Photo Source: Silicon Girls

Silicon Girls are moving on and playing their very last show this Friday at The Vera Project. Marvelous Good Fortune will join them.

This three piece last issued a record in March 2012; Rana is a rough-and-tumble collection of artful tunes. Their music darts and weaves unpredictably with genuine jubilance. A punkish ethos pervades – they seem to hold no allegiance to any particular sound or structure. Rather than being explicitly about craftsmanship, Silicon Girls charge forth by championing creation, expression and energy.

The drums are rollicking and scatter-brained on "Take Care," a trait that is threaded throughout Rana. Its rhythms lend an incessant surfness to the music. The guitarwork harkens back to early Modest Mouse and other ’90’s indie rock pioneers. The song is also awash with a kind of drony, hazy film that corroborates the band’s idiosyncrasies.

Try out "Shipwrecked," which begins with a simple vocal ode before flowing into a galloping sea shantie. The twang of the guitar and shimmering splashes of cymbals build ebuillient climaxes – listeners are tossed about Silicon Girls’ waves in the best ways.

Their music, simply put, is charming and fun. They really sound like they are having a great time and will doubtlessly put it on full display for their last show on Friday, November 9th. Doors are at 7:30pm at The Vera Project with $7 tickets. Give "Shipwrecked" a listen below and check out Silicon Girls’ bandcamp to hear all of Rana.

– Cameron LaFlam

New Lungs are currently working on their second EP which is unnamed at present. Leading up to the late 2012/early 2013 release will be a benefit show at the Redmond Firehouse on Friday, November 30th. The concert features a five-band bill with Fringe Shift, Dear Mister Manager, Postmadonna, and Catalyst all on board too. 

This four-piece initially came together in fall of last year. A chemistry quickly clicked between the jammers-turned-bandmates, ironing out enough captivating material to record a three song EP called How to Operate Your Brain in December 2011. Let’s get their names and roles in the band out: Wes Gonzalez (guitar/vocals), Antoine Martel (guitar), Nick Emard (bass/vocals), and Rob Granfelt (drums). Together, they form – (take a deep breath now) – New Lungs.

Whew. Before leaping into their stirring sounds, their band geography is worth mentioning. With three of the four members away at university for much of the year, New Lungs spends most of their time thousands of miles apart from one another. It is difficult for many bands to keep a good thing going when they live in the same city limits. And it is likely that some music endeavors spread across such a vast distance would wither from lack of creative cohesion, passion, or talent. Thankfully, New Lungs appear determined to stick it out.

Look no further than their first three recorded songs to see how they exemplify a pastiche of the new and old. As a lyricist, Gonzalez wears his heart on his sleeve, a nod and debt to many exceptional ’emo’ (that genre can carry a caustic stigma which is frequently undeserved) bands of the ’90’s and 2000’s. His vocals are well-timed, emotionally-charged, and genuinely drive the music soaring and roaring behind him.

There is no weak entry-point for the band. New Lungs coalesce well as a foursome, as evidenced by their tight, passionate live performances. On their individual instruments they are each capable of introducing the right style of playing for the moment; when to kick up the dynamics, when to let the sounds of silence speak from within the gaps.

How to Operate Your Brain is not without its flaws, although I am not especially interested in dwelling on them. I am interested in the future this band is racing towards. As they continue to notch shows on their belts and dig away at their forthcoming EP, it is exciting to think what kinds of fresh compositions will pour forth from their collective craniums.

Keep eyes and ears tuned in for New Lungs news as the year continues. On the 30th of November they will appear at the Redmond Firehouse. Doors are at 7pm; tickets are $7; 100% of the proceeds go to Village Schools International. Support great bands for an even greater cause. Check out "The Emerald au Pair" below and visit their bandcamp to hear the whole EP. CDs are available for only $4.

– Cameron LaFlam

Photo Source: White Coward

White Coward are scheduled to play their finale show this Friday, October 26th with No Babies, Mtns, and Casy and Brian at the Black Lodge.

Their EP Relaxer dropped in April of this year, tagged with vague terms like "kids" and "shred." Upon listening to the record, the aforementioned words actually make a modicum of sense.

First of all, the song "Kids I’ve Had" grinds and purrs against your ears with a quality of great persistence. I wouldn’t mind "running around the neighborhood" (as a line goes) blasting this noisy track. Better yet, it could stand-in as the soundtrack to some demented carnival populated with bizzaro rides and carnees. A whopper of frenzied, disoriententing energy fuels this art punk anthem.

