• PASTE MAGAZINE VIDEO PREMIERE: Carry Illinois's 'Electric Charm' is simply touching and beautifully done


    When Carry Illinois’ bassist John Winsor took his life in 2016, the remaining members were numbed by their loss. They channeled their emotions the best way musicians know how: the release of a new album “Garage Sale”. The emotional 6-track tackles their loss not with sadness and helplessness, but with hope for their future. 

    by John Vanderslice, the album focuses on the importance of singer Lizzy Lehman’s lyrics and is a stripped-down wonder. Electric Charm is an upbeat bouncy track that comes from a 2-song release called “Electric Charm/Sea Inside”.The video’s colorful animation by Yukai Du is a unique representation of the music through color and morphing from one shape to the next. The result is the best dang thing I have seen in a long time!

    Lizzy states that the song "Electric Charm" began as a way for her to express and work through the pain that she experienced being bullied in high school.  “The only place I truly felt safe and at home was on stage and in the choir room. It wasn't until college that I was able to make friends that I could relate to and be myself around.  I could finally express my true self without the fear of being ridiculed or laughed at. It is only in the last couple years that I have found the strength to reflect on those early years with the confidence of knowing that I have risen above the hurtful words of my youth and find myself living happily.”

    Lizzy chose to have a video made for this song to express the growth in her personal confidence. She also wanted to have a beautiful piece of art that featured the musical talents of their former bass player John Winsor, who tragically took his own life in March 2016. This video is for him.

    When working with Yukai Du of Bliink Studios (Brighton, England) the collaboration came about very naturally. They provided her with the lyrics, the themes of the song, the color palette they preferred, and then gave her free-reign to work her magic.

    I like to give creative folks as much freedom as possible when starting a project and then ask for certain elements to be modified, provide criticism, and express my thoughts as the process happens. The imagery of a solitary person in space, the electric elements of earth, and the colorful abstract shifting shapes tie together the intimate themes of the song while creating a universal feel that people can relate to.”

    The video for "Electric Charm" is an exciting creative step for the band and Lizzy looks forward to diving deeper into more collaborative artistic efforts with future songs.

    This tribute to her friend and band mate is simply touching and beautifully done. It is an honor to listen to these lyrics and support this release. We suggest you check out Carry Illinois’s upcoming release “Garage Sale” which comes out May 12th. It is jam packed with songs that will instantly give you goose bumps.

    Myra Ivy




    Produced by legendary drummer Barrett Martin, Ayron Jones’ new album sets release date

     By Caitlyn Ralph

    Ayron Jones And The Way will release their new album, Audio Paint Job, June 2 via Sunyata Records.

    It's produced by legendary drummer Barret Martin (Queens Of The Stone Age). Here's what he had to say about the project:

    "Producing Ayron’s new album was a great experience for both of us. I’m an old school producer, but Ayron gave me hope that the next generation of forward-leaning musicians are going to do some great work in the future. Ayron’s ideas are rooted in the same classic forms I grew up with, yet he draws from modern hip hop, R&B, and soul, to create a new kind of Seattle rock that sounds both new and classic at the same time. During the sessions for Audio Paint Job, he learned from me, and I from him, so the album is both classic and future."

    Jones is on vocals, Ehssan Kirimi is on drums and Bob Lovelace is on bass.

    "Audio Paint Job is a title that has multiple meanings for me," Jones says. "It's a story about my mental and spiritual transformation through music."

    The album release show will take place at Seattle's Neptune Theater June 24.

    Jones also sings in the band Levee Walkers, alongside Pearl Jam's Mike McCready and Guns N' Roses' Duff McKagan. They have a two song single coming this summer.

