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

The Whore Moans at Bruar Falls during CMJ ::: All photos by Brady Sprouse

[Brady Sprouse, our man-about-Ballard and album reviewer headed out to CMJ a few weeks ago for one of his other gigs, The Maldives tour manager. He was kind enough to share his experience and report back with a review about Ballard Ave. taking over Brooklyn for Mt. Fuji Records' CMJ Showcase. - abbey]

A few weeks ago I went to New York with the Maldives for the CMJ Mt Fuji Showcase in Brooklyn. Having never been to New York before, I was, to say the least, very excited to get out of Seattle and go to the “Big City”. “The City Seattle Wishes it Was”. “Some Place Where it Wasn’t Raining”.

My alarm went of at 3:40 am on Monday morning. Three hours after I’d gone to bed. I met The Maldives at the 65th house in Ballard at 4:30 and everybody was on time (for once), more or less. As we were loading our luggage into the van, I sat smoking a cigarette thinking at least we didn’t have to load any gear this trip, but was not looking forward to herding 8 people through airport security. It’s hard enough to keep them together when we’re all in the same room. But, as I’m learning about my job as “tour manager”, the more I worry, the smoother things usually end up going. At the airport we got through security without incident and on the plane without waiting more than five minutes at the gate. Five or so hours later we landed at JFK.

After a slight delay trying to figure out our subway pass situation, which involved more than one of us (myself included) trying the patience of multiple MTA employees, we were on the subway headed into Brooklyn. The sun was shining and it was in the low 60’s. I’d brought two jackets and a sweatshirt which I couldn’t even fit into my bag. We got off the subway in Williamsburg and I was already down to the sweatshirt and carrying one jacket I didn’t really need. We ended up at a place called the Alligator Lounge waiting for some friends who were going to be putting us up for the week. The Alligator Lounge gives you a free pizza for every drink you order. Not a frozen cardboard slab, but a real wood fired cheese pizza that was much better than bad. I ate two for the $10 price of a Bud and Jameson. Not bad, even for New York prices. So we drank, ate pizza, watched some baseball and waited. Eventually our friends started trickling in. Most were Seattle transplants or reverse transplants who’d left Seattle to come back to New York. They got us settled and we we went exploring our little corner of Williamsburg.

The next day was somewhat of a blur: almost 70 degrees, MTV studios in Times Square, picking up the CMJ  badges at Washington Square Park, seeing where that kid caught a skateboard beating in Kids, The Village and “The Bitter End”. I was barely able to keep my inner, wide-eyed gaping tourist in check. We got our badges and and sat down at a pub in a few blocks away called The Red Lion who’s proprietor could’ve easily been my lrish grandfather. There we met up with the rest of the boys and made plans to meet up with the rest of the Mt. Fuji crew (label heads Mike Jaworski and Rich Green, The Whore Moans, and the Black Whales).

Back in Brooklyn I had to pick up a guitar from an old friend for the Maldives (Thanks to Sarah and Cedar). Since we were only out for one show all the gear was being loaned out by the Black Whales (Much thanks to those guys) except and acoustic guitar which is, to say the least, kind of important during a Maldives show. With guitar procured we all met at a little place underneath where I was staying. Mike and the other bands started staggering in one and two at a time and we all got some food and just kind of relaxed. It was nice to see so much Seattle so far from Seattle (this was a theme our whole week in New York. Seattle everywhere we went. It was great.)

The Mt Fuji Showcase was at Bruar Falls, about four blocks from where most of us were staying in Williamsburg so it made things pretty easy to maneuver as far as keeping track of people and knowing where we were. I had never really met the guys from the other bands so it was nice to put some faces to music and names. We all had a drink and then a few more at another place across the street from Bruar Falls called The Trash Bar which was definitely one of the cooler places we hung out that week. Seriously, cheap whiskey and beer combo specials, your bar could be a cardboard box in an alley and I will have something nice to say about it. Bruar Falls wasn’t bad either. It was tiny though (imagine a show at the Golden City or that little side room at The Canterbury). So tiny in fact I was surprised that one: nobody was brained by Whore Moans bassist Ryan Devlin on their way to the bathroom, and two: all The Maldives were able to fit up on stage (Chris Zasche and his peddle steel could not make it to New York and thus was probably the reason everybody was able to squeeze up there). The Black Whales didn’t even bother trying to fit and set up partially on the floor in front of the stage. This made for an amazingly intimate closing performance to the showcase. But I’m getting ahead of myself.

