If 2012 was the year of the unexpected, with stellar albums that seemingly appeared out of nowhere, then 2013 is the year of the anticipated.  One of those highly anticipated albums is from Wild Ones.  Two bands, an EP, and a single later, Wild Ones is finally putting out their debut album.  Keep It Safe, will be released on July 9th on Party Damage Records , and though it took forever to get to us, we’re lucky it came together at all.

Nestled somewhere between tUnE-yArDs and Pure Bathing Culture, Keep It Safe is a milestone that brings together indie rock, synth pop, and a third intangible ingredient that forms a recipe to a delicious meal.  The albums first single Curse Over Me, is a perfect encapsulation of those elements as is the album on the whole.

The result of a delicate collaboration that nearly destroyed the band, Curse Over Me is a unique apex of sounds that clicks once played together.  But it’s the voice of lead singer Danielle Sullivan that provides the glue and the songs depth. From her days brushing the edge of space with soaring vocals in Eskimo and Sons and Congratulations, to a more matured tone in Wild Ones, it’s one of my favorite voices.  Just when I think she’s about to break, or take the easy way out Danielle stuns me with an incomparable vocal range that makes you swoon.

Through all its bright airy pop, Curse Over Me has a strong emotional undercurrent.  There’s a weight to the music, emanating from Sullivan’s full vocals and the contrasting synthesizer, which makes the song one of the albums more beautiful cuts. Considering the emotional toll the creation of this album took on the band members, it’s only fitting that it would leak out in sharp medicated doses like an IV drip.

If Curse Over Me doesn’t get you excited for Keep it Safe, check out their video for the album’s opening track Golden Twin, or perhaps a demo version of It’s Real.  If none of that get’s you excited then you should probably check yourself into the hospital because you might have something wrong with your head.

A free download of Curse Over Me is available below.  You can pre-order the album here, including a limited white vinyl pressing.

Wild Ones: website/facebook/twitter

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FRIDAY 5/24
Last year the Friday schedule was so light that I didn’t even bother getting there early enough to see it, this may have been a mistake, but considering how exhausted I was by  Monday morning, I don’t regret my decision.  This year it is a MUST to get there on Friday, as some of the festivals most dynamic acts will be performing.
Reignwolf- Even if you’ve seen Jordan Cook, it’s more than worth it to see him again, his performances at Sasquatch and Bumbershoot last year were among the best I’ve ever seen.
Japandroids- This duo just feels like it was built for something like Sasquatch, heavy deep-cutting rock with a strong melodic core.
Telekinesis- Fresh off their tour with Deep Sea Diver, and supporting a sweet new album, Dormarion, it’s a shame that they are running right up against another favorite…
Father John Misty- I could talk about how much I love FJM until I was blue in the face, I won’t, but it baffles me as to why they would place him on Friday evening.
Youth Lagoon- Just as with Japandroids, there are some sounds that just work so well at Sasquatch, this is one of them.
Vampire Weekend- Everyone is going to be vying for the best view of Macklemore at the main stage, but I wouldn’t discount VW who will probably have a more intimate crowd.

SATURDAY 5/25
The Friday and Saturday schedules should be reversed.  While Friday has an overabundance of great music, Saturday is a little a lot, light on good music.  Actually I didn’t realize just how bad it was until now.  My suggestion is to take it easy, browse the stages for whatever interests you, and take in a lot of comedy.
Rose Windows- My favorite music act of the day. I don’t think you can describe their music better than they do themselves “insufferable psychedelic garbage.”
Joe Mande, Kyle Kinane, Nick Offerman- My suggestion is to take in all the comedy this day.  These are three of the funniest guys alive, both Mande and Kinane (my personal favorite) will no doubt have amazing standup sets.  While I have no idea what exactly Offerman will do, I’m sure it will be hilarious and very Ron Swanson(esque).
Sigur Ros- They could either be a lot of fun live or really boring.  I’m really just grasping at straws for the Saturday schedule, but as one of the more unique main stage acts it’s probably worth checking out.

SUNDAY 5/26
Friday is still the day that is most full of good music, Sunday is better than Saturday.  But with at least two of my favorite bands playing, I call the day successful.  It should be noted that this year Sasquatch did away with the noon start times.  1:00 is still early when people are partying until 3-4 am.  That said, I saw some really great acts first thing in the day last year.
Deep Sea Diver- My favorite Seattle band by a long shot.  If you see only one performance all festival, make it this.  Yes, it’s early, but it’ll be totally worth it.
Wild Belle- I’ve been crushing on this brother and sister duo for about a year now.  Their debut album Isles, is one of the years best, and their show last November with DSD at Neumos was spectacular.
Jon Daly, Brody Stevens, Brett Gelman- All three of these gentleman are hilarious, but I have a soft spot for Gelman, whom I saw do a workshop of his show 1,000 Cats many years back at the UCB in LA.
Primus 3D- I’ve loved these guys for many, many years now, and new album or not they would still be a fun show to see.  It’s a little strange to see them going on so late.

MONDAY 5/27
Monday is the final day of the festival, and you’re either going to be dragging, where you’ll just want to plant yourself at a stage and chill for the day.  Or you’ll have a runners high, where you’ll try to get around to as many shows as possible before going home.  I sound like a broken record, but it was detrimental to Sasquatch to front load the schedule on Friday, with so many great bands, especially when so many people miss that day.
James Adomian, Tig Notaro, Mike Birbiglia-  Three immensely funny people, all of which are worth checking out.  If you only have time for one however, don’t miss Tig.  Last year she went on stage at Largo in LA just days after learning she had breast cancer, throwing out her original set list, she performed what will go down in history as one of the most important Comedy sets in history.  I really wonder what she’s talking about a year later.
Cody Chesnutt- I was not familiar with him before the Sasquatch premier party, but now that I am, I have fallen in love with his soulful voice.
Dirty Projectors- Their crossover sound will be great on the Bigfoot stage, with the sun beating down on a sapphire sky, this should be very idyllic.
The Postal Service- Why not! They’re closing out Sasquatch, and as one of the most anticipated performances, they’re definitely going to make it worth it.

