement, fueled by homegrown psilocybins. “‘Tha Ole Moon Smile” makes me do a “Is this a Sixto Rodriguez cut I haven’t heard?” double-take every time. Each new song turns in a completely different direction. By the end you’re left dazed, trying to decipher where you started and what just happened. What happened was Blau presented a reverent journey into musical history through a warped and hazy Technicolor filter. [Josh]

24. From Slaveships to Spaceships by Khingz (self-released)

Much like D. Black’s record this year, Khingz’ From Slaveships to Spaceships finds an MC ignoring hip-hop’s self-imposed strictures about toughness and content, and succeeding through sheer force of purpose and humor. Even though MC Khalil Equiano left town for a while and now lives in British Columbia with his significant other, he obviously loves his hometown scene and returned to the Northwest with this new album in tow, showcasing a rapid-fire rhyming style and spitting dense, wordy verses filled with references to science fiction and his former life on Seattle’s Southside. This is another record distinguished by its brazen autobiographical nature and the surety of the conclusions that follow. “Intellect is a weapon,” he says in “Escape Society.” “You’re at war, please respect it, your struggle is a blessing, embrace, don’t deflect it.” Hip-hop was once widely known as a vehicle for imparting social understanding, and Khingz’ latest is his contribution toward seeing it return once more to that primary function. [Josh]

23. Life On Earth by Tiny Vipers (Sub Pop Records)

Each time I listen to this record I’m reminded that I should probably mentally prepare myself before taking in a whole Tiny Vipers record, unsure if the tears that will inevitably form in my eyes are due to the inherent sadness being communicated, or if I can attribute it to the effect of the one-of-a-kind voice of Jesy Fortino. Four songs in, “Dreamer” hits the headphones; as she coos, “I’m dying for a way out,” I feel as though I’m vibrating on an inter-dimensional frequency, able to sense every haunting ghost, able to see each person’s natural aura of sadness in hues of deep blue. Even though I know this record isn’t for everyone, and though I can’t guarantee you’ll like this record as much as I did, I can guarantee it will change your perspective. If you let it, Life On Earth will overwhelm you. Whether you like it or not, the remainder of your day after a listen is liable to be heightened emotionally because of it. [Josh]

22. The Way We Live by Erik Blood (self-released)

It’s very possible that Erik Blood went around to every hot studio in London ,yoinked every good idea he heard and used it for himself. If he didn’t, maybe they should be coming to him, because he clearly has lots of good ideas. Early on, the title track, “To Leave America,” and “Home & Walk” all synthesize the best of the expansive guitar and organ Brit-rock sound (think Doves), while later in “Broken Glass” and “Too Early & Too Late” we’re notified Blood also has a handle on turning uncomplicated rhythms into sonically interesting pop songs that also sound modern. My one criticism of the record would be that the material is all over the place, and maybe he should have stuck to a rock record instead of including the final two R&B inspired cuts. But then again, “Better Days” is one of the stronger tracks on the record, fusing soul-ish singing with very rock backing to unexpectedly great results. There is something to be said for being able to do experiment with anything and make it sound not just good, but as good as those who do it best. [Josh]

21. Ali’Yah by D. Black (Sportin’ Life Records)

Though much of the recent focus on Seattle hip-hop has been tied to the so-called “3rd-wave” of party rap, one can’t ignore the continued influence of the second wave and its socially conscious approach to concept and performance. In his second album, Ali’Yah, D. Black does a 180 from his previous effort–a stereotypical rap record where he thought he had to be hard–instead opting to be completely REAL about his choices, his identity, and his mistakes. The record is an indictment of his former gangsta self, and by dropping in “The Return,” “I can’t associate with them fake ones/to add to their fake bullets coming out of fake guns,” he’s no doubt turning his back on old friends and the possibility of success by usual means. Yet one can only come away from this record with the conclusion that D. Black is not only confident in his conviction, but righteous. As I said earlier this year, “the force of his example on this record serves to quash any weak retorts that it’s not so easy to turn your back on the game. Not simply inflammatory words, he’s genuinely attempting to engage a nuanced conversation from the inside.” [Josh]