The night was getting a late start due to earlier shows so there was a lot of standing around and waiting but once The Whore Moans went on, the faces began to melt. The crowd was surprisingly subdued for the amount of energy that the Whore Moans were throwing into it. At one point Nikki O jumped down into the crowd on is knees and began wailing into everybody which seemed to get people a little more involved. Though the crowd was not spastically flailing about, everybody was into it as the boys burned through one after another, shedding clothing and sweat along the way.

After a quick transition and set up The Maldives were on stage with the Black Whales’ gear. Hilariously, every piece of borrowed equipment was like a bizarro copy of what each normally used. Kevin Barrens replacement accordion was a melodica. Each guitar was a slightly different model and/or color. It’s like everything was the same, but different. Not to mention all the sets were 30 minutes long so they really had to tighten up their set length which made a perfect fit in between the other two bands. What I like to refer to as “The Rock Set.” And it was outstanding, especially considering the missing component of the peddle steel whose absence was more than accounted for by Seth Warren’s fiddle. As they closed with Blood Relations, one of the best performances to date, I realized that for as many times as I’ve heard these songs, they do not get old. In fact, they get better.

I’d never seen the Black Whales live and had only heard a few tracks off of they’re debut EP Origins so I was excited to get the opportunity to watch and photograph the band in action. And, with one minor electrical snafu notwithstanding, they did not disappoint. They came out blazing with their heavy electric jangle and amazing melodies. They’d been out on tour for the past month or so and you could see it in their performance. Tight and loose at the same time. Breezing through there songs with a passion and confidence afforded to a band that after this many times, could do it with their eyes closed. At least most of the way. The night went off more or less without a hitch and all the bands sounded great.

The next evening after sight seeing around Manhattan, we met up with Mike Jaworski in the East Village and we had a chance to talk a little about the show the previous night. We both agreed the line up couldn’t have been better. These three bands are a perfect representation of Seattle and the music that it’s producing right now. Music that is as similar as it is different. Good music.

I didn’t want to leave New York. I’d spent thirty years never being that impressed with the city. Now I don’t know why I wasn’t. We were treated so well. All the silly tourist stuff I’d seen in movies was incredible and right in front of me. We had one of the best times on the road to date. The show was fun. Really fun. So many Seattle friends made it out. Old and new. Out to visit or now living in New York. Witnessing some of the best music going happening right now in our little city.

When I left JFK it was 73 degrees. When I landed at Sea-Tac it was 40 degrees and raining lightly. A meter maid on a Segway told me I couldn’t smoke at the arrival terminal. Outside. I wanted to get back on a plane immediately. But then my friend picked me up and took me to The Smoke Shop and I slowly began to remember where I’m from and how much I love it here. How much the music in this town means to me. How many more times I want to visit New York to see Seattle bands take over a whole neighborhood in one of the biggest cities in the world and melt the faces of the newly converted.

See More of Brady’s Photos from the Mt. Fuji Records CMJ Showcase after the jump:

Read the rest of this entry »

The Whore Moans go Acoustic at Bumbershoot 2009 ::: Photo by Abbey Simmons

Mt. Fuji Records is home to a number of our absolute favorite local bands so it’s with much excitement that I have a reason to reiterate that fact. Next Friday and Saturday Mt Fuji is packing their bands and a few friends into two Ballard venues to showcase what they’ve got.

The Maldives, who barely fit in the Tractor anymore, will be headlining night one (which is sure to be a sellout), along with Spiral Stairs, who’ve got a split single with the Long Winters slated to come out on Mt. Fuji by the end of the year. Night two features Mt. Fuji’s past, present and future all in a nice neat package. The “present” in long time Mt. Fuji mainstay’s the Whore Moans and the Black Whales, and the “past” and “future” in Mt. Fuji helmsman (and Cops member) Mike Jaworski’s new band Virgin Islands who are just getting out into the world and releasing their first EP that very same week.

Peep these lineups:

Mt Fuji Records Showcases

Friday November 20th @ The Tractor with:
The Maldives
Spiral Stairs (Scott Kannberg of Pavement)
Point Juncture, WA
Weinland
$10 at TicketWeb / 9pm

Saturday November 21st @ The Sunset with:
The Whore Moans
Black Whales
Virgin Islands (EP Release for “The Age of Anxiety”)
Mr. Gnome
$8 at BrownPaperTickets / 10pm

For people who want to hit up the Saturday night edition of the showcase, happening at the Sunset Tavern, we’ve got two pairs of tickets to give away. Drop your name in the comments and we’ll choose two winners to have their name “plus one” on the guestlist courtesy of Mt Fuji Records. Winners will be randomly chosen Monday the 16th at 5pm.