"Gal Pals" possesses a savory don’t-give-a-fuck flavor in the same vein as groups like Braniac, The Blood Brothers, and Raking Bombs. They differentiate their noise rock with a taunting snarl instead of slurred speech or venomous screams. The song’s locomotive-like grooves rip right through your comfort zone.

A prerequisite for absorbing Relaxer’s raw delivery is to listen to it really loudly. If your speakers can’t produce enough decibels to tickle your brain with feedback, then go see White Coward live on the 26th of October. Last chance! 9pm start time. Listen to "Gal Pals" below and visit their bandcamp to stream it all and pick your price.

– Cameron LaFlam

Photo Source: Prism Tats

Prism Tats is set to perform at Barboza this Friday, October 19th. Part of the week’s City Arts Fest, the set will also feature Howlin Rain, Assemble Head in Sunburst Sound, and Fox and the Law.

A one-man project, Prism Tats inks out a passionate, minimal aesthetic that shimmers from the first strum. G Vanderkrimp – formerly the singer/guitarist for Seattle band Koko and the Sweetmeats – takes listeners for a fuzzy but spirited ride with his self-proclaimed "future garage trash pop." He has a hodgepodge of songs available to stream currently.

"Death or Fame," forms immediately and eagerly; the sweet-singing guitar stabs mesh well with Vanderkrimp’s high-pitched, incandescent vocal style. The simple bass drum beat and supporting electronic effects are subtle and help anchor the snarling wails he breaks into later in the song.

"Lizard Scum" carries on its shoulders a more somber, secluded vibe. The chorus, though, is as melodious and ear-grabbing as many of Seattle’s catchiest and inclusive folk bands. Here, the climaxes are always kept on a short leash without exploding into overwrought harmonies. Its armor of fuzzed-out pop has cracks; synthetic echoes and murmurs lurk nearby.

For one further example of ‘trash pop’ validation, "Vacant & Impatient" is a more straightforward, bluesy number that oozes with aliveness. It is catchy, dark, and urban – and very replayable.

Head over to Barboza on the 19th of October to catch Prism Tats accompanying a good lineup through and through. Tickets are $13 and doors open at 7pm. Listen to "Lizard Scum" below and visit his bandcamp to hear a handful of tracks. Whooping Cranes Records is releasing a debut 7” on Nov. 20 for $6. Preorder here.

– Cameron LaFlam

Photo Source: Alex’s Hand

Alex’s Hand are going to be performing at The Morgue, a DIY venue in Georgetown, on Oct. 27th with Zander Yates and Fang Chia.

Their self-released debut effort Madame Psychosis features the trio (now a foursome) grappling with a wild spread of musical flavors. The album name itself invites interpretations of conflicting sounds and desires; a veil of manners covering a unpredictable body beneath. Or perhaps the title is simply a fun play with words.

"Stalker" opens with possibly the most delicate passage of the entire EP. A softly strummed guitar, haunting piano chords, occasional ticks of sticks, a chime or two – and then wammo – a poignant pop song lurches forward that would not be out place in a circle of 1980’s post-punk ballads. The guitar solo near the close foreshadows harsher reveries to come, while it bizzarely ends with a Captain Beefheart-esque collapse.

The second track "Laura" erupts with a metal-tinged reverberation, peeling into drum rolls and odd UFO noises. Its three-part structure is exceedingly catchy and becomes hopeless to erase from one’s brain. Equally unsettling and groovy, this is prime evidence for Alex’s Hand’s penchant for avant-pop experimentation. Bonus points for writing a song that pertains to David Lynch’s classic series Twin Peaks.

"Reception," features Kellen Mills’ most convincing vocal performance. Arguably the best all-around written song on the EP, it offers something of value for most listeners’ predilections: big sweeping guitar melodies, gentle whispers of piano, loud emphatic drums, and otherwordly, baritone vocals.

At last, the closer "Robot," a two and a half minute spill of crunchy mania. The song is effortless in its raw energy and gives the impression of being played off-the-cuff in one take. For fans of bass so fat you can sink your teeth into and ’80s and ’90’s noise rock a la The Jesus Lizard and Big Black. And oh my, the feedback into guitar solo in the last minute: part metal, part progressive rock, part space groove.

Alex’s Hand are playing live at The Morgue in Georgetown on Saturday, October 27th. Catch them there with doors at 8:30pm and music beginning at 9pm. Listen to "Laura" below and visit their bandcamp to stream all of Madame Psychosis. It is available through the webpage or in person at Easy Street Records and Sonic Boom.

– Cameron LaFlam

Photo Source: Witch Gardens

Witch Gardens will be hitting the stage at the Rendezvous this weekend along with Hive Dwellers, Craig Extine, and the Exiles. 