20. Shouting At A Silent Sky by Shane Tutmarc (self-released)

For almost the entirety of his musical career, Shane Tutmarc has been on a journey through history, beginning with an intense interest in classic pop lyricists before more recently being entranced by the gospel recordings of Elvis and the songs of the South. Billed as his first solo effort as Shane Tutmarc, Shouting At A Silent Skyis also probably the most complete, and therefore satisfying, of his recent records–though the Traveling Mercies records are notable themselves for their raw pre-rock quality. By recruiting a few ringers to form his studio support (local producer Johnny Sangster among them), Shane was able to focus on just being Shane at the mic, and the practiced performer really showed through. If Shane’s music occasionally seems styled from another era, just remember that when they came up with the term ‘Rock n’ Roll’, this is what they were talking about: dirtied up blues and church numbers warning about “Crimes of Passion” and the dangers of “Idle Hands.” [Josh]

Read the rest of Sound on the Sound’s Top 25 Northwest Albums of 2009 after the jump

Read the rest of this entry »

Shane at the Tractor ::: Photo by Abbey Simmons

[Editors Note: Long-time Seattle musician and Easy Street employee Shane Tutmarc will be leaving his hometown and heading for the home of his heroes. As a record store employee he's been a professional appreciator of music for some time, and as a person who's been an active contributor and personality on the scene for over a decade, he's been well positioned to keep a pulse on the best in local music as it is happening. We're sad to see Shane go, but happy that he'll have a better opportunity to bring his music to a larger audience. We wish him the best of luck on his new journey and hope to be reporting big news from Nashville soon. -Josh]

Tomorrow I will be embarking on a road trip across the country.  Unlike most road trips, though, there is no circle to the route.   Taking more of an “L” shape, my trip ends in a town called Nashville.  The musical mecca where so many of my heroes have lived and worked, and the backdrop for so many great songs.  As I am preparing to leave Seattle, my birthplace and home, I am reflecting on a great year of local music.  In my last year as a resident, I probably listened to more NW music than ever before.  And what a great year for Seattle music!  The growing success of the NW’s’ very eclectic country and folk scene kept me entertained with the Maldives, Moondoggies, Jesse Sykes, Sera Cahoone, Brent Amaker & the Rodeo – and the great local songwriters like Barton Carroll, Levi Fuller, Tiny Vipers, and Josh Ottum.  I’ve narrowed my list down to 5 albums by Seattle artists I anticipate will be on heavy rotation as my road-ready iPod provides the soundtrack to my journey across the country.

1.  The Dutchess and the Duke – Sunset/Sunrise

For starters, I admit that I really didn’t pay attention to their first album.  It came and went and seemed of little or no consequence to me.  What I heard, which was not very much, was a garage-y 60s throwback, indie rock with light folk elements.  Obviously I wasn’t listening close enough.  You could easily describe the new album that way, but that would not so easily describe the songs that I have fallen in love with in 2009.  As a songwriter, I’ve never been shy of exposing my influences, in folk and pop music no one expects you to reinvent the wheel.  This record reminds me of the good bits of 1965 British Invasion bands, with a darker modern edge.  They combine middle period Beatles-folk (“Baby’s in Black”, “I’ve Just Seen a Face”), with Keith Richards’ style guitar counter-melodies (“Paint it Black”), and with lyrics like a less verbose Leonard Cohen.  Although boy-girl vocal swapping keep it interesting throughout the record, the lyrical voice is singular.  I’m looking forward to what comes next for these two.

2. Cave Singers – Welcome Joy

When the first album came out, I remember feeling a strong affinity with their simple three-piece set up while I was getting my three-piece family group, the Traveling Mercies, off the ground. Their stomp and guitar groove on “Dancing On Our Graves” totally made sense to me as we had just recorded “Across the River” which has a similar, if less aggressive, feel.  Welcome Joy continues their groovy minimalism, but also hints at more experimentation down the road. While most of the album flows together like connecting pieces of a puzzle, “At the Cut”, probably my favorite song, has a fervor not unlike Plastic Ono Band’s most tortured moments.   These droney and celebratory meditations on life will be perfect for the long stretches of American desert and swampy terrain crossing the southwest and into the Delta.