We’ll see you there?!

The Whore Moans ::: Photo by Abbey Simmons

[ Editor's note: This is Phil's debut piece for us, talking about a band he knows fairly well. We couldn't be happier to have him on as a writer and general purveyor of comedy and truth. -josh ]

Do you remember when rock n’ roll was dangerous? Back before you could scare people off with a parental advisory label? Long before people bit the head off of bats and did cocaine through their vaginas? Before they cut Elvis’ body in half on television and he looked like he was floating in space? Back when rock n’ roll used to exist in speakeasy form and you had to go to “unsavory places” in the city and give someone a secret handshake in order to get into a hip “rock n’ roll hangout place?” Back when rock n’ roll was like prohibition and god was like religion?

Of course you don’t remember back then. You’re too young. But if you were alive back then, I’d like to think you’re cool enough to be into that kind of thing. Rebellion. If the Whore Moans were around back then, they’d be one of the bands you’d “dance” to in one of those “hip rock n roll hangout places.”

For Bumbershoot, the Whore Moans told folks that don’t know any better, that their set was going to be a theatrical soul revue of sorts. Funny. There’s nothing theatrical or soulful about the Whore Moans, so how is this going to work out? Beautifully. Do you want to know why? The Whore Moans stayed true to themselves but added a few layers to their rowdy brand of rock music. A saxophone, a keyboard and two backing female vocalists. What sort of theatrics were you expecting? Meatloaf-esque? Maybe more in the vein of Gwar? I wouldn’t mind a mixture of both. This occasion called for courageous gold suit jackets, slicked back hair, shades, nice suits, dapper dolls… the whole nine!

The Whore Moans weren’t James Brown and the J.B.’s on its best day, they were snake oil salesman. They were corrupt pastors. They were spitting fire and stomping out demons. Parents with little children watched in the front row. I couldn’t believe it.

The Whore Moans were doing what they normally do, but on an abnormally big stage. If anything the band toned down the rocking out in order to play up their theatrics. This is an act that is best seen on the floor of some crusty basement, where they can hurl their bodies into the crowd. Screaming and spitting in your faces during “Wall of a Song”. The more claustrophobic the space, the better the Whore Moans are. I wonder if anyone out there in the audience closed their eyes and took themselves back in time, back when rock n’ roll wasn’t allowed? Did they change the dimensions of that room to one that was collapsing and smokey? Did they get rid of the stage lights in favor of a single 40 watt light bulb? I did. I didn’t see a soul revue. I saw a dangerous rock n’ roll band that had to play by the rules for one evening.

Don’t get me wrong, they threw a little soul into the mix. The intro with bassist Ryan Devlin on vocals before “Fingers and Martyrs” was outstanding. When they played “No Soul,” the female backed vocals really added to the dramatic yet simple refrain of “no soul….” Before the start of “Nerve Tonic,” Singer/Guitarist Nikki O turned into the kind of salesman that would fuck your mother on your living room couch while you ate a peanut butter and jelly sandwich in the kitchen. It was a thing of beauty. I felt that “Rise and Shine” was finally done the way it was always meant to be done, with female backing vocals throughout the entire song. The song even featured a funny little skit between Nikki and backup singers Prisilla Ray and Duffy, who were borrowed from the Cute Lepers for the evening. New songs such as “Rebuilding Babel” meshed well with old Whore Moans staples, improvisational Motown mimicry was charismatically done. Sure there was a literal slip-up at the end, but like Brandon Lee who plays Eric Draven in The Crow once said “It can’t rain all the time.” I know what you’re thinking, “That doesn’t make sense?” Give it time.

It wasn’t the Nation of Ulysses but it wasn’t supposed to be. I think it would serve the Whore Moans best to try this stage show again but in a smaller, more intimate setting. I think the chaos they naturally create in smaller venues would go well with their doomsday priest judging you from the pulpit approach. There’s nothing wrong with a punk rock doo-wop mixed in with eternal damnation.

The Whore Moans ::: Photo by Marcella Volpintesta for Sound on the Sound

The Whore Moans ::: Photo by Abbey Simmons

The Whore Moans ::: Photo by Marcella Volpintesta for Sound on the Sound

The Whore Moans ::: Photo by Marcella Volpintesta for Sound on the Sound

Flickr: The Whore Moans Present the Black Atom! at Bumbershoot 2009

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 »

Elvis Perkins ::: Photo by Abbey Simmons

Day One is done. We managed to avoid the rain completely and instead were drenched in good music and performances… a trend we hope that continues tomorrow. We’ll have full coverage later this week including posts and photos from new contributors, but to tide you over here are a couple pictures from today’s Bumbershoot. Speaking of tomorrow, we have some recommendations check them out here.