    Album art:


    Take Me Away
    Its Over When Its Over
    Mr. Jones/Rockstar
    Boys From the Puget Sound
    West Coast Feelin’
    Play Me a Song
    Take Your Time
    Stand Up
    Lay Your Body Down
    Be There With You
    Love is the Answer


  • RazorCake: Date Night With Brian Review

    Given that my father and uncle are both named Brian and it is my middle name, I convinced myself that I was destined to have an affinity to this band before I knew any more than its title. Then I discovered that one-third of one of my favourite bands, Sicko, was also one-third of DNWB. That person being Ean Hernandez, whose label is also responsible for releasing this record. I was sold from there. The bass-less trio’s songs have a quirky garage pop feel, which manages to offer up hints of Sicko through some of the guitar work and Hernandez’s vocals. Drummer Reba Cowen—who was in Tales From The Birdbath with Hernandez—provides main vocals on the final of the five songs, “Drink the Kool-Aid,” to end on the highest of notes. My attraction is now firmly cemented. –Rich Cocksedge


  • CD REVIEW: Logan Lynn "Adieu"

    CD REVIEW: Logan Lynn "Adieu"



    Former electronic artist, Dandy Warhols protege,

    LGBT activist and human being with many other

    attached labels and titles, Logan Lynn, drops an

    epic album of danceable Electro-Rock Pop gems.

    You’ll find yourself dancing and twirling through

    the house, lip syncing into your hairbrush to his

    bare-bones, no holds barred truth before you even

    have a chance to process the lyrical content. Like a

    pride-parade rock band fronted by a former Christian

    fundie superhero schooled in the finer points

    of Brian Wilson and the aforementioned Dandys

    who has the power-pop potential to become

    something resembling an Indie/Glam Macklemore/

    Owl City hybrid. I can’t stop listening to this. (selfreleased)

    by Chad Wells


  • SEATTLE WEEKLY : Violin Virtuoso Andrew Joslyn’s Serene Debut LP Was Born of Chaos

    Through a fire, ‘At the Bottom of the Ocean.’


    eattle-based violinist/composer Andrew Joslyn has toured the world on the strength of his playing. He is most definitely a musician. But the prolific artist could easily have been the world’s most accomplished juggler.

    Sitting across a table from him in West Seattle’s cozy Uptown Espresso, plans, words, and ideas tumble out of his mouth at an amazing rate—objectives he seems to keep afloat, bouncing in midair—but they aren’t just wishes, they’re descriptions of the many actual projects he has his hands on.

    Joslyn, who will debut his first full-length record, Awake at the Bottom of the Ocean, on Friday and celebrate it with a concert in conjunction with Seattle Secret Shows on Sat., Feb. 18, also just finished scoring his first feature film, American Violence, starring Bruce Dern and NFL player Rob Gronkowski. “It was such intense work that I got tendinitis in both hands,” says Joslyn, who is also getting married to his fiancée in August. “I was putting in 14- to 16-hour workdays to pull it off. Some parts I had to record 80 times each for the big sound the director was looking for.”

    For many, these professional accomplishments would be enough. But not for Joslyn. He has to keep working, collaborating—hustling the chaos of his life into laser-focused songs, some of which are so packed with swells and sways they almost feel unreal. “I’m a workaholic,” he says, “I’m only happy when I’m working.”

    As a working artist, stress is always part of the job. But stress, confusion, and loss found Joslyn in his private life, too. About two years ago, an apartment fire took almost everything he and his then-girlfriend, singer Suzy Sun, owned—even their cat. “When it rains, it pours,” he says, shaking his head. And after the fire—and subsequent insurance claims and attempts to re-collect their lives—Joslyn and Sun ended their relationship, strained in part by Joslyn’s constant touring with the likes of Macklemore and Dave Bazan.

    But now, perhaps, all this struggle is paying off in terms of clarity and direction—thanks in large part to Awake. “I’ve always been beholden to someone else’s schedule,” says Joslyn of his musical collaborations. “But I owe so much to this record. I don’t know if people are going to like it or not, but during these past few years, I just needed to make it.”

    Awake recalls the virtuosity of baroque pop violinist Andrew Bird and the springs and dives of a Mozart concerto, and brings a curious, self-investigative quality unique to Joslyn. This is evident immediately in the record’s first song, featuring vocalist Will Jordan—one of the many exquisite guest singers, including Adra Boo and Shelby Earl. Jordan sings, raspy and wondering, “We’re all living for that royal grace, that special place, that plastic heaven.” The standout track, though, might be “I Should Have Said Goodbye Before I Met You,” an emotionally remorseful song featuring Sun’s lamenting vocals.

