This show was packed. It was crazy how many people were there and how posi-mosh everyone was. It’s the most smiles I’ve seen in a mosh pit in a while. Troy (bassist / singer, also in Stickers) is singing whatever it is that he’s singing. I can’t understand much of it but I think a couple songs are about eating that 13 egg omelet at Beth’s Café on Aurora. I haven’t eaten that particular endtrée yet but when I can get my hands on whatever recorded material White Coward puts out in the future, I’ll look for the songs that are reviewing the experience of that meal.

I remember on the trip back home, the van I was busy with talking about how great White Coward was and how great the show was overall. How much shredding and kind shoving occurred. How some of us in the car who live together, werne’t vocalizing how we weren’t so excited to leave a figuratively and literally warm space and enter into our house, which was literally cold. 50º F or something. How I was incredibly displeased with myself over the audio being blasted out from Heavy Flow‘s set. How it was okay, because they’ll tour up to the NW again and White Coward played a killer set.

This was the going away part of wonderful friend and rippn’ bassist of Swamp Meat, Laura Seniow. She didn’t go far- just to Bellingham, WA to finish school but still, she’s not in immediate vicinity of everyone who she’s been around in Seattle.

The house that this took place in is called the Seasick Halfshell Embassy; a house annexed by a few Bellingham ex-pats that I knew from my time there a few years ago. It’s really weird that Seattle is the migration point for the generation of Bellinghamsters that I was somewhat a part of- but it’s still cool. Opening up their house to allow great things to happen inside of it. This particular night contained a lot of people I knew, a few who I haven’t seen so often and the first show I was aware of at this space since a really rad BBQ event over the summer. It’s exciting… The prospect of more house shows operated by great people in Seattle where there has been a drought for a while. The location of this place allows it to have louder shows (if necessary) and not be as likely to be shut down by the po-po.

Back to the band: They rip it up and have type of accuracy-based sloppiness that I really admire. The kind that shows they are having fun. I’ve had the opportunity since this show to listen to a few Swamp Meat recordings that sound stellar. I can’t get over how rippin’ Laura Seniow’s bass playing is. She plays a few other string instruments and is very proficient at those too. Someone should hire her to play in their band.

Someone should also put out a 7″ for Swamp Meat.

Hint hint.

Lori is an intimate shredder. You can see and here how years of playing music has created such a bond between her and the cello, how fluid the experience is, that you hear them speaking their own language. You can’t understand what is being said but you can interpret your own idea of what’s going on.

There are a slough of musicians that were participants in the NW music community in the 80′s and early 90′s who don’t seem to play out as frequently as they may have in the past. Great people who still make great music: Steve Fisk, Sue Ann Harkey, Calvin Johnson, David Lester and Jean Smith  are the few others that I can come up with off the top of my head. Although Calvin performs often enough, still there are so many more who are either no longer active, passed, or don’t reside in the NW.

I wish that they would come out of the woodwork and present themselves to the community that is so rich because of them; our unknown or forgotten legends.

Healthy Times had a limited capacity that when it was filled up, the average was around 100 people. Furniture was moved out of the way in preparation for the event and. This show pushed the it’s absolute limit (well beyond 100) and the ticket idea was for the concern of going overcapacity.

I had showed up extra early to help, to setup this recording, and to hang with the crew that was around. It was a gradual flow of people coming into the show and was pretty sparce when Planets started playing and by the time Flexions came on after, there was a greater amount of people.

Then came the big squish.

Lightning Bolt had backlined their gear- amps that were towering an upper-limit of around 15 feet. The most amps I have ever seen inside a room. While they were setting up, everyone was patiently waiting and psyching out each other. They started after the drummer, Brian Chippendale, put his miked face mask on and both him and bassist, Brian Gibson, did a quick sound check to make sure everything was loud enough. They started pretty quickly. You could say that it was a lightening-fast sound check.

