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HOLY GHOST REVIVAL, THE BLESSED LIGHT, THE MU
(Comet Tavern) See preview, page 85.
THE HOLLOWPOINTS, THE AMAZOMBIES, THROWAWAY ANGELS, DREADFUL CHILDREN
(Catwalk) Two of Seattle's poppiest old-school punk acts, the HollowPoints and the Amazombies, come together for a show that was supposed to also spotlight their San Francisco peers the Angry Amputees. Unfortunately, one member of the Amputees landed in the hospital with heart problems [Ed. Note: Maybe they should change their name now], so tonight's show has turned into a benefit for his hospital bills. Opener Dreadful Children features members of Bristle and an ex-member of HollowPoints. JENNIFER MAERZ
VINYL KOMBAT SEATTLE: THE WORLD FAMOUS BEAT JUNKIES, A-TRAK, WORDSAYER
(Showbox) The Beat Junkies are a collective of world-class hiphop DJs from L.A. and the Bay Area. Rhettmatic, Melo-D, "DJ What?", and Babu of the Dilated Peoples are some of the core members of this large collective (15 or so members) that has released numerous CDs, performs regularly on radio, and for a while was on TV as the house band for Farmclub.com. As with the Invisibl Skratch Piklz and the X-Ecutioners, their primary contribution to hiphop has been to transform DJing into turntablism, to elevate scratching from a street art into a serious art. After the Beat Junkies and their generation of technicians, hiphop DJing is not a matter of buying turntables and figuring it out in your kitchen; now it is a matter of long study and deep concentration. CHARLES MUDEDE
WILLPOWER, AQUEDUCT, MARLO
(Crocodile) Imperial Teen multi-instrumentalist Will Schwartz--the dark-haired one, for those of you who don't have his picture tacked up in your locker--has never kept his love of radio-friendly fare secret, introducing songs at the energetic indie quartet's show with timely asides like "This is a Missy Elliott exclusive..." or sneaking Belinda Carlisle's "Mad About You" into a set. While the Teen is on hiatus, Schwartz is indulging his pop heart full-throttle with his electro-friendly side project willpower ("one word, lowercase" sez their website). Their program includes the flirtatious, falsetto-flecked "Double Fantasy II" ("I am okay with playing Truth or Dare/As long as you end up in your underwear") and "Too Hot," which bounces along to the same booty beat that propels the best of L'Trimm and Fannypack. If you're the sort of Comeback or Muscle! habitué who hollers when Gravy Train!!!! segues into "Dip It Low," you'll get your backside in motion tonight. KURT B. REIGHLEY
FRIDAY 8/6
THE HOSPITALS, THE POPULAR SHAPES, PHOBOPHOBE
(Comet) See preview, page 85.
SUBTERRADIO: BRUNO PRONSATO, CARO, DJ VEINS, JOE MOJO
(CHAC Lower Level) See preview, page 41.
THE ALBUM LEAF, TENDER BUTTONS, OVIAN
(Neumo's) See preview, page 43.
BURNING BRIDES, THE EXPLOSION, THE CATHETERS
(Graceland) What I never understood about Burning Brides is why they of all bands have generated such a following. While there are definitely worse acts out there to worship, the Brides do little more than take the dirgy, sludgy guitar sound of the grunge era and roll it out one record after another like a stiff carpet that's already been trodden on one time too many. This from a gal who likes her rock 'n' roll dirtier than a backpack full of band laundry, but there's got to be some level of inventiveness, or new hooks, or even dynamics to the songs. Unfortunately the Brides' latest release, Leave No Ashes, sounds just like all the other Brides records, which already sound just like Seattle 10 years ago, minus the freshness of never having heard a band like that before. JENNIFER MAERZ
IAN MOORE, STONE GOSSARD, STEVE TURNER, MARK PICKEREL
(Sunset) Because Austin transplant Ian Moore is equipped with the sort of effortless guitar-playing skills only obtained after a decade of relentless touring, and a voice that's consistently pitch-perfect and appealing, he runs the inherent risk of sounding technically impressive but spiritually neutral. Luckily, Moore is wise enough to challenge himself consistently, absorbing seemingly disparate influences like Neutral Milk Hotel and Townes Van Zandt and assigning himself full production duties on his forthcoming record, Luminaria. The highly successful result is an intricately layered, soulful pop record that should quadruple his audience size in Seattle (Moore has a legion of passionately devoted fans on a national level, but this town hasn't quite caught on yet). Fans of Jeff Buckley's vocal grandeur, Nick Drake's somber reflections, or Richard Buckner's elegant storytelling should take note--your new favorite artist has arrived. (Bring hygiene items for donation to YouthCare. ) HANNAH LEVIN
