Daniel G Harmann - Showbox - April 17 (Preview)
Jocie Adams took the stage quietly. Well, as quietly as someone in a gold-sequined jumpsuit can anyway. Adams, best known for her work in the Low Anthem, saddled up to a piano tucked in the corner and began playing. A classically trained composer, Adams glissaded through a delicate, dream-like passage. She was soon joined on stage by pianist Zach Tenorio-Miller, who leaned over her shoulders and accompanied the piece with both hands. The pair strung together gorgeous, dramatic lines. It was a creative and altogether enchanting opening, and Arc Iris was just getting warmed up.
Soon a menagerie of musicians joined the pair on stage, colored lights reflecting off the band's multi-faced outfits. Boasting a cellist, a double-bassist, a trumpeter, a trombonist and pedal-steel player, and a drummer, the band blossomed into a miniature orchestra, a group capable of delivering elements of classical, jazz, folk, country, and big-band, seemingly all on the same song.
Arc Iris ran through numbers from their debut self-titled album - an album completed some 18 months ago. ("That's a long time," Tenorio-Miller shrugged bemusedly.) It's an album that refuses to be tied down. They sounded lively on"Singing So Sweetly", a jazzy number that highlighted Adams' vocal versatility over plinky piano keys and affected trumpet-playing. "Powder Train" may be the only song about cocaine that features a cello, oweing elements to country and knowing winks from Harry Nilsson. The group sounded equally adept with doo-wop ("Ditch") and Dirty Projectors-like upper-register harmonies.
At turns vulnerable and self-assured, playful but sincere, Arc Iris practices a certain kind of alchemy. Adams and co. take seemingly disparate musical elements and meld them with sneakily poignant songwriting to form an intoxicating concoction of memorable, magical musicality. The live show and the terrific album are both well-executed experiments well worth your time.
Date |
Venue |
Location |
Tickets |
|
|
|
|
|
It was nearly three years ago at a sweltering show in Pawtucket, I first really took notice of David Lamb’s tattoos, most notably the text across his knuckles. “COME” across one hand it said, and “HOME” across the other.
Those words took on a much different context about 10 months ago when Lamb was diagnosed with leukemia and was forced to cancel the band’s headlining tour. Waves of support followed, and Lamb was able to receive life-saving treatment. Some four months later, those words were reframed again when Lamb returned back to Rhode Island, a sign singing “Welcome Home!” draped across their Warren apartment.
The son of ministers, Lamb’s early songwriting seemingly centered around characters that neither sought nor found redemption. They weren’t always lovable but they were always interesting. Later lyrics shone light on a certain determinism, a resignation that the the world is cold, but you can “lay in the morning sun” once the work is complete. The band’s last album, the Thomas Paine-referencing Fits of Reason, was more outward gazing, reflective of Lamb’s truth-seeking spirit.
He charted his own course, leaving a stable (and well-paying) job working on electrical systems at Blount Boats to realize his vision. Brown Bird toured the United States and Europe, and played the main stage at the Newport Folk Festival. Bigger stages and brighter lights seemed all but inevitable, but Lamb would be the first one to tell you about the pitfalls of predetermination.
When asked the backstory of the tattoo that graced his knuckles, Lamb said:
I had just ended a seven-year relationship, and the other members of Brown Bird at the time were focusing on other projects. So I was out on the road alone for six months and also leaving a very high-paying job that I felt was locking me into a lifestyle I didn’t want. So the tattoo was to remind me that, however how far out I go, not just physically but emotionally and psychologically, I wanted to return to some sort of home base and not change the core elements of who I am in the midst of all this drastic change.
In just 35 short years, Lamb gave much of himself to the world, to his family, to his wife and bandmate MorganEve Swain, to his fans. Perhaps we can take solace in the fact that maybe now he is finally home
Words by Brian Hodge for Visible Voice
The Fastback Sessions is impressively (yet not surprisingly) maintaining their momentum. It's refreshing to watch this grassroots force give a multi-dimentional platform that has no agenda but to support fresh music. Although Seattle holds it's place in the world of music there is a lack of warmth and romanticization within the community. The Fastback Sessions is attempting to take back what the hipsters have stolen.
