[FROM THE CRATES #15] The Adolescents - Adolescents

Review by Matt Abramson


The Adolescents - Adolescents
(Frontier Records 1981)

I picked this album up as part of my punk rock epiphany that lasted from when I was thirteen until... well... I'm not sure I'm fully epiphanized yet. However, this remains my single favorite punk or hardcore album of all time. I never get involved in the where or who started punk rock argument because the only thing that matters is who did it best, and that band was the Adolescents.

The Adolescents were a punk super group, but would never tolerate being called such a thing. They featured dudes who were in or went on to form bands like Social Distortion, Agent Orange, D.I. and Christian Death. Their music is a fast and ferocious blend of early punk, California surf, the emerging hardcore scene and busted skateboards. What the Adolescents couldn't hide, however, was how fucking well they could play. Casey Royer's precision ride cymbol 16th notes and Rikk Agnew's thoughtful guitar work (side note: Shit, the guy is playing modes. What other punks knew about modes? And if you send me a Dead Kennedys link I will find you and make you listen to 'American Idiot' at full blast for two days straight. Don't try me. Dead Kennedys had a frontman. The Adolescents had a band.) coupled with really clean production for the time was a far cry from "Blitzkrieg Bop".

"Kids of the Black Hole" is the undeniable centerpiece of this album. At over five minutes long, it is longer than most hardcore seven inches. What is really crazy about the track is it shows the Adolescents writing and playing well beyond the novelty standards of the time imparted by The Ramones and The Sex Pistols. The track even featured a guitar solo, hell, a good guitar solo! This kind of composition was the antithesis of what the die-hard punks would consider punk.

Early punks would likely have us believe this was utter blasphemy due largely to the fact that they were incapable of such a feat. Notably, the other tracks on the record are more in line with what is expected of hardcore music. Still, tracks like "Amoeba" and "Wrecking Crew" offer flourishes of really interesting playing that would later be mastered by bands like Fugazi. This was all matched by lyrics that any teen can relate to, under all the psuedo-politics and punk bravado are themes of isolation, uncertainty and mostly just having had an ass full of life's bullshit. It's stuff that the meanest punks were scared to talk about, and here were their own talking about it. Punk may be a mindset based on individuality, but we all feel like shit sometimes and it's important to know we're not alone.

There are three versions of this album floating around on CD. The first (and also the most recent vinyl pressing) features just the album. The second adds the 'Welcome to Reality' EP, which featured a nearly intact blue album line up. The third, which I believe is the 2000 pressing, features the album, EP and Rikk Agnew's solo album 'All By Myself' on the same disc. This is the one to get, it's more bang for your buck and the Rikk Agnew album is almost worth a column by itself. Hmm...

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[EDITORIAL] Jerry Recounts The Spits' $5 Cover Shoot @ Blue Moon

Preface by Nik Christofferson
Story by Jerry Howard

Remember all the hoopla over those MTV film shoots that took place around town last summer. The shoots were for an MTV project called $5 Cover which featured and followed around many of Seattle's most loved bands of the moment including the Moondoggies, The Lights, Thee Emergency, The Spits, The Maldives, and a slew of local hip-hop acts as well. Directing the project was Lynn Shelton, the director responsible for the absurd yet totally watchable Seattle based indie film "Hump Day". Well, this $5 Cover business is finally screening on Monday at SIFF cinema, and some of the particulars of the what turned out to be a 60-minute film have just come to my attention. Sorry I'm not in the loop, but I just wasn't that enthused about MTV coming in and putting their shitty spin on a music documentary about Seattle bands. So basically I have ignored the whole thing.

Turns out its not a music documentary at all but a dramatized story following 13 Seattle bands during the course of a weekend. WTF! Of course there are brief snippets of the performances that were filmed at such places as Easy Street Records, The Blue Moon, and Chop Suey but it also includes a series of highly dramatized vignettes involving prominent members of our music community and actors. I am happy for the bands who are getting wide exposure with this thing, but the tactics are just way too questionable. I don't know, I keep flip flopping on this one. I guess the trailer grabbed my attention, so here is the info on the screening as well as the known info on the after party at the Tractor.

$5 Cover: Seattle shows Monday at 7 p.m. and tickets cost $15 ($12 for SIFF members). An afterparty at Ballard’s Tractor Tavern that includes yet-to-be named bands featured in the film begins at 9 p.m. The cover for the afterparty is of course $5.

Here is the trailer for the Seattle $5 Cover, and for those who have seen "Hump Day" notice actor Joshua Leonard part way through. Seriously?


This brings me to the actual meat and potatoes of this post. SRG contributor Jerry Howard had a very interesting experience while doubling as an extra at the Blue Moon $5 Cover shoot for one of his all-time favorite bands The Spits back in August. Jerry's first hand account gives an interesting perspective of one of the events that led to the now finished product that is $5 Cover: Seattle.

Note: This account was written shortly after his experience in August, 2009.

--
I arrived at the Blue Moon tavern and everything seemed a bit disorganized. The crew scrambled, busy for the upcoming shoot: adjusting lighting, blacking out windows, all the fun things that go into making a video or film.

Good times.

A woman approached me asking if I was there to be an extra. Spot on lady. She then requested that I report to the RV for wardrobe inspection.

Wardrobe inspection? Seems like an innocuous request, so I obeyed. Immediately, all eyes were on my t-shirt, which is all black and, thanks to loud white font, screams "Technosucks."

Another member of the crew asked who the shirt represented? Is it a company? A logo perhaps? No need to fear, man. Technosucks represents the cool, relaxing sounds of Pure Filth in Nottingham, UK. Actually, they are a hardcore techno crew who are anything but relaxing. I explained that they are my friends and my buddy Ian actually created the shirt and would be proud if it showed up in a Spits video. I ensured there would be no lawsuits.

"Sorry, it's an MTV thing." He informed me.

The "Technosucks" t-shirt needed to go. Wardrobe offered me a variety of other black, logo friendly shirts. Seriously, it must have been bands who MTV was cool with. I did not recognize any of them and started to feel a bit self-conscious. What if I wore the equivalent of a Warrant shirt? How about Lincoln Park? Nope! That was not going to happen to me. The "Technosucks" shirt would be worn inside out, proudly of course and with a hint of discontent.

Next, the MTV guy branded me: a sharpie blackened "X" slashed across the back of my hand. Immediately, I connected the black "X" to straight-edge and chuckled while entering the bar thirsty for Manny's. The bartender refused to serve me. What? Do not infer that I might get rowdy when I have not even received a fair chance to get out of hand. I demand booze. Another extra washed his symbol off - smart move! Another crew of neatly groomed punks declared they would no longer "extra" and drinks were served all around.