GOOD FOR COWS, 7-YEAR RABBIT CYCLE, EYVIND KANG
(Rendezvous) Ches Smith is one of the Bay Area's best, most versatile drummers. Folks who live in the area might see him backing up an avant-garde jazz saxophonist or classical composer one night, getting aggro with noise-rock throwbacks Theory of Ruin the next, and wrecking the stage with some scumbag noise band a few nights later. He also played on about half of the Secret Chiefs 3's amazing recent album Book of Horizons (Mimicry). Good for Cows is the duo he co-leads with upright bassist Devin Hoff. To the casual listener, their cerebral jazz compositions may sound bare and incomplete--after all, there's no traditional lead instrument in the band, and hardly any treble--but rhythm section aficionados and other picky listeners will find plenty to admire in the duo's instrumental workouts. WILLIAM YORK
CAROLE KING
(Pier 62/63) It should go without saying that any Seattle appearance by this legendary singer/songwriter--who helped invent rock 'n' roll, then presided over its evolution into an intelligent, as well as emotional, art form, in which women were allowed not only to participate but to thrive--is an event. But sometimes, things that go without saying still need to be said. Have you listened to Tapestry lately? SEAN NELSON
THE DIVORCE, THE TURN-ONS, DOLOUR, LITTLE HAND OF THE CITY, THE BLACK PLASTICS
(Paradox) I have nothing new to say about the Divorce or Dolour, and while you might think it's pointless to, yet again, write up two bands that have gotten their share of press, it never hurts to offer a slight reminder. Especially when something is great, which both bands are. And now I guess that is kind of new, because while the Divorce have always been "alright" to me, I've never considered them to be "great." I don't know if it's them or me who's changed, but recently I've been liking them more and more. Live shows are fun, energetic, and tight, and the songs aren't nearly as annoying as I found them to be in the early days. They're not annoying at all, really. Kind of a backhanded compliment, isn't it? Yeah, sorry about that. Dolour's sweet-as-syrup pop songs oozing with adorability will be a nice contrast to the Divorce's rock 'n' roll excitement. MEGAN SELING
FANCEY, I LOVE YOU BUT I'VE CHOSEN DARKNESS
(Crocodile) Fancey is both the last name and band moniker for New Pornographer Todd Fancey. On his eponymous new album, Fancey lays the '70s AM-radio pop on so thick he makes the Polyphonic Spree and Air sound like biker-bar jukebox selections. Updating the Beach Boys' groundwork with a slight electronic edge and occasional country twang, the Vancouver resident has sculpted arrangements so sunny and subtle they almost float away (and the harp sounds in "'Til the Morning Comes" only add to the angelic aesthetic). That said, this supremely easy-listening approach will either draw you in like a baby kitten covered in bubbles or make you want to shove sharpened bamboo sticks under your fingernails until something with an edge sharper than Jell-O comes along. JENNIFER MAERZ
SKY CRIES MARY, GUESTS
(Fenix Underground) Burning Man vets, modern primitives, and hippies aren't the only ones who've missed SCM's neo-psychedelic spaced-out trip rock in the five years since their dissolution. Part of our collective tree-hugging soul must have felt Roderick and Anisa Romero and the rest of their crew had been gone too long, because they're back together--for two transcendental nights at least. The reunion comes after half a decade pursuing other projects (in Roderick's case, building tree houses for Sting--yes, Sting) and wresting control of the band's back catalog from Warner Bros. Now they're celebrating this victory with reissues of two of their more popular albums, Return to the Inner Experience and This Timeless Turning, the latter featuring a new remix of their most recognizable hit, "Every Iceberg Is Afire." DAVID SLATTON
Stranger Personals
SATURDAY 8/7
THE CHARMING SNAKES, THE FUCKING CHACHIS, STEAMING WOLF PENIS
(Comet Tavern) See preview, page 85.
THE RIVERBOAT GAMBLERS, murdock, noir c'est noir
(Sunset) See Stranger Suggests, page 23.
THE NOVEMBER GROUP, SCHOOLYARD HEROES, KANE HODDER, ASS-END OFFEND, MON FRERE
(Old Fire House) See All Ages Action, page 59.
ELEFANT, THE LASHES
(Neumo's) See Stranger Suggests, page 23, and preview, page 35.
SKY CRIES MARY, GUESTS
(Fenix Underground) See Saturday's listing.
