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With the upcoming The Helio Sequence concert, Stereopathic and our friends have found their way into local media outlets. (BTW - here’s Stereopathic’s interview w/The Helio Sequence, in case you missed it)

Here are a few links to articles:

From Cayla Lambier at MiX (WSU Daily Evergreen) wrote about Stereopathic, about The Helio Sequence, and about Yarn Owl.

Gus Simpson at The Argonaut (UI) wrote about the Sundace Kids show.

Omie Drawhorn at The Pulse (Moscow/Pullman Daily News) wrote about The Helio Sequence.

***UPDATE***

Marcus Kellis at The Argonaught wrote about The Helio Sequence/Yarn Owl show.

Low Red Land, from San Francisco, make music that echoes their geographic history. They met in New York, played in Boston and then moved to the City By The Bay. They play music that’s reminiscent of post-hardcore with shadings of folk. It’s a dichotomy they embrace; they play sets both electric and acoustic. It’s fantastic when a band that can rock as hard as a Fugazi, Jawbox or Rival Schools can also be content to sit down with an acoustic guitar, banjo, accordion and vocal harmonies. Their new album, Dog’s Hymns, while leaning more towards the rock ‘n roll, finds a balance between these two sides of the band. They effortlessly mix throat-tearing protest songs and softer personal songs. This is a band totally at home with being two very different things. And in the end, they pull it all into one big, unified whole.

Go see them in Moscow, on April 1st, at the Nuart.

Low Red Land - “Dog’s Hymns”

Low Red Land - “Landmark”

Nate is a land and music surveyor. He lives in Moscow with his wife and two children. He is not from Moscow, but he likes it here and wants there to be more music of the live variety.

Piano-lovers, music-lovers, dream-lovers, and the rest of you,  lovers, of Moscow, come be transported to Cascade rainforests and other lands far, far away by the luxuriant piano reflections of Johanna Kunin. Johanna’s piano, laced with flute, percussion, vibraphone, inspiration, and the serenity of her own voice, frequently illumines the radio-waves of Seattle. Other times, Johanna electro-funks keyboard with the band Velella Velella, or opens for her friend Karl Blau.
Johanna studied the traditional classical/jazzical piano course during her childhood in Minneapolis. It was a good diving board to launch her into her own genre.  Besides her extensive resume as composer and performer, you can be impressed by the fact that Johanna recently both designed and bound a volume of her compositions in an Etsy masterpiece for you to enjoy at home on your own personal piano. Now that her masterpiece book is finished, Johanna often stirs it up with a self-professedly “mustachio’d” 10-piece orchestra.
8:00 p.m., March 06, 2009 (that’s a Friday), Johanna performs with the Foundry Field Recordings at The American Legion Cabin (317 S. Howard Street, Moscow ID 83843).  Soar to new heights; dream new dreams.

Molly is a freelance journalist and a senior at New St. Andrew’s College with a special interest in the Cascades, postcards, and goldfish.  She is an intern at The Loop 21 and keeps the blog A New Amsterdam.

Moscow’s own Rhythmmemory was just officially invited to play at the 2009 Bent Fest in NYC!  We’re super-proud of them and we’re that much more excited to hear them tomorrow night at the American Legion Cabin w/Broken Spindles.

Joel Petersen, founding member of dance-punk band The Faint, arrives in Moscow on Tuesday of this week touring with his solo project, Broken Spindles. The Omaha, Nebraska based project began 8 years ago as a soundtrack for a friend’s film, and has seen the release of 5 albums since 2002.

The music finds some natural common-ground with The Faint, particularly in the use of synthetic sound, but remains distinct, following a different musical vision. Petersen has emphasized the freedom afforded by the solo project and past tours have experimented with visual accompaniment and varying groups of players. Petersen spoke with us via email about Broken Spindles and some of his goals for the project.

Stereopathic: You already have a primary career as a frontman for a successful band, so what does Broken Spindles allow you to do that being a part of the Faint doesn’t?

Joel Petersen: being in any band requires a lot of democracy and quite frankly sometimes that turns into bureaucracy. i think i started broken spindles to give myself the feeling of ‘following your gut’ again. and even to this day, i try to maintain that. i want this band to be expressive and of the moment. i think there is truth in that and that interests me a great deal. not to say the faint isn’t truthful, it is just the culmination of 5 peoples version of truth. so yeah, i guess i am a bit selfish and want it all to myself.

S: Do you view the visual origins of the project as an essential aspect of its makeup currently?

JP: yes and no. yes because i think art is art and it doesn’t matter what medium you choose to work in. no because i am mostly interested in songwriting at this point in time. i am sure that will change in due time and i will get back to thinking more visually.

S: Are you going to have a film component on this tour? And are you going to be touring with a group again?

JP: this tour will be a ‘band’ version of broken spindles without any video accompaniment. it has been a lot of fun translating the songs with this arrangement, i think things are rocking a bit more than they ever have.

S: I read somewhere that you’ve been trying to find a way to balance the human and the machine on kiss/kick. Why does that sort of dichotomy seem important to you?

JP: i think i have always been a somewhat reactionary person and it is interesting to pit opposites against each other to see what happens. i guess i am trying to set up a cause and effect relationship to see what comes out. hopefully some truth.

Listen to “Introvert”

Hear Broken Spindls live in Moscow, ID on Tuesday night (02/24) at the American Legion Cabin.  Doors open at 8:00PM and tickets are $5.

