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 »

Local Bands on the Showbox Marquee ::: photo by Josh Lovseth

 It may not be a pretty picture per se, but few things have looked more beautiful to us.

The Maldives and Moondoggies Sing-Along ::: photo by Abbey Simmons

2009 was an inspiring year for live music locally. My favorite shows ranged from intimate living room gatherings to huge festivals. They spanned genres from horror punk to hip hop to Ballard Avenue twang. They were almost all exclusively local, though I’ve seen a number of great touring bands in 2009. My hometown is where my heart is musically. Lucky for me (us all really) it was a banner year for local music, with a new found energy in the air and coming off the stages of Seattle. 

Seeing that we have a couple weeeks left in 2009, I’m hopeful there’s still another show in my near future that will be worthy of being dubbed a favorite. Considering how great 2009 has been, it would surprise me more if that didn’t happen. While this list isn’t ennumerated, it is in a hierachal order of most cherished towards the top.

David Bazan in an Edmonds, WA Living Room

Bon Iver at Sasquatch

Black Eyes & Neckties Final Show - Halloween in Bellingham

Doe Bay Music Festival

Nurses in a South Seattle Living Room

The Moondoggies at The Blue Moon

 The Maldives Three Night Stand at The Tractor

The Lonely Forest, Telekinesis, and The Globes at the Showbox

 Blue Moon’s 75th Anniversary Shows

The Rural Alberta Advantage at The Sunset

 The Ironclads Final Show Before Hiatus

Widower with Pearly Gate Music at the Sunset

 Fresh Espresso at Seattle Weekly’s Reverb Festival

Hey Marseilles and all of the Bean Room Shows at Cafe Vita During Capitol Hill Block Party

J. Tillman and Pearly Gate Music at The Sunset

A Gun That Shoots Knives and Doctor Doctor at Neumos

Mad Rad at Sasquatch

The Ironclads CD Release Show with The Whore Hands and What What Now at Holy Mountain

D. Black CD Release Show at The Crocodile

The Lonely Forest at Bumbershoot

Though I don’t have a photo to include with the list Regina Spektor’s sold out show at the Paramount is also one of my very favorite concerts  of 2009.

The Lonely Forest ::: Photo by Josh Lovseth

Why is my heart so full? - “Centennial” by the Lonely Forest

The Globes welcomed us to the Showbox as we waited in a healthy early line for will call and attempted to get a lay of the land. The unsigned (for now) Seattle foursome fills a niche for rock that occasionally taps the modern edge of Radiohead but more often veers into Pavement territory, the raw but sweetly rhythmic guitarwork and slightly pitched vocals included. We’ve been watching these gents grow for some time now, and a relentless work ethic is starting to set them apart. These guys always play like they would rather be doing nothing else.

The second band to take the stage, Telekinesis, is a band in flux, despite being the only band with significant label support in the form of Merge Records. This night marked Chris and Jonie Broecker’s last night as members of Telekinesis after a year of touring with the band through 2009, while producer/Death Cab for Cutie guitarist Chris Walla filled in on auxiliary guitar for regular Chris Staples, who I suspect may still be out with an injury. Even with change on the horizon, and with this special backing for this special occasion, Telekinesis frontman Michael Lerner was also making his first go at the Showbox, and so had a whole lot to prove. If not to anyone else then at least to himself.

The floor’s full all-ages section appeared just as enamored of Lerner’s quirky daydreams as one would expect of a headliner, providing a robust choir of “oh oh oh’s” on Tokyo like most adults would be embarassed to sing, and mouthing the rest of the words with the air of genuine fans. Taking a turn of three songs at the acoustic, “I Saw Lightning” rang of early Death Cab and the “Foreign Room” mid-song transition to drums from acoustic takes a pages from Walla & friends more recent temperament. Anchoring his set with this blog’s favorite song “Coast of Carolina,” nobody in the seemed reluctant to add their own “na na, na na na na na’s” into the mix as he began, or dance their pants off until it was over.

The Lonely Forest, with their name on the marquee, were without a doubt the focus of the night. That they attracted so many people, fans of specifically them, on the Friday following Thanksgiving, was a mark in the win column before they’d even played a note. And yet the band spared no energy in playing to that crowd. I didn’t really expect any less considering frontman Jon Van Deusen can barely contain himself when he tries to, but considering that this night may have been their biggest yet, a whole ‘nother level of excitement must have been pulsing through his arteries. When bands coming up in Seattle are thinking about “making it,” playing the Showbox is pretty much the definition of “making it.” (Rolling in bags of money is not part of that definition.)

