Onwards to 2014

Oh, 2013.

You were the year. In the past three hundred and sixty or so days I: learned what it was like to love and lose 10x faster than normal, subsequently met the best friends I could ask for out east, played so many board games, moved to U Street/ Columbia Heights in an amazing apartment, bought a Fiat for my birthday, started this silly blog, lived summer to the absolute fullest, slept around, kicked ass at work, gained my favorite client, traveled a bit, missed family, went to a few shows, got more serious about thrifting, started running again, learned how to cook a few dishes… My mantra for 2014 is:

 DREAM BIG

What does 2014 have in store? I want to see as many shows as I have the time, energy and funds to do so. This means: Damien Jurado, Sylvan Esso, San Fermin, Water Liars, Ron Pope and Typhoon to start off the Winter/ Early Spring concert season. Four of these are at DC9. I'm prepared to establish residency there. This might also mean seeing Swear and Shake and Vikesh Kapoor. In addition, I want 2014 to be the year where I dive straight into local music, see more bands play at bars and start attending more house shows. I need friends who are as into this as I am, apparently.

Continuing with music goals, I want to fix my record player (or find one that works), buy more vinyl, and support more smaller artists on bandcamp. This will be the year of mix cd/ spotify playlist trades. For the blog, I've kept District of Folk going for six months now already. I will start queuing posts, hopefully adhering to a more consistent schedule, but will avoid having filler entries or posting music I am not wildly passionate about. I want to grow and hone in on the local folk, while forging relationships with artists.

I am very much looking forward to my first trip abroad in March! Two friends and I are heading to Medellín and Bogota, Colombia for a week. Other travel plans include Seattle to visit friends and family back home, possibly Myrtle Beach for more spring break plans, Philadelphia for work training and hopefully Newport again for the Newport Folk Festival. It's time to see more of the world.

Promotion at work is a possibility this year and I'm prepared to fight for it. If I truly intend on accomplishing everything I am setting out to do, I need to be more organized and more efficient. With a little better planning, I can do it all. For health, I will start my insulin pump in January and will continue running. I'm not sure if I have any big race goals this year, but my coworkers are starting to discuss running a Ragnar together in October. I also want to continuing learning how to cook and eat more clean.

With relationships, I want to be a better friend, girlfriend, daughter and sister. I will stay in touch with my friends back home more. I will take steps to repair the strained relationship with my sister. I will fly home and visit people. I also want to cultivate the friend group I have in DC and learn how to have long term friendships as an adult. It's going to be a beautiful year.

Remember, DREAM BIG is the mantra. My thoughts on 2014 are wildly ambitious but I wouldn't have it any other way.

What are your mantras, plans, resolutions or goals for the new year?

The Songs of 2013

I want to thank this year for being the year that threw me back into music. When I reflect upon how I became invested in music in the first place, 2006 and 2008 have always been the defining years. I need to add 2013 to that list.

While I've been sharing my favorite songs and albums that were released in 2013, I have a few honorable mentions from prior years that I feel obligated to mention: A New Kind of House EP by Typhoon; The Match by The Eastern Sea; everything Lord Huron; So Far We Are by The French Kicks; The Midnight Organ Fight by Frightened Rabbit; Valley Maker's Self Titled album; Prison Boxing by Cataldo; all of Justin Vernon's prior projects, Counting Sheep by The Crane Wives and Through The Deep, Dark Valley by The Oh Hello's. As always, Rilo Kiley and The Format will always be significant, no matter the year.

Back to the present, this year is the year. Bastille's Pompeii was the most played song, according to my last.fm account. I still can't get sick of it, despite the radio play. r/comeonandslam reminded me that regardless of my folk or music-snobbery leanings, sometimes one of my favorite songs will end up being a Space Jam/ Radioactive mash-up. Whatever. Jumper Cables by Widower, complete with bloodsugar references, was written about me (or, in reality, a girl who could be my best friend). I rarely have a song fit me to a tee that well. When I first heard Hannah Hunt, courtesy of Vampire Weekend, I actually cried.

Pop and mainstream music were also constants and I'm not ashamed. I loved the new Gavin DeGraw singles and drove four hours to my alma mater to see him in concert back in February. J. Cole's Crooked Smile brought back TLC with a bang. I devoured the new Ron Pope song and fully intend to see his show at DC9, even though I'll be surrounded by teenage girls. I am sort of ashamed over having Pitbull and Ke$ha's Timber on this list but I can't stop dancing in my car when I hear it on the radio. 

If I could, I would add every song released this year from Typhoon, Valley Maker, Folly and The Hunter, Volcano Choir, Hey Marseilles and Pickwick to this list. Did I just give away my top 6 albums? Yes.

I tried narrowing this down to just one-hundred and I couldn't make it happen. There's no order - throw these on shuffle and enjoy the ride.

Round I:

Opportunist by Miyazaki

Love Lost by Roo and the Howl**
Gallup, MN by The Shouting Matches
Chicago by Fort Frances**
Best I Ever Had by Gavin DeGraw
Braving the Wind by The Sun Kite
Prom Night by Anamanaguchi
Moonless by Blatant Neon Ion**
Watch for Deer at Dawn by Folly and the Hunter
Well, You Left by Rilo Kiley
Foreign Bodies by Radiation City
Radioactive Slam by MuhLurs**
I Dreamt Blues by Vikesh Kapoor
Something to Get You By by Genders
Somebody to Love by Valerie June
Hannah Hunt by Vampire Weekend (<3)
Halls of Columbia by Pickwick
Burn by Ellie Goulding
If I Could Change Your Mind by HAIM
The Mission by Valley Maker**
Song For Zula by Phosphorescent
Tiff (feat. Justin Vernon) by POLIÇA
Casino (Bad Things) by Houndmouth
Comrade by Volcano Choir
Royals by Lorde
Bird Balloons by Lady Lamb the Beekeeper
Thinking About You by Typhoon
Step Out by Jose Gonzalez
Change by Churchill
Bad Kingdom by Moderat
Hurricane by MS MR
Young Fathers by Typhoon
I Have Been Lost by The Petticoat Tearoom

Round II
City By The Sea by Fort Frances
Byegone by Volcano Choir
I Remember You by Rilo Kiley
100 Years by Typhoon
East Coast Girl by Cayucas
Ivory Black by Seryn
Brother by Swear and Shake
Chain My Name by POLIÇA
Inside Out by Andrew Austin
Still by Daughter
Bang by Elin Ruth
The Round by Pickwick
Only Time by Valley Maker**
Tall Tall Shadow by Basia Balut
When We Fall by Timshel
Good Times by The Changing Colors
Everlasting Arms by Vampire Weekend
Promise of Lakes by Luray
Stay Awake by Ellie Goulding, Madeon
Dead Man's Dance by Bradford Loomis
Science/Visions by CHVRCHES
Jumper Cable by Widower
Blankets by Matthew Fowler
Modern Jesus by Portugal. The Man
Hey Stranger by Nicki Bluhm and the Gramblers
Move by Mausi
A Clear Mind, A Better Time by Del Water Gap**
Blood & Bones by Paper Bird
Bright Stars Burning by Hey Marseilles
Agape by Bear's Den
Sex by The 1975
Step Into My Life (Restless) by Marshall Lewis**
Wake Me Up by Avicii