As was mentioned here a few days ago, NPR’s First Listen is streaming Laura Gibson’s forthcoming (as of Tuesday, February 24th) and staggeringly beautiful record, Beasts of Seasons. Framed around Gibson’s acoustic guitar and her voice — a strange chimeric instrument, at once childlike and also serene and wise beyond its years — each of the nine songs carries what would otherwise be ordinary folksinger fare in surprising and complicated directions. An orchestra’s worth of instruments — banjo, horns, cello, musical saw, vibraphone, found sounds, piano, snatches of other voices — expands on her basic melodies and structures, articulating them into a powerful and evocative suite of songs that, like (I would submit) all great art must do, point away from themselves. Thematically framed around “Communion Songs” and “Funeral Songs”, her lyrics focus on, as she puts it in one place “[f]irst, reaching towards something outside of ourselves, be it a lover or God or family (Communion Songs) and second, grappling with the idea of ultimate aloneness and acceptance (Funeral Songs).” The final song, “Glory,” perhaps sums this up, an amazed and grateful recounting of her past, her childhood — things like her “father’s voice/dressed in anger/swollen with grace/my surrender/his forgiveness,” or her “sister’s belly/red and swollen/carefully swaying/carrying such grace” — and then, with her voice rising alongside a small, quiet choir, she tells us, singing, “I have never seen such glory since.” Beasts of Seasons gives us a gracious portrait of an artist who looks inward and finds other people, who looks outward and finds herself, who is astonished at the sorrow and beauty and transcendence to be found when someone plunges themselves into the fact that it is not good that anyone should be alone.

Pre-order (or, after 2/24, just plain old buy) Beasts of Seasons direct from Hush Records, most likely the best way to get a little of your record-buying budget into her pocket; also keep FRIDAY, MAR 27 @ 9:30PM open, because Miss Gibson is coming to Moscow, playing at Mikey’s with Pablo Trucker.

Brendan occasionally guests on Stereopathic Sessions with Larson and Josh, and is staggered at how inarticulate his words are about the things he loves the most. He doesn’t blog, and doesn’t want to.

There is one album I am looking forward to this year and if you’re like me you’re getting all tied up with anxious feelings. Feelings of fleeting love, the hopeful antithesis of disappointment, and a special kind of wonder. Swan Lake, the super-duper group that’s members produce some of the best Montreal-alt in the history of, well… Montreal-alt, is throwing down what is shaping up to be an album that rivals their first effort Beast Moans. If you’ve never tapped into Swan Lake it is highly recommended by pharmacists, painterers, and altogether well rounded peeps everywhere. Swan Lake is made from two parts Carey Mercer( Frog Eyes) two parts Spencer Krug( Wolf Parade, Sunset Rubdown) and one and a half parts Dan Bejar (Destroyer, New Pornographers) depending on the strength of the drink. Listen to Swan Lake’s Beast Moans while anticipating their sophomore album Enemy Mine, due March 23rd on our fav label: Jagjaguwar, and prepare yourself for the most incredibly conscious undeniable pop sensibility out and about today.
Frog Eyes! —>

listen to an MP3 at Pitchfork Media

 

Mike Siemens is Program Director at KUOI FM (89.3 FM Moscow) and principle of several musical acts, including, but not limited to, Rhythmmemory and This Kid’s Not Supposed To Be In The Family Portrait. Mike is also too cool to write his own bio at the end of his posts. 

It seems odd that a group of ragged, philosophizing and abrasive indie rockers from New Jersey could create one of the most joyful records of 2008. But they did. Patrick Stickles and the rest of Titus Andronicus, a band out of Glen Rock, NJ,  didn’t give us the best album of 2008–cliches are plentiful on the album and some of the lyrics aren’t exactly family friendly. But Titus Andronicus more than make up for it with all the energy and surprisingly rich melodies that form the backbone of any of their songs. They are generally lumped into the “punk” category of indie rock, but their influences are a bit broader than that. Bands like The Replacements, Desaparecidos, The Pogues and Neutral Milk Hotel make up their more obvious influences, but like any decent modern indie band they are familiar with, and draw on, lots and lots of different types of music. Lyrically, most of the songs offer a bleak view of the world. Apocalyptic visions come and go, judgments are passed and the daily trudge of things is all there is to look forward to tomorrow. These themes are either unheard of or extremely ordinary depending on your musical taste these days. But the way Titus Andronicus set themselves apart is through their music. They take the dreariness of everyday life and pour fire down its throat with chaotic, melodic guitars and core-shaking shouts. This is the kind of joy that doesn’t just translate into happiness and a sunny disposition. This is a deeper joy, the kind that nurtures all the greatest forms of American music.

Be sure to catch this while it’s available!  You can stream Laura Gibson’s entire new album a week before it is released.

Laura Gibson will be playing at Mikey’s Gyros on Friday, March 27th with Seattle’s Pablo Trucker.

Brandon Summers, vocal and guitar, and Benjamin Weikel, on keyboard and drum, are the twosome that form the dynamic alternative rock duo of The Helio Sequence. After Brandon sustained a serious voice injury a couple of years ago, the pair is now back to producing their own brand of textured indie and are on the road. They kindly gave me their answers to life’s great questions: answers are below.

Be sure to make their show at 8:00, Sat., 28th of Feb. 2009, at the Nuart Theatre (516 S. Main Street, Moscow). Tickets are $6 in advance or $8 at the door. Pullman’s very own beloved Yarn Owl is opening.

Basic intro to Brandon and Benjamin…

Benjamin and I met when we were teenagers growing up in Beaverton, a suburb of Portland. Like a lot of suburbs the “culture” wasn’t very colorful or varied and the feeling was very insular and restricting…just a lot of malls, televisions, box stores and cars. I was really restless growing up there, thirsty for more than sit com entertainment and hanging out at malls. Music was really an escape and salvation for me. Read more

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