Early on “Two Pink Pills” and then “Centennial,” both with super-fan sing-along intro’s and choruses, revealed the pent up anticipation wasn’t just on the part of the band. “Centennial’s” repeating line “Why is my heart so full?” somehow seems to sum up the teenage experience, and of anyone, the youngest in the room screamed the refrain with the naivete and earnestness that only that youth can provide. “Mt. Constitution’s” round and then “Tomato Soup” gave the girls in the audience their time to shine, and they it seemed, were even less reluctant than the boys to play their part in the choir.

“We Sing in Time” was the set’s final flourish, the apex of which had the most enthusiastic all-agers in a flurry activity right in front of Van Deusen’s own microphone. With a nod to the girls getting crushed up front he finished the song by offering himself up for sacrifice to quell the crowd, floating on top for only a second before being swallowed up in appreciation. For an encore Van Deusen offered a number on piano, before finally finishing off with the aptly titled “They’re Onto Something,” a song where he traditionally loses all body control and careens around the stage with no regard. That he’d contained his nervous excitement to this point was impressive, but pressure had built up so much that by the end of the song, after jumping off of every conceivable object on the stage, he bulldozed his keyboard into the front row and found himself five rows deep in the crowd.

With your name on the marquee you get to do stuff like that. People expect it and cheer you for it. And if it were just a lot needless antics and posing, I’d probably take issue with it. But for Van Deusen, it’s not like that at all. That movement is channeling something he obviously needs to express, and hardly calculated, it feels like a window into the tumultuous chaos brewing just under his skin, possibly the same chaos that’s fueled the experiences that led to writing of many of his songs. The “Body Electric,” indeed.

Telekinesis ::: Photo by Josh Lovseth

Telekinesis ::: Photo by Josh Lovseth

Chris Walla in Telekinesis ::: Photo by Josh Lovseth

The Lonely Forest ::: Photo by Josh Lovseth

The Lonely Forest ::: Photo by Josh Lovseth

The Lonely Forest ::: Photo by Josh Lovseth

The Lonely Forest ::: Photo by Josh Lovseth

Flickr: The Lonely Forest, Telekinesis at the Showbox at the Market

Thanksgiving is all about coming to the homeland and taking time with family, and this year many of our town’s recent favorites and up-and-comers are doing just that by joining forces to keep a usually quiet weekend very entertaining.

Black Friday at the Showbox at the Market is a doosie of an all-ages triple bill, with Anacortes based Lonely Forest headlining the venue for their first time, but certainly not their last. From the side of the stage at Bumbershoot, a fellow long-time respected music writer told us that the local adoration for and momentum behind the Lonely Forest reminded him of the buzz behind an early Nirvana. Joining the Lonely Forest will be Telekinesis, the Merge Records-supported band led by Seattle’s Michael Lerner, and fellow Burning Buildings Records signee’s the Globes. This group of bands is in a way a summation of this years list of the best young pop bands from our area, so you can’t go wrong hitting this one up.

Saturday at the Showbox at the Market might be an equivalent bill to excite another set of taste buds, tapping the list of Seattle’s strongest Modern American players. I think people are starting to get that the currently-recording Moondoggies are more than a bunch of slightly dorky, talented, flannel lovers. With their late-night blues jamming and repetitive lyrical themes they’ve struck a chord that now brings people out of the woodwork to dance and hoot and shout in enthusiasm at their shows, always. Local institution Jesse Sykes & The Sweet Hereafter along with Star Anna & the Laughing Dogs have the pleasure of warm-up duty, so treat a lady right, show some respect and show up early.