Round III
Possible Deaths by Typhoon
Little Too Late by Nicki Bluhm and the Gramblers
Lick My Wounds by Ron Pope
Drop The Game by Flume, Chet Faker
Line of Fire by Junip
Crooked Smile by J. Cole, TLC
Bagel Girl by Black Checker
Put On, Cologne by Donovan Woods
Recovery by Frank Turner
Obey Your Guns by Matrimony
Ever Loved Once by Blitzen Trapper
Island by Wyatt Overman
Sask by Donovan Woods
Wildewoman by Lucius
Inside My Head by The Parkington Sisters
Play It Right by Sylvan Esso
Abandon by Modern Kin
Wyoming by Water Liars
Cherry Blossoms by Night Beds
The Fold by Ivan & Alyosha
Call Me In The Afternoon by Half Moon Run
You Don't Love Me Like You Used To by The Lone Bellow
The Breach by Dustin Tebbutt
Little Numbers by BOY
Sonsick by San Fermin
Heart Beats by Hey Marseilles
Acetate by Volcano Choir
Love of a Life by Kelijet, X Ambassadors
The Wire by HAIM

Round IV
Ships Pass by Paul Cook and the Chronicles
Wax & Wane by Alana Henderson
Dreaming by Smallpools
Low Wishes by Air Review
Never Wanted Your Love by She & Him
Fifth In Line to the Throne by Camera Obscura
Fireworks at Night by Campfire Ok
San Francisco by The Mowgli's
Timber by Pitbull, Ke$ha
The Great Northwest by Mighty Oaks
Of Space and Time by City and Colour
Dreams of Cannilbalism by Typhoon
Bad Habit by Foals
Out of My League by Fitz and the Tantrums
Weight by Mikal Cronin
Tides by Hey Marseilles
Closed Hand, Full of Friends by Foy Vance
Jack and Jill by Jon Morgan**
Ghost by Folly and the Hunter
Dear Pressure by Miracles of Modern Science
From This Valley by The Civil Wars
Moth In The Porch Light by Folly and the Hunter
Pompeii by Bastille
Wait Up For You by The Belle Game
North Carolina by Little Chief
Thunder Clatter by Wild Cub
Need The Sun To Break by James Bay
Summer Jam by Twinsmith
Grace For Saints and Ramblers by Iron & Wine
Riptide by Vance Joy
Faultlines by Field Division**

** Not Available on Spotify, therefore linked.

Weekend Video: Cheap Motel by Andrew Austin & Donovan Woods

I have been simultaneously adoring Andrew Austin and Donovan Woods lately. Austin's While It's Still Light Out and Woods' Don't Get Too Grand, have consumed my quiet moments, long commutes, and neighborhood walks. In early December, I attempted to create a playlist for the month and couldn't get past Inside Out and The Coldest State. I gave up on getting any further, yet still the playlist resides on my spotify pane.

The two Canadian artists are reminiscent of Dallas Green when he was younger. The two have intelligent, honest lyrics, that showcase the optimism and pessimism surrounding relationships. While Austin leans towards the happier moments and Woods towards the more-challenging, the two albums on shuffle seem to create this beautifully, complete picture of love.

I found Austin and Woods to be complimentary before learning they were friends in real life. Their endearing twitter banter and support of each others' works adds a whole new level of charm.

Listen to Austin and Woods sing Austin's Cheap Motel in someone's living room and try not to swoon.

Pieces and Places: Desperados

(let's discuss the music I hear in district-area bars, coffee shops and other fine establishments)

Desperados is the neighborhood bar I always forget about. My friend group came here on Halloween and had an amazing time with $3 rails and the best bar food anyone can find in this city. Between fries with homemade Cajun sauce and homemade fried pickles (frickles), one can really do no wrong here. It's guaranteed to be quiet, the bartenders are always super friendly and it's a place two people can have a real conversation. I got especially lucky with our bartender last night. He was chatty, was providing great service and had this killer playlist going. A few songs into the evening and I knew it was time for another "Pieces and Places".

Date: December 25th, 2013 (Christmas!)

Time: 7:00 to 11:30 PM

Vibe: Dead quiet. A few beautiful folks waiting out the holiday at the bar.
Drink of Choice: two Shock Top drafts, an order of fries, two Abita Purple Haze bottles, and two mystery beer + shot combos. Merry Christmas to me! 

All I should say about this playlist: it was the best of indie music and had me intrigued for the entire four hours of my stay. The following songs were the stand-outs and my favorites:

I Stand Corrected by Vampire Weekend - the best quote came about when this song was playing "Nostalgia. It gets you deep. Like when you were back in your mother's womb." 

Zero by Yeah Yeah Yeahs - "it's like they're playing all the songs from Rock Band."

West Coast by Coconut Records - the song that hit all the right feelings. "I miss you, I'm going back home to the west coast."

Young Folks by Peter Bjorn and John - "I can never get over this song." I'm fortunate to only hear Young Folks at the right times and at the right places. I find myself circling back to it only occasionally and the magic is always preserved.

Fences by Phoenix - the bartender streamed quite a bit of Phoenix over the four hours I occupied a bar stool. Can we all take a moment to appreciate Wolfgang Amadeus Phoenix for all it did to the band and to alternative music? While I love older Phoenix, their pinnacle was truly reached here. 

Sweet Disposition by The Temper Trap - I've thought about this song being the forefront of my wedding playlist many times during my life so far, "a moment, a love, a dream, a laugh, a kiss, a cry, our rights, our wrongs." Is there anything more to life? 

Start of Something by Voxtrot - "Voxtrot is on this playlist. It's perfect now." Somehow, anyone who loves music as much as I do, will include The Start of Something on their quintessential mixtapes. It's a phenomenon.

Smiley Faces by Gnarls Barkley - While Crazy was the stand out track on St. Elsewhere, Smiley Faces was just as catchy and just as loved by me.

Such Great Heights by The Postal Service - Do I really need to say anything here? Put it on any playlist, anywhere and I will always appreciate those four and a half minutes of bliss.

Wake Me Up by Avicii - Avicii outdid himself with this song. It appeals to the mainstream stations, the EDM crazies and those of us who lean toward indie-folk music. He blended so many genres together in such a gorgeous way. I'm not sick of this song yet and it's always welcome.

Steady, As She Goes by The Raconteurs - "Is this Jack White's other band?" "Yes, but this is their only good song." Ouch, but true. I'm pretty sure this is the number one song I hear while out at the dives.

Dog Days Are Over by Florence + The Machine - a night isn't a night unless there's some Florence Welch coming over the speakers. I used to religiously listen to her on the long metro rides back to Silver Spring. I'm not commuting for social purposes anymore, so it's nice to hear her wrap up a fantastic bar playlist.

I encourage everyone to check out Desperados. I can never figure out why the bar remains so quiet. The drinks are good, the food is top notch (go just for the Cajun sauce) and the background music will keep you on your stool. You will find me here on holidays and those quiet weekday nights when I want to sit down, drink a beer and crank out some work.