3. Zoe Muth & the Lost High Rollers – Zoe Muth & the Lost High Rollers

Zoe Muth seemed to come out of nowhere.  I was introduced to her music through Greg Vandy’s KEXP roots show, The Roadhouse.  I love her voice.  It’s strong and confident, while still maintaining its femininity.  Her writing is equally confident.  “You Only Believe Me When I’m Lying” and “Hey Little Darlin’” are both songs that I’ve taken the time to write out the lyrics and learn the chords to play for my pleasure.  When I really love a song, I can’t resist breaking
it down to see how it works.  Another album I anticipate cranking while driving across the country.  Please visit Nashville, Zoe!

4. David Bazan – Curse Your Branches

I’ve known Mr. Bazan since I was a teenager, just starting to play around town.  He’s been a towering figure in local music since around the time I got my first band together.  He was actually slated to play drums on the first Dolour album, but at the 11th hour fate stepped in and Bazan stepped out.  I’ve always admired Bazan’s songwriting, he’s a great storyteller.  My only complaint over the years was that I wished he’d write more autobiographical songs.  Maybe because I don’t know how to write fictional stories the way he does, I wanted to see how David would write about himself.  So this is the record I’ve longed for him to write for years.  Of course, you never know with David, whether it’s a new character or his true inner-self, but I love that his songs make you question those things about him and about yourself.  I always found him one of the best writers dealing with spirituality and the big existential questions, and after releasing my own “crisis of faith” album, Shouting at a Silent Sky, it was fascinating to see how Bazan tackled similar issues.  “Please, Baby Please” is on my shortlist for favorite songs of 2009.

5. Star Anna & the Laughing Dogs – The Only Thing that Matters

This is the record for people who bought her first album after seeing a live show but were confused by the breezy, bluegrass feel of her debut.  Since releasing that first album, her band has evolved into a heavy country-rock band, while retaining its pop hooks.  She is undoubtedly, one of the northwest’s greatest talents.  She is peerless when it comes to gut-wrenching, soul bearing ballads, and she can bring the house down when she sings a rocker.  With her Lucinda Williams-esque, world-weary voice, there are times her, very proficient band, could step back a bit, and let her soak up more of the spotlight.   But anyone that’s seen her live can attest - the spotlight is completely hers.

The Moondoggies ::: photo by Abbey Simmons

These are the local songs I loved most during 2009. I can’t ennumerate the list, believe me I tried. My absolute favorites are at the top of the list, but once you get beyond the top five–I can’t really say what my 9th and 17th favorite songs are with a straight face.

What I can tell you is that these are all songs I played on repeat. That I know every word to. That I sang along to at shows. That mean something to me. That made me dance. That got stuck in my head. That I couldn’t wait to share with my friends and those of you that read the blog. If my 2009 was a mixtape, these would be the tracks.