By no means is this the best list, or the most comprehensive, but it’s my list of the performances that I wouldn’t miss.  My suggestion for any festival is to make a list of the bands you Can’t Miss, those you Want To See, and those that you’ll Check Out.  Look, you probably spent the equivalent of a months rent on this festival, fill it with music and comedy, take a risk on someone or a band, you wouldn’t see otherwise.

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They say, don’t judge a book by its cover, the same can be said for record albums.  But I am a sucker for great artwork, I’ve given terrible albums a shot simply because I loved the way it looked.  On the other hand I’ve resisted others, simply because the cover wasn’t appealing.  When it comes to The Shivas debut, Whiteout, the cover alone is enough to inspire me to call the album one of the years best.  That’s my way of saying that I love, love, love the cover, with the band posed to look like the many armed Hindu god, Shiva.

Technically Whiteout is not a new album, but this vinyl release on K-records will gain them far more attention then they received from the cassette release on Burger records.  It’s attention and notoriety that they sincerely deserve.  This album is surprisingly mature, with a deep understanding of the music that inspired them in its creation.

Whiteout begins with a punch to the gut, that left me doubled over clutching my gut in the fetal position, grinning brightly through a tear streaked face.  When Swimming with Sharks starts, it sounds as if the album is going to devolve into that scratchy feedback noise-crunch of 80’s punk rock. But, like a ship listing hard to port, it rights itself back in balance. The harmonizing vocals kick in, the drum beat and the guitar riffs oscillate, and it suddenly becomes clear that The Shivas have a firm grasp on addictive body moving music.

The most obvious and common comparison for the Shivas are the Black Lips, sure, I see that.  But I heard the Velvet Underground, 1960’s surf rock, and Scratch Acid all pounding the hardwood at a 50’s sock hop.  So often a retro sound like this comes off as completely insincere, little more than imitation crab meat sold in a plastic jar.  The Shivas are completely genuine in the sounds they create. It’s not a gimmick, it’s a revolution.

What strikes me most about Whiteout is how willing the band was to throw a wrench in the machinery and let the song change direction, even if just for a brief and marvelous moment.  Every time the chorus kicks in on Swimming with Sharks, the verse fires right back louder, harder, faster than it even seemed possible. Living and Dying like Horatio Alger is a journey that builds and builds, raising itself higher and farther then you ever expect it to.  Just when I thought I’d caught onto The Shivas’ magic formula, they changed it on me, I never once got bored listening to this album.

No Waves, kicks off a trio of surf rock inspired songs with a demented reverb laid over the sound of dripping water. This isn’t the straight forward surf rock of La Luz, this is a grittier grind with sharp edges, but equally as satisfying. Kissed in the Face is slower and less harsh, while Manimal is shot of sapphire blue water the courses through your veins, it impossibly gets better and better.

Mixed throughout our these syrupy sweet slow dances, set in a dimly lit gymnasium decorated with pastel streamers.  Pink poodle skirts are gingerly touched by the white leather arms of varsity jackets, all enshrined in a throwback to the “good ole days.”  The albums closing track, Paradise is so innocent and perfect, it never pretends to be anything other than what it is, which is true for all of Whiteout

The albums most obvious and arguably its best feature, is its incessant calling for you to move your body.  Every song begs to put you in motion, practically controlling your limbs like a puppeteer.  Your feet will tap, your hands will clap, and you won’t be able to keep your body from rocking back and fourth.

Technically this album is not brand spanking new, but the shine on the vinyl is as bright as ever.  Whiteout is truly a defining album for 2013. You can find Whiteout at krecs.com, or most other digital retailers.

the shivas: website/facebook/twitter

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If you’re like me, than your brain can only hold so many dates and numbers.  I need clearly drawn out chronological lists to help me prepare for the things coming up in the future. In fact, this article began not as an article, but as my own list to help me figure out what was happening this Summer.

I don’t know what the Summer festival landscape looked like five years ago, but I’m willing to bet that it wasn’t as strong as it is now.  The obvious reason is that in the last five years the Northwest music scene has grown exponentially both in quantity and quality.  Most festivals take place at a variety of locations across the Northwest, from Portland to Anacortes, so not only is this an opportunity to see some great bands, but it’s also your opportunity to visit some beautiful locations.

By no means is this a comprehensive list, it’s really just a list of the festivals that I’m familiar with.  If there’s something I missed that you think should be on this list, shoot me an email at submissions@secretly-important.com and I’ll tack it on.

SASQUATCH! May 24-27, The Gorge, WA, Tickets: Expensive and Sold Out
If big name headliners are your thing, and you don’t mind overbearing corporate festival sponsorships then Sasquatch is for you.  But if you’re looking to go in 2013 you’re probably shit out of luck.  Hell, we couldn’t even get in this year.  But if you’re only planing on going to one festival this year and can manage to snag some tickets from somewhere, then you should go, because the lineup is pretty outstanding.  Father John Misty, Wild Belle, Deep Sea Diver, The Postal Service, Macklemore, Telekinesis, are just a few that get us jazzed.

Northwest Folklife, May 24-27, The Seattle Center, Tickets: FREE
If you didn’t get tickets to Sasquatch but still want a weekend of music, then this is your best option.  You may (or may not) have some negative connotations about Folklife, but I’ve actually seen some really great bands there.  Though the K-Records influence this year is somewhat diminished, it does appear that some great acts like Briana Marela, Kendl Winter, and The Shivas will be playing.  Best of all this festival is free and very family friendly.

Anacortes Unknown Music Series #3, July 19-21, Anacortes, WA, Tickets: $50
Born from the ashes of the popular What-the-heck-fest, the Unknown series emerged as the brain child of Phil Elvrum.  Unlike the other festivals this is really a music series that takes place a number of times a year, with series #3 happening this Summer.  There have been no official announcements for 2013 but Phil always manages to round up some of the most intriguing lineups of any festival.  Regardless, I think we can expect a performance from Karl Blau/Lovers without Borders/D+/whatever he’s working on, Mount Eerie, and a number of other K artists.  Anacortes is a beautiful place and $50 is totally affordable.