The Oh Hello's Family Christmas Album

Happy Holidays from my little corner of the district! My Christmas plans do not involve jetsetting out west, but do involve Christmas Eve sleepovers and celebrating with wonderful friends who are in a similar boat. I feel extremely fortunate to be blessed with the best friends I could ever ask for in this city and it makes the sting of missing family a little less painful.

What are people listening to today? I've never been a big fan of Christmas music. My mother used to stream only one local radio station from the end of Thanksgiving to Christmas each yeah that supplied the family with countless renditions of Do You Hear What I Hear?, Rockin' Around The Christmas Tree and other timeless classics that make me cringe. I'm honestly of the opinion that one only needs two Christmas songs in their life: Christmas (Baby Please Come Home) by Death Cab for Cutie and All I Want for Christmas is You by Mariah Carey.

I'm going to amend that opinion to include The Oh Hello's superb Christmas EP, The Oh Hello's Family Christmas Album. The Oh Hello's Through The Deep, Dark Valley, remains my most played album of the year, despite it being released in 2012. The Texas folk band has carried me through many trials and tribulations already this year and the holiday season without family will be another.

The four songs are folky takes on classics that sound so lovingly woven together. Less than thirty minutes and I can feel the Christmas spirit ooze out of my speakers. I want to see snow outside. I want to embrace all of those I love. I want to do something rash that can only be justified by it happening in the holiday season. The best albums are the ones that make you feel and for a Christmas album to evoke such feelings is truly a new sensation for me.

I can't pick a favorite. Mvmt I - Rejoice! Rejoice! starts the album off beautifully but the take on Silent Night in Mvmt III is chilling. Hearing the upbeat Joy to the World on Mvmt IV - Every Bell on Earth Will Ring just makes me smile and ponder my younger years.

Listen to The Oh Hello's Family Christmas Album today and tomorrow. Don't judge me if I stream it straight until the new year and count the days until the next holiday season.


Merry Christmas and Happy Holidays!

Charlie Patton's War @ Solly's

Much too long ago, one of my favorite local bars, Solly's Tavern, hosted Charlie Patton's War for a little show in their upstairs bar. It was a Tuesday evening and I had found out about that show the day of, via twitter. I have tons and tons of bands come across my radar on twitter and it's almost impossible to check them all out. There was something about this band's tweet, the show being at a neighborhood bar of mine and their band name that struck me. I decided, at the very least, to listen to a song or two off of their bandcamp site.

While blues isn't my normal forte, I was almost immediately jamming to their music while cranking out my projects at work. I had nothing on my schedule for the evening, no need to work late that night and I wanted to see this band play. I hit up my friends on our facebook thread - "anyone want to check out this awesome blues band at Solly's tonight?" My friend Erin happily obliged.

We loved this band and had a great evening. I don't think you can go wrong with a $3 cover, blues music, PBRs and whiskey sours. Before the show, we had a brief conversation with their drummer and lead singer, Aaron Frazer and one of his friends who had come out to see them play. Erin and I learned that the band was from Bloomington, Indiana, still in college and their main goal was to get their name out there. I told them that I saw Solly's retweet the band earlier in the day and that I decided to come out after listening to their album on bandcamp. I think Aaron was excited that people, other than friends and family, had decided to attend. Erin mentioned this blog, I assured them it was small and silly, but also said I'd talk about the show. Any press is good press, right?

It was a weeknight, therefore, we stayed for only the first of two, hour-long sets. During this set, the band covered a wide variety of their debut album. The highlights Git Gone, Fatties, Say Ya Mine and Friscoe Ride were all played and the energy in the room was high throughout all of them. Solly's was loud and it was deceptively easy to get lost in the music. Is this what blues is all about? I think so.

In addition to their own songs, they played an exceptional cover of Alabama Shakes' Hold On. I was floored. With Boys & Girls, Alabama Shakes essentially set a precedent for what modern day blues-style music should live up to. As much as I love the original version of Hold On, Charlie Patton's War did a fantastic job delivering a piece that exceeded that precedent. The same thought can apply to their cover of J.D. McPherson's North Side Gal, another personal highlight of mine that evening.

The ability for modern artists to find inspiration in and honor retro music is a trend I don't want to end any time soon. Charlie Patton's War joins the likes of Alabama Shakes, J.D. McPherson, Pickwick, Fitz & the Tantrums, Elin Ruth, Radiation City and others in proving that there's room to improve even in classic rock and pop.

Listen to Charlie Patton's War on bandcamp or Spotify. I especially dig this "basement demo version" of Say Ya Mine:

Sonsick by San Fermin

No posts in November? Life has been kicking my ass lately on pretty much all fronts: 70 hour work weeks and commuting to a client four hours away on a weekly basis, getting back into running, going to and hosting random events with friends, and unsuccessfully fading away on a boy who refused to be faded away on. It's November 30th and I have not only survived this month but I've come out on top. I don't want this outlet to go away when I'm stressed but it's been difficult to find inspiration in even music these past few weeks.

I've had the usual staples on repeat - there's been a lot of Lord Huron and Valley Maker, which despite my adoration, do nothing but further the depressive cycle. I'm positive I've streamed Grace for Saints and Ramblers, Keep Yourself Warm and I Need My Girl about a hundred times a piece. Several other tracks have been sprinkled through this scrobbled history. I've kinda-sorta-actually fallen in love with someone else's playlist for a change. This "Morning Commute" mix, by Melissa Ecker, has held together my sanity while driving the total of eight hours to and from the middle-of-nowhere, Virginia each week.

While there are many gems to be found on her list, Sonsick by San Fermin was the song that shouldn't have grown on me the way it did. When driving long distances, I tend to tune out a bit more than normal. There's no reason to be as hyper aware of my surroundings as I would be during my normal commute. During one morning, around 6:30AM, the track didn't at all capture my attention until the chorus, which is purely shrill but in a pleasant way. At the time, I needed to identify the song and to remind myself to listen to it again at a later point. Dozens of streams later and I'm obsessed.

I've talked at length about end of summer songs and this one also fits that bill when reflecting upon my disastrous summer of flings, false hopes and ultimate disappointments - "it's a summer kind of sickness". Transitioning into slowing down and caring about other human beings again (other than just myself) has been a refreshing, but weird process. "I'll fall for you soon enough, I resolve to love" is an ongoing mantra right now. I want to give up the emotional shitshow. I want to get attached to people again. My friends alone in this city are worth it.

The overlapping and warring thoughts in the chorus ground me when I start to panic about extending an olive branch to those in my life I want to keep around for a long time.

"Oho, don't be scared / That it's a harder kind of feel
Hold on tight / You must hold on unless you're in it
Ease your mind / And when you think, you're thinking clear
It's alright / You're really tied up and committed
Won’t you say? / But it’s an awful lot of talk
Stop the fight / Before the fire burns too quickly
Don't be scared / Why do you wanna hurt at all?
Hurts all right / Someone's summer kind of sickness"

The rest of the song progresses into whimsical thoughts about future plans and settling. The picture it paints is simplicity at its finest but absolutely mediocre: "Maybe find a place where we could rest/ when we're old enough/ we can have a dog and all the rest/ we can live it up/ all dressed in my Sunday best." I question whether slowing down and caring is really all that.