Remembering this night is kind of blurry. I don’t remember when I did it- probably pretty quick before their set- I had pressed record and managed to hop on top of the the rooms’ unused left PA speaker because I know that I was going to have a greater time not being heaved back and forth in a crowd. Everything got packed super-quick. There were people standing around and kind of in Lighting Bolt’s performance zone and I was having a hard time figuring out how I was going to get down from my position if need be. 1/3 of my left foot was on the ledge of the bottom speaker that the top one was set on and holding onto the top of that speaker.

It was hellish. A room full of friends and fans all with their faces flushed red wearing t-shirts and dripping with sweat. Looking over this human sea that had flooded Healthy Times, it was the most spectacular sight I’ve seen. The monoliths overlooking a room full of insanity; people pushing, pulling, shouting.

How loud that I was wondering how much electricity was being pulled and if a breaker would switch. The power did go out though but it wasn’t a breaker. Something had happened where an extension cord was moved or something (no one really knew) and people were anxiously sustaining their Lighting Bolt high while the squished group of people to the left of a PA stack I was on were trying to see what the problem was. Nothing seemed to be wrong and I don’t recall whether or not I forfeited my position to see if I could remedy the situation.

It was a good break for everyone to chill from the mayhem. It wasn’t long after the mess of cables was fumbled around with that Brian G. started shredding bass again. That was good for maybe five or 10 minutes* until the power went out again and that was kind of it. This entire phenomena was about an hour long and who knows how much longer it could have gone. I feel like Lightning Bolt puts their audience as a priority and perceives what they do as less of a band and more of a social experience that they just happen to curate. It was an amazing experience.

I hadn’t had a clue what I was getting into either. Basically, my friends were so excited about this in a way I didn’t really understand. I had told Taylor Wingett (Secondary, Footwork) that I’d never heard, seen, or even watched an internet video of Lightning Bolt and when he relayed that to William Statler (Punishment), William said something to the effect of, “Wow! I’d wish I could to relive what that was like again.”

This event is burned into my mind.

*It was hard to keep track of time. It really only felt like only half an hour

Don’t Talk to the Cops! may not have played a house show before this one (I’m unsure) but they were absolutely excited about it. There’s a special feeling that is brought about by a cozy crowd of people in a basement who want to dance, that know they’re supposed to, is something that you can’t achieve in any other environment.

It’s that feedback exchange and lack of self-conciousness of everyone in this space is the best. You can feel it. I can’t help from laughing and wanting to dance when I replay this video. It’s hard to sit still and you can just feel the magic that was happening this night.

Everyone is having a good time and no one is sitting down. Don’t Talk to the Cops! are of those bands that wants everyone to have a good time and are real about it- because that’s what they’re about.

This entire night was filmed and each bands performance will be presented on Off Tempo within the upcoming weeks. Please be tuned.

Did you know that Off Tempo puts out records? Did you know that they’re for sale?

This Saturday, December 10th from 11am – 5pm, Off Tempo will be sharing a table with cassette label, Wizards of the Ghost, and Jane Applesauce’s zine distro service (both Seattle based). Off Tempo will be showing videos that were been produced since 2010, documenting bands playing in Seattle’s alternative / DIY spaces. Available (for free) will be the 3rd edition of our very well received and reputable Zine [http://zine.offtempo.com] as well as the 2nd edition in limited availability. Click on the hype-link for more info about how great it is, and how you can help support it (with your money).

This is also a great opportunity to provide any Q’s to be A’d.

If you’re interested in buying our releases, here’s what we have available in our catalogue!

• OFF002 – Shenandoah Davis ‘We; Camera’ [cassette]
• OFF003 - Slashed Tires ‘Weather (an extended play)’ [poster/digital]
• OFF004 – Stebmo, Your Heart Breaks, Team Gina, LAKE, Karl Blau ‘Sensual Seduction’ [7”]
• OFF005 – Shenandoah Davis ‘Two Cover Songs’ [7”]
• OFF006 – iji ‘Bird-Man Movement Team’ [7”]
• OFF009 – French Quarter ‘Desert Wasn’t Welcome’ [12” LP]

The Vera Project, in case you are unsure, is located in the Seattle Center on the corner of Warren Ave N & Republican St.