Friday November 27th at the Showbox at the Market
The Lonely Forest
Telekinesis
The Globes
All Ages, 8pm, $10 + fees at Ticketmaster

Saturday November 28th at the Showbox at the Market
The Moondoggies
Jesse Sykes & The Sweet Here After
Star Anna & the Laughing Dogs
All Ages, 8pm, $14 + fees at Ticketmaster

Looking for a place to lose the in-law blues? The Crocodile’s Saturday show is an all Seattle band bill that’s an event in its own right due to the one night reunion of pop powerhouse the Lashes. Though they’ve been away you can be assured that Ben Lashes will have a gag or two up his sleeve and that you’ll leave with at least one Lashes melody stuck in your head even if you didn’t know it before. Because really that’s what this band is all about: infectious, person-to-person, fun. Thee Emergency, who knows a thing or two about how to entertain a crowd, and Curtains for You will both be opening, and considering our long time endorsement of the former and our recent endorsement of the latter, you know we’ve got an opinion about showing up late.

Saturday November 28th at the Crocodile
The LASHES for one night only!
Thee Emergency
Curtains for You
21+, 8pm, $10 via the the Croc

In recent years Seattle has called itself home to a number of stellar producer/wordsmith duos participating engaging collaborations: Blue Scholars and Common Market who’ve been holding it down for ages, last year’s White Van Music via Jake One, and this year’s breakout act Fresh Espresso all quickly come to mind. For this year’s list it looks like we’ll need to add the latest collab between Seattle’s Macklemore and producer/filmmaker Ryan Lewis, called Vs. The first single “Otherside” weaves a RHCP bassline into a horn section backing a Macklemore rhyme that takes me back to the early days of Slug & Abilities. Looking at the lineup for tonight’s two show EP Release party at the Nectar, you can count on this being the hip-hop center of gravity this weekend.

Friday November 27th At the Nectar Lounge

The VS. EP Release Party! featuring:
Macklemore & Ryan Lewis

Early All Ages Show w/
Hella Dope
The Next Door Neighbors
Kung Foo Grip
DJ Sabzi
Hosted By Grynch
All-Ages, Doors at 5.30pm, $8 adv. at TicketWeb

Late 21+ show w/:
The Physics
Symmetry
Xperience
The Next Door Neighbors
DJ Terry Radjaw
Hosted by El Mizell
21+, Doors at 10pm, $8 adv. at TicketWeb

In short, this really complicates my usual post turkey day sleep schedule.

The Lonely Forest ::: photo by Abbey Simmons

Just a word to the wise…don’t stuff yourself on Turkey Day left-overs on November 27th, lest you miss a stellar all local line-up at the Showbox. The Lonely Forest just confirmed the line-up for their first headlining show at The Showbox and what a line-up it is: The Globes, Telekinesis, and of course, Anacortes’ finest.  All three of these bands stand to burst out of the local scene in 2010 to find national acclaim. In fact, if I were to make a list of Seattle bands likely to break big nationally, there’s no doubt all three of these bands would be somewhere near the top of that list.

So, the day after Thanksgiving, give thanks to three great local bands and to the Showbox for hosting some amazing all local bills on their big stage. And don’t forget, you’ll be back at the Showbox on November 28th for another amazing all local bill featuring The Moondoggies.

And if you need further convincing, here’s a video from each of the bands:

The Globes:

Telekinesis:

The Lonely Forest:

Matt & Kim ::: Photo by Marcella Volpintesta for Sound on the Sound

[ Editors Note: Bumbershoot 2009 marks the first time a new photog has been on assignment for Sound on the Sound (since Josh was taking pictures for Stereogum), and Marcella Volpintesta was gladly recruited as our second photog for the task. We couldn't be happier with what she came up with! ]

The weather situation leading up Bumbershoot 2009 was ominous. The entire weekend had a forecast of on-and-off precipitation and even a thunderstorm thrown in for good measure. Saturday morning’s dark skies blanketed Seattle in an unusually intense downpour that seemed to almost miraculously stop as noon rolled around.

For us the early part of the day centered a number of younger local groups who’ve been making waves lately. A Hey Marseilles set in the KEXP Music Lounge, Sound Off! Winner Dyno Jamz! and then Past Lives at the EMP, and the Perez Hilton-endorsed Natalie Portman’s Shaved Head at the progressively muddy Broad Street stage. For only 2.30 in the afternoon, NPSH appeared to have attracted every teenager present on the Seattle Center grounds, skillfully whipping them into giddy, bouncing dervishes.