Listen to Sonsick when you want a little bit of confusing comfort playing in the background of your life.

Weekend Video: Modern Kin's HELLO, WORLD

"HELLO, WORLD is ephemeral, like a live performance has been since the first musicians.  Each event will happen and then be gone - no recording, no coming back to it later.  In the moment across human hours, online, but not forever—not adding mass to the snowball of data we must process, remember, reference, link-to, protect, promote.  Events in time, across time, each one appearing everywhere at once and only once."

Catch this while you can! Portland band, Modern Kin, have been playing release shows at Mississippi Studios and live-streaming the performances on Youtube. At the present moment, there have been five shows over the past twelve hours, with two more to go. This is the gist of their HELLO, WORLD project. In seven different time zones, at their local 10PM time slot on either 10/25 or 10/26, you can tune in and hear the band play their release show over and over again.

Unfortunately, I didn't make it at 10PM my local time (UTC-4) last night, but it's currently a little after 10AM and I just watched the UTC+9 performance. I can't imagine a better way to start off my Saturday morning.

The project is ambitious, but we're five shows in and the band shows no apparent signs of wearing or slowing down. I also loved how it was 7AM in Portland  and there appeared to be a decent-sized crowd over at Mississippi Studios.

If you haven't watched any of the live performances yet, I highly recommend tuning in for the last two shows. There's one at 4PM EST and 5PM EST tonight. Considering that's prime pre-game time for tonight's activities, I'm thinking of having a few friends over for cocktails and having this stream.

Stream the shows from the video above (at the appropriate times) or check it out on their HELLO, WORLD site. The self-titled album was released on October, 22. It's wonderful. You can purchase it on their bandcamp page. 

Chicago (Sufjan Stevens Cover) by Fort Frances

With Sufjan Stevens' Chicago, any city could be substituted for the windy city and any individual coming to age, starting over or finding themselves would be able to listen to and understand the complexities behind lyrics. I've always loved Stevens' approach here - upon first listen, the song almost sounds upbeat and peppy. However, peeling back each verse as a layer, the song grows progressively melancholic and any hope for a story to aspire to goes out the window. While some of us can relate here, none of us should really want to.

Fort Frances' cover wears the song's emotion right on the sleeve. From the beginning, anyone will know this story does not have a happy ending. At the very beginning of the song when "I fell in love again" appears, it's predictable by the end of the song a point will be reached where "I've made a lot of mistakes".

I can imagine myself streaming Fort Frances' cover over and over again the minute I decide the district isn't the place for me anymore. I've fallen in love with DC over the past two years, but as flighty of a person as I am, there will likely an incident that propels me to run. With every city there's this cycle one experiences where you: recreate your life, grow as a person, fall in love with the city and everyone within it but inevitably make mistakes and leave.

Within this cycle, I'm somewhere in between falling in love and making mistakes. Sometimes, I'm not so sure how much longer DC will have a hold on me.

You can listen to and download Chicago, as covered by Fort Frances, on Soundcloud. As an additional note, their new EP, Breathing Room, was released last week and is truly fantastic.

Typhoon @ Rock and Roll Hotel

How many more instruments will appear?

Typhoon was arguably my most anticipated show of the fall. I fell in love with Typhoon, the boy I was falling for fell in love with Typhoon and neither of us could listen to anything else. There was a pact or a common idea that if/when the band played in DC, we'd both end up at that show at any cost. When announced in late June, after spending a month heartbroken, I had this grand realization that no one has the ability to ruin music for me.

I have emotional layers built into certain artists. With Typhoon, the surface layer involves a bit of heartbreak. I discovered Summer Home and it was immediately shared over g-chat and adored by the boy. We spent hours streaming it in the background of our conversations, I sourced The Tender Loving Empire NW Pale Ale from Seattle for us to share (we never did), and us finding out about White Lighter is still a day I remember.

However, the surface layer is just that. There's no depth, no actual substance and the layer is easy to flake off and forget about. Typhoon, to me, at the core relates back to the chronic illness angle and how easily I can identify with their music. That will always triumph over someone who was only in my life for a mere four months.

I didn't see the boy at this show. I won't lie and say it wasn't a relief.

Lucky for me, I had fantastic company no matter the outcome. My friend, Katie, had always loved Hunger and Thirst, but disliked A New Kind of House. She was a bit wary of how White Lighter would sound but streamed the album in anticipation for the show. I'm so happy she ended up back on the Typhoon bandwagon. We arrived early and managed to score front row spots. Unfortunately, front row meant right in front of the twin drum sets and I'm pretty sure I permanently lost hearing that evening.

Radiation City opened. I've tried countless times to love and appreciate their music in the past, however, their opening set ended up being the missing piece I needed. They played quite a few songs from their newest album and rocked them all. I found myself highly drawn to their catchy 1960's-retro vibe and it's a style that is not overdone right now. Above all, every member of this band was extraordinarily talented and really attractive to boot. We enjoyed their performance and how it ended up being enough to tide us over in anticipation for the main act.

Shortly later, one by one, we watched as all eleven members of Typhoon crammed themselves on to the relatively small stage at Rock and Roll Hotel. It was quite the sight to see. Kitchen Tile started the set off and I'm glad it did. For such a short song, there's a lot of punch. From here on out though, we'd primarily be hearing White Lighter, in order, in its entirety. I'm still not sure if I particularly enjoyed that aspect, but the album order is there for a reason.

When White Lighter initially came out, I honestly thought it sounded over-produced. I changed my mind hearing the album played live. Every sound, every instrument, every part of every song was organically created by one or more of the members on stage. There's no over production involved - just eleven musicians able to create many but cohesive sounds. The timing was particularly tight as well - I found myself anticipating certain little standout sounds from the tracks and hearing them perfectly executed on the stage.

Artificial Light was as spectacular as anyone would expect it to be. Young Fathers was the first anthem song, where everyone chanted that last portion, "I just called to tell you, I just called to say, learn all your mistakes, passed down through generations". I held onto the "two minutes of morbid bliss" that was Possible Deaths and remembered why it could be my favorite song. Summer Home, my first introduction to Typhoon, was played in the middle of the set somewhere. Unfortunately, I hated how this sounded live - compared to the White Lighter tracks there was energy missing.

During the later half of the set, Dreams of Cannibalism was the anthem song - I'm pretty sure the crowd sang the entirety but especially "unhand me, I am not criminal". Hunger and Thirst was more popular than I was expecting, as was Common Sentiments. This is proof that Typhoon can carry a whole album, as there is no where during White Lighter for anyone's mind to wander off. As I've noted before, Post Script was a gorgeous end to the album and to the live set. For the encore, Caesar kicked off. I didn't particularly miss it during the main act, but I did enjoy hearing the little clip. Rules of the Game, their latest b-side, was the final song of the night.