I did not display such bravado. A crew member from MTV kindly informed me that there would no drinking and proceeded to herd me into a roped off stage area with the rest of the sober people, away from the bar flies, away from the ten varieties of tasty goodness hovering inside those magical taps. Screwed, I stood there alone - a poster boy for conformity with my inside out "Technosucks" shirt. I had chosen television over beer - a clear indicator my brain had been scrambled at some point by network TV. At that moment, another MTV crew worker handed me a bottle - a bottle of beer! I smiled. She didn't.

"It's only water." She apologized.

Damn! She wasn't messing with me. The label claimed a Cobb Nobbler IPA. Liars! Hey, the water tasted good. It was hot inside the Blue Moon.

The AD started instructing us regarding our placements. Some dressed up punks would hover in the front corner where they would be the focus. I believe they were actors, which meant they were probably getting paid! Therefore, they would receive screen time. Their dance moves would be on display for the behemoth MTV public. To the shadows for the rest of us, providing a nice back drop for the beautiful. Need to ugly it up a bit. Contrast is nice. I was in the back.

The Spits came out and blasted through three live songs for the crowd. It ruled. I love this band. I was here for the band, not anything else, but a beer would have hit the spot.

After playing a few songs, the production crew prepped for the next shot. A few other extras started to ask one another if The Spits were a real band. What? It dawned on me that some of the extras did not know The Spits. TV had called and they had answered - a chance to be somebody. Maybe get noticed. The spirit of LA rifling its way into Seattle.

I needed a beer in the worst way.

The video focused on one of my favorite Spits' tunes, "Witch Hunt." We heard it over and over again, which didn't bother me. At home, I listen to "Witch Hunt" over and over, so it felt right, except that no beer was involved - damn you MTV! The Spits had fun with it, displaying their usual energy that contributes to their greatness. They joked. They didn't seem bothered.

Overall, it was an interesting experience. On past productions I have worked on, people generally seem stressed out and treat each other like shit. Not the case here. Lynn Shelton, who directed (Hump Day), created a stress free set and it was cool to watch her work. Back in 1996, I worked for Marty Calner who is responsible for crimes against humanity, puking out cliched infested videos from lame bands such as Aerosmith, Poison, and White Snake. This jerk off would scream at everyone and once told me that I would, "Never work in this town [Hollywood] again!" Homie was a walking cliche. He treated extras like dirt and always left the set before everyone, peeling off in his Mercedes. He still owes me $200. Punk ass. Happy to say this shoot did not resemble any of that crap.

After The Spits wrapped up, I was fortunate to meet Sean and thank him for allowing us to use the song "Rat Face." He was cool. We had a nice chat.

In the end, I scored my beer and enjoyed it while watching an old flick titled Vice Squad in the comfort of my own home. Although MTV had sunk its claws into me for a short time, after I was able to proudly display my "Technosucks" shirt to whomever I wanted. Compromises had to be made. The afternoon was about supporting one of my favorite bands who had been good to the Taco Cart. If you ever get the chance to see The Spits, you should do it. You will not be disappointed.

I leave you with our trailer for "Vampire Hunter Hank" that includes The Spits song "Rat Face."

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[SHOW PREVIEW] RIP The Abodox @ Comet Tavern

Don't miss your last chance to say goodbye to local grindcore veterans The Abodox tonight. Bummer!

Last week the official word came confirming the rumors that The Abodox has called it good after 11 years. Tonight they play their last show at the Comet Tavern with Lozen, Evangelist, and Sugar Sugar Sugar. The good news remains that Benjamin Thomas-Kennedy will continue to play with Dorando Hodous in LESBIAN and with Nathan Smurthwaite in the Marrying Type. Dorando will also continue as a member of The Accused and Benjamin as BLOUSE (u.s.a.)


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[SHOW PREVIEW] The Lights Record Release Party @ Funhouse

Veteran Seattle band The Lights will be celebrating the release of "Failed Graves," their third full-length album tomorrow at the Funhouse in Seattle. Though I am certainly aware of the band, I can't say that I have had the pleasure of really getting to know their music well enough to comment a whole hell of a lot. What I do know is I dig what I have heard thus far. How's that for honestly from a so called music buff. Sometimes times good bands slip through the cracks, that is just the sad reality, even for someone like me who does their best to stay current. Friday's show will also feature Erik Blood and Partman Parthorse both of whom I have yet to see live as well. So I guess what I'm saying is you should join me at the Funhouse as I take in 3 new local live experiences.

The album was produced and mixed by long-time collaborator Erik Blood and will be released on VINYL and Digital Download by WANTAGE USA (www.wantageusa.com).

Show info:

Friday, Feb. 26 at the Funhouse

The Lights
Erik Blood
Partman Parthorse

Doors at 9 p.m., $7.

Additionally The Lights will be appearing in the MTV.COM series "$5 Cover" directed by Lynn Shelton (Humpday, We Go Way Back). Additional mini-documentary on the Lights filmed and directed by John Jeffcoat (Outsourced) is also in the works.

Here is a brand new tune off "Failed Graves" entitled "New New" courtesy of The Lights. Enjoy!





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[PHOTOS] Blood Red Dancers / See Me River / The Curious Mystery / Constant Lovers @ Neumos

Photos by Nik Christofferson

Here are some photos I took from the excellent all local bill from Wednesday, March 17th at Neumos. Constant Lovers opened and maintained their position as one my favorite local bands. They continue to impress with a percussion heavy noise rock sound. The Curious Mystery performed virtually all new material, while staying with the familiar psychedelic rock infused Americana sound they are known for. See Me River also premiered a bunch of new songs that will no doubt be included on their next long player, and I finally caught up with Blood Red Dancers. BRD vocalist Aaron Popnick's bourbon snarl firmly cemented my Tom Waits comparisons, and I thoroughly enjoyed the band's unique mixture of punk rock and vaudeville, especially the artistry of classically trained pianist Julian Thomas.

Blood Red Dancers





See Me River



The Curious Mystery





Constant Lovers





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[LIVE REVIEW] The Spits / Personal and the Pizzas / Coconut Coolouts @ Chop Suey

Review and Videos by Nik Christofferson

Monday night pretty much ruled. Seattle’s own punk rock legends The Spits played Chop Suey along with Seattle virgins Personal and the Pizzas (NJ), party animals the Coconut Coolouts as well as early bird openers The Pranks. DJ Kurt Bloch as also spun records between sets keeping things loose.

Coconut Coolouts are always a ton of fun with their double drum party themed jams complete with Banana bass player. Tunes like “(Please Don’t Break Me Out Of) Party Jail” and “I Wanna Come Back From the World of LSD” stirred up a nice little dance party instigated by the girls in local pop-outfit TacoCaT. The girls also jumped on stage for a song jokingly credited to Bill Cosby and the Pudding Pops.