Despite the damp circumstances, roaming around on cement paths and many opportunities to retreat inside (or just under one of the many covered walkways) made for a not uncomfortable experience at all. After taking a break inside ourselves for Telekinesis’ KEXP Lounge set (another young local band worth noticing), we caught in full Mayer Hawthorne and the County’s tour opening set, where he confirmed the promise of his debut album A Strange Arrangement. Given the opportunity to catch Elvis Perkins in a more intimate setting than he was scheduled for later in the day, we wound our way to the day’s final KEXP Lounge Session where Elvis Perkins in Dearland played their entire new Slow Doomsday EP for a packed audience.

Local hard-rockers The Whore Moans were intent on bringing something special to this year’s Bumbershoot, souping up their act as a kind of soul-influenced revue with more players involved and new songs composed. Calling it The Whore Moans Present: The Black Atom! it was complete with backup singers borrowed from the Cute Lepers and Mike and Jordan from the Hands guesting on sax and keys respectively. Guitarist Nikki shined in gold sport jacket while the Whore Moans held nothing back in their retro adventure.

As the light waned at the Northwest Court stage, Elvis Perkins in Dearland played their official set to a respectfully silent crowd (in-between hearty round’s of applause of course). Cold War Kids guitarist Johnny came on stage to help out on a couple of songs, among them one of my new favorites, the jangle-blues jam of “Stop, Drop, Rock, and Roll.” Perkins dedicated the dirgey “Chains, Chains, Chains” to the maker of the animated video for the song, Sean Pecknold, who was appreciatively taking in the show off to the side. The mournful songs from Ash Wednesday were nary in sight until a final song to usher us home, “While You Were Sleeping.”

Wrapping up our evening at the Broad street Stage we were interested to see if JRod had managed to pump out any more new Long Winters songs in the weeks since we’ve last heard from him. The band was playing it’s last set with drummer Nabil Ayers who’s moved on to other more business-like endeavors in New York, and as was expected of the occasion the band was goofy and loose. A few new ones did make it into the mix, but nothing really seemed quite firm yet about them, with one song even necessitating stopping midway through for a situation re-evaluation.

Once day one was finally finished, amazingly I wasn’t muddy, cold or disgruntled. While threat of imposing weather had apparently kept many people at home, those who did make it out experienced a rather mild day with minimal sprinkles and even a few hours sun. In addition to enjoying a healthy amount of elbow room so one never felt to crowded, food and ATM lines were relatively short (but not the comedy lines) and there was always a spot to plop down on the grass if you wanted to. On Saturday we reaped all the benefits of a depressed turnout.

Everest ::: Photo by Abbey Simmons

Hey Marseilles in the KEXP Music Lounge ::: Photo by Abbey Simmons

Bumbershoot 2009 ::: Photo by Marcella Volpintesta

Read the rest of this entry »

Merge Records’ new wonderboy Telekinesis who yesterday was just named as a “Breaking” act by Rolling Stone has got a new video for his song “Awkward Kisser.” Indeed.

They are starting a short west coast tour with Margot and the Nuclear So & So’s tonight at the Crocodile.

The Cave Singers ::: Photo by Josh

Yeah, you read that right. This is a lineup you’re more likely to find at the Crocodile, but this Thursday all three bands are playing the UW Hub Lawnapalooza happening from 11am to 3.30pm. If it is sunny, I shall have to be there.

Telekinesis ::: Photo by Josh

Last Saturday, following the final show of a nationwide tour the previous night at the Crocodile, Telekinesis was a duo with frontman Michael Benjamin Lerner sticking to the acoustic guitar for his entire 5 song in-store set. He was celebrating Record Store Day at Sonic Boom Records on Capitol Hill, at a place he revealed was a record store that he had worked at for over a year. I was thinking that I recognized him from behind my favorite local store’s counter…

The store itself was bustling for the occasion, the vinyl section was being thoroughly picked through, people in search of a hidden split Sonic Youth 7″ or a hidden Sub Pop 7″ that may have eluded the early risers. I myself managed to pick up one of those Limited Edition Terreberry EP’s that Hardly Art put out for Record Store Day, which includes a slowed down version of “Black Shoe” as well as four old songs, some recorded with the band’s home four-track setup.

Telekinesis next plays Seattle on May 14th at the Crocodile with Margo and the Nuclear So & So’s, beginning over a week of dates the pair will play along the west coast. After that they head to Western Europe.

Telekinesis ::: Photo by Josh

Flickr: Telekinesis at Sonic Boom Records, April 18, 2009