It’ll be great!

What has been happening since 2008 in Seattle is happening again this year. From our great mother of 2011 comes Expo ’89, a small festival hosted by boutique vintage-clothing reseller, Cairo.

The show spaces was shared with the Anne Bonney (a space that sold vintage wares and cool junk) when it was still around and when it went out of business, a clothing shop took it’s place called “Indian Summer.” Since last years Expo and a some alleged rowdiness that occurred during one particular set, I assume Indian Summer wasn’t into the idea this year or wasn’t asked. Last year when I spoke with the owner about Expo, she wasn’t stoked about someone being crow-surfed.

Last year at Expo ’88, Cairo released a compilation called Cold Jungle that showcases a small scope of Seattle musicians. This year they’re releasing another called Costal Sightings, which broadens its inclusion zone a bit but still retains some of the same musicians from the previous comp.

Off Tempo will be recording as much of Expo ’89 as we can this year. The audio will be broadcast on Hollow Earth Radio and available here to download and stream when mastering and whatnot is completed.

Here is the full schedule for Expo ’89 (taking place at 507 East Mercer St)

Thursday December 8th, 6 pm, FREE Robert M. Wolfe presents “Dirt”, & Co. Jewelry trunk show, and screening of “After Dark”

Friday December 9th, 6 pm, $8 music by

O.C. Notes

Spencer Clark

U

Flexions

White Rainbow

Saturday December 10th, 5 pm, $8 music by

Pleasure Beauties

Stephanie

M. Women

Witch Gardens

Stickers

Idle Times

Sunday December 11th, early afternoon FREE Mixtape Reading Series & “UMMM…WHAT ARE YOU DOING?” a salon hosted by Jamey Braden.

6 pm, $8 music by

Secret Colors

Ilyas Ahmed

Ensemble Economique

King Dude

Tiny Vipers

I first heard some of the new LAKE songs the band has been writing after the release of Giving and Receiving at the 2011 edition of Helsing Junction in Rochester, WA. There was an event that Cairo was hosting called Vibrations Fest that was happening concurrently to the Saturday of Helsing. I informed a number of folks that I was going to skip it and instead go to Helsing. I have different friends in both events but this particular weekend was my chance to skip Seattle for the majority of a day and spend time with everyone who I don’t see so often. It’s important for me to see my friends when I can, especially when they don’t live in such close proximity.

Helsing Junction was great but I was definitely feeling distant from everyone. Everyone seemed to have their own pod to hang with and I came down from Seattle with Rebecca Redman, but she was off either at the river or I don’t know. Things got better though as the evening went on. I took a walk around the farm, sat next to the river (didn’t swim: can’t) saw Jeffery Jerusalem limp around after breaking a toe in the river, saw some really good sets from some really good bands

Without going on about Helsing anymore, I was noticing how dancey LAKE has gotten since Giving and Receiving came out. They’ve always had a bounce to their music and it became more apparent after Let’s Build a Roof that folks on the audience were more inclined to jump around and get freakay. I crowd surfed a year and a half ago and Lindsay Schief announced to the audience, “that is the first time anyone has ever crowd surfed at one of our shows.”

The groovability of LAKE at Helsing was super-obvious in what sounded like a fusion of 80′s disco / R&B and their forever-love of Fleetwood-Mac. I distinctly recall Andrew Dorsett ripping the sickest funk-guitar solo center stage and I was freaking out on the inside. I think it was about the middle of their set where there was a song that Markley Morrison of LAKE / Lazer Zeppelin / Skrill Meadow was taking the role as the lead singer. He’s usually a backup singer and switches instruments and roles like the rest of the band does a lot during their set. I remember feeling confused about if this was an original, or a cover since there was some goofy-talk on stage preceding the song.