    And while the release of Awake is a point of excitement for Joslyn, his focus, as always, remains on the next ball in the air. “I want to write a new record and have my wedding be the release party,” he grins. “Almost like a music festival where we’ll give the album out to all our attendees. I really want to do that, to make something beautiful.” Out Fri., Feb. 10 via soundcloud.com/Andrew-joslyn-music

    SEATTLE WEEKLY whole article

  • Portland Indie Pop Musician Logan Lynn Releases "Oh, Lucifer" Music Video

    From Logan Lynn's "ADIEU." (2016)
    Written and Produced by Logan Lynn and Gino Mari.
    BUY NOW:  https://loganlynn.bandcamp.com/album/...

    Logan Lynn's "Oh, Lucifer" music video was shot in Portland, Oregon and was produced by Portland Film Works. The video was released as a protest to Donald J. Trump​'s Presidency on Inauguration Day: January 20th, 2017.

    For more, visit http://www.LoganLynnMusic.com


    Plastic Heaven (Budo Remix)” is a revisit from Andrew Joslyn, having previously worked with Budo on the original beat for “Plastic Heaven”. Directed by Garrett Gibbons, and filmed along the Salton Sea in Southern California, the video is all about the plastic lifestyle that used to be. Now a bleak symbol of a once-opulent, destination resort, complete abandon, and rotting carcasses are the new residents.

    Other than Chris Kattan of SNL, that is, having a central feature in the music video. Channeling an ‘Inception’ like the storyline, Chris Kattan is taking in “Plastic Heaven” in the most detached, unconcerned manner possible. That robe really ties that desert together, Chris.

    Andrew Joslyn can be found on Facebook and Twitter, and his full-length album drops worldwide in February.


  • Blue Skies for Black Hearts does X-Mas


    Now that December is just a few hours away, let's break out the Jesus birthday jams. Now in it's 9th volume, XO for the Holidays is a compilation put out by Portland and Detroit based PR firm XO Publicity. This year, XO for the Holidays presents the rocking power pop of Blue Skies for Black Hearts doing a Christmas classic.

    We all miss David Bowie terribly and Bing Crosby's influence is undeniable, so hearing Blue Skies for Black Hearts taking on their 1977 holiday hit "Peace on Earth/Little Drummer Boy" brings about a true sense of joy. 

    Frontman Pat Kearns's vocals fittingly encapsulate much of what Bowie and Crosby were serving in their original rendition, but with his own twist of course. His recently released solo record, So Long City, showcases his vocal talents further.

    Listen to all of XO for the Holidays here, and give Blue Skies For Black Hearts' take on "Peace on Earth/Little Drummer Boy" below.


  • Blinded by Sound: We the Wild album review

    "Where do we draw the line, between feeding a habit and having a good time?" ask We the Wild, a young band from Portland. The line is from a song titled "Terrible, Terrible" and it is one of ten tracks on their debut album From the Cities We Fled. The rainy streets of Portland are as hostile to youth as anyplace else, and it is those types of struggles that their lyrics chronicle. But it is the music that makes this self-released disc such a gem. We the Wild have a hardcore background, but they mix in all sorts of other flavors: rock, punk, jazz, mathlete guitars, Cookie Monster vocals, classical piano, everything under the sun you might say. Unlike a lot of other bands, none of this feels gratuitous, everything fits, and everything has its place.

    When I heard that WtW were coming to town recently, I was ready. And so were the touring gremlins, as it turned out. Mechanical problems with their van drastically reduced the tour, but thankfully they made it to Seattle. It was a great show, although being on a bill with three other groups meant a shortened set. And for all the fabled history of Seattle's Central Tavern, the place has never been known for great sound. One of the things I have thought from the beginning about this band is how broad their appeal would be if they were exposed to a wide audience. In a one-person testimonial to this theory, my date (who tends towards classic rock) instantly "got" We the Wild.

    The members of the quintet are: Benjamin Cline - (vocals) Joe Lawson - (drums, vocals), Miles Davenport - (guitar, vocals), Elliot Sikes - (guitar), and Julian Rossetti - (bass). They graciously answered a few questions before the show began, and the first thing I wondered about is how they would describe their music. "We use the term 'post-hardcore' to describe ourselves," answered Miles. It seemed like that was a question he has been asked before, because he soon amended his response, "Actually I should say that we have a very good chord library," he concluded.