Sub Pop Silver Jubilee, July 13, Georgetown, Seattle, Tickets: FREE
If you just don’t have the cash for another of the big festivals this year, then you should definitely keep July 13th clear for Sub Pop’s Silver Jubilee.  This might just be the best most exciting lineup of the Summer.  Sub Pop has gathered some great bands from the past, present, and future: Mudhoney, J Mascis, Shabazz Palaces (w/ THEESatisfaction) Father John Misty, Brothers of the Sonic Cloth, Endino’s Earthworm, and more to be announced.  Sub Pop will never be celebrating 25 years again, so this is a once in a lifetime event.  The fact that it is free means that you’d be a fool not to go.

Timber! Fest, July 26-27, Carnation, WA, Tickets: $45, $20 camping
This is a brand new festival in its first year, put on by the guys who brought you Doe Bay Fest.  So if you’ve resorted to the fact that you’re not going to Doe Bay, I would definitely give Timber a shot.  Expect the organizers to be working out the kinks for this festival (so go with some patience) but also know that you’re probably going to what will become the next Doe Bay.  From small up-and-comers like Lemolo, River Giant, Hobosexual, and Bryan John Appleby, to big names like the Helio Sequence and the Fruit Bats, this lineup packs a lot of punch for just two days.  Set amongst the idilic woods of Carnation, makes this festival something that should be right at the top of your list.

Capitol Hill Block Party, July 26-28, Capitol Hill, Seattle, Tickets: 3-day $115 single $40
You’ve got a choice to make here; the granola Timber fest, or the sleek CHBP.  It’s really too bad these two festivals fall on the same weekend.  Starting a couple years back I noticed this festival started to make a serious run at being a real festival with serious bands.  This year of note is La Luz, Pickwick, Pure Bathing Culture, Hey Marseilles, Radiation City, and… the Flaming Lips.  This festival really seems to be coming into it’s own and the last two years have really shown that. I don’t like that venues span the city that range from Capitol Hill to the Seattle Center, but everything is time out enough that you can see everything. Hopefully for next year Timber and CHBP can coexist on different weekends.

Doe Bay Fest, August 8-11, Orcas Island, WA, Tickets: $90, camping $90
You’re probably not going to this festival.  Well, maybe not.  This festival quietly started a number of years ago, and between the exquisite setting, its intimate nature, and the organizers ability to find the next big thing, Doe Bay has quickly become the most sought after festival of the year.  Tickets sell out in mere seconds, before people even know the lineup.  You don’t go to Doe Bay just to hear music, you go because it’s a magical place.  Unlike past years, tickets will be sold mostly to guests who stay at Doe Bay prior to the festival (though some tickets may become available later.) So this year you have a chance.  But need I remind you that staying at Doe Bay isn’t cheap, nor is getting to the island (accessible by ferry only).  If you can, do everything in your power to get to Doe Bay.

Helsing Junction Sleepover, August 16-18, Rochester, WA, Tickets: $35 (2012)
The past number of years K-Records has partnered with the Helsing Junction farm to create the Sleepover, a loose festival of (mostly) K bands, playing for fans and friends.  I often look at it more as an Olympia convention, as similar bands play the festival every year, and you go for the experience as much as the music.  Free from the corporate or even the anti-corporate sponsors of every other festival, Helsing truly is about the music and the fun.  The official is yet to be announced, but it will be chock full of K artists, the festival also features films and organic food for which the proceeds go to Thurston County Gleaners Coalition.  $35 is almost too cheap not to go and have fun.

Bumbershoot, August 31- September 2, The Seattle Center, Tickets: 3-day $150 single $50*
Seattle’s longest running music/art/comedy festival is the perfect way to draw your Summer to a close.  Everyone has a lot opinions about Bumbershoot, some have even questioned whether it’s still relevant.  Though at times it struggles to compete with the bigger festivals dedicated solely to music, Bumbershoot is the perfect mix of great music, art, and some of the nations best comedy.  Though this years lineup doesn’t get me as hot as last years, bands like Thao, River Giant, the Grizzled Mighty, and Deathcab for Cutie are well worth it.

*Saturday day pass is $55, Sunday/Monday $50

Music Fest Northwest, September 3-8, Portland, OR, Tickets: $75-$125 (2012)
If you’re not going to Bumbershoot, or if you just want a solid week of music, than get your ass down to Portland for Music Fest NW.  Like SXSW or CHBP, this festival utilizes venues all across the city.  It has considerable drawbacks, for instance, it takes place during the week, it’s not centrally located, it’s in Portland.  But last year it boasted an outstanding lineup, if I didn’t have a three week old at home I would have been there in a heartbeat.  The lineup won’t be announced until May 29th, but get your pocket book ready, this one is definitely worth it.

City Arts Fest Mid-October, Seattle, WA, Tickets: $55 (2012)
Okay, so technically this isn’t part of the Summer, but it’s close enough to Summer that it should count.  I wasn’t familiar with CIty Arts Fest until last year, and found their lineup to be surprisingly good, actually excellent. Just like Music Fest NW, City Arts takes place during the week, which is tough for those who have to work or go to school, but after last years lineup that featured bands like Reignwolf, Lemolo, St. Vincent, among so many others, I’m really looking forward to what 2013 will offer.  This effectively ends the festival season, maybe not with a bang, but with a really excellent selection of arts and music.

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Here at Secretly-Important we sincerely believe in the future of certain projects, projects in particular that need funding.  A few weeks back we told you about Santee, who was raising money for the pressing and promotion of their debut album Historee.  That project was funded, and now we can expect to see that album in July.  Now there is another really important project that needs funding.

Last month I told you about legendary and immensely influential radio DJ Marco Collins.  Marco ushered in the Seattle music scene in the 90’s and helped shape the musical taste of hundreds, thousands, maybe even millions of young music fans.  From his days at 107.7 the end, where he debuted bands like Beck and Weezer, to his time as the director of music programing at VH1, and then there’s his induction into the Rock and Roll Hall of Fame.

