It’s September 2014 and the Seattle sound has tentacles far and wide. Our town has inspired and continues to nurture a range of artists, from locals like Motopony and Shaprece to L.A.-based Kaylee Cole and even Sweden’s GOAT (via Sub Pop, of course). As we move forward into the fall, Seattle Weekly takes a moment to reflect on the latest releases from these artists and as many others as we could fit into the paper.
Caspar Babypants, Rise and Shine (out now, Aurora Elephant Records, babypantsmusic.com) As a soon-to-be dad, I’ve been dreading having to suffer through endless cycles of banal kids’ songs. Fortunately, Chris Ballew’s cheeky sense of humor and clever lyrics result in music that I’ll happily put on repeat. After the rousing title track, we’re introduced to “The Littlest Worm,” “The Girl With the Squirrel in Her Hat,” “John Mousey” (a retelling of the John Henry tale), and a brave baby barnacle (“Hold Fast Baby Barnacle”). Repetition, call and response, and familiar melodies (“The Littlest Worm” borrows the melody from “Walk the Line”) encourage participation from both parents and children. Per usual, help from the likes of Rachel Flotard and Jen Wood (Postal Service) fill things out. (Sat. Sept. 27 & Sun. Sept. 28, Town H
all)
MICHAEL F. BERRY
GOAT, Commune (Sept. 23, Sub Pop, goatsweden.blogspot.com) Whatever the unfathomable story behind Sweden’s GOAT actually is—a centuries-old religious sect from the northern climes of a Nordic country or some grand hoax—the ensemble’s returning with a follow-up to its 2012 debut, World Music. As the first disc displayed both in name and music, GOAT again mixes African rhythms into a krauty stew of psychedelia. Commune ramps up the polyrhythms, but also makes sure to throw in some overwrought ’80s-style tremolo guitar for “Words,” and either “To Travel the Path Unknown” or “Hide From the Sun” could rank as GOAT’s calmest moments. Somehow the band’s ability to move from meditative sedateness to unhinged wah-wah work out is what makes it such a unique troupe, regardless of its background. DAVE CANTOR
The Gods Themselves, The Gods Themselves (Sept. 23, self-released, wearethegodsthemselves.com) When you share your band and record name with a novel by acclaimed science-fiction writer Isaac Asimov, certain adjectives jump to mind: trippy, unique, mysterious, whimsical, and dark, to name a few. The album is truly eclectic in a way that doesn’t stray from the band’s larger identity as a power/psych-pop outfit. From the Ramones-meets-B-52s opening track “Last Chance for Love” to the unbridled, sludgy bludgeoner “Thunderbird” to the gritty cover of the Ginuwine classic “Pony,” The Gods Themselves seem quite comfortable exploring the disparate realms of sonic possibility. (Sat. Sept. 27, Lo-Fi) CORBIN REIFF
King Tuff, Black Moon Spell (Sept. 23, Sub Pop, kingtuffworld.com) Magic, mystery, love: King Tuff, aka Kyle Thomas, handles it all on his third full-length. Titles like “I Love You Ugly” and “Demon From Hell” may seem a bit harsh, but Tuff’s lyrics, sung in a slightly whiny, love-it-or-hate-it voice, are often more sweet than sour. And a heavy dose of psychedelic shimmer (like that of Portugal. The Man) and garage-rock riffs add to the album’s brightness. “Sick Mind,” for example, is so full of peppy vocal harmonies that the condition seems appealing. Several songs barely pass the one-minute mark, but these mini-tunes don’t seem like throwaway tracks. Rather, they add quick bursts of energy to an already spirited album. (Wed., Oct. 22, Neumos) AZARIA C. PODPLESKY
Motopony, Idle Beauty EP (out now, Entertainment One, motoponymusic.com) Motopony’s Daniel Blue is a beat poet trapped inside an indie rocker. On the group’s eponymous debut, his surrealist imagery and warbling vocals showed hints of this, and on the group’s latest release, it’s in full force. Motopony is at its best at its weirdest and bleakest. Over warped acoustic chords on the brooding “She Is Spirit,” Blue shakily coos cutting lines like “ ’Cause the truth is you can’t live inside your heart/And to be alone is worse than being dead.” Though tracks like the bright opener “Get Down (Come Up)” and the blissful “About a Song” show that the band can handle indie pop just fine, they never quite match the intensity of the EP’s darker moments. Bonus track “Breakthru” is the realization of the brilliance in Blue’s dreariness. Over trip-hop beats and ambient guitars, he emphatically rants about having an epiphany on a night out with friends in Tacoma, dancing and smoking joints. His lyrical flow is casually cool, marked by the song’s coda: “Oh my God, I think I’m about to have a breakthrough.” Within the descriptions of a monotonous evening, Blue creates a lush atmosphere and beauty. (Fri., Sept. 19, Neumos) DUSTY HENRY