New Jersey natives Personal and Pizzas made their Seattle debut by being totally rad. Together with their thick Jersey accents (didn’t somebody say they were from San Fran?), and an arsenal of tuneful garage punk tunes, the Pizzas were welcomed in typical punk rock fashion as the crowd immediately pelted the band with empty PBR tall boy cans. Actually at the bands insistence, more and more objects were tossed on stage including full drinks and possibly a shoe.

For a brief moment it seemed the remainder of the evening would be spoiled by some unruly and unrelenting flatulence near the left side of the stage, but when the “Fucking” Spits (as they should be deemed by now) took the stage, the scattering mass quickly forgave the mystery offender, and gave into the splendor that is a Spits live experience. This was a punk show by the way, so quickly the human reaction to stench turned back into that “I don’t give a fuck” attitude the music is built upon. The Spits began their set with their own triumphant “Fuck You!” amidst a thick fog and forbidding red glow by lighting one of Lance’s cymbals ablaze and popping off a few rounds of fire crackers on the small stage. Not sure how they got away with that one, but it was certainly an impressive and ballsy move. Meanwhile, Sean, Erin, Lance, and Greg on keys dumped buckets of The Spits’ most loved sing-alongs onto the drunken mess of a crowd, who eventually turned the Chop Suey floor into one big sea of boozed up, pushing, shoving; throw your neighbors drink at the band humanity. Best show of 2010 so far? Certainly a prime candidate!

You must also read this account of the show posted on The Stranger’s music blog "Line Out". Not only is it hilarious but it strangely mirrors my experience as well, probably due to my choice to not fully participate in the evening’s debauchery.




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[RECORD REVIEWS] High on Fire, Fang Island, Jeff the Brotherhood, Lair of the Minotaur, The Small Change, and No Go Know

Record Reviews by Nik Christofferson , Matt Abramson , and QuitterDan

Be on the look out for more record reviews here at SRG.com, every week we will attempt to give you a heads up on some new stuff, maybe even some old stuff as well. All records reviewed on the site are given the SRG stamp of approval by one or more of the writers, which should mean everything. Enjoy!

High on Fire – Snakes for the Divine(E1 Entertainment)
by Matt

A daunting, difficult question: How in the hell do you write a review for your favorite band without sounding like a total fanboy nerd? Beats the shit out of me. Let's just call it "unbridled enthusiasm for a truly great release in a truly great genre." Dig?

High on Fire have unleashed their catastrophic metal assault once again. 'Snakes for the Divine' is such a highly anticipated release that anything less than classic would disappoint the rabid metal masses. Fortunately, 'Snakes' is classic. Classic. It's a word that keeps popping up in my head while blaring the album at uncomfortable volumes. From the very first seconds of the album, where Matt Pike's guitar fades in sounding clearer and his unreal chops sharper than ever it is evident that HoF are paying homage to their classic metal roots. This might be dangerous ground for some bands, but HoF integrates the classics into a fucking classic.

Hats off to bassist Jeff Matz, this record is certainly a triumph for him. It's impressive enough that he can keep up with Matt Pike's guitar pyrotechnics, but 'Snakes' is a level beyond keeping up - it's sonic fury. The bass remains clear and booming throughout, and even takes a lead roll on the title track and elsewhere. Jeff Matz is now covering the sound spectrum for both bass and rhythm guitar - and "impressive" is an understatement. It's unheard of. His arpeggiated lines in "How Dark We Pray" build the song into an uglier, meaner monster and adds even more layers to HoF's signature bombast.

High on Fire are more cohesive than ever on this record. There has never been a shortage of talent in the band but let's face it - when someone says HoF you usually just think Matt Pike and two dudes. And for good reason, Pike's place in the Pantheon of Shredding Masters would make him a centerpiece of any band. But only the tandem of unstoppable drummer Des Kensel and Jeff Matz, along with Pike's own intuition, could blend in a way that makes complete sense on the edge of complete sonic overkill. It's an amazing thing to hear, and while I've been a HoF fan for fucking years, I would never have thought they would interact in such a way. Fucking classic.

Finally, the solos. I don't know how, but Matt Pike got better. Halfway into the solo for "Frost Hammer", you suddenly realize everyone that has ever thought about playing metal guitar is now Matt Pike's bitch. Where there was tremolo picking and insane bends before, there are now complicated sweeps and Dime-worthy tapping variations. "Bastard Samurai" (aside from automatically winning best song title of 2010) takes its time building mid-tempo before turning into an avalanche of shredding. "Ghost Neck” is likely the fastest, shreddiest song in the HoF catalog, and evidence that Pike has the confidence in his vocal ability to let his chops run completely wild.

'Snakes for the Divine' is High on Fire at their toughest. There are no compromises made at any point. The songs are indestructibly built and the musicianship is flawless. It may be more of a classic sound, but make no mistake - this shit may be the metal album of the decade.


Fang Island – Fang Island
(Sargent House Records)
by Nik

The Brooklyn based musical mathematicians known as Fang Island have crafted an uber-fascinating, sublimely unique sophomore record chalk full of enthusiastic prog-pop anthems. The perfect soundtrack for whatever has got you down and out; “Fang Island” is a cavalcade of joyous choruses, back dropped by heavy rhythms, and depth defying, almost unfathomably meticulous guitar work.

The record is head spinningly complex, but in opposite fashion, not in the typical can’t keep head above water way that bands with lesser talent usually try and fail. The three-pronged guitar attack alone should put a smile on the face of anyone who is a fan of unadulterated musicianship.

Standout tunes like “Daisy”, and “Sideswiper” both exhibit Fang Island’s mix of visceral prog-rock riffage and undeniable pop sensibility. I highly recommend taking the journey that is Fang Island’s “Fang Island”, and if it doesn’t leave you feeling all warm and fuzzy inside-- listen again, then again.


Lair of the Minotaur – Evil Power
(The Grind-House Records)
by Matt

'Evil Power' is proof that thrash is just as relevant today as when Slayer released 'Reign in Blood'. The songs are short and sweet, and contain more than a nod to seriously old-school thrash minus the solos but with double the attitude. Putting Pig Destroyer’s Scott Hull behind the board ensuring none of LOTM’s twisted brutality would be lost in translation. The production on this album is rock solid. Each instrument is represented clearly in the mix for maximum bludgeoning and I really like LOTM’s dual guitar mix with each guitar displaying varying amounts of flair, making it all sound loose as fuck but still completely locked in.

I can dig the whole historic Roman warrior perspective, but roll my eyes a bit at lyrics like “let’s fuck them ‘till they’re dead” ("Let’s Kill These Motherfuckers") and “these fucking cunts fight like women!” ("Death March of the Conquerors"). Maybe that's not very metal of me. And no disrespect intended, but I find myself yelling “Evil monkey!” instead of “Evil power!” on the title track. Family Guy fans know what I’m talking about. Come on, it’s no different than making up the lyrics for Boris albums, which I do as well. If you are compelled to shout along, the band has done something right.