It’s fitting that he worked for VH1, because his life plays out like an episode of Behind the Music, complete with a destructive addiction that derailed his career.  When he returned to Seattle in 2009 he was broke, and left a trail of charred bridges behind him.  The folks at KEXP were kind enough to give him guest DJ’s spots, while he got back on his feet.  Now, Marco is running Jet City Stream, an online radio station that highlights local music while undermining corporate radio.

Marco is also the subject of a documentary film, The Glamour and the Squalor, which will take a look at Marco’s life and how he helped shape an era of music.  I’ve devoured their brief interviews with musicians and music personalities, watched and re-watched their early trailer, and my belief is that this film has the potential to rank right up there with the best music documentaries, namely Hype!

Though his life may have fit into that mold of a Behind the Music, expect this film to be anything but cookie cutter.  Marco’s story is an important one that begs needs to be told.  The era of the DJ is over, replaced by the Music Genome Project of Pandora, or the endlessly customizable playlists of itunes and Spotify.  Name a modern radio DJ that has cast as influential a net as Marco?  I don’t just want his story to be told, I myself want to see this film.

In the Kickstarter the films producers are asking for $50,000, which is a lot of money.  These guys aren’t Zach Braff, they’re not begging for your hard earned cash, to help fund a studio film that easily could have been funded through traditional means.  The Glamour and the Squalor, is a group of impassioned individuals who also recognized a deeply important story and felt compelled to tell it.  $50k or even $100k is nothing compared to the $2 million Braff asked for, and here it’s all for good use.

$50k is what they need to finish the film.  If they can surpass that they could afford rare archive footage, song licenses, and promotion.  So sure, even at 50 we’ll get to see this beautiful film, but don’t you want it to be as good as it could possibly be?  I do.  Visit their Kickstarter and kick in some bucks to help fund a really important project.

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UPDATE: This article originally listed Hobosexual as a Bumbershoot performer, which as I was informed tonight they are not.  This was bound to happen eventually as I’ve been on a pretty good streak of all factual information, I was just waiting to fuck-up.  That said, Hobosexual will be playing this year at Timber Music fest in July.  All that said, sorry for any confusion, and Bumbershoot would probably be better if Hobosexual was playing.

Friday, after browsing through the Bumbershoot 2013 lineup, I penned an overly critical article debasing the selection of artists.  As I prepared to post the article I trashed it.  Something in my gut told me that I was acting irrationally and impulsively.  I decided instead to give myself a few days to really think about the list and then make a more rational decision.

When the 2012 lineup was announced I immediately found a handful of bands who not only would I want to see, but bands I genuinely love, Deep Sea Diver, Reignwolf, Bryan John Appleby, Damien Jurado, Mudhoney, and most impressively Ana Tijoux.  Bumbershoot was worth giving up my Labor Day weekend for these bands alone.  So it was unfair to put that kind of pressure on Bumbershoot to manage to hit on my favorite bands once again.  Besides, most of the bands I was most excited to see play this year will be at Sasquatch.

Ultimately what I had to remind myself was that Bumbershoot is more than a music festival, it’s an art/performance festival for locals to come together and celebrate the final throws of Summer.  Music has always played a big part, but with so many Pacific Northwest festivals (I just counted eight from memory) dedicated to music, it’s hard for Bumbershoot to compete.  Moving forward I would expect Bumbershoot to have years where it really hits the mark, and other years where they miss.

Even as I type that last sentence, I must admit that given these few days to really reflect on the 2013 lineup, I’m not so sure they did miss.  They may not be as on (for me) as last year, but seriously: River Giant, Thao and the Get Down Stay Down, Vintage Trouble, Kithkin, The Grizzled Mighty.  These are bands who not only peek my interest but light it on fire.

These bands mixed with some of the more notable acts like Death Cab for Cutie, Allen Stone, MGMT, FUN, or Tegan and Sara, make the festival desirable.  What I am willing to stand by from that trashed article I wrote Friday, is that this years lineup feels less special. Ana Tijoux was a special opportunity, Reignwolf’s set at the mural was outstanding, Deep Sea Diver, Bryan John Appleby, and Damien Jurado all graced the same stage at the same festival… this is the future of Seattle Music right here (though Jurado has been around for over a decade).

What will really make or break Bumbershoot 2013 for me will be the comedy acts.  The festival has long been known as a premier comedy showcase of talent from across the country.  It’s been a trend setter in putting music along side comedy and discovering that those two groups of people have a lot of overlap.  Last year I saw as much comedy as I saw music, the comedians and podcasts were some of the nations best, anything less this year will be a disappointment.

I’ll be honest, I’m not as jazzed about this years lineup.  It’s good, but not over the top amazing.  That said, I’m glad I took the time to really look at and think through this years bands, because they’re great, they’re worth it, and kudos to Bumbershoot for getting them to the festival.

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If the planets align just right, then the title of this article will generate some interesting google search hits on Stacey’s name.

How many of us can say that we have a favorite… anything. Say it definitively, our hearts full of conviction, without doubt and the belief that it’s not just a passing fancy? As I sit here right now I can’t pin down a favorite movie, band, song, or food.  I can’t agree on my favorite book, television show, restaurant, or even hairstyle.  Try it, and be honest.  It’s not as easy as you think.  Which is why when I say that Stacey Rozich is not only one of my favorite people, but my favorite artist, you understand that I mean it.

Last night I had the pleasure of attending Stacey’s latest gallery show: Within Without Me,  at Roq La Rue in Pioneer Square.  It’s been almost a year since her last opening in Seattle, The Last Wave, and with Stacey’s work a year is a long time.

The Last Wave presented us with a hipster culture take on her familiar themes of folkloric people, beasts, and animals.  She incorporated modern accessories, shoes, cigarettes, beer cans, clothing and narratives.  There was still that familiar mythical whimsy, but these scenes had the feeling of a delightful fever dream, or perhaps an acid trip that was slowly melting your consciousness into a bubbling puddle on the floor.