Through and through, I adored this show and three weeks later, I think I'm still riding the show high. This is the fourth out of five amazing fall concerts that I just can't stop daydreaming about. Someone, please, take me back to that night.

Weekend Video: Ghosts by Folly and The Hunter (Southern Souls Session)

It's no secret that I adore Montréal band, Folly and The Hunter. Tragic Care refuses to be trumped by any other releases this year, as my favorite album of 2013. Bold as that statement may be, I can't stop listening to their insightful lyrics woven through their unique quiet-folk sound.

In anticipation for their European tour with Half Moon Run, they released an acoustic video of Ghost with Southern Souls. There's a lot to love here, but Nick Vallee's stripped down vocals really adds something to the poignant melancholy of the song. That moment in the song, when the music quiets down just a notch with "And the ghost keeps calling so you’re driving down the road and you’re not going back", especially stands out in this video. I like when songs build up to these hooks at the end. This one isn't loud but is prominent.

If you're fortunate enough to be in any of their European tour cities, go see them with Half Moon Run. Is there a better duo for a folk show? I don't think so.

Headlights by Get Dressed

When I was only a lowly teenager, I began my delve into local music. One of my favorite Seattle bands from around this time was an indie-rock outfit, Get Dressed. A song of theirs, Headlights, became a favorite of mine. Throughout the years, this song has remained with me and has never quite been forgotten. On a sad day back before grad school, my desktop computer finally died. With it, I lost my entire music collection. Nowadays, that's not the worst thing in the world, with Spotify and other comprehensive music players. However, a few tracks were lost, to never be resurfaced. Headlights was one.

Get Dressed broke up in 2008. I remember seeing flyers for their last show at The Vera Project. To listen to this song, I searched everywhere (from Myspace to Lineout to ReverbNation). I even pleaded with my friends on facebook. No luck anywhere.

In a little twist of irony (or something), I reclaimed Headlights when my current computer crashed. I'm debating getting a Chromebook and decided to check out Google Play. When Google Music first came out, I uploaded much of my old music collection on a whim. I had forgotten all about this. Several scrolls down the page, Headlights was there.

I couldn't be any happier.

The opening riffs hook me every time. The repetition of the chorus is the portion of the song I used to sing in my head when I hadn't listened to the track in a while: "and, we move slowly and slowly and slow". The way they portray a mediocre relationship - it could be on every teenager's life soundtrack. We've all experienced this sort of lackluster, even if we're hoping for more. Get Dressed was easy to relate to, non-pretentious and the local act you hoped would make it somewhere.

Listen to Headlights. I did the world a favor and uploaded a copy to Grooveshark. It's worth the four minutes (and a few replays).

(image above via Lineout)

Pickwick @ Rock and Roll Hotel

"Thank you for showing DC how Seattle can rock."

I'm not ashamed of how much of a Pickwick supporter/fan I am. I love my Seattle bands and I keep them close to my heart. The spirit of the Seattle music scene flooded this show and I haven't missed home so much in ages. 

My Friday night started off as it normally does - stacked full of social plans but trying to fit everything and everyone in. I bike-shared from my apartment down to Chinatown to meet up with a friend for happy hour. A couple of beers left me appropriately buzzed for what would follow. A longer-than-I-expected ride over to H Street happened and I arrived to Rock and Roll Hotel right when doors were supposed to open. 

I have a penchant for arriving early, and early I was. Sound check was still happening but the second floor bar was hosting a drunk spelling bee and I joined in. A couple arrived upstairs and asked me if I was here to see Pickwick. I was and mentioned how much I loved them, especially being from Seattle. "Oh, you're from Seattle?", the lady, Sandy, asked, "do you know of another Seattle band, Campfire OK?". Yes! I told her that I really enjoyed their new album and had listened to it through and through the day before. She was thrilled, as she was Mychal, the lead singer's mother. This is what the Seattle music scene is all about. We hit it off, she showed me some baby pictures and I couldn't get over how unreal/adorable the whole exchange was. I definitely tweeted about it. Sandy ended up winning second place in the Spelling Buzz too! 

After I struck out during the Spelling Buzz for misspelling "geisha" (I know, I know), I headed downstairs and snagged myself a sweet little spot in the front row.

The Petticoat Tearoom opened and I thoroughly enjoyed their set. They're a Baltimore/DC area band and I'm hoping writing it down here will keep me accountable to go out and see more of their shows. Lately, the five-piece band has been drawing comparisons to Blitzen Trapper, Dawes and other folk-americana bands. The Baltimore/DC area needs more of this sound and I'm happy the Petticoat Tearoom were able to deliver so wonderfully. I spent some time this week listening to their most recent self-titled release and I'm convinced they need more attention. At the very least, listen to I Have Been Lost right now and I'll do a full write-up here shortly.

Between sets, I made a concert buddy, Cody, who had lived in Seattle for three months. I couldn't agree more with his feelings about the city: "those three months in Seattle were the most depressing of my life, but I still love that place".

With that thought in the air, Pickwick walked onto stage. Generally, I'm fairly good at remembering the order of songs played, but for some reason, I can't figure it out for the life of me. The set-list blended together, in the best way possible. I can't remember a single down period and I kept remembering the notion that Pickwick is truly a rock band. Despite my love of folk, there's really none involved here. The Round, Halls of Columbia and Lady Luck were my highlights. The Round, for being my current favorite; Halls of Columbia, for being the opening track that had me hooked; and Lady Luck for how much more I appreciated the song after seeing it live.

In addition to playing most of Can't Talk Medicine, several new songs were played. I must say, I'm so so excited for their new material. Pickwick has such a distinct style that they're sticking to and that's such a good thing. I don't think this band can do any wrong.

Galen was just as amazing as you'd imagine. While I knew his vocal range was off the charts, actually experiencing him live was a whole 'nother level of extraordinary. From the soft high pitches in Lady Luck to the guttural sounds in Halls of Columbia to the harmonizing in Window Sill - watching him span all the ranges was truly incredible. With his stage presence, you could tell he was made for this. I couldn't even get a great picture due to how much he was bouncing and rocking around. I definitely got hit with the microphone cord one or twice (worth it!).

Window Sill was the closing song and damn did we all rock out. For the encore, I believe they covered Pump It Up by Elvis Costello. I never realized it until then, but Pickwick absolutely has that Costello-vibe.

After the show, I went upstairs to buy a physical copy of their album. I ran into Sandy and we introduced ourselves to Galen. She pretty much pushed me towards him and he was such a sweetheart about conversing with fans. I told him about my passion in supporting my Seattle bands and he truly seemed humbled by all the praise I was pouring out of my mouth. I also got to watch him converse with Sandy about Campfire OK. I stood there floored because I got to experience the Seattle music community first-hand, three-thousand miles away. Parting ways, I thanked him for showing DC how much Seattle can rock.

Sandy and I said goodbye as well. We hugged and I, once again, reaffirmed how many people truly believe in Campfire OK. On a strange, music-inspired high, I walked out of Rock and Roll ready for whatever the rest of the evening would throw at me. 