The tracks that resonate the most for me are the album opener “Attack the Gods” and the closer “The Violent Iron Age of Man”. Both lock into really solid grooves that I could headbang like a motherfucker to. Overall, if thrash is your thing than this is your shit. It's got the sound and it's got the attitude, but it's your job to give it the volume.


Jeff the Brotherhood - Heavy Days
(Infinity Cat Recordings)
by Nik

The brother duo of Jake and Jamin Orrall made a very wise decision by moving away from one time indie buzz band “Be Your Own Pet” and releasing their first full length record of tasty stoner garage rock last October instead. Why? Because on “Heavy Days” the duo known as Jeff the Brotherhood actually make music worth listening too, something that BYOP certainly did not.

Tracks like “Heavy Krishna” and “Dreamscape” shower the willing listener with a mix of fuzz bomb guitars, poignant drum licks all the while interleaving a steady stream of killer psychedelia. This potent mixture should be enough to stir any stoner rock fiend from their weed nap. Just in time to make a snack, and grab their 3 footer for a second round. Jeff the Brotherhood have made a record than any fan of Kyuss, Fu Manchu, or Kinski for that matter should probably dig, and add to their vinyl collection immediately.



The Small Change - Every Line In My Head
(Unsmashable Records)
by QuitterDan

As the Needle hits the groove on "Every Line In My Head", the 3rd long player from Seattle's The Small Change, I can't help but feel excited that some new old sounds are resurging and hoping to overthrow the current status quo of indie rock. As the opening track "From the East Coast" fades in, there's an electricity to this band, and with hooks reminiscent of Elvis Costello, Early Bruce Springsteen & The Stiff records catalog circa 1978, You can't stop feeling great while listening to this! Following with pummeling precision, "Every Line In My Head" reminds me how incredible power pop still is, while "Droppin' Petals on the Way down", "Can't Dance Wicha Honey", "Celebrate" and "Downtown in a Restaurant" all follow suit with solid songwriting, unbelievable hooks and sing along staying power.

Frontman Greg Collinsworth puts more passion in his vocals than an entire generation of Death Cabs & Modest Mice. The music behind Greg is tightly knit, with such strong hooks & able performances by Nick, Doug, Jason, and Ryan (last names be damned, these guys are your new best friends). In a sea of redundant "snore-core" bands, The Small Change erupt with fervor, passion, and pop hooks galore. All hail The Small Change!

No Go Know – Time Has Nothing to Do With It
(The Union Records)
by Matt

This record seems to be the odd man out from this bunch of reviews. First off, I have a soft spot for double albums so it’s a no brainer to at least mention a band who can pull off this daunting task and keep it remotely listenable. Secondly, plenty of bands outside of the metal genre are pretty damn good – we at SRG.com tend to put the more eclectic selections on the back burner sometimes to stay focused on more hardcore shit.

No Go Know would not be entirely out of place in the 1970s. What is missing - and missing in an awesome way - is rock pretentiousness. It's straightforward rock with a touch of prog, but more of a spaced-out kind of prog. The band hits their stride when they rock a little harder, some of the softer tunes are borderline whiny but bearable next to damn near danceable gems like "Good God".

It’s apparent the band has taken careful consideration to the scope of this album. Double albums are usually vulnerable to filler, yet none of the songs on ‘Time Has Nothing to Do With It’ feel as such. Careful atmospherics and thoughtful lyrics really shine on tracks like “There is no End to What We Need” and the overall flow of the tracks is good. It may not be something totally earth-shattering, but it is a listenable album perfect for a rainy afternoon of contemplating the world.

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[PODCAST] Rock Guy Cast Vol. 7

Podcast by Nik Christofferson

We at Seattle Rock Guy are expanding our blogging horizons and the means by which we spread great music in new ways in 2010. One of which is with the launch of our weekly podcast series "Rock Guy Cast".

On this week's cast I introduce SRG.com's newest weekly column "NW NOISE" by playing a shitload of "noisey" local music. Each week yours truly will profile a different NW band that I think is deserving of your attention. This week I also begin a soon to be weekly trend of including a concert calendar in the cast as well as play some new music that has been on heavy rotation in my life. Enjoy!


**Disclaimer**
We realize that there may be copyright laws out there concerning podcasts and the subsequent usage of music without asking permission first. We may not get around to asking every time, but rest assured that we are operating under only the best of intentions here at SRG. If you represent an artist and listen to our podcast, and it offends you that we are talking about and/or playing their music, then email us. Remember we are on your side. Rock!
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[Killer Show Alert] Black Breath In-Store @ Easy Street Records (QA)

Looks like Black Breath are going to play an Easy Street In-Store! Expect some destruction in the form of new tunes from their debut on Southern Lord Records "Heavy Breathing" out day of show. Be on the look out for a future SRG interview with the local demons as well, still locking down details.

Info below courtesy of Easystreetonline.com:



Tuesday, March 30 @ 6pm - Black Breath - Record Release In-Store! - Seattle metal band Black Breath signed on with Southern Lord last October and released their Razor to Oblivion EP shortly thereafter. The debut full-length, titled Heavy Breathing, will be unleashed on the very day of this in-store performance!


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[NEWS] New Danzig Record this Spring!

No Danzig. No Party. is a motto my good buddy Mike and myself have lived by since longer than I can remember. I have never been more prepared and stoked for the renewed chance to give thanks and praise to the almighty Evil Elvis than I am at this moment, for this spring we shall receive a brand spanking new Danzig record entitled "Deth Red Sabaoth". For the record, I could care less that some of Danzig's more recent records have been complete shit. Let 1000 devils reign!

BTW is you haven't notcied so far this year is shaping up to be quite the year for metal. We already have beyond stellar releases by Fear Factory and High on Fire, now with the news that we get a new Danzig record things are looking good for metalheads everywhere.

Here's the info courtesy of Blabbermouth.net:

DANZIG has set "Deth Red Sabaoth" as the title of its new album, tentatively due this spring. Drummer Johnny Kelly (TYPE O NEGATIVE, SEVENTH VOID) and Tommy Victor (PRONG, MINISTRY) will appear on most of the tracks, according to a posting on DANZIG's official web site.

The CD will feature a song called "Long Dark Road", which is decribed by Glenn as "very creepy and echo-y. It's like an old kind of '50s-ish kind of song. I've been having in my head probably for about six, seven, eight years. I haven't gotten around to recording it, and I recorded it, so it's pretty cool."

Night Of The Vinyl Dead recently released a limited-edition (500 copies) vinyl version of DANZIG's 2002 album, "777 - I Luciferi". The package contains a 12-page photo book and screenprint by M. Fumi.