A year later, the work continues to evolve, in a way that was so perfectly designed. More so than ever before I felt that Stacey had really hit on the emotional core of her characters and her scenes.  The narrative storyline of the paintings affected me far more than I expected, they were funny, they were scary, they were quaint, they were heart breaking.  Particularly affecting was,  The Cause Was Never Clear, which depicted her masked characters holding the limp body of a dead child, a backpack and pair of binoculars lay on the ground, a menacing murder of crown hovers above, one picking at the child’s sock.

Innocent moments turn sinister, evil is always lurking behind a couch, bush, or wall, and seemingly looking over all is a god like figure who commands his children.  Death seemed to play a strong role, as a terrifying unknown, as a humorous dismantling of life, and in all it’s delicate beauty.

Then you have the intricately designed patterns that adorn her subjects.  When I interviewed Stacey she explained to me how easily she can get lost in these patterns.  The design is so intricate and detailed that she loses hours in a characters shirt.

My favorite painting of the night was Bad Dudes Bad Dudes. An intimidating quintet of masked dudes gambling and brandishing wicked looking gardening tools.  But each has a superbly detailed pattern on their outfit, some of the most intricate I’ve ever seen from her.

Perhaps from the first time I laid eyes upon the cover for the Curious Mystery’s We Creeling I knew that Stacey Rozich was my favorite artist.  It’s like someone made a checklist of all the things I love and generated those letters into beautifully rendered paintings.  Within Without Me is an outstanding collection of new work that breaks new ground for Stacey.  If you missed it last night, don’t worry.  You can stop by and see it until June 1st.

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Canada, Eastern United States, Northern States, Southern States, a few Western States, take heed!  I’ve got a little secret to share with you… Seattle’s premier musical act, Deep Sea Diver is coming to your home town, to play for you (well, you and anyone else who show up).  Take advantage of this opportunity, it won’t come around often.

There are a lot of bands whose music I’ve fallen in love with, but rarely does a bands sound effect me so deeply from the first note.  The click clacking guitar picks at the beginning of Ships built in intensity and scale, until frontwoman Jessica Dobson’s voice cuts through the song like a knife, it just felt perfect.  Deep Sea Diver surprises me all the time, be it Christmas songs, a cover of Time After Time, or new sounds.  I’ve seen them live on a number of occasions and can assure you that they are not to be missed.

If the above paragraphs don’t convince you to see Deep Sea Diver and Telekinesis, then I don’t know what I need to say that will convince you.  Deep Sea Diver constantly blows me away, and Telekinesis?  These guys are top notch as well, they ping-pong back and fourth from sweet lo-fi acoustic indie ballads, and heavy gut-punching rock anthems.

Take a look to see if they’ll be in your town, and don’t forget to check out this strange and funny tour video from Deep Sea Diver.

2-May Thu Nashville, TN @ The High Watt details

4-May Sat Atlanta, GA @ Drunken Unicorn details

5-May Sun Chapel Hill, NC @ Local 506 details

6-May Mon Washington, DC @ Black Cat Backstage details

7-May Tue Philadelphia, PA @ Johnny Brenda’s details

9-May Thu New York, NY @ Bowery Ballroom details

10-May Fri Allston, MA @ Brighton Music Hall details

11-May Sat Montreal, QC @ Il Motore details

12-May Sun Toronto, ON @ Horseshoe Tavern details

14-May Tue Cleveland Heights, OH @ Grog Shop details

15-May Wed Chicago, IL @ Lincoln Hall details

16-May Thu Madison, WI @ High Noon Saloon details

17-May Fri, Minneapolis, MN @ 7th St. Entry details

18-May Sat, Kansas City, MO @ Riot Room details

20-May Mon, Denver, CO Hi Dive details

21-May Tue, Salt Lake City, UT Urban Lounge details

22-May Wed, Nampa, ID Flying M Coffee details

23-May Sun, George, WA Sasquatch Music Festival details

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Sit tight with me, I promise this is going somewhere.

Every year my elementary school held a cake walk, the cakes were made by the students, and each was judged by the PTA and prizes were awarded.  The prizes were these little chocolate bears on a stick.  The year I entered my mom helped me make a chocolate cake, which I then decorated with frosting.  On the day the winners were announced, I patiently waited to hear my name.  Sure enough, the winner for Wackiest design was me.  Again I waited patiently as the prizes were passed out to all the winners, finally I would know the delicious taste of the chocolate bear on a stick.  But all I got was a certificate.  The winner for Wackiest design did not receive a chocolate bear.

I held back tears, and walked home alone, angrily plotting a bloody coup of the cake walk.  But when I stepped through the front door to my house and was greeted by my mom, the flood gates opened and I spilled tears all over the red brick entryway.  If you’re going to hand out prizes, why doesn’t Wackiest get one?  What does Wackiest even mean?  I’m not throwing a pity party, seriously that was over twenty years ago… I’m sure the chocolate bears tasted like old Hershey’s anyway. But, Whacky is a word that’s come up on more than one occasion when discussing the music of Arrington De Dionyso.

Wacky is a reductive term that tries to explain away what it is that Arrington is actually doing.  It’s just a way of acknowledging that while there may be something of substance present, it’s not always easy to pin point or understand.  When you call something wacky you don’t have to give it a prize, because its genius is less obvious.

There’s lots that could make the music of Arrington De Dionyso wacky; his fluctuation between English, Indonesian, throatsinging, yelps, and howls, heavy guitars that skim the surface of Big Black, thudding repetitive drum tempos that are tribal in nature, bass that hums at a frequency that could give you an irregular heartbeat.  The appearance of a bass clarinet, jaw harp, and basically everything you can find in a grammar school music room.  Then there’s Arrington’s general performance art appearance, where you just never know if you’re trapped in some devilish dream, or if this guy is some evil genius.