 Hey Marseilles at KEXP’s Music Lounge ::: photo by Abbey Simmons

Natalie Portman’s Shaved Head ::: photo by Abbey Simmons

Mayer Hawthorne ::: photo by Abbey Simmons

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

The Whore Moans Present! Black Atom ::: photo by Abbey Simmons

One Final Song ::: photo by Abbey Simmons

In the past three years of running Sound on the Sound, we’ve loved and lost a lot of great local bands. It’s the heartbreak no one warned us about when we started. Over the course of these three years, we’ve caught more final shows and sets than we would’ve liked, of some truly great bands. These shows are always bittersweet, because faced with the prospect of never playing together again, most bands bring it like never before.

Of all the final sets we’ve caught, none have come close to the emotional outpouring we witnessed and participated in for The Ironclads at the High Dive Saturday night. Rife with technical issues, it wasn’t the band’s best set, but it was unforgettable. People watched the set with quivering chins and tears streaming down their faces (and by ‘people’ I mean the Whore Moans, What What Now, this here music blogger and many others) as they sang along to every last word. The band itself fought back tears on stage and lost that battle, as a crowd full of friends and fans shouted requests, jokes, and “please don’t go’s.”  All bands have a cadre of friends, family, and significant others who come to their shows, but no band I’ve ever witnessed has had a more impassioned (and growing) group of followers than the Ironclads. Unlike any other group of supporters, their crowd mirrors the spirited verve that endeared us so to the band in the first place.

As the Ironclads finished what was set to be their final song, the bright, careening near chaos and infinitely sing-alongable “Bullet Train” — the crowd erupted into cheers of “one more song.” The audience’s cries for more were louder than anything amplified from the High Dive speakers all night. In a decision he probably regrets, but we are forever grateful for, the sound guy at The High Dive granted the audience’s wishes, by allowing the Ironclads to play one final song.

With the first frantic strains of “Cape Canveral,” the song that acted as my gateway to the addicting exhilaration of the Ironclads, it was clear that the crowd would not be contained. After some momentary mosh pit style shoving, a few brave members of the crowd stormed the stage to sing along to the ill-fated astronaut tune one last time. And after one person got on stage, the rest of the excited crowd wasn’t about to be left behind. The line of glasses hugging the stage’s edge, forgotten in order to better pump both fists in the air, tumbled and shattered with the rush of the crowd. It was chaos, but beautifully so. (Probably not so much for the High Dive, of course.)

With most mics pushed to the side by the storming crowd, the enamored audience, not the Ironclads themselves, sang lead vocals for that final song. Arms wrapped tightly around each other and heads tossed back in mix of a collective anguish and celebration, they sang louder with each repeated chorus of “CAPE, CAPE, CAN-AV-RALL. CAPE, CAPE, CAN-AV-RALL.” In that final bridge, with the plaintive a capella refrain of “I’M FREE, I’M FREE,” everyone laid bare their own overflowing devotion. And for one last wonderful moment, we were all Ironclads.

Phil and Thom ::: photo by Abbey Simmons

Thom and Nora ::: photo by Abbey Simmons

A Tearful Jamie tells the Crowd There Will Be One More Song ::: photo by Abbey Simmons

Jamie Enjoys Vocal Backing By Fans and Friends ::: photo by Abbey Simmons

One Last Song with The Ironclads ::: photo by Abbey Simmons

Flickr: The Ironclads at the High Dive, August 29th, 2009

The Whore Moans ::: photo by Josh Lovseth

12:45 - Everest (Broad Street)
2:00 - Hotels (EMP)
2:30 - Natalie Portman’s Shaved Head (Broad Street)
3:00 - Flatstock (decide what poster is worth putting myself in debt this year)
4:00 - Mayer Hawthorne (Fisher Green Stage)
5:00 - Akimbo (EMP)
6:30 - Whore Moans (EMP)
8:00 - Telekenesis (EMP)
8:30 - Elvis Perkins (Northwest Stage)
9:30 - Kay Kay and His Weathered Underground (EMP)
- OR -
The Long Winters (Broad Street)

* The Whore Moans garage soul punk extravaganza, which should turn the Sky Church into a 60s soul circus.
* Elvis Perkins’ lyrical heartache and the musical merriment that is Dearland.
* Taking a trip with Kay Kay and His Weathered Underground.

Sunday and Monday’s Schedule are After the Jump…

Read the rest of this entry »