* “What Took So Long” by The Moondoggies | download track courtesy of Luxury Wafers |
* “Alamagordo” and “Step to the Sea” by The Ironclads | download track courtesy of The Ironclads |
* “We Sing In Time” by The Lonely Forest | watch video from their sold out CD release show |
* “Technicolor” and “Lita” by Nurses | download Technicolor | download Lita |
* “Certainly Tonight” by Widower | watch video |
* “Otherside” by Macklemore and Ryan Lewis | download Vs. EP |
* “Hard to Be” and “In Stitches” by David Bazan |watch video of In Stitches |
* “Scorpio” by Dutchess and The Duke  | download Daytrotter session of Scorpio |
* “Coast of Carolina” by Telekinesis | download track courtesy of Stereogum |
* “For Now” by People Eating People | listen to the debut album in its entirety on Myspace |
* “Lazer Beams” by Fresh Espresso | watch video |
* “Young Hearts Spark Fire” by Japandroids | download track courtesy of Spinner |
* “Raindrops” by Grand Hallway | download track courtesy of KEXP |
* “I Have Found (Redux)” and “Goodbye” by The Maldives | watch video of I Have Found |
* “All Things To All People” and “Going Home Soon” by M. Bison | download track courtesy of Obscure Sound |
* “The Running Kind” by Zoe Muth and The Lost High Rollers | download my other favorite Zoe song courtesy of KEXP |
* “Go Easy On Me” by Goldfinch
* “At the Cut” by The Cave Singers | download track courtesy of Matador Records |
* “Magic Mountain” by Arthur & Yu (with The Moondoggies) | watch video |
* “The Town” by Macklemore | watch video |
* “This Happens Every Time” by What What Now
* “I Was A River” by Pearly Gate Music | listen to a live KEXP session of I Was A River |
* “Down The Road” and “Let Me Fall” by Final Spins | download tracks courtesy of LHB |
* “Never Turnin’ Back” by Shane Tutmarc | watch video |
* “My Volvo” by Grynch | watch video |

As long as we’ve been writing Sound on the Sound, we’ve been talking about the songs of Shane Tutmrac. First as the front man of Seattle pop outfit Dolour, again as he took a family journey South with The Traveling Mercies, and most recently as his solo record found him fronting the largest band in his decade plus of making music in Seattle.

As integral a part of our Seattle music experience as Shane has been, we’ve always known he felt a calling to venture beyond the Cascades and the Sound, so it came as no surprise when Shane told us he’d be packing up and moving January 1st, 2010 to Nashville, TN.

Here’s what Shane had to say about his decision to leave Seattle and head South:

On January 1st I am packing up the car and driving across the country to move to Nashville, Tennessee. It’s something I’ve been dreaming and scheming about for years now, and I’ve finally set a date. I was born and raised here in Seattle (a true Seattleite), and although I will surely visit family and friends frequently, I am looking forward to a new home across the country. I am grateful to all the talented musicians I’ve had the opportunity to work with, during my years with Dolour, The Traveling Mercies, and my “solo” band. When writing my latest album (Shouting At A Silent Sky, June 2009) I sort of envisioned it as a ‘Goodbye to Seattle’ album. Songs like “Never Turnin’ Back”, “There’s No Star to Lead Me Home”, and “Death & Texas” captured my growing restlessness.

The South had always been a great mystery to me. The fabled land that brought country music and blues together and breathed life into rock and roll. My first experience with Nashville was in June of ‘08 when I flew down there to play some shows supporting “Hey Lazarus!” (my second album with The Traveling Mercies). I fell in love with this legendary music city. Although it is one of the greatest music meccas in the country, it still carries itself like a small town. I met so many great people, went to so many great clubs, and I saw endless possibilities as a songwriter. It was on that trip that I started writing my most recent album, Shouting At A Silent Sky. Now I feel a strong desire to dig deeper in the heartland, and get to know the South and its music from a first-hand perspective.

If you would like to congregate one last time while I’m still living here you can see me and my band play Wednesday, December 16th at the Electric Tea Garden (the “Artificial Limb” building) in Capitol Hill. It should be a fun filled night, full of song and celebration.

I hope that Seattle will stick by me during this new period of exploration, musically if not geographically, and I will be back to play shows as often as I can.

Surely if any Seattle son can succeed in Nashville, it is Shane. Our affection and support of Shane and his songs will extend the thousands of miles that will soon seperate us. We offer him our sincerest well wishes and nothing but the best of luck.

Dolour’s Final Show at The Crocodile Cafe 2007 ::: photo by Abbey Simmons

For the first time since 2007, Shane Tutmarc will be performing songs from the expansive Dolour catalogue. This Thursday (tomorrow) night at The Tractor Tavern Shane will be performing an entire set of Dolour songs, to support his friend and former Dolour contributor,  guitarist Josh Ottum’s cd release.  The last time Shane took the stage as Dolour was December 2007, in what would be the last week of the (original) Crocodile Cafe.  We were there.