I’ve been a fan of Arrington’s work dating back to Old Time Relijun, which detonated some of the heaviest sounds to assault your eardrums in all the Pacific Northwest.  Under his own name he’s been exceptionally prolific releasing over a dozen mostly experimental (at least even more experimental than his typical albums).  But in the last few years he’s been playing and touring with a rotating cast of bandmates as Arrington De Dionyso’s Malaikat Dan Singa.

Malaikat is a perfect blend of Old Time Relijun and “Arrington.”  It balances on the edge of a knife, one side unidentifiable experimental sounds, the other freeform thudding rock with accessible hooks.  The music is unpredictable, you never know what you’ll hear next or when you’ll stumble upon a riff that will be stuck in your head all day.

The first two Malaikat albums, the self titled Malaikat dan Singa, and Suara Naga, were mostly if not completely foreign tongued.  Songs like Mani Malaikat, Aku Di Penjara, or Iblis Atas Iblis, were enigmatic and beautiful.  While my ears weren’t exactly sure what it was hearing, my heart was telling me that it was amazing.

The latest Malaikat album, Open the Crown, is arguably their best, and certainly the most Americanized.  Not only are there more songs in English, but on songs like There Will Be No Survivors or The Akedah (The Moon is Full), he drops the throat singing entirely.  The variety here is stronger than ever, and fills out the bands most complete album to date.  I Create in the Broken System, is one of my favorite songs so far this year, it features poetic throatsung English lyrics, and is narcotically addictive.

At this point I’m not sure what was a bigger risk for Arrington, writing albums in an almost completely foreign tongue, or mixing in a steady amount of English.  At some point you go against the grain enough that when you do follow its smooth lines, that creates the uncertainty.  Regardless, Open the Crown siphons enough from Arrington’s body of work that it mixes perfectly.

I frequently use Malaikat to prove how diverse and unique the music of the PNW is, my point typically has something to do with how accepting the music fans here are and how Malaikat wouldn’t make it anywhere else.  Which is full of half truths.  The music of the PNW is unique and diverse, and the music fans are accepting, but Malaikat could make it anywhere, and Open the Crown proves that.  This isn’t some collection of wacky tunes, these are unbelievable songs that rattle the course of your musical taste.  There’s so much to like here.

It’s heavy rock, it’s tribal folk, it’s a psychedelic trip, it’s some bastardization of hip-hop music at it’s most base level.  Then it’s also just what the ears and the heart want.

Give the album a listen, a full listen, all the way through.  Don’t judge it prematurely.  There is gold throughout.  Arrington says it best in the albums closing pseudo rap, I Manipulate the Form’d and the Formless.

Open the Crown is out today through K-records at krecs.com and most digital and physical retailers.

Arrington de Dionyso’s Malaikat dan Singa: website/facebook/twitter

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Since Secretly-Important began a couple years back, I’ve interviewed more than a dozen artists from various mediums.  Many of these artists were well established, others were on the cusp of reaching recognition.  Every single guest is someone who I respect deeply and admire, but the guest who has left the most lasting impression on me has been artist, Stacey Rozich.

Like many, I was introduced to her work through the cover of The Curious Mystery’s album We Creeling.  A colorful, bushy haired beast, with long protruding horns, and intricately detailed patterned clothing.  I was immediately inspired by the image and wanted to know more about the artist.  I took a plunge and discovered a treasure trove of material from artist Stacey Rozich.  I couldn’t get enough of her art, it was as if some one had penetrated my brain and extracted the information necessary to make art that would tug at my deepest desires.

Stacey’s work has served as one the of the greatest inspirations in my life, both personally and artistically.  I take no shame in admitting that I have in fact written more than one short story based on Stacy’s work.  I’ve watched her work grow and evolve, always in new and tempting ways.  Around this time last year I noticed that her mythical and folkloric images had adopted hipster culture.  This blending of the old and the new world is a physical representation of how I’ve always interpreted her work, as a modern representation of classic world culture.

I’ve become familiar enough with the Rozich cannon, that I’ve begun to identify  reoccurring characters, for whom I’ve projected story lines, beliefs, and emotions upon.  A towering void of a being whose body is both impressive and empty.  A great hairy beast, whose muscles ripple with tension, gently reveals the truth behind his mask, a face full of snakes.  A congregation of Imps whose aim is to wreak havoc, drinking your Rainier Beer, smoking all your cigarettes.  I always look forward to creating new narratives for her work.

Stacey’s credits are so impressive that by far the least important thing she’s done is appear here.  Her art appeared in a Fleet Foxes video, on album and book covers, the cover of Seattle’s The Stranger, banners for the Capitol Hill Block Party, and accomplished publications… as well as any other medium I might have missed, Stacey is a busy woman.  That’s right, like when she won the Nelly Cornish award.

Though we’ve taken to mostly/only promoting and covering music events, I will always make an exception for the art of Stacey Rozich.  Next Thursday May 2nd at Roq La Rue Gallery in Seattle from 6p-9p, is the opening for Stacey’s latest collection of new work titled Within Without Me.  You would be a fool not to check it out, you would be a fucking fool to do anything else.  I believe that Stacey is hands down, Seattle’s greatest working artist, you should get out there and support her, and at the same time give yourself the gift of some exquisite artwork.

As I understand it, Roq La Rue has just moved to a new location at 532 1st Ave S (near King St) in Pioneer Square.  You can also find Stacey Rozich at staceyrozich.com.

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Either you love the sweaty, chubby, hirsute Rhythm and Blues of Har Mar Superstar, hate it, or have never heard of it.  Clearly Pitchfork Media hates him with a deep unwarranted passion, I on the other hand love him with unharnessed admiration.  But I suspect that despite four studio albums, multiple US tours, movie cameos, and a growing podcast (Nocturnal Emotions), most have no idea who Har Mar Superstar is, which is a shame because who he is, is amazingly talented.

His previous albums have been like a grab bag of twisted modern pop R&B songs, with the occasional funky retro hit.  The flavor was that of a demented Justin Timberlake with  over sexualized and needlessly aggressive lyrics.  Every album has genuine hits that can’t be ignored like, Tall Boy, DUI, or Power Lunch, but there were always far less memorable songs.  Har Mar’s latest album, Bye Bye 17 is also his best.