INCUBUS, SPARTA
(KeyArena) At last year's Lollapalooza, Incubus felt like a rock show on mute, with its panting fan base paying more attention to singer Brandon Boyd's sweaty, naked torso than the group's nonthreatening lyrics. So it came as a shock when 2004's A Crow Left of the Murder aggressively shoehorned political issues into the mix, securing a perfect fit even as it left limp and bloody footprints. The radical tilt isn't especially unexpected, given the company it keeps--Incubus has spent quality tour time with Audioslave and System of a Down--but it is stunning that the funk-fusion jokers who once titled an EP Fungus Amongus have evolved into versatile musicians well versed in mature matters. "Megalomaniac" clips Bush with Weedwacker vigor, while other message-enhanced tracks opt for a surprisingly subtle approach. Boyd still sheds his shirt, but now he points out that power-mad, would-be emperors are also undressed. ANDREW MILLER
MARK FARINA, BRIAN LYONS, WESLEY HOLMES
(Chop Suey) When San Francisco-based, Chicago-bred DJ Mark Farina ends his career someday, he will be remembered for his Mushroom Jazz series. So far there have been four volumes since the collection began in 1996--the peak of the triphop era. The mix on volume one, which was simply called Mushroom Jazz, introduced America to the club sounds of London, which at that time was a combination of jazz impressions, deep funk, house vocals, and booming hiphop beats. Farina's mix of these essentially beautiful and dreamy tracks was almost seamless. The next two CDs in the series basically continued (with weaker results) the ideas and themes of the first compilation. However, the most recent CD, Mushroom Jazz Volume 4, took a distinctly hiphop turn--instead of triphop instrumentals, Farina mostly mixed underground-hiphop instrumentals. This resulted in one of the best hiphop releases of 2002, and certainly the second-best mix in a series that will preserve the name of its compiler. CHARLES MUDEDE
THE GREEN PAJAMAS, THE HIGH DIALS, DJ GORT, DJ CHRISO, DJ SUPERJEW
(Lo_Fi) Like their stateside complements Brian Jonestown Massacre (minus all the pretense) and the Warlocks, Montreal's High Dials trip through the pop psychedelic, jamming on melodies that move across kaleidoscopes of effects. The Dials' newest EP, Fields in Glass, is more of the same delicately bellbottomed compositions that take from both the Beatles and the better moments of the Beta Band. Songs like "Things Are Getting Better" and the title track should perfectly fit this venue as well, as tonight marks the second installment of the bimonthly Studio 66 party at Lo_Fi--where DJs spin a mix of vintage mod and psychedelic rock, Brit pop, and acid jazz to go-go and casual dancers alike. JENNIFER MAERZ
SUNDAY 8/8
AMBULANCE LTD., ROBBERS ON HIGH STREET, THE ZUTONS
(Crocodile) The art in New York's Ambulance Ltd.'s music isn't so much that they break new ground as that they know how to expertly appropriate elements from the rich history of Brit pop and shoegazer rock and make them their own. On their eponymous debut, you'll hear fragments of the Stone Roses, Spiritualized, and My Bloody Valentine, as well as tracks like "Anecdote," which instrumentally sound like lost, late-Elliott Smith songs. With the overseas touchstones so popular with buzz bands these days, it's tough to stand out when your reference points are as common as your shaggy hairstyles. And yet these guys get it right, with hazy harmonies and lackadaisical melodies sexing up an already stylish aesthetic. JENNIFER MAERZ
COSMIC ROUGH RIDERS, GOOD LOOKS THE PLAYBOY, 3 INCH MAX, SOMETHING IN BETWEEN
(Graceland) Despite the fact that the founding member and songwriting force behind the group (Daniel Wylie) actually left the band, Glasgow's Cosmic Rough Riders decided to continue flying their laid-back power pop flag and continue on, unbloodied and unbowed. They enlisted a new singer, Stephen Fleming, who, it turns out, wasn't such a bad choice. The group's latest, Too Close to See Far, travels the same sort of Byrds via Teenage Fanclub pop worship of their previous releases, but the songs have a more solid base than before. "Because You" is so disarmingly perfect, you almost want to slap someone in the face in a fit of delirium and jealousy. JON PRUETT
MONDAY 8/9
JESSE MALIN, THE DAMNWELLS, PETER SALETT
(Tractor Tavern) See Drunk by Noon, page 35.
TUESDAY 8/10
GOSLING, POST STARDOM DEPRESSION, COMMON HEROES, MU MESON
(Graceland) See Stranger Suggests, page 23.
WEDNESDAY 8/11
C.O.C.O., SLOASIONS, LIBRARY SCIENCE, STEVE FISK
(Neumo's) C.O.C.O. (pronounced "see-oh-see-oh"), as you know-oh, is an Oly-bred dance-pop duo whose music is really fun and infectious. Library Science, as you may not know, is a capable local dub band, whose style is very hands-on; their debut (or is it dub-you?) LP, High Life Honey, is freshly available on Happi Tyme Records. Steve Fisk, if you must know, is an unpredictable super genius. When he plays live, the results can be anything from avant-garde minimalist quadraphonic experiments to Negativlandy sample-a-thons to pop classics. All of which is to say that tonight the heads oughtta be shaking as much as the asses. SEAN NELSON
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