The quartet’s last EP R-I-P came out in April of this year, a three song bundle of jagged charm and cheer. Their music is refreshingly melodic and graceful without nosediving into twee pop’s precarious land of the saccarhine.

Lead track "Aunt Shae/Mean Colleen" is a natural spotlight grabber for the release, with its multi-faceted songwriting and suprisingly driving grooves. The start of the song begins as a softly materializing dream, harkening comparison to Sung Tongs-era Animal Collective or Women. The drums gallop; the guitarwork hastens; the vocals chime sweetly and matter-of-factly.

The closing song "Bakers Dozen" is more deliberate in its pacing. It possesses the twang of older Modest Mouse material while retaining their ’60s sunshine pop clarity. An enjoyable, lo-fi reverie through and through.

Doo-wop harmonies meet fuzzy rock with moments of freak folk affinity. In otherwords, ignore the catch-all words and just give them a prompt listen. Expect a genuine smile to pop up in no time.

Visit the Rendezvous this Sunday, October 7th to see the show for $7 with doors at 7pm. This is the venue’s first all-ages show, ever! Listen to "Aunt Shae/Mean Colleen" below and carry onto their bandcamp to hear the rest. You can purchase a copy of the 7” record over at Waterwing Records for $7. So many sevens; I wonder if they would conclude that, in the fabled words of the Pixies, "God is seven."

– Cameron LaFlam

Photo Source: Low Hums

Low Hums are set to play The Crocodile on Wednesday, October 3. They and Master Musicians of Bukkake will perform sets leading up to Six Organs of Admittance.

Their most recent album Low Hums pitched its official release in February of this year. Before even diving into the music itself, a run down of the song titles conjures a number of recurring motifs which crop up in the material: nature, experience, revelation, and exploration, to name but a few.

"Hands First Flower" is an excellent jumping off point to illustrate the band’s cross-pollination of styles. Mantra-like, its wavering hypnosis is anchored by deep rhythms that lull you inward. Psychedelic strums warble in and out of the portrait on occasion, but this is no ode to space rock’s sheer expansiveness. It is a form of earthen drone-folk that does not fear volume.

As "Morning Spirit" peels its translucent layers away, its core reveals a fondness for storytelling. The energy of the song unwinds at its own pace, crawling out of the collective that summons it. Other vital tracks include "Lightning Pass My Way" and "Down The Deep River."

They navigate freely between the characteristics of folk, drone, psychedelia, and post-rock music, subverting the lazy limitations listeners like to throw around. Appreciation for the Low Hums dawns on a listener like the gradual shift of a horizon that continually unveils its shimmering light.

The show on the 3rd of October is All-Ages for $12 a ticket. Doors are at 8pm. Give "Hands First Flower" a listen below and check out their bandcamp to stream the whole LP. Digital copies are available for $6.

– Cameron LaFlam

Dear Mister Manager are playing the Ground Zero in Bellevue, WA this Saturday, September 29th with Postmadonna, Special Explosion, and Chung Antique.

The band has a motley bunch of demos streaming right now…from the future! It is a pretty exhilerating venture into the year 2017, too. The four piece’s scrutiny for detail reveals itself from the get-go, most vividly in their dynamic construction of songs. They know when to go low, and when to swing the curtains high and push passionately with soaring choruses.

"The Big Easy" summons, among other comparisons, the names of post-hardcore darlings like The Fall of Troy and Circa Survive. The vocals pulse powerfully and cleanly, foregoing the sheer aggression and muscle of screaming for emotionally-potent wailing.

"the Id and the Ego" features some technically adept stop/start segments whose math rock origins tango comfortably with their sound’s nexus: heartfelt rock music with musical iterations that flirt with progressive rock and post-rock.

Dear Mister Manager’s music works equally well for pumping you up or spinning your inclinations inward; energetic and bombastic, or pensive and reflective. Check them out this weekend at Ground Zero, the lineup is a compatible group of inspiring live bands. Doors at 7:30pm with a $6 entrance fee. Listen to "The Big Easy" below and move along to their bandcamp to hear the whole set of demos available.

– Cameron LaFlam

Photo Source: Ryan Douglas Ohlemeier

Winnebago are headlining at the High Dive on the last day of the month, Sunday, September 30th. On board the bill are Animal Eyes, Fanno Creek, and Xylophones.

Their first EP Early Morning, released in July of this year, eagerly occupies a vanishing space inbetween the vacancy of night and dawn. The songs are melodic and nuanced, turning rock music into an enigmatic entity.