Weekend Video: Typhoon @ Room 125 Productions

I'm happy the school year has started once again. Although I'm no longer in school, September means the return of Room 125 Productions' Classroom Sessions. In what may be the coolest class of all time, at Lawrence High School, students have the opportunity to meet with artists and develop their live film-making skills. The Classroom Sessions have featured a wide variety of artists since its inception in 2010, including many of my favorites: Hey Marseilles, Pickwick, The Local Strangers, Water Liars, and The Head and The Heart. Most recently, Typhoon stopped by to perform.

I'll have enough to say about Typhoon's live performances once I publish my recap of their concert at Rock and Roll Hotel, last Wednesday. With this, however, I want to highlight Kyle's response to the question about whether Typhoon's songs are paradoxical. Because, the songs sound upbeat but actually reflect morbid realities. I think his answer here is exceptional and guiding, evidence that he is someone high school students can and should look up to. Despite all the darkness in his life, there's opportunity to make the most out of it (to cast out the light) and I love that sentiment.

By My Side (Everlasting Life) by Valley Maker

In the last twenty-four hours, I've discovered Yes I Know I’ve Loved This World, an album by Valley Maker; listened to By My Side (Everlasting Life), decided that I immediately needed to buy the album without making it past the first few lines of that first track; woke up at 3AM and re-streamed the song; biked to Union Station; endured four hours of my train ride before deciding that I needed the song in my life again; struggled with spotty Amtrak wireless; and was finally able to listen via the Soundcloud app. All the trouble was worth it.

By My Side (Everlasting Life) had that instant chemistry with me from those first few lines: "When the sun lights up your face/ don't give me time/ don't give me space/ just give me something that I can taste/ like you right by my side". After the opening, there's another three minutes of open and beautiful verses. My feelings about music and my feelings about people operate with similar mechanisms. Personally, I'm never sure how to describe the sensation when I meet someone who clicks and takes my life to a whole new plane, however, this song does a pretty damn good job. I want to feel about someone as passionately as the song describes, but I think I'd settle for feeling about someone the way I feel about the song. It's just that good.

Honestly, I've already purchased the album without listening to anything else. Something tells me I'm in for a real treat and I'll save it for the eight-hour trip back to DC.

Austin Crane is the force behind Valley Maker. Some of you may be familiar with his work already - I know I've had a few of his songs pop into my life before. After recording this album in Columbia, South Carolina, he moved out to my lovely city of Seattle! He'll flourish in that scene.

Listen to By My Side (Everlasting Life) and the rest of Yes I Know I’ve Loved This World on Bandcamp or Soundcloud.

Faultlines by Field Division

I can vividly remember where I was and what I was up to when I first heard music by the Local Natives. Airplanes was streaming at my favorite University District coffee shop, Cafe Solstice. Never before in my life, had I heard anything comparable. I somehow captured enough of the lyrics in my mind to later figure out what the song was. Discovering that song and later all of Gorilla Manor, ended up being one of those charming defining moments that helped shape my music tastes into what they are today.

Upon first listen of Faultlines by Field Division, my mind was yearning to feel the same way as I felt when I first heard Airplanes. There are definitely technical similarities between Field Division and Local Natives, but the common thread between the two is truly how the music makes me feel.

Here's a short list of why I adore this song : the beginning harmonies, the lushy vocals, the scenic descriptions but air of mystery contained within the lyrics, more harmonies, that moment half way through the song where the vibe noticeably darkens, the subsequent build up that actually makes it feel like clouds are moving in for a big storm, the tribal-esque but campfire sound delicately layered in... I could go on and on. When I listen to this song, I have wanderlust for the Southwest and can visualize the rich turquoises and tans in the back of my mind. Considering my drab surroundings at the moment, I find that impressive.

Field Division is a project from Des Moines, Iowa, currently stationed in Nashville, Tennessee, by Taylor Hiatt and Nick Frampton. From what I can tell, this is the only song they've released right now but I'm highly anticipating more.

You can download Faultlines on Bandcamp, Soundcloud and a few other places.

Typhoon and grappling with mortality while living with a chronic illness

(Disclaimer: White Lighter was released over a month ago, on August 20th, but was available to stream two weeks before then. Given that time frame, it has taken me almost two months to write this emotionally-entangled post. I'm still not certain I've done their music the justice it deserves. However, I'm seeing Typhoon live on Wednesday at Rock and Roll Hotel and getting this entry published was a "now or never" feeling". It's overly personal and raw but honest.)

I'm certain this goes without saying -- music has always been one of the biggest emotionally-complex components of my life. A song can be akin to a drug: a stimulant to heighten my feelings in the best of times, a depressant to bring me back down to reality in my more manic-induced moments, or an analgesic to shut down everyone and everything. Most days, I operate with a soundtrack playing in the background.

Kyle Morton, of Typhoon, has managed to write the soundtrack to my most probable "possible death": an ultimate and slow, painful demise from diabetic complications. I never tried or wanted a soundtrack for this facet of my possible future, but with Typhoon, I allowed it.

My mother had crippling depression but I watched her earnestly embrace life, in a way I had never seen, after she lost most of her eyesight and went on dialysis, after also suffering from diabetic complications. Yet, somehow, her own daughter, without any mental illness and an insatiably passion for life, has spent the past seven years living life to the absolute fullest under the impression that life will be over the minute she gets hit with a complication. The past few years have been this surreal whirlwind of adventures, love, connections, and joy. However, I haven't really envisioned a life for myself into my thirties. Every doctor appointment is a harrowing, nerve-wracking experience. Every bad bloodsugar level is a moment of heart-stopping regret. The fundamental part of living with a chronic illness boils down to these panic moments and the anxiety-filled late nights. I have a hard time not letting this define who I am. 

I often ask myself questions.
Is today the tipping point? Is today the day everything changes? 

I discovered A New Kind of House and I couldn't stop listening. Summer Home pulled me in and shook my core. Within the first few lines Morton talks of never wanting to give up but having a body that does. He's holding out for the summer, this promise-land, where the days will be back to normal or over. This was the first wake up call. I can't be the person who doesn't fight. I can't be the person who pleads for the summer, as my days won't return to normal after the "tipping point" occurs. The idea of there ever being a "normal" in the first place is delusional. My only summer, my only promise-land is the end.

There's Honest Truth and with the lines "On my time, oh Lord I've been so blind. But now I see the light below my doorjamb. Hallelujah, it will be gone soon", death almost seems glamorous for brief, fleeting moments. Be relieved that the end is here. However, it's not difficult to hear the regret laced throughout and it makes me hesitate. Claws Pt. 1 is damaging: "We are conceived all with the same chance/ to be spared, to be salvaged, to be kept safe/ then you hope to god nothing bad will happen/ from when you're born 'til you go quietly from old". For some of us, the bad happens, "the great great beast", sooner than we wish. The beast simultaneously claws, reminds us of our fate but also provides some solace, as we know what our fate will be.

 

 If A New Kind of House wasn't stark enough, I listened to Hunger & Thirst a few weeks after. Starting Over describes the common phenomenon among diabetics who "go off the bandwagon" and come back to desperately try to get their bloodsugars well-managed. I start over every single day, where "I've started a new beginning, suspiciously like the old one, only this time I'm ready". Even though I tell myself I'm ready, I never truly am.