A lot of  things have changed since then. The Crocodile has been reborn and Shane has left the lush lovelorn pop project behind in favor of a musical sojourn through the roots of the American South. His relationship with his Dolour self and songs, is complicated, to say the least. Shane discussed Dolour with me during a two part interview saying, ” I definitely feel like I don’t know that person that wrote the Dolour albums.”

His disconnect and complex relationship is on full display in his announcement of this Thursday’s show:

On October 22nd at the Tractor Tavern, I will be digging deep into my musical past-life for this rare performance of Dolour material.  My good friend and occasional collaborator, Josh Ottum (who played lead guitar on ‘The Years in the Wilderness’) asked if I’d do a low-key set of acoustic Dolour songs.  Being that I’ve avoided this material for so long made me intrigued by his offer.  It didn’t take long for me to see that this could be a chance to rediscover this “lost” music and see if there is something I can learn (or re-learn) from it.  (You may have noticed by now that I have a “complicated” relationship with my old songs.)
But… I agreed to perform a short solo set comprised of exclusively Dolour material to open up the show.  This will be the first time I’ve dusted off this catalog since the “last” show in December 2007 at the old Crocodile Cafe.

While Shane’s relationship with the songs may be complicated, the joy of a Dolour tune is its instant familiarity and warmth, like putting on your favorite sweatshirt still warm from the dryer. Dolour’s catalog is deep with pop gems like few bands are writing in Seattle today. We’re eager to hear old favorites like “I Smell a Lawsuit,” “Suburbiac” and “You Can’t Make New Old Friends.” We were there at that last show and we will definitely be at the Tractor this Thursday. Whether you’re an old Dolour fan or band member or you’ve never heard Dolour before, we recommend you’re there too. It’s a great peek back into the Seattle sound of the early ’00s and with two local bands celebrating their CD release that night, a good look into the future too.

When: Thursday, October 22nd (9pm)
Where: The Tractor Tavern
Who: The Republic, Ivan & Alyosha (CD Release), Josh Ottum (CD Release), Shane Tutmarc (special Dolour set)

Shane is opening the night, so if you want to catch Dolour (you do), be sure to get there early!

Second video in as many weeks from the talented Tutmarcs. The last video starred Garbo, this one Valentino!

Utilizing and editing of old film footage for the videos seems fitting, and similar to what Shane does musically. Shane takes the best of what’s come before and puts his own spin on it; making it his own, while still showing reverance and admiration for the original. He does it with gospel and old school blues tracks on Shouting at a Silent Sky and here, by adding a red tint to an old Valentino clip.

The Moondoggies ::: Secret Set at The Blue Moon ::: photo by Abbey

We’re half way through 2009, which means it’s as good a time as any to reflect and share what were my favorite releases, songs, and shows in what’s proving to be an exciting year of music.

I’m not ready to list these in any sort of ranked order just yet, you’ll have to wait for Decemeber for that. But these are the albums, eps, songs, and shows that have helped make 2009 a memorable year of music, so far. (No Animal Collective or Dirty Projectors necessary!)

Best Albums So Far:

The Ironclads - Space Between the Maps
Elvis Perkins In Dearland- Elvis Perkins In Dearland
The Lonely Forest - We Sing The Body Electric
J. Tillman - Vacilando Territory Blues
Kaylee Cole - We’re Still Here Missing You
Neko Case - Middle Cyclone 
The Curious Mystery - Rotting Slowly
Nurses - Apple’s Acre
Dan Auerbach - Keep It Hid
Shane Tutmarc - Shouting at a Silent Sky

I had to whittle down that list to a round, solid 10, which is pretty exciting considering there are albums scheduled to come out from the following bands in the remaining months of 2009:

The Cave Singers, The Maldives,  The Dutchess and The Duke, Black Whales, Black Eyes & Neckties,  Thee Emergency,  J. Tillman, and David Bazan.