Various artists, Rudy’s x Vita Buzzed Cuts (out now, rudysbarbershop.com) During a late-night conversation at a Rudy’s Barbershop think-tank retreat, two employees discussed that they were both also musicians, as are many of their co-workers in the chain. Soon this mixtape was born, a compilation of all-employee acts from Rudy’s and Caffe Vita locations in Seattle, Los Angeles, New York, and Portland. Comprising 17 songs in genres from alt-country and hip-hop to metal and electronic, it’s a nice mix that shows the variety of talent within the group. While songs by Sunmore Son and Seattle’s Sailor Mouth are instantly grabbing, there’s something for everyone here. Available as a T-shirt/download package, $35 might seem a little steep, but all proceeds go to the Seattle/Bellevue music-education and therapy nonprofit Music Works Northwest, which is worth some of your hard-earned cash. (Noddy, Thurs., Oct. 9, Chop Suey; Hearts Are Thugs, Fri., Oct. 3, High Dive)
JAMES BALLINGER
Seacats, Songs From the Box (out now, Garbage Town Records, seacats.bandcamp.com) Kelso, Wash.’s Weezer-worshipping Seacats bill themselves as “NW rock n roll’s funny guyz.” Case in point: They like to post videos about how much they “like” Korn. That’s why Songs From the Box is such an interesting departure; yes, there are still Korn jokes, and the album ends with a 10-minute jam/freestyle rap, but suddenly somewhere in the middle they start singing thoughtful songs about God, finding peace, dealing with personal anxiety, and confronting feelings of self-deceit. And lo and behold, they’re some of the best songs the band has ever written. Who would’ve thought sincerity suited Seacats so well? KELTON SEARS
Shaprece, Molting EP (out now, self-released via Noisetrade, shaprece.com) One listen to this album makes it clear that Shaprece is one of the most innovative artists in Seattle. Negotiating the boundaries between trip hop and chamber pop, each of its six tracks (five new songs, one remix by Blue Sky Black Death) is a world unto itself, with atmospheric electronics, orchestral strings, deep bass, and layers of vocals. Amid it all, Shaprece’s voice—restrained and intimate, with a quiet power—weaves a tale of unrequited love and loss. “Her Song” stands out for its straightforward storytelling, lush orchestration, and beautifully harmonized chorus: “Stop sabotaging her song for you/Why won’t you let it play?/Such a beautiful melody interrupted by the rain.” (Sat., Nov. 22, McCaw Hall, TEDxRainier)
MFB
Sisters, Diamonds of Gold EP (Sept. 23, self-released, iheartsisters.bandcamp.com) This new duo—Andrew Vait (Eternal Fair) and Emily Westman (Lemolo)—came out of the gate running, lining up several enviable live gigs (like Everett’s Fisherman’s Village Fest) and releasing this roller-coaster of an EP in no time. You’re excited as it starts down the track; you sway along enjoying yourself; then it takes a 90-degree turn and BAM! whiplash, what just happened? From the silly, lighthearted electro-pop of “Green” and the plucky piano of “Chickens Fatten” to the poppy closer “Buzzard,” there’s no cohesive style pulling it all together. While it’s hard to know where Sisters is coming from, keep a steady eye on them; good things are coming wherever they go. (Fri., Sept. 19, Neumos)
MORGEN SCHULER
Wimps, Couches EP (out now, self-released, thesewimps.bandcamp.com) Despite what you’ve heard from us in the past, “punk rock is” [not] “bullshit,” and Wimps are living proof. The local slack-happy trio’s newest is full of odes to the supermoon, sitting around and feeling weird, and not wanting to brush your teeth (because it’s too hard). All of them are backed by some of the catchiest, no-bullshit punk riffs in town. Recorded on cassette for the band’s summer tour, the EP coats Wimps’ minimalist shred in a satisfying natural tape hiss that lends to the lo-fi vibe. It sounds especially great when the tape breaks up a little, like when the band shouts “Octopus! Snakes!” over and over two songs in. (Mon., Sept. 22, Neumos)
KS