    While their roots are hardcore, where WtW really shine is in writing melodies and pop hooks. Their songs are incredibly catchy. This is a group who have refined their music to a point where there is nobody else like them. Even those who profess to hate punk or hardcore should hear From the Cities We Fled, because the contrast between the "abrasive" vocals and guitars with the amazing hooks and riffs they churn out make for a marvelous payoff.

    The songs are about drugs, prostitutes, losing old friends, the clampdown on clubs...you know, the fun stuff. What I did not know until we spoke was that to make this very urban NW album they "got away from it all." They basically went to a cabin in the woods and wrote and rehearsed and wrote and rehearsed until they had it down cold.

    Armed with this knowledge I listened to the disc again and realized that the opening "Still Asunder" actually works as a thumbnail sketch of the entire album. The song opens with the soft sound of raindrops, which harden into the sound of a good old-fashioned typewriter. Then the rhythmic typing is replaced with Lawson's drums as the music gets underway. The woodshedding they did in the cabin is addressed with the raindrops and typewriter, while the "heavy" vocals and guitars are met with equally "friendly" pop hooks at every turn.

    "Exodus and Decay" was the first single, and the following excerpted quote from The Deli Magazine was WtW's way of introducing it: "Exodus and Decay' was written about the alarming state of Portland's local hardcore scene, and the attitude of apathy that locals have taken to our passion for the music we create"

    The very next tune "Ol Boy" is the second single, and this excerpted WtW quote comes from Performer Magazine, "The core message in "Ol' Boy" is about independence and self-worth. People are constantly changing, and not always for the better."

    The record-biz term for opening your CD with your strongest songs is called "front-loading," but that is only if you have a bunch of crap after the first two or three. While the singles are two pretty great tunes, they are not even my favorites. "Roxy, the Cops are Here" is (for now at least). Tied to an irresistible melody, the line "Nothing ever looked so pretty, and nothing ever felt so wrong" has been in my head for a long time. The video for "Roxy" is a low-budget riot, with a mustachioed hooker, some cops, and a couple of Mormons on bicycles - all tangled up in an industrial backlot somewhere. While the video is hilarious, the subject of a prostitute's OD is pretty grim. This type of contrast is a fundamental element of WtW, a constant reminder that they are anything but one-dimensional.

    "Roxy" is an older tune that is rarely played live these days, but they did play my second favorite song, "Terrible, Terrible" (previously quoted). I loved their dead-pan introduction of it at The Central: "Here's another song about drugs." Yes, it is another song about drugs all right, but one with a message that resonates.

    I have listened to From the Cities We Fled many times, and there is one track that I kept skipping because it made me cringe. When I knew that I would be writing about them, I quit skipping "King of Wounds," and finally understood how essential it is. This is their "confessional," for God's sake! Ever since Green Day's "Good Riddance (Time of Your Life)," the self-absorbed "narcissistic" ballad is required. And as much as I want to make fun of those songs, or think they are self-serving, I can't. It is youth. It is what you do. From the Cities We Fled would not be the genuine article without "King of Wounds" and that's all there is to it.

    I didn't know what to make of "Hold" the first time I heard it either. It is a solo, acoustic piano piece that seemed almost laughably out of place until I put away my preconceived notions. It is a beautiful interlude, and serves as an excellent introduction to the apocalyptic finale "2001" This song is one of those "all in" songs, with just everything but the proverbial kitchen sink and it is indescribably amazing. Throw in the four horsemen, and you have it all.

    And then it is over. Ten songs in a little over 49 minutes that pulled me out of a really difficult time in my life. The abundance of creativity, and the honesty of the lyrics spoke to a sense of purpose that I had nearly forgotten. This is more an impression than a statement, but in thinking about what a crass and ugly year 2016 was, and comparing that to the feeling I get in listening to We the Wild, these words came to mind: The soul of a true musician never changes hands.