Bon Iver at Sasquatch ::: Photo by Abbey

Best EPs or 7” So Far:

Bon Iver - Blood Bank
See Me River - The Great Unwashed
The Moonodoggies - Terreberryy EP/Record Store Day EP
What What Now - Self Titled 7”

J. Tillman ::: photo by Abbey

Best Songs So Far:

“We Sing In Time” - The Lonely Forest
“Blood Bank” - Bon Iver
“Steel on Steel” - J. Tillman
“Shampoo” - Elvis Perkins
“Alamagordo” - The Ironclads
“Airplanes” - Local Natives
“The Hardest Part” - The Moondoggies
“Folding Chairs” - Regina Spektor
“Magic Mountain” - Arthur & Yu
“Gossamer Hair” - Pearly Gate Music
“Driftwood Doll” - The Traditionist 
“Car Wreck” - Kaylee Cole
“The Ballad of RAA” - The Rural Alberta Advantage
“Coast of Carolina” - Telekenesis

(I have to admit, 2009 has been a year of albums/EPs/7” much more so than singles and songs, so I feel like this is more a list of my favorite songs from my favorite albums than the best singles or songs of ‘09. I’ll work on broadening that a bit before December.)

The Whore Moans Play Our 2nd Blue Moon Birthday Bash ::: Photo By Abbey

Best Shows, So Far:

* David Bazan - House Show, Edmonds
* Sound on the Sound Celebrates the Blue Moon’s 75th Anniversary
* Ironclads CD Release Show at Holy Mountain (with What What Now, The Whore Hands)
* Built to Spill does Perfect From Now On
* Sound on the Sound’s 2nd Birthday Bash’s at The Blue Moon and Neumo’s
* Blind Pilot at The Triple Door
* Nurses at South Pole 
* Jenny Lewis at UW
* Bon Iver at Sasquatch
* The Moondoggies at The Blue Moon

We’ve long said Shane seemed of another era, so it seems very fitting that he’d use footage from 1926’s The Flesh and The Devil for this video.

Portrait By Abbey Simmons

[Ed. Note: Shane Tutmarc plays tonight at 8pm, the early slot for tonight's Sunset Tavern edition of Noise for the Needy. Also on the bill is Widower, Jack Wilson and his Wife Stealers and Adam Stephens (of Two Gallants) and his band the Finite Plan.]

Earlier this week we posted the first section of this interview, where we discussed the winding path Shane Tutmarc has taken to get to where he is today. In this second edition of the interview, we cover Shane’s new course adjustment, and it’s result, an LP titled Shouting at a Silent Sky, which was released today on iTunes.

In the last portion of the interview, Shane discussed the reason he let go of his longest running project, Dolour, saying that it no longer represented who he was as a person. With his latest release, Shane has synthesized his own experience, his family’s musical legacy, and the help of some experienced musicians, into a record that completely represents Shane Tutmarc, personally and musically.

He says, “I feel like the goal of songs should be to be able to connect with people and to relate with humanity. There is a place for every type of song, but I feel like, at least with me, a goal is to always be true to yourself. And if you’re true to yourself than people can relate.” And Shane has succeeded, because we most definitely relate.
—-

SOTS: Do you consider yourself a songwriter or a story-teller?

Shane: I think the song part of it is as important to me. Though, I’m totally in love getting around writing devices and structures. And I’ve definitely, through the Dolour era and the Mercies, tried a million different approaches. To me the joy really is finding a new way to get it out. And I know that if it was just strictly story telling, it wouldn’t be as important to me as the craft part of it.

I think phrasing is a big thing. Like Bob Dylan. Just the way he phrases things makes me aware that when you’re telling a story, there’s a million different ways you can tell it, and so much of it from Sinatra on down comes down to how they place those words. I think with Dolour it was a lot like “Here’s a melody written out that I am singing.” Whereas from the Mercies on it’s been “How do I want to say this” as opposed to “What are the notes that I’m singing?”

Which to a lot of my pop songwriter friends that I knew through the Dolour phase have no idea why I’m doing what I’m doing now and hate it, and think I’m doing the wrong thing.