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[VIDEO] Blood Red Dancers / See Me River @ Neumos

Videos by Nik Christofferson

Last Wednesday I checked out the excellent local billing at Neumos that included Blood Red Dancers, See Me River, The Curious Mystery, and Constant Lovers. All four of the bands are unique and made for an eclectic and stellar evening of "NW NOISE". Here are some videos from the evening-- two from Blood Red Dancers and two from See Me River including a brand new song and a cover of Shel Talmy's "Bald Headed Woman" which was recorded and made famous by the Kinks ('64) as well as The Who ('65). Stay tuned for some words and my photos from this show coming asap.




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[NEW MUSIC] New Deftones Track "Rocket Skates"

The Deftones are back! Today they released a brand new track entitled "Rocket Skates", and made it available for free download here. This song will be included on the Deftones' new record which will see the light of day on May 18th. The Deftones previously scrapped an entire album entitled "Eros", and headed back into the studio to record what will now be called "Diamond Eyes". The band has decided to carry on without bassist Chi Cheng who is still in bad shape after a 2008 car accident. If you would like to make a contribution to Chi's recovery visit the fundraising site that was set up in his honor here.

"Rocket Skates" will be available for purchase on April 17 as an exclusive, limited-edition seven-inch vinyl single pressing with a picture sleeve that supports National Record Store Day.
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[LIVE REVIEW] Portugal. The Man @ Showbox at the Market

Review, Photos, and Videos by Palmer Sather

Portugal. The Man / AutoVaughn - Showbox at the Market (2/16/10)

When I heard that Portugal. The Man was having a free concert I quickly cleared my calendar and made that the priority of the evening. Despite the fact that it was a Tuesday, there was no way I was passing on the chance to guzzle a few tall cans at the free show put on by Rhapsody Rocks Seattle.

Opening for P.TM was a band called AutoVaughn from Nashville TN. I hadn’t heard a lot of their stuff before that night, and the stuff that I had listened to; I really wasn’t too impressed. So my expectations for this band were not high to say the least. Fortunately though, it wasn’t long into their set before I realized I had clearly underestimated them. With the lead vocalist Darren Edwards swigging on beer in between songs and making comments about being high on mushrooms and looking for weed while in town, that tied in with clean and catchy songs capped off by what seemed to be about a 10 minute jam consisting of violence, sweet riffs and a whole lot of fun made for a pretty impressive set.

By the time P. TM had taken the stage and was getting ready to play their first song I looked around and saw a nearly packed room full of smiling fans and sporadic clouds of smoke; I knew this was going to be good. What I got…..was even better.

For a little over an hour P. TM proceeded to rock the Showbox with a mix of both old and new material consisting of sweet instrumental solos, psychedelic vibes, and an overall great sound that only comes from truly great musicians. Lead vocalist and guitarist John Gourley definitely added a somewhat mysterious feeling to the band, hiding behind a dark corduroy hat that was pulled down over the majority of his face, it left people in the crowd curious as to who was really behind that amazing voice and those sweet guitar riffs.

After the band played their last song and was exiting the stage the crowd immediately went into an uproar and started chanting “Por-Tu-Gal” leaving the band no other option to come back and play some more tunes. I can’t wait to see them again this year at Sasquatch!


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[INTERVIEW] SRG Presents: An Interview with Dave Verellen of NRWS

Preface by Nik Christofferson
Interview by Nik and Matt Abramson

Photo courtesy: ©2009 Sam Marble

Dave Verellen, former vocalist of the local and beyond influential sonic destructors known as Botch, once again staked his claim in Seattle’s heavy music scene at a recent one-off performance with his current musical outlet, Narrows (NRWS). With the help of his commanding stage presence and brute force delivery, Narrows’ performance left everyone willingly bludgeoned and weary, including Matt and me. It was immediately clear that Dave had returned to very comfortable and familiar territory as vocalist and stage leader of another extremely heavy yet melodic genre transcending juggernaut, and by the end of the show seemed to kick start a new chapter in his legacy as one of the Northwest’s most revered and beloved frontmen.

Dave V was gracious enough to allow us to ask him a few burning questions, and we couldn’t be more thrilled to bring you a little peak into the seemingly humble yet ferocious performer responsible for the bestial roars on such decisive records as “We Are the Romans”, “American Nervosa”, and most recently Narrows’ 2009 release “New Distances”.

Here is our talk:

Nik: At what point did you decide that you wanted to get back into heavy music?

Dave: It was summer 2006 when Rob Moran had just moved to Seattle and he showed up at one of my backyard BBQ's. He just asked me to do music with him and I never thought twice about it. Roy had slowed down and I was excited about just playing with Rob. When he recruited Dav Tafoya, John Spalding and my brother Ben for the first incarnation of NRWS, I was really excited.

Matt: Who or what influenced your vocal style?

Well John Pettibone showed me that you could yell into a mic, and as for voices I really dig Justin Pearson circa Struggle, Tim Singer of Deadguy, and Charles Maggio from Rorshach...

There are others but those ones really stand out in my mind.

Matt: Ever have trouble with blowing your voice out? Do you have a certain warm up regiment?

Dave: Yeah, it’s weird on tour when we play night after night I am fine, but the first show is usually a little rough. As for a warm up I just drink lots of water and if it feels rough afterwards I’ll actually limit my talking and rest it.

Nik: As a front man you really grab a vicious hold of the crowd and by the reaction at the recent one-off Seattle Narrows gig the hometown fans seemed very excited to have you back at the helm. How did it feel to be back up front in that context again?

Dave: It felt really really really great. I don't feel like a showman or anything I just do what comes into my head and have fun. I know Seattle is a tough crowd and I’ve seen how great bands just get the 'silent arms folded/clap at the end of the song' treatment which kills me cause then we play and its mayhem and sweat and piles of bodies like it should be, like I remember it being, I wonder why. I remember getting that feeling in Baltimore on our recent tour and I just said, " this next song is about taking your hands out of your pockets you fucking fucks!" then we played, and then I felt like a jerk for calling everyone fucks and I apologized....but it kinda worked. Anyway being well received at home is a great feeling.

Nik: How did Narrows come about, who did the recruiting for the project?

Dave: It's pretty much Rob's baby; he's the common denominator amongst all of us. After we lost the Dav, Ben, and John, we snagged Ryan who brought Jodie. Sam and Rob were pals in San Diego so we gave it a whirl and the NRWS was born. We just operate strictly part time and whenever we could get together we tried to at least write and/or record something.

Matt: How difficult is it to come up with vocals in such odd meters? Is the writing process collaborative or are parts usually set prior to vocals being written?