  • Bluetint Magazine: KP and the Boom Booms and "The Brave"

    Immediately as I began to peruse the works of KP and the Boom Boom, I was lifted from my reality and taken on a “musical odyssey of love and magic”. The band’s first full-length album, The Brave, is an eclectic collection of emotion, excitement, and erotic enticement. Redefining the barriers of genre classification, this Austin based– band provides listeners with an innovative fusion of sound. It was my honor to chat with the band’s lead singer, Kate Priestley, and gain some insight on this dynamic group.

    You were born in the U.K., but your band is based out of Austin. How’d you end up in Texas?

    I was backpacking around Guatemala, and I signed up for an open mic night, this was in 2009, and there were two Americans that were in the audience and they were like “we have to start a band with you”. So I stayed with them for about a month and made music and hung out. Then we went our separate ways, I went back to England. Then the following year they invited me to Austin to make music while they had some time away from work, and that’s where I actually met the band that I’m with now, through those guys. It was just a real serendipitous meeting.

    So the band that you’re with now, did they play together before you met them, or did people sort of join in sporadically?

    They came sporadically, except for three of them. Those three played in a band together beforehand but they were playing very different music than we play now, I think it was kind of like Indie Rock, and they played with different people. It wasn’t too serious of a project, so when they joined in with KP and the Boom Boom that became of the main focus for them.

    Looking at videos and pictures that I’ve seen of the band, it looks like there are eight of you altogether. Is that correct?

    Yeah, so at the core there are five of us. Then outside of that, the smallest we’ll play is either five or six of us, and then when we play a bigger show it gets up to seven of us.

    Do you feel that the bigger size of your band has allowed for more experimentation with sound?

    Yeah it definitely has done that. I think the difficult thing with a bigger band in this day and age with music is making an income. I’ve noticed now with where the music business is going that it is much better financially to have less members in a band. When we went on tour, there were six of us, so it’s been great having additional members and the different sounds that brings. But it’s also difficult when everyone has a different view and trying to work out those differences together. I think we’ve done a really good job though, finding a happy medium, and coming together for the album.

    Where did you go on tour?

    This August we went up the east coast and back. From here we hit Dallas, New Orleans, Lafayette, Atlanta, then we went all the way up to Brooklyn, and hit certain towns and cities on the way back as well. It was a wonderful experience. I think our favorite show actually was in Brooklyn.

    Do you think that was the show that the crowd reacted the best to your performance?

    For sure. We actually opened for a really great band that night, Madame West, and it was interesting, she said to us, “Wow you guys, they really like you, and they don’t have to do that here. If they’re not into it they’ll let you know.” So it was just very surprising and wonderful that we had that experience.

    Have you ever played a show where you’ve had a difficult time getting the crowd into your music?

    Occasionally, I mean there have been the odd times where we’ve been booked out of context, and if you put us in a small town in Texas people just don’t understand at all. They’re used to their country music, and we’re this neo-soul band, so they just really don’t know how to take us. We know now not to take those gigs; those happened more when we first started. Sometimes I feel like people can still be a little confused by us, but that’s because you can’t “box” us. We’re not just a soul band; we’re not just a funk band. But I’ve noticed with eclectic sound, people take certain elements that they really like, and by the middle of the set they’re starting to get really into it.

    You just began to touch upon the point of your music being a multi-genre fusion; do you feel that the music industry tends to categorize bands too strictly when maybe everyone should address their accumulative influences?

    Only if you want that, I think if you’re set on only being a funk band or a soul band, than that’s what you should do if that’s your kind of music. But I have found recently that many bands are coming out with this kind of fusion of sound, and I love that. To me that is something exciting to hear as a musician, people taking all these influences from all these different genres and elements of music, and creating that one sound with it. I would rather be on the cusp of creating a new kind of sound than just repeating the sound of someone else.

    I would like to talk a bit about your album The Brave. On your website it is described as “an epic next-generation neo-soul album of universal sound seduction”. Which is an incredible description by the way. And after listening to it myself I couldn’t agree more. Do you feel that including this sort of “energetic sensuality” helps to engage listeners?

    For sure yeah, we’ve found that our audience really loves that type of energy. I think people definitely want to kind of be swept away and almost “high” when they listen to our music. We do have a serious side to the album too though.

    How long have you and the band been working on this album?