The band "& Yet" gracefully performed for the 3rd round of the Fastback Sessions. Every song sounds like it could be the soundtrack for a dark indie film that leaves you questioning aspects of life but never gives an answer. Their refined sound evokes thought and emotions with true substance from heart.
Enjoy an interview and video of "& Yet" by the Fastback Sessions below!
Photos//Words by Visible Voice
Video by the Fastback Sessions
You know the old saying about judging a book by its cover? With a name like Death Vessel, you could blame a listener for being a bit surprised when they first hear Providence, Rhode Island's Joel Thibodeau.
Behind a thin voice - at once youthful and timeless - Thibodeau constructs angular, insular alternative folk that belies the band's hard-edged name. Death Vessel's latest, Island Intervals (Sub Pop), is wonderfully produced, packed with lush textures, forming an ideal soundscape for Thibodeau's voice to simmer, swoon and soar. The album was recorded over three months in Reykjavik, Iceland, with assists from producer Alex Somers and Sigur Ros singer Jonsi.
Thibodeau recently celebrated the release of Island Intervals with an in-store performance at Providence'sWhat Cheer? Records + Vintage. You can hear a portion of the title track at right and better yet, catch the band's interesting act in person as they tour with Shearwater.
|
||||||||
Words//Video by Brian Hodge
Seattle's Yucca Mountain recently released a brand new self titled album that is absolutely superb. It's on constant rotation in my CD player and will be for the foreseeable future. The album is gritty and dark and sad and something that you really need to listen to, like, right now.
Jeremy Burk and the boys dropped by the mixtape a short time ago to chat music, face transplants and to play some tunes in studio. One of the tunes played was a song called "Isabelle Dinoire", which is a song about a woman who was the first person to undergo a partial face transplant, after her Labrador retriever mauled her. See the connection to face translplant talk? The other song was a cover of a tune from the show Fraggle Rock, the total opposite of face transplant material. Depending on who you ask, I guess.
Make sure to see Yucca Mountain when they play Conor Byne Pub and Green Frog very soon!
Words by Sean DeTore
Photos // Video by Visible Voice
An intimate solo performance by Langhorne Slim couldn't have been a more accurate description of his show at the Sunset Tavern on Tuesday night. About 200 fans packed the tiny bar, and were treated to two full hours of story-telling, anecdotes, and plenty of songs about plenty of women. And somehow he managed to hypnotize us with just a stool, a notebook, and an acoustic guitar.
Words//photos by Ashley Couey
This past weekend's line up at the Paramount was not only a tip of the cap to the Seattle music scene but also a showcase for what Sub Pop has to offer to an ever changing world of music.
Preluding The Head and the Heart's first night at the Paramount, Rose Windows broke out with a robust and soulful presence. Rose Windows is no longer a band only for the "cool kids". Their unique sound, hard work, and energy has set them far apart from the rest of the herd.
The Head and the Heart is never surprising yet always wildly impressive. Their catchy songs and on-stage disposition makes you feel like you are watching a band that has been together for 10+ years. The H&H have been on tour pushing their sophomore album "Let's be Still" like a drug and everybody is an addict.
Coming full circle, and back in their home town, they were warmly welcomed by their biggest fans in one of Seattle's most beautiful venues.
*READ PAST REVIEW OF "LET'S BE STILL"*
Rose Windows
The Head and the Heart
After a long and lonely tour Vikesh Kapoor made his way back to the West Coast and the Tractor Tavern. Vikesh Kapoor is an incredible talent who carries shock value in his back pocket. Normally performing without a backing band Vikesh's bright and empowering vocals command the attention of the crowd in a completely unexpected way. Vikesh maintains a lyrical honesty without fluff or filler but rather instills in his words a level of depth and meaning that lacks in most music these days.
Tour Dates
Feb 23 Sweetwater Music Hall w/ Eleni Mandell Mill Valley, CA Tickets RSVP
Feb 27 Noise Pop Festival w/ Mark Mulcahy San Francisco, CA Tickets RSVP
Feb 28 McCabe's Guitar Shop w/ Eleni Mandell Santa Monica, CA Tickets RSVP
Mar 03 Bootleg Theatre w/ Moses Sumney Los Angeles, CA Tickets RSVP
Mar 20 Treefort Music Festival w/ The Joy Formidable, Boise, ID Tickets RSVP