"What Have You," flows along effortlessly, aided by the drummer’s rhythms which accentuate the guitar lines time and again. Imagine a brainchild of American Football and Broken Social Scene, thematically moving from nostalgia to wonder and mystery.

On the second track "Health Club," a simple but effective tom groove guides the ship while accompanying guitar and vocals come in splashes. "Figure It," is perhaps the catchiest and most uptempo song on the EP. It is the subtle points of emphasis the singer achieves with his voice that makes the track increasingly memorable.

For intelligent and varied indie rock, check out Winnebago on record and live at the High Dive on the 30th of September. Doors are at 8pm; tickets cost $6. Stream "Health Club" below and visit their bandcamp page to hear the whole EP – as well as an even newer song called "Young Hunger."

– Cameron LaFlam

Photo Source: Jetman Jet Team

Jetman Jet Team are in the opening slot at the High Dive this Saturday, September 13th. Kingdom of the Holy Sun are also playing the gig.

Although they do not have a full-length out currently, the three songs available on their bandcamp seem to encapsulate – if not their whole sound, per se – some of the ways in which they mill their instruments for sonic machinations.

"Candy Loop" is an engrossing example of how the harsher palatte of noise-fueled shoegaze can become a beacon for bliss. It is clear that Jetman Jet Team do not take directives from any particular band or influence; their guitars’ metallic and mechanical reverberations blend with more mystical incantations to achieve a disorienting whirl of soundmaking.

In contrast, "Need Action" can recall certain experimental electronic acts like Boards of Canada or M83. Dreamy with a chit-chattering beat, the short song appeals to similar impulses as their other material while still making a distinct, floating impression.

To catch Jetman Jet Team this Saturday the 13th, make sure to get their on time – they play at 5pm. The show costs $5. Stream "Candy Loop" below and check out their bandcamp to hear several other songs.

– Cameron LaFlam

Photo Source: Police Teeth

Police Teeth are at the top of the bill for a show at The Black Lodge on Saturday, September 22nd. Special Explosion and Animal Lover are set to play too.

Their forthcoming full-length is due out next month on Latest Flame Records. The eponymously titled Police Teeth has one song up on their bandcamp; it is an indication of the grit and grime to come.

"Bellingham Media Blackout" churns with one hell of a riff, its surges of electricity pumping like a current ready to blow and overthrow your brain’s synapses. They lay the buzz on thick, but the song is invariably an anthemic piece of punk. The lyrics echo a message of disaster with simple clarity.

You can hear a tinge of Ian Mackaye’s earnestness in the gung-ho choruses. The guitar riffage makes a passing glance at Death From Above 1979’s thunderous ways, but Police Teeth’s cues are more likely to inspire sing and shout-alongs.

Check the band out at The Black Lodge on the 22nd of September starting at 9:30pm. You can listen to "Bellingham Media Blackout" below; the whole record will be available on October 16th. Check out Police Teeth’s bandcamp page to stream prior releases as well.

– Cameron LaFlam

Photo Source: You May Die In The Desert

You May Die In The Desert are poised to headline a performance at The Rat and The Raven tonight to officially release their new full-length. Imaginary Lines, The Belmont Whips, and Gerhardts are on the bill as well.

Their first original release of EP or LP content since 2008’s Bears in the Yukon, International Waters is a formidable document that marks the current zenith of their sonic ambitions. After all, at over fifty minutes of instrumental navigation, the sheer scope of the project leads listeners on a moving, wayfaring journey.

"Six Horses," for example, starts off with a melodic guitar riff and matching hi hat phrase, punching out pieces of the pattern with bass guitar and bass drum entwined. A thoroughly bright and affirming track, its dynamics really push and pull you as the intensity swells.

This band has usurped the alternative rock blueprint of loud/quiet/loud (or vice versa), replacing it with song progressions that are more multi-layered and more unpredictable. Their music lends an air of spontaniety despite the clear hardworking craft behind the compositions. Like the aquatic, flowing, borderless motifs of the project, the music itself embodies a freedom of transcendence and discovery. 

Other particularly distinguishing tracks include "International Waters" and "True North." Their genre cue of ‘visual’ is an apt descriptor; the ineffable edge of their wordless songs could very well spread your imagination’s eye all over the globe.

Be at The Rat and The Raven tonight – Saturday, September 8th – to see You May Die In The Desert and others. The show begins at 9pm and only costs $5. Stream the eponymous track "International Waters" below and check out the entirety of the album at their bandcamp. You may pick it up digitally for $9 or on CD for $10.

– Cameron LaFlam