    We’ve been working on this album for two years. You always think the process is going to take less time. I think though if we had loads of money and the ability to all only make music and focus on this full time, then we could probably do that. But at this point, some of us are still teaching music, or working other day jobs, so that just isn’t possible yet.

    Do you have an official release date set?

    Yes, it’s going to be released on November 18th.  We actually finished the album in February, but then we started working with a publicist so we really wanted to wait those months and really ramp up publicity instead of just releasing it ourselves this time.

    Do you have plans to go on tour again after the release of the album?  

    We’ve not discussed doing that yet, but I don’t think that would happen by the end of this year. But I think next year we’ll start talking about it again. We had such a great time in August, and I know people have been asking if we’re coming back to the places we played on that tour.

    One final question I have to ask, what was it like opening for Snoop Dogg?

    Oh man, it was amazing, you know that was a very surreal experience. It was the biggest opportunity we had been given at that point as a band, so it was amazing to be a part of that, and be backstage, and to sing on a stage that size in front of so many people (The Moody Theatre in Austin). I got to meet Snoop Dogg very briefly at the end when he was walking out. We tried to have an official meeting with him but security was not feeling it. I think there were a lot of people backstage that night, so I think security was unsure of who was supposed to be there and who wasn’t. But I kind of bust past them at the end and introduced myself. I just wanted to say who I was and thank him, and he was a super nice guy, he was really chill and gave me a hug, I got good vibes from him.


  • Stubby's House of Christmas review of the holiday comp!

  • Willamette Week: Pat Kearns’ Debut Solo Album Is an Ode to a Changing City and the Doldrums of Middle-Age

    Pat Kearns’ Debut Solo Album Is an Ode to a Changing City and the Doldrums of Middle-Age

    Pat Kearns, So Long City (Self-Released)[SO LOW] For his solo debut, born-and-bred Portlander Pat Kearns offers up what seems to be an album-length lamentation of a forgone hometown. But on closer inspection, it's actually a low-key love letter to the unspectacular elements of a middle-aged man's life. Although Kearns is most associated with his power-pop act Blue Skies for Black HeartsSo Long City takes a subtler sonic approach that pays homage to familiar comfort. The undistorted steel-string acoustic guitars and wheeze of harmonica melodies on the title track don't sound as funereal as the lyrics might imply, but it's this light-hearted approach at misfortune that makes So Long City so inviting. "Hit the Highway" coaxes an improvised road trip in an effort to create a worthwhile memory, coolly set to midtempo strums that never aim for anything bigger than the steady, casual range they started in. "Sweet Lorraine" takes a bluesier approach at sporting a previously outspoken black heart on a well-displayed sleeve and utilizes the same Southern barroom soundboard to reveal what's perhaps the most album's sincere turn. It's presumably why Kearns chose to release this unpretentious batch of songs under his own name. He's not posing or aiming for anything unrealistic on So Long City, but rather showcasing both sides of what's earned after your zenith is in the rearview—dexterous skill and constant trepidation.

    SEE IT: Pat Kearns plays Turn Turn Turn, 8 NE Killingsworth St., with Rambush and Maia Dooney, on Thursday, Nov. 10. 9 pm. Call venue for ticket prices. 21+.

  • MAGNET: Alejandra O'Leary

    Alejandra O’Leary: Crawling from the Wreckage


    Alejandra O’Leary is a formidable guitarist, an impressive singer and a songwriter dedicated to venting the raw emotions most of us would rather keep hidden. On her latest album, All I Know, she dedicates herself to speaking the truth, now matter how painful it is. “Rock’n’roll is all I know,” she says. “That’s why I used that song as the title of the record. I’m not very good at many things, but I’m good at expressing emotion with my words, music and guitar playing. The phrase also sounds like gossip. This album has some very gossipy ideas and innuendos running through it.”


    The songs on All I Know are primal, visceral expressions driven by O’Leary’s stirring, multi-layered guitar attack and her passionate vocals. “I wanted to sing in my lower register, which I’ve never used before. I had to relax to reach those subtle tones, then push my voice to an almost falsetto place, to blow off the steam. The high highs and low lows intensify the drama of the songs.


