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.