Bye Bye 17 ditches the tongue and cheek pop songs bursting with machismo in favor of  true R&B grooves that could have been crafted from the outtakes of Stevie Wonder’s For Once In My Life. This is a retro dance party dripping sweat on a beat-up wood floor,  from funky 70’s soul in Prisoner, back through 60’s Doo-Wop in Www.  Even the cover of the album is an almost straight up rip-off of Bye Bye 17 by 1970′s Chinese actress and singer Nancy Sit.

The album’s first single, Lady, You Shot Me, was filled with promise, opening the doors to what had the potential to be Har Mar at his best.  Going all the way back to Cry 4 Help from his self titled debut, the songs 70’s soul flavor was a true standout among pop toss-offs.  Bye Bye 17 delivers on that promise of thirteen years ago by bringing that same R&B flavor to every song, one after the other, after the other.

Far from overproduced, this album has a 70’s cult-film graininess to it. It sounds not like a modern knock off of an album from a bygone era, but like it was buried decades ago and unearthed.  As the record spins, dust flies off and the room fills with a dusty haze, a time machine.  Har Mar Superstar doesn’t completely abandon his cheesy love songs, after all, “Prisoner of love,” is a pretty ham fisted line.  But here those lyrics play to the strength of the sweaty sexualization of the time the songs were inspired by.

It’s easy to want to write Har Mar Superstar off as a schtick, this chubby hairy man, who sweats buckets on the dance floor and strips to his skivvies for the pleasure of the ladies in the front row.  It’s easy not to take his music seriously, but beneath all that exaggerated bravado are ten exceptional songs.  You’ll hear this album and immediately want to throw a party, and put Bye Bye 17 on a loop and dance until your legs cramp, and you can’t move anymore.

Bye Bye 17 is available at all your physical and digital retailers today!

Har Mar Superstar: website/facebook/twitter

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The news this week was awful.  It started around noon on Monday with the bombings in Boston and continued right into Friday morning.  I struggled with what I should write, what I could write.  What could I say about music that was meaningful enough that it wouldn’t feel trite?  I talked about Santee’s kickstarter project (which you should support) but beyond that I just couldn’t figure out what was deserving enough to capture your attention.  This article alone has been completely rewritten four times, in the end I opted to say very little an instead post a video that I took of Reignwolf, way back at last years Bumbershoot.

Reignwolf AKA Jordan Cook is one of the most dynamic musicians you’ll ever see, you should never miss out on a chance to see him perform live.  Enjoy the video, and let’s hope that next week brings us less depressing news.  Har Mar Superstar releases his new album on Tuesday, so you can expect a sweet review of that album.

reignwolf at bumbershoot 2012 from secretly-important on Vimeo.

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It’s no secret that the life of an artist is one often filled with poverty and a constant struggle to generate cash flow. The life of a musician in 2013 is no different. I admit with shame that until two years ago I naively assumed that any musician with an album was making money as a musician. This is not the case. Most musicians work a day job brewing coffee or waiting tables or working behind a counter at a register. A few manage to find freelancing musical gigs teaching or playing as a hired gun. Fewer still manage to make a career performing in their own band. The advent of Kickstarter\ has become one such destination for artists looking to raise money to make a record.

If you don’t know how or what Kickstarter is, I’ll explain it to you in a nutshell. If you’re looking to raise funds for… anything really, you can crowd source your funds through the website. You simply come up with the amount you need and submit your project to Kickstarter. You have thirty days to reach that goal, if you fall short, the money is returned to the donors. Along the way there are incentives for different levels of giving… just like NPR. They range from things like a download of the finished album at the lowest level, to something like a private show just for you, at the highest level. But those rewards are determined by the artist, and ideally you’re not donating for the rewards, but to help musicians make new and spectacular music. I look at it as if you’re preordering the album in order to help it get made.

Santee is a band who I was entirely unfamiliar with until this morning when I came across their Kickstarter campaign for their debut album Historee. And after spending some time today investigating the band, I came away with little beyond what is presented by the band in the Kickstarter video, which you should watch too.

What really struck me was their sound. A kind of indie-pop with the soulful psychedelic rock of The Curious Mystery. Lead singer Heather Loepp’s voice even evokes the similar laid back cool of Shana Cleveland. There’s just enough grit squeezed into the cracks of this music to keep it from verging into cutesy indie bubblegum rock. Santee’s music has an air of mystery to it, smoky guitar riffs and ancestral drumbeats build from some unseen point in time and space and billow around you.

The recording part of the album is finished, thanks in part to generous studios who gifted time to the band. What Santee needs now is the money to master and manufacture the album. Having been working on another project recently myself, I know that this is extremely costly, especially if you want to put out a product of quality. At last check Santee was less than a thousand dollars away from their goal, with twelve days to go. We can help them get there, and why stop at $3,000, let’s help push it well over $3,000. You can donate by visiting their Kickstarter website at kickstarter.com/projects/santee/santee-debut-album-historee.

santee: facebook/twitter/kickstarter

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Last week I stumbled down the back alleys of memory lane as I reminisced about my personal experience with Sub Pop and my 10 favorite releases in celebration of their 25th anniversary.  This week I continue down that back alley as I reflect on my earliest memories of Seattle’s most recognizable modern DJ Marco Collins.

Just as my parents can hear the voice of Pat O’Day and instantly recall the music of their childhood, I hear the voice of Marco Collins and I’m instantly barraged with music from the 1990’s.  The two men have a lot in common, more then I ever realized in fact.  Both helped usher in a music scene to the Pacific Northwest and became influential in its movement, both rose through the ranks at their respective radio stations, both suffered from addiction.

The Glamour & The Squalor – 2 Minute Teaser from The Glamour & The Squalor on Vimeo.