SOTS: What do they think you should be doing?

Shane: I guess following their dream of what I should be doing or something.

SOTS: Is that part of what’s on this album? The sense that people think you should be doing something else? But you don’t.

Shane:

So definitely through the Mercies it was kinda of a battle. You want to make a record that your friends are going to like, but I don’t think I was pleasing too many of my friends.

It was interesting how it kind of, it polarized. I don’t think I took to many Dolour fans with me with the Mercies stuff.

SOTS: You’ve grown and you’ve aged.

Shane: I definitely feel like I don’t know that person that wrote the Dolour Albums. Thomas Mertin later said that about his first book (his autobiography).

SOTS: Are you embarrassed by some of it?

Shane: I did the best I could. But I feel like I would constantly get myself to the edge of the cliff. An escape. I would be in a dark mood, and maybe write a song to get me out of that dark mood. Running from reality in a lot of ways. Pop music to a certain extent says “Everything is all right.” Folk traditions, or blues, or even rock generally speaking says “Everything is not alright.” And I think it was that turn that I took with trying to stay in those moments that might be painful but might also bring some truth. That’s what kind of led to this collection of songs.

Read the rest of this entry »

Shane Tutmarc ::: Photo by Josh Lovseth

We first heard Shane when we heard a demo from Dolour, his long running pop project that put it’s first album out in 2000. When we went to our local record store to pick up a copy of a Dolour record, Shane happened to be our cashier. It’s one of our favorite small Seattle moments, strangely embarrassing at the time I suspect for both of us, but a case of happenstance I won’t soon soon forget.

What I didn’t know though, was that by the time I was discovering Dolour, Shane was already in the process of moving on from that project and from the idealism of his youth and what Dolour represented. Not only that but he was about to have a life-shaking experience, that would launch him in a new direction that would end up leading back to where he started: gospel and blues and the music of the south, by way late-sixties Elvis and Hank Williams.

The result was Shane’s next project, Shane Tutmarc & the Traveling Mercies’, a return to the origins of rock that’s sound quickly cemented his boundless potential in our minds. For the Traveling Mercies, Shane created a family band, consisting of him, his brother (Brandon) and his cousin (Ryan), and together they made old gospel songs new again. Dolour had become a meticulously managed vanity project that no longer represented him as a person; the Traveling Mercies were a cathartic opportunity to pay homage to the musical tradition of his family and America.

This week, Shane has a new record coming out titled Shouting At A Silent Sky, we think his finest to date, and he’s been joined by a new band of ringers to back him up. But we’ll get to the new record in Thursday’s portion of this interview. First of all we thought it was important for him talk about how he got to where he is today and about the details of his life-long one-of-a-kind musical education.

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SOTS: How did you discover you could sing?

Shane: Because every band that I had formed, from like 4th grade, 5th grade, 6th grade, nobody ever wanted to sing. Like my first show that I ever did, my band teacher in 6th grade let my little band open up the school band show. And we played instrumental covers of Nirvana and Green Day and stuff and nobody sang. Finally after that I think I was like, okay I’ll sing, whatever. And just really enjoyed it and loved it.

SOTS: You must have learned a lot about music from your family background and the elders in your family.

Shane: I think one of the biggest shockers for me when my Grandpa passed away (in 2006) was kind of fully accepting for the first time that there was this huge family legacy. All growing up I kind of felt like an alien in my family, I was like, how did I end up in this family? There wasn’t a whole lot of that, at least in my face at least growing up. But through my Grandpa getting sick and then passing away, definitely delved into the family archives just like wow, I was put in the perfect family for what I do. But I hadn’t really thought of it that way until that point.

SOTS: So that was a huge event in your family?

Shane: Yeah for sure. I felt like for the first time like how he had such a big part of who I am, without even knowing it. My whole axis of the way my world turned completely… I was working on a Dolour record at the time that I completely scrapped as soon as he passed away. I got the family band together and I think even up to this new record, the… mortality… the thought process that started when my grandpa passed away still effects me everyday.

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