For now, I guess that song is called Taking My Time.

LAKE played a bunch of new songs at this 20/20 Cycle show. Only two are captured in this video, Taking My Time, and Perfect Fit. The first is Skeleton Costume from their most recent record. I think by this time, when I saw Taking My Time, I knew better that it wasn’t a cover. I’m actually still not sure though just because I haven’t outright asked about it. I haven’t gotten it out of my head and I’ve been singing the chorus for this last week. It’s a hit. All these songs are hits.

Back to Andrew not being at this show: There was a gap. I’ve experienced LAKE shows where he’s not there but it’s not like if a member of the band is missing, everything goes crazy. It’s just a different configuration and Lindsay plays the drums more. They know all of these songs and each member is more than able to play different instruments. It’s why the band seems to work so well can collaborate on influencing the sonic-addittude of each song. They have their own predominant musical influences and can put that in a put to produce a robust sound and presence to what they do.

After a long time wanting to, I was finally able to video document this happen. Super-thanks to Alex Kostelnik for being a sound magician.

At home, I was freaking out. The internet is a great thing but, unfortunately, it can lead folks to be docile. It’s a lot easier to hear about a shitty-piece of legislation wanting to be passed to fuck over the population and “Like” it or “Share” it on the internet’s largest social networking site, Facebook. Clyde Petersen (Your Heart Breaks) made a very important speech at this show he played, pointing out how dire of a situation everyone was in (you’ll hear it in the recording).

I’m here for your commercial consideration to talk about how America is fucked and Planned Parenthood is about to get fucked-up-the-fucking-fuck. So… that’s the thing- is we’re fucked. So I brought you all condoms because you’re all fucked. Take a condom, pass it [the box of condoms] around, everyone take one because this is your new Planned Parenthood. Free condoms at a show. Everybody, I don’t want to see any unplanned children or horrifying STD’s that your ashamed of. I don’t like to hear about those things. Um… That’s my speech mostly but if you can, take action towards helping solve this crisis that America is in, uh, where,  uh, people are saying that other people aren’t in control of their bodies and shouldn’t have that right. We need to talk about that as a community. In real life and not just on Facebook. And not on the internet and using the phone to call the people in charge, because that’s really effective. So, this is a rambling speech. I come to you today to joun forices to help America. So, just deal with it. You’re all probably over 18, so let’s go. You like having sex, sometimes sex means having babies, not if your gay. Some of us area luckier than others… and… It means whatever you think it means. That means that some of us have health care and some of us don’t [...]

Tweeting and sharing isn’t going to help anything. Direct action in informing your state representatives will. I called and spoke to someone. It felt good

Fortunately, enough great citizens did something to tell the “people in charge” that what they’re doing is bullshit, and Planned Parenthood’s funding didn’t go away.

Clyde Petersen has an internet television series that he started called Boating with Clyde where he basically takes musicians, NW celebrities and smart people on boat trips. He’s been screening episodes at a few shows since the end of Spring in different places around Seattle after making it’s debut at the final What the Heck? Fest. Your Heart Breaks plays the theme song during this show backed by the beat of a cheap keyboard where. The actual intro uses the band PEACE‘s song Summer Time as it’s backing track while Clyde raps over the top of it.

The Your Heart Break shows I’ve seen in 2011 have been few but every time I’ve heard a few songs that I haven’t heard performed live before. Just about every time there’s a Nana Grizol cover, this time was one I haven’t heard him cover before. That I also don’t know the name of. There’s a collaborative song that Clyde and I made a month or more before this show under the name of Lochness Mobster that may or may not be released. He made the beat and wrote the song, I played bass and made a few suggestions and provided studio space for the recording the song. It’s played by him during this Your Heart Breaks set.

Deep cuts.