 

Typhoon's latest release, White Lighter, transcended all of my high expectations. On the aural front, it's pure, unadulterated, witchcraft. Somehow, the band's twelve individuals sound simultaneously cohesive and entirely jarring together. If only one audio element was removed from this album, it would not have the grandeur it does now.

On the narrative front, Morton continues to explore life and mortality. I have read his insights, published back in June, many times now. It's impossible to be blinded to his brilliance and the wisdom he has gained throughout life while suffering from an illness. I initially never knew his back-story of his development of Lyme Disease while growing up. I was not surprised when I did find out. These words can only be woven together by someone who has experienced the path of gradual death, at a speed possibly faster than the average person.

Possible Deaths is two minutes of morbid bliss. If nothing else, this song reminds me that my notion that diabetes is my sure-fire end is pure folly, as "every star is a possible death".

The hardest part of White Lighter is grasping with love being introduced as a theme. I've always thought of Common Sentiments as the prelude to White Lighter, as thoughts fully flushed out in Prosthetic Love and Post Script creep up here as well. At the end of the day, there's the reality that "you are sleeping together, but you will die alone" Is there a point of exposing vulnerability when the inevitable end won't be any different? I'd like to believe so. I began to think of the end of the song mantra as my own because "I will be good though my body be broken" and someone surely will acknowledge that truth about me but won't give a damn at the same time.

However, never in my life have I had a song describe so acutely my own thoughts with letting go of stubborn independence, as with Prosthetic Love. I think it's how he describes growing attached and learning how to count on a partner, rather than his own fingers, that strikes a chord with me. Is "attachment" a word commonly described with that nervous period of "falling for someone"? Because, it's always the word I use that no one else seems to. Attachment is exhausting, scary and difficult for someone who has a chronic illness. With being so different than my peers growing up, but having a body that could fail me, I never felt right accepting outside help. It spiraled into this possibly-unhealthy streak of fierce independence, where I could only count on my own mind to save me from myself. Is it fair to subject a partner, or anyone else, to the suffering caused by a disease they don't even have? Morton realistically captures depending on and falling for someone else, despite all the misgivings, when you've never really been able to depend on your own body or would expect anyone else to.

If Common Sentiments is the prelude to Typhoon's love story, Post Script is the all-depressing, but tragically pragmatic finale. I'm almost willing to assert the song as the most beautiful and fitting album-ending song out there. No matter what, I can only love within the confines of my chronic illness. In Post Script, Morton describes how he'll do anything and everything to make sure his partner gets the love they deserve. The thoughtfulness cannot be returned. How can someone love the part of an individual that will eventually rip them away? His partner isn't obligated to love him unconditionally, as they would also have to love the disease that will be his downfall. Honestly, I find it fair if someone with a chronic disease will never experience unconditional love. It's the compromise we make for likely being the first to leave.

Weekend Video: Pickwick @ Suzzallo Reading Room

The Suzzallo Reading Room at the University of Washington, is often considered to be one of the most beautiful library spaces in the world. I can't disagree. I spent many undergrad afternoons in awe over the sixty-five foot ceilings, stained-glass windows, gorgeous overhead brass lamps, and oak bookshelves lined with antique books. The Reading Room often draws comparisons to Hogwarts and I could always see why.

The magic of the Suzzallo Reading Room really goes beyond the university and is more-so a Seattle landmark. As of now, I'm convinced there's not a better band that captures the spirit of the Seattle music scene, than Pickwick. The band performing in the Reading Room just feels right. For this weekend, in honor of missing home but seeing Pickwick's show tonight at Rock and Roll Hotel in DC, here's an older video of them performing Blackout, acapella, in the normally dead-silent spot on campus.

Tonight, Seattle meets DC and I only hope DC can handle all that Seattle has to offer. My worlds are colliding and I truly can't contain my excitement.

(DC Friends: See Pickwick tonight. Do it. There are still tickets available and I find that crazy.)

Big River/ The Next One/ When That Day Comes by Red River Outlaws

There's something so intriguing about the Red River Outlaws and I can't entirely wrap my finger around what it is. Late night browsing on r/indiefolk is occasionally fruitful. However, last night, I couldn't decide if their songs were good because it was dark out or good just in general. Considering it's morning and I still can't stop listening, I'm convinced this is some solid work of folk. Dark, and occasionally sinister but keen.

Big River starts out with the narrator confessing all of his reasons for wanting to live outside of the law. At first, I'm not aware of what the motives are behind this desire or what the crime he's confessing to really will be. On one hand, the narrator is indubitably wise - if you make anything out of yourself, attention will be drawn to you and not everyone wishes for that fate. However, I find him less wise and far less charming when he further discusses, in vivid detail, his conversations with the devil. Conversations which likely motivated his crime of shooting the mayor. By the end of the song, I can't figure out if the narrator is evil or just mentally estranged, with the admission: "I've never found a single institution that could deal with my mind's confusion and I'll have to live in this delusion until the day that I die".

The Next One regales a fleeting lust story that ends with betrayal, death and supposed revenge. The narrator begins the tale prefacing the story will end with his death by the gallows. The story actually begins with a girl coming into town where she and the narrator make love, get caught and she sells him out to her father and the local sheriff, claiming she was forced into the situation. It's an unfortunate death sentence for our narrator. He continues in the song on how he'd rather leave his body behind than live without her and that he'll catch her in the next life. Except, he'll catch her in the next life... with a loaded gun. While revenge makes enough sense in this story, it's almost unexpected. By the end of the song, with the apt descriptions of how he'll never forget her betrayal and the painting of all these grim pictures, I'm floored with the story-telling and how the song makes my skin crawl.

When That Day Comes doesn't quite continue with the themes of the prior songs - the tale here is much more legend-based and folklore. The narrator is trying to escape the cruel hands of the earth, a seemingly-immortal who cannot convince a god to send him peacefully on. The gods here are interesting choices, a mountain god, an ocean god and a city god, each with their own excuses for keeping the narrator around.

Surprisingly enough, there's a lot to process with this project thus far. I am hoping whatever this ends up being stays true to the campfire tale/ folklore/ classic blues storytelling - it's a subset of folk music that is largely under appreciated, in my opinion. This aspect of folk music isn't always the easiest to pull off and the Red River Outlaws can execute it well. I'm also completely enamored with artwork that accompanies the videos and it adds a whole 'nother layer to the eerie vibe. The third video, while a different artistic direction than the first two, makes a wonderful use of videos in public domain.

What do we know about the Red River Outlaws? Not much. It's a project spearheaded by Seth Cronin with Sarah Rothert contributing vocals and gorgeous violin strings. We're supposed to see a new song posted about every week in September and a record is apparently on the way. I really need more of this in my life.

Listen to Big River, The Next One and When That Day Comes on Seth Cronin's Youtube channel.

Don't Come Close by Yeasayer

With every Grand Theft Auto, I'm convinced there's at least one music gem released exclusively for the soundtrack. For example, The Music of Grand Theft Auto IV, in 2008, had No Sex for Ben by The Rapture. A song which was played for a period of probably a month when the soundtrack was first released and occasionally comes up on shuffle, evoking fond memories. Whenever a new GTA game is announced to be released, I get excited for the soundtrack and not the game.