Dave: With NRWS the guys wrote all the parts and arranged them, and then I’d get 4 track versions and write my parts to them. It's not difficult to me cause it’s typically how I hear the song going... there are times when I wanted to fit something in and it seemed like it would work but then in the studio it just wasn't happening so we would improvise.

Matt: How has your lyrical content evolved over the years? Is there a particular subject or focus for Narrows?

Dave: I don't hold myself to any sort of lyrical subject just because I’m not sure I could. As for evolution, I'd hope my lyrics are on par with stuff I’d done in the past, but being out of music for awhile definitely forced me to knock the rust off....

Photo courtesy: ©2009 Robin Laananen

Nik: You guys did a short tour with TAAS last December, and now it looks like Narrows have a tour planned for the spring in NYC and Europe. What are the band’s long term goals, and is this something that you personally see yourself doing for awhile? More records? More touring? World domination?

Dave: It's pretty doubtful that a part time band could achieve world domination... We just have been setting goals (thanks Civ) and trying to meet them one at a time. First was get together and play... then to record something... to play some shows....tour the US...now Europe... and I don't think Rob or I want to stop until we get to go to Japan and Australia which are places we've never been to and played before... We'll stop if it becomes a chore or our friendships are at risk, after all it’s all about having fun.

Nik: Who else is involved with the Spring Tour NYC and Europe tour? Any other Deathwish bands?

Dave: I'm hoping Acid Tiger will get on that show as well, as long as Ben can do it. We tried to talk Heiress into coming out for it, as it's kind of our split release show but we'll see. Europe is just us and local bands so it should be awesome.

Nik: What bands/records inspired you get into music in the first place?

Dave: Whew... that’s a tough one. For me it was bands like Helmet, GnR, and Metallica until I discovered Undertow and after 3 years of Sunday Matinees at the Velvet Elvis in Seattle, shows at the Old Redmond Firehouse and seeing all kinds of bands in basements I was hooked. Some records I listened to a lot were/are Slip, 13 Songs, Ritual, Life, Love, Regret, Meantime, Dear You, Drive this 7" Wooden Stake Through My Philadelphia Heart, Fixation on a Coworker, Protestant, Angel Wings..... There are lots...

Nik: Any bands are you currently digging from the Northwest that people should know about? Non-local?

Dave: Well after touring with Trap Them a bunch I think everyone should get their record, it’s great. Helms Alee, Heiress, Canon Canyon, Mico de Noche, Black Breath.....

Matt: What’s the best heckle you’ve ever got, and what was your best comeback to a crowd? They don’t have to be from the same show.

Dave: Well I love a good heckle; at Che Cafe with NRWS I was wearing some black boxer briefs from Banana Republic. I was bent over and some "uber punk guy" was like "nice underwear banana republic!!" and I blushed a little, then his buddy said, "HA SKID MARKS!!! " and the whole crowd laughed... my comeback was "why do you think they're black?" but the PA sucked and nobody heard me...not that it mattered I’m not too good at the comebacks I just take it.

Matt: Let’s say you lost a bet. Now you have to either live solely on Taco Bell bean burritos for a month (and no fire sauce) or wear only a pink g-string both on and off stage for a whole week while touring. Which one do you choose?

Dave: Well I could hurt myself and my immediate company by eating those awful burritos or I could hurt the entire world and wear a g-string.... I’m gonna go with the greater good here and eat those bean grenades.
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[LIVE REVIEW] Last Night's Satchel Reunion Show @ The Croc

Review and Video by Nik Christofferson

Seattle band Satchel played their first show in over 13 years last night at the Croc in front of a sold out crowd. Original members Shawn Smith, Regan Hagar, and John Hoag were joined by bassist Jeremy Lightfoot for a rousing set that surprisingly focused predominately on Satchel's heavier funk-laden material, with well-known piano ballads like "Suffering" mostly taking a back seat. Basically Satchel rocked the fuck out, and it was awesome. Shawn Smith spent most of the night strapped to a guitar which was a nice change of pace, and of course his voice was as soulful as ever. Hagar and Lightfoot were a tight unit, and Hoag tossed in a few killer solos for old times sake. Overall the show was much better than expected, being mostly familiar with Satchel's EDC record, and having not seen them live prior. Let's face it, with production values being what they were in 1994, EDC as with many records of the time sound dated by today's standards, so it was great to hear those songs in their purest form, live and extremely loud.

Local band and solo Shawn Smith labelmates "With Friends Like These" had the dubious honor of priming the crowd prior to Satchel's set. WFLT sounded great except for some early technical difficulties, and eventually won over the crowd with material from their debut "Dead and Gone". Their first single "The Ones We Used To Love", which just so happened to come on KEXP as I was driving to the show, was a highlight. Congrats guys!

As I walked up to the Croc, I could hear somebody killing a cover of "War Pigs" inside. I had no idea who "Stuck on a Bus" was, but like a lot of other people in the room my jaw was rested firmly on the floor in amazement while watching the incredibly talented 12-15 year olds channel the mighty Sabbath. It was quite the spectacle, and those are some damn talented kids. Wish I would have shown up in time for the Zeppelin covers too.

Here are some video highlights of the evening:



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[NEWS] Brad is Back with New Record and Seattle Show

Shawn Smith/Regan Hagar overload is a good thing right? Tonight Satchel plays their first show in over 13 years at the Croc and now some great news about a new Brad record just came across my desk courtesy Mr. All That's Sacred, Donny Anderson. Brad's new album, Best Friends?, is scheduled to be released via Monkeywrench in the US very shortly. You'll be able to pick up a copy through Pearl Jam's Ten Club.

Also, from the info on the Brad website it looks like Stone Gossard and crew will be playing a show April 14th @ Showbox at the Market as well. If the Neumos Brad show from a few years ago is any indication this one should not be missed, so stay tuned for more info.

1. Price of Love
2. Without Regret
3. Rush Hour
4. Believe in Yourself
5. Every Whisper
6. One Love Remaining
7. Low
8. Oh My Goodness
9. Luxury Car
10. Bless Me Father
11. Holiday
12. Runnin' For Cover
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[VIDEO] "Blood Into Wine" Trailer

There are very few things that I love more than heavy music and amazing red wine. While I'm not a full time wine connoisseur, I do pride myself on always being able to pick out the best possible bottle for any situation, and having a taste for the finer things in life like a fine Châteauneuf-du-Pape or a fruit forward Sangiovese. When I heard Maynard James Keenan was also a wine fanatic and had actually become a vintner himself, I gained an all new appreciation for the reclusive Tool frontman. Though I may not condone putting Tool on the back burner for wine making, I can certainly respect his decision to try his hand at a new art. Here is the trailer for the documentary that takes a look at his wine making endeavours, and is screening in select US cities over the next couple months (no Seattle date yet, unfortunately).

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[FROM THE CRATES #14] Human Fly - II (2008)

Review by Matt Abramson

Humanfly - II
(20 Buck Spin - 2008)

Like a record that has finished playing and continues circling around neglected into infinity, I am stuck writing about awesome psychedelic doom metal albums. The problem is I keep coming across these fucking amazing albums that I have no choice but to do a column about in spite of only being a few years old. I guess the point was never old, it was good. So, much like the allegory of the cave, walk with me back toward the light. This light, however, is of the loud and gnarly variety.

Do not compare this band to Isis or Neurosis. From this point forward I will not accept the validity of any description of a band that involves comparisons to Isis and/or Neurosis. I do this out of respect for those two bands as the forefathers of psychedelic doom metal, to protect their street cred from shitty knockoffs and to encourage everyone, particularly myself, to be more thoughtful in their consideration of music in general. Therefore, the only description I can offer of the sound of Humanfly is as follows: if Syd Barrett had joined Black Sabbath, they decided Ozzy was better off being a roadie but let him throw in a few vocals here and there, you played their record at half speed and then THAT band became Tool... you would have Humanfly.

Every trademark element of heavy ass-kickery is present here. I like everything about this album. I like that there is over two minutes of wandering space guitar before it actually "begins". I like the dense layers of distortion and subtle double-kick groove syncopation that isn't the usual showing off. I like intentional feedback. I like synchronized delays. I like that I can barely hear acoustic guitars filling out the clean guitars. I also like it when musicians intentionally underplay their instruments. That is, when a player thinks about the song first and the instrument second. No wanking here, just ass kicking with some pondering sprinkled about. I like that I can't understand a single fucking word on the record, and it ain't because these dudes are from Leeds. If you failed third grade, that's England, dude.

Iron Maiden is from there, too.

Get the album. Get it now and play it loud. Show your friends. Punch them in the balls if they mention Isis or Neurosis. If you are strapped for downloads or cash or need more than my genius pontifications to be convinced, the short course for this album is track four, "Nenhuns Deuses Nenhuns Mestres". This might pose a problem on most download sites, however. The six tracks on 'II' range from eight to thirteen minutes in length, this is usually "album only" territory. I implore you that the album is well worth every cent you end up forking over for it, and I would encourage you to do so through karma-positive legitimate means because I want these guys stateside in Seattle and blowing the fucking roof off of Neumo's as soon as Humanfly possible.
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[NEWS] Minus the Bear Signs with Dangerbird Records

It seems Minus the Bear has found a new home in Silverlake, California's Dangerbird Records. This news comes on the eve of what will be Minus the Bear's fifth full length LP due out later in the year. The Seattle band separated from their long time label Suicide Squeeze after the release of 2007's "Planet of Ice".

Here is the announcement that was posted on both Dangerbird's and Minus the Bear's websites:

We are proud to announce the signing of Seattle-based rockers Minus the Bear to our burgeoning roster. Dangerbird will release the band’s fourth LP this spring. “As music fans, we’ve adored Minus the Bear for years, so we’re honored to be in business with them,” exclaims Jeff Castelaz, co-founder/CEO of Dangerbird Records. “They had many options, and chose to make Dangerbird their new home. Something we take quite seriously.”

“After months of looking under rocks and in dark caves, we’ve found a nice place to nest with Dangerbird Records,” explains bassist Cory Murchy. “They are a label of artists for artists and we are very excited to work with their creative minds to continue to bring you quality craftsmanship and the very best we can provide for our fans, both old and the newly educated.”

Throughout their career, the quintet has garnered critical praise from the likes of Pitchfork, Spin, URB, Paste and Alternative Press and amassed an ever-growing fanbase as the result of their exciting live show and singular sound which showcases their adroit technical abilities.
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[NEW MUSIC] Stream High on Fire's "Snakes for the Divine" Now!

WTF are you waiting for? Go now and stream High on Fire's new record! I shouldn't have to insist.

Listen Here!

"Snakes for the Divine" track listing:

01. Snakes for the Divine
02. Frost Hammer
03. Bastard Samurai
04. Ghost Neck
05. Fire, Flood & Plague
06. How Dark We Pray
07. Holy Flames of the Fire Spitter
08. Mystery of Helm

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[LIVE REVIEW] Wolves in the Throne Room @ The Black Lodge

Live Review by Matt Abramson

Wolves in the Throne Room
The Black Lodge - 2/11/10

Having never been to the Black Lodge, both Nik and I had no clue what to expect as we ventured out last Thursday to check out Olympia's very own Wolves in the Throne Room, the best black metal band around these days. What we were to discover was a strangely converted loft space, an acceptable sound system and the least comfortable place in Seattle to watch a show. That sounds like a pussy thing to say, but seriously - the bands had to load their gear in and out through the fucking crowd. Plus it was packed beyond all reasonable fire codes (as the bands lit immense quantities of candles I'm thinking to myself, Great White... here we go...) and the bands played of the floor so anyone beyond the first two rows couldn't see for shit.

But I have a hard time getting so down on the Black Lodge. It's obviously an underground effort, and I love anything that promotes creativity whilst sticking it to the man. Their policies about bringing in alcohol and um, substances, is very lax and I can appreciate not blowing twenty bucks on beer. The room itself is a trip, the walls are colorfully painted with symbols and patterns of all varieties. It makes my inner punk all warm and fuzzy. Most importantly, the sound didn't suck. In fact, it was pretty good. All I really ask for is a solid PA and a competent sound guy, and they had both. I wish good luck for the proprietors of the Black Lodge, but would advise you to be wary of its informality should you hit a show there.

After well-intentioned efforts from a couple openers (Atriarch, Megaton Leviathan) and one really sweet antler-adorned mic stand, Wolves in the Throne Room began to assemble their gear, light more candles, burn some crazy incense that filled the room with smoke out and finally unveiled an intensely kick ass black triptych tapestry composed of natural elements mashed up with black metal design savvy. Even in such an awkward space, they were in complete control of the atmosphere and held it with grace. A hush swept over the crowd as some ambient tape noise similar to the beginning of 2009's 'Black Cascade' filled the room. After a few minutes, the band suddenly pounced and proceeded to execute several selections from 'Black Cascade' with violent precision. I really love Wolves on record, I dig their grandiosity, but their live show is something else altogether. I felt as though the whole set took place within an eternal second of time in a separate, frightening yet peaceful reality - and I swear it wasn't just oxygen deprivation from being packed in so tight. Whether or not you dig black metal, this band is worth a listen and truly a must-see show.
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[VIDEO] Nick Oliveri's Death Acoustic Tour @ Funhouse (2-16-10)

Videos by Nik Christofferson

Mondo Generator mainman Nick Oliveri (ex-Kyuss, ex-QOTSA) is out on tour in support of his 2009 solo acoustic release aptly titled "Death Acoustic". Last night he played at the Funhouse and if you are fan of Nick and his impressive resume (Kyuss, QOTSA, Dwarves, Mondo Generator, Turbonegro) then you should certainly check out these video highlights from his cover heavy set. Photos and words to follow.
Kyuss classic "Green Machine"


QOTSA classic "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire"

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[LIVE REVIEW] Helms Alee/Witch Mountain/Slave Traitor/Android Hero @ Comet Tavern (2-6-10)

Live Review by Nik Christofferson
Videos by Jerry Howard

SRG contributor Jerry and I stormed Capitol Hill a couple Saturday’s ago in order to catch the fine billing at the Comet Tavern. Needless to say we left a number of frosty beverages in our wake while taking in sets by the razor sharp Android Hero, metal megatons Slave Traitor, PDX doom outfit Witch Mountain, and the all-mighty Helms Alee.