I can remember the first time I listened to Marco Collins on 107.7 The End so vividly, it was by accident.  It was 9:00 pm on a weeknight in the summer, and I had played the four cd’s I owned, Bleach, Nevermind, Dookie, and the Superunknown, so many times that I thought my head was going to spin into orbit.  So as I lay down to go to bed I turned on my boombox which had been firmly planted on KidStar 1250 AM for years.  I slowly rolled the dial, passing fragments of words and songs, searching for my music, something that I wanted to listen to, something like the four cd’s I had.

I continued rolling past soft rock of the 70’s and 80’s, smooth jazz, and early rock and roll, until I reached the end of the dial, I slowly rolled back and immediately hit on something.  Now of course I can’t remember the song, but I can remember every other detail from that night. As the song faded out I heard this incredible rich voice, it painted this picture of a really “cool” guy.  I wanted to be Marco Collins.

The first thing I did was pop a tape in and start recording everything.  The next day I became a radio DJ in my bedroom, I spun the four cd’s I had, and conducted interviews with bands live on air.  I don’t know if I really wanted to be a DJ or just wanted to feel like one, I loved listening to Marco talk passionately about the music he played, and began imitating him during my own imaginary time slot at 107.7.

This sounds crazy now, but I was part of the last generation of kids who couldn’t just hop on the information superhighway and immediately find my people and the music I wanted to listen to.  Collins is part of the last great influential DJ’s.  We relied on the radio for new music, and depended on DJ’s to play it, their willingness to play an artist or song could make or break you.  The list of bands that Marco was instrumental in bringing to the American airwaves is impressive, Beck, Weezer, The Presidents of the United States of America, the Foo Fighters etc.  He’s a member of the Rock and Roll Hall of Fame, christ, he spoke at Kurt Cobain’s memorial.

He left The End in 1998, and at least for me he became a sweet memory.  He held a number of high profile jobs in the music industry, but never stayed anywhere particularly long.  It wasn’t until 2009 when Collins returned to Seattle and began appearing on KEXP that I started thinking about him again.

Marco is the subject of a forthcoming documentary The Glamour and the Squalor, which just released its first trailer this week.  The Glamour of Marco’s career was obvious, but the Squalor?  For someone who was so instrumental in my musical education, I really knew nothing about him.  I didn’t know that Marco was gay, I didn’t know what he’d been doing for the past fifteen years, and I didn’t know that for over ten years his addictions had sabotaged his career.  By the time he returned to Seattle in 2009 he was broke.

As I read articles detailing the downfall of Marco Collins I felt guilty, like I’d somehow mistreated or under appreciated this man I’ve never met.  But there was hope.  He got clean and sober, and took every opportunity that came his way.  This past year he started Jet City Stream, an online radio station that aims to highlight local music and take on the evil corporate juggernaut like Clear Channel, and the soft voiced hipster bastion of KEXP.  Jet City Stream’s inclusivity and commitment to local music earns a special place in my heart.

When I heard his voice for the first time in fifteen years it was as if nothing had changed, and immediately I was brought back to that summer all those years ago that I discovered 107.7 The End.  I’m rooting for Marco.

Be sure to check out the trailer for The Glamour and the Squalor, it looks like it’s going to be right up there with my favorite music documentary Hype!  You might also want to follow these guys on facebook to stay up to date with whats happening with the film.

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Let me begin by saying that I don’t win things.  I’m not just talking about Powerball, or some Amazon.com $10,000 gift card.  I’ve literally been to events where 95% of the attendees were guaranteed to win something, and I walked away empty handed, more than once.  Having said that, I’ve entered to win concert tickets twice and won both times.  This show was an exclusive for those who purchased their tickets to the Capitol Hill Block Party prior to 4:00pm on April 4th. It’s true that at some point after the doors opened it became first come first serve to anyone with or without tickets, but who has the availability to stop what they’re doing and attend a show at 9:30 on a Thursday night?

Still, I felt very lucky to have won two tickets earlier in the day from Pickwick, and it afforded me the ability to get a prime spot right at the front of the stage, which I think yielded some pretty great pictures.  There’s still so much left in 2013, but this show is shaping up to be the best of the year.

Radiation City

It pains me to admit this but I am a passive music lover, more often then not I sit back, relax, and wait for music to come to me, in one way or another.  I’ve heard the name Radiation City bandied about the last couple years and for some stupid reason I never delved into their music.  This was a serious mistake.

Opening for Pickwick last Thursday proved to be the perfect moment for a lazy-ass like myself to experience a band I should have given a listen to years ago.  With a band like this, there is the inevitable slap to the forehead where I wish I had just clicked the goddamn play button and fallen in love earlier.

Just as I begin to think I honed in on the perfect word to describe the eclectic sound of Radiation City, I reject it as some oversimplification.  My gut reaction is to say, indie pop but almost immediately that feels like a massive undersell.  I tried to manufacture “noise-pop” as so often their music climaxes in a cacophony of sound, but that isn’t a terribly clear picture.  The closest I managed to get was some kind of marriage between indie pop and folk rock, maybe even a relative of Vetiver.

Ultimately let’s just agree to settle on some combination of all of the above.  Far from derivative, their sound is full of constant surprises, with off beat rhythms, quirky keyboard intros, or unique progressions, the one definitive thing I can say is that their music is catchy. There’s this beautiful ebb and flow that seems to work in wonderful contrast to the music of Pickwick.

On May 21st, Radiation City will be releasing their second album, Animals in the Median on Tender Loving Empire records.

Pickwick

After leaving Neumos I had this thought, it was kind of a joke, but it occupied the same lobe of my brain that entertains things like Big Foot and the Loch Ness Monster.  The thought was, “I hope someone checks on Neumos in the morning, because Pickwick may have just shook this house to the ground.”

Somehow, for the past year and a half I’ve managed to just miss Pickwick every time they perform.  Including Sasquatch, where I was busy watching another band that I’d be interviewing later.  Perhaps it was fitting that this would be the first time I’d see them live.  It was their first show back in Seattle after a lengthy tour to SXSW and back, it was their first Seattle show in 2013, and their first show in Seattle after the release of their debut album Can’t Talk Medicine.  Anticipation had built to a fever and demand was high.

Pickwick delivered an impassioned performance, one of the best I’ve