    “A lot of the songs are about women trying to save men from themselves. I like to take the inner conflicts I’m experiencing and turn them into characters that can play out my emotions. I was going for high drama, musically and lyrically, cranking up the drama as high as I could get it. It’s not a chilling out kind of album. It’s an amped up, pacing around at night, ripping off your clothes kind of album. I don’t play screaming music, so the intensity has to come through the arrangements and lyrics, not sheer volume. These songs are about chaos and the aftermath of turmoil. It’s about assessing the wreckage and being resigned to it, while you’re figuring out how to live with it.”


    UNDER THE INFLUENCE with Alejandra O’Leary


    Nature: I live in Maine. Looking at the ocean and knowing how vast it is and how much it contains, that we can never see, is humbling. Especially one a turbulent day, when it’s really rockin’.  


    The Smiths/Morrissey: I’ve always loved how funny and insightful they are as songwriters. They carry on a tradition I love in art - finding humor and seriousness in the same thing.


    Dogs: I saw someone in a wheelchair walking a dog. Caring for vulnerable creatures makes you more human. Even if you’re disabled, you have the urge to nurture. It’s often on display in the way we care for dogs and other pets.

  • Sputnik Music reviews We the Wild

    Review Summary: Modest beginnings of We The Wild make way for a debut album of fury, dazzling instrumental technicality, and just the right amount of melody throughout.

    We The Wild is a young group from Portland, Oregon, but their musicianship reveals seasoned players with a ferocious attitude. From The Cities We Fled is their passionate expression of everything from personal confessions to assertions about the state of modern music. Genre-bending techniques impressively never sound gimmicky or forced, with compositions that defy explanation; the title track for example resembles the most insane moments of Mastodon filtered through a post-hardcore aesthetic. Blistering guitar riffs are a near constant and border on being relentless, lending to the strengths of “Exodus and Decay” and “2001.”

    The jazzy drumming and mind-bending guitar playing from We The Wild rarely gets overwhelming, with a healthy dose of melody in each song. Emotive expressions add further dimensions to their sound, with softer, melodic moments within “Still Asunder” and “Terrible, Terrible” showing an impressive understanding of dynamics. The ending trio of tracks forming a musical suite begins with “King of Wounds,” a heartfelt and confessional ballad of sorts. Despite the frenzied sound throughout, a sense of careful yet straightforward method of control is placed over how it functions. Tracks like “King of Wounds,” “Still Asunder,” and “Roxy the Cops are Here!” are each as catchy as they are frenzied.

    Despite being infantile as a group, We The Wild show command over their influences while being wholly original, and impossible to ignore. The passion is ever-present and From The Cities We Fled is a bold statement from a band with a bright future ahead.


  • xo for the holiday vol IX ready for you!

    artwork by KATIE WHITAKER (this years first snow in COLORADO! featuring apache white horse)


    *SF's EagleWolfSnake "Make It Glow"
    *BC Canada's Texture & Light "I Was Thinking I Could Clean Up For Christmas (Aimee Mann)"
    *Seattle's Andrew Joslyn and The Local Strangers with "Under Mistletoe"
    *LA's funny man Bill Berry 'Twas the Night After Christmas"
    *NYC's well known playwright Occurrence with "This is How You Know (It's The Holidays)"
    *LA's insane prog rock duo Magnuson with "Silent Night"
    *London's darling Piney Gir with "Love is a Christmas Rose"
    *Portland Oregon's Blue Skies For Black Hearts and "Peace on Earth/Little Drummer Boy"

     check out all 8 of previous comps! HERE

    Music Mondays: Texture & Light

    Texture & Light: Inner Space Odyssey (textureandlight.ca/music)

    On tour throughout B.C. this month

    Still showing a penchant for good album titles, this electro/indie crew from Powell River expands its sonic scope considerably with the followup to 2013s The Hard Problem of Consciousness. “Recovering DJ” Trevor Refix (a.k.a. Mervyn) and multi-instrumentalist Lyell Woloschuk’s disarmingly polite songs about everything from environmental degradation (Theft of the Sky), isolation (Predators) and general ennui (Post Everything) likely pack far more punch live and the pristine production can’t hide a raging band waiting to cut loose. Yet it’s the most mellow and non-dance track (This Too Shall Pass) that worms its way in the best.