I just can’t say enough about Android Hero and the way they slice and dice my mind into little bits, and if you’ve missed SRG’s most recent championing of one of the best local bands around, here’s a recap.

“I’ve had a chance to see these dudes live on a couple occasions recently and both times they firmly impressed with a bottom heavy punk sound that not only deserves a raucous pit, but a genuine listen with some good headphones as well. With bassist Eric Carnell’s groovy bass slaps, Jeff McNulty’s slicing guitar riffs, and Matt McGillivray’s thunder dome drum licks, Android Hero make some tough as nails music with an underlying sense of humor, and are responsible for one of my favorite local records of 2009” -Nik

Slave Traitor took the stage next and unleashed a fury of iron fist sludge metal that simultaneously muddled my brain and left me permagrinned like the Joker. It is obvious there is some vast under appreciation going on if a band like Slave Traitor can toil in the depths of our local metal scene without much notice for so long. The guitar duo of Eric Kempton and Jake Willanger brought the hammer down with brute force riffs, and together with bassist Marc Burno the trio entertained with their well practiced “more metal than thou” facial expressions. It had been a couple years since I had seen Slave Traitor live, and it was quickly apparent I had been dropping the ball completely. Slave Traitor deserves to run with the big boys, so metal labels and metal fans do yourselves a favor and pick up “Man Infest Destiny” now.

Witch Mountain’s trip up from Portland was the main reason for the show. Even though they exhibited some flourishes of reasonably epic doom metal, the performance was more or less spoiled by crappy sound. It also didn’t help matters that vocally talented front woman Uta Plotkin distracted from her talents by simply not having much stage presence. I wasn’t impressed, can you tell?

Sending us off into night very happy heavy music fans was the mighty HELMS ALEE. All the adjectives in the world can’t sum up the pure intensity that radiates from the stage each and every time Helms plays a show. They are without a doubt Seattle’s premier heavy band and are unmatched in the sonic mastery department as well. Ben, Hoz, and Dana began their set with an amusing full band participation tequila shot and then systematically leveled the playing field for the next 30 minutes. The set was short, too short, but contained some nice to hear attempts at new material as well as choice Night Terror cuts like “Big Spider” and “A Weird Away”. A little Helms Alee can sometimes go a very long way.

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[PODCAST] Rock Guy Cast Vol. 6

Podcast by Matt Abramson

We at Seattle Rock Guy are expanding our blogging horizons and the means by which we spread great music in new ways in 2010. One of which is with the launch of our weekly podcast series "Rock Guy Cast".

Volume 6 comes courtesy of SRG contributor Matt Abramson, and once again contains a swift kick in the pants in the form of some excellent heavy selections. Jump start your week below.


**Disclaimer**
We realize that there may be copyright laws out there concerning podcasts and the subsequent usage of music without asking permission first. We may not get around to asking every time, but rest assured that we are operating under only the best of intentions here at SRG. If you represent an artist and listen to our podcast, and it offends you that we are talking about and/or playing their music, then email us. Remember we are on your side. Rock!
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[NEWS] 2010 Sasquatch Festival Lineup Announced

At an official announcement party held last night night at the Croc the lineup for the 2010 Sasquatch Festival was revealed to the world. In my opinion it is quite strong, boasting pretty much a who's who of modern day indie rock fare, as well as a couple sweet surprises including Ween, Public Enemy, and British trip-hop veterans Massive Attack.

Here is the day-by-day lineup so far, what do you think?

2010 SASQUATCH! FESTIVAL LINEUP

Saturday, May 29th
My Morning Jacket / Vampire Weekend / The National / Deadmau5 / Broken Social Scene / OK Go / Wale / Public Enemy / The Hold Steady / Miike Snow / Z-Trip / Brother Ali / Minus The Bear / WHY? / The Very Best / Portugal. The Man / Mumford & Sons / The Lonely Forest / Nurses / The Middle East / Patrick Watson / Laura Marling / Morning Teleportation / Edward Sharpe & The Magnetic Zeros / Fool's Gold / Garfunkel & Oates / Dam-Funk

Sunday, May 30th
Massive Attack / Pavement / LCD Soundsystem / Tegan and Sara / Kid Cudi / Nada Surf / Dirty Projectors / The xx / The Long Winters / Simian Mobile Disco / Midlake / Girls / Vetiver / The Tallest Man On Earth / YACHT / Booka Shade / Caribou / Avi Buffalo / City and Colour / Cymbals Eat Guitars / A-Trak / Fruit Bats / tUnE-yArDs / Local Natives / Freelance Whales / Jets Overhead / Rob Riggle / Luke Burbank

Monday, May 31st
Ween / MGMT / Band of Horses / She & Him / Passion Pit / The New Pornographers / Drive-By Truckers / Boys Noize / Camera Obscura / The Temper Trap / Dr. Dog / Neon Indian / No Age / The Mountain Goats / Phantogram / Quasi / Japandroids / Mayer Hawthorne & The County / The Low Anthem / Fresh Espresso / Hudson Mohawke / Telekinesis / Past Lives / Yes Giantess / Craig Robinson

…and more to come!

TICKET INFORMATION

Beginning February 20:

Single tickets, per day / $70.00
Discount 3 day pass / $170 (available on sale weekend only)

February 20—May 23:
Single tickets, per day / $70.00

May 24—May 28:

Single tickets, per day / $80.00

Day of show:

Single tickets, per day / $86.00

Tickets go on sale Saturday, February 20th at 10 A.M. PST and can be purchased online at Ticketmaster.com, sasquatchfestival.com, all Ticketmaster outlets, or charge by phone at
1-800-745-3000.

Camping is available for May 28, 29, 30 and 31 and can be purchased online at Ticketmaster.com. For more details, directions and further information on camping at The Gorge Amphitheatre go to sasquatchfestival.com.

Stay tuned to for more announcements and information at sasquatchfestival.com.
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