On Grand Theft Auto V, the song to love is Don't Come Close by Yeasayer. I've been a Yeasayer fan since All Hour Cymbals in 2007, which I still maintain is the greatest album of theirs and one of my favorites of all time. Odd Blood and Fragrant World haven't necessarily been disappointments, but it's been a while since I've been so excited over a possible direction this band could be taking.

Don't Come Close was recorded around the time of Fragrant World and sometimes pops up on live sets. I agree with the band's thoughts that the song doesn't really fit anywhere. In my opinion, it showcases the best parts of both Odd Blood and Fragrant World. There's the catchy, more upbeat, pop sound from Odd Blood but the song is as polished as the tracks off of Fragrant World. I think it's a good middle ground. I always thought Odd Blood was a little too erratic and Fragrant World was too aurally flat. If this is the direction Yeasayer is moving towards, I'm all for it. I'm also for the band returning to their experimental-folk sound from All Hours Cymbals, but I know that's a pipe dream.

Lyrically, Don't Come Close, isn't as complex as some of their prior tracks. However, Yeasayer has this strange ability to capture poignant feelings with their music, spanning their entire history as a band, and Don't Come Close is no exception. The line currently sticking with me, "people don't change, they only get old", is simple but all-telling. In fact, it may be time to update my Gchat status.

You can download Don't Come Close and the rest of the Grand Theft Auto V soundtrack from iTunes. Or, listen to this Youtube upload below.

City and Colour @ The 9:30 Club

The minute I saw this show pop up on the 9:30 Club website, I bought tickets. That was back in April. I painfully waited five entire months and it was more than worth the wait.

Over the five months, I had developed a few assumptions going into this show. One, Dallas would focus mostly on his new album, an album which is fantastic, but doesn't have that same emotional hold on me that his older albums do. And two, the show would entirely consist of Dallas with his guitar playing acoustic versions of all his songs. These assumptions were silly - Dallas is amazing to his fans and would never short-change us from all the C&C songs we grew up with. He also knows how to rock.

Such as the VC show, I had high aspirations of the front row. It didn't happen - I ended up being 8th in line outside, with another thirty inside. We did see Dallas go back into his tour bus after playing basketball - I think we were all too shell-shocked to say/do anything. The girls behind me weren't paying attention to anything, so my new concert buddy was able to cut the line and join me. I must say, I love going to concerts with people more so than just myself. Although, I'm convinced a person should be as passionately into music as I am to make good company. Carrie fit the bill and I hope to go to more concerts with her in the future.

Lucy Rose and her band opened. She was adorable and I could almost understand why the two sets of couples in front of me were there to see her versus C&C. The band wasn't too cohesive at first but really came together wonderfully by the end of the set. Initially, I think everyone was a bit nervous. I've been listening to her album since the show and I really enjoy and recommended it. At the very least, check out my favorites from the album: Red Face, Lines and Bikes. During the middle of the set, Lucy told the story of her and her band walking around D.C. trying to convince six different record stores to sell the album without luck before the show. For some reason, that story made me really sad. Come on, DC.

After a relatively short period of time, Dallas prepared to enter the stage. The song to welcome him on was strange and we endured an anticipatory minute for his appearance. He and his band came out and started rocking. The Hurry and The Harm was the opening song - I'm a big fan of bands opening their shows with their most recent album's opening song. It's fitting. Of Space and Time and The Lonely Life followed. I still didn't trust Dallas enough at this point to not play his entire new album. When Grand Optimist came on, I knew he'd play a great set with lots of variety. As Much As I Ever Could was an interesting first choice from Bring Me Your Love but he proved that song is underrated. Weightless was the last big rock song from the first part of the show. I can't get over how amazing it was to see that song live. After spending most of the past year with that song as my alarm in the morning, experiencing it during the show woke me up in other ways.

At this point in the show, the band left and we got Dallas all raw and acoustic. Day Old Hate was another intriguing choice that I wouldn't have expected, but greatly enjoyed. Northern Wind was dedicated to a couple Dallas had met previously in the day, who had had a special moment with the song. When I think about it closely, Northern Wind is a far better love song than The Girl. Comin' Home had been on a playlist of mine leading up to the show and I was really happy to experience it live - the song had a way of bringing everyone together to sing.

The third part of the show, once the band had come back on stage, left little to be desired. Sleeping Sickness was just not meant to be this hyped-up rock ballad. I almost couldn't keep a straight face... I feel awful about this but my conflicting emotional feelings tied to that song also didn't help. Thirst, Fragile Bird and Sorrowing Man were all good ending choices, but I was exhausted.

The encore was long. What Makes a Man? was the first song of three and Dallas went through this whole spiel to get the audience to sing with him during certain parts of the song. From here on out, we'd no longer get the chance to interact so intimately with him and it was the perfect song to start saying goodbye with. As much as I was expecting The Girl to be the song of the night, the show, for me, truly ended here.

Looking back, Dallas' stage presence made the show. He's such an approachable-seeming, humble musician. The encouragement to sing along was appreciated and he even called out all the grouchy attendees who were getting upset over all the off-key, off-measure sing-a-longs. A girl was celebrating her birthday in the front row (even had a birthday tiara) and he did a shout out to her (I'm pretty sure that made her year). He casually played off all the "Marry Me Dallas" fangirls by pointing at his ring. The man is chatty and all the interaction with the crowd made this show so memorable and his music somehow more easy to relate to. A two-hour set was long but you could tell how much he was enjoying himself. I also loved how his drinks of choice were a shot of whiskey and a beer - I wasn't expecting anything less.

I Can by the Dancing Hats

It's Friday. I didn't take the day off of work, per se, but I did decide to forgo my miserable car commute for a walking commute to the DC office. I'm almost regretting this decision entirely. I barely have any work to do, it's a perfect day outside and I'm in the dreariest office of all time. No windows. No company. The lights keep turning off because no one acknowledges my presence.

On the upside, I have plenty of privacy to jam out to I Can by the Dancing Hats all afternoon. The Dancing Hats, from what I can find out, appear to be a fun-party-sort band out of Portland, Oregon, with varying numbers of individuals contributing. Are they the next big folk super-group (ala upbeat Typhoon)? Who knows? But, I think there's a lot of potential for something.

The track is catchy and multi-dimensional. There's truly a lot going on, both lyrically and aurally. I'm not one-hundred percent sure what this song is about, but my guess is rebellion against a stereotypical life and shooting down everyone who tells you you can't live extraordinarily. At first I wasn't sold on how slightly jarring the lead male's voice sounded, but as the song goes on and he experiments with different styles, it's highly enjoyable. The female vocalist is equally fantastic and provides the balance the song needs. The random, instrumental portions prove that the band can rock out and have fun while doing so.

I don't think there's a better song to capture the end of summer.

You can listen to and download I Can on the Dancing Hats' bandcamp page (for name your price!). If you do, please rebel against office culture with me and participate in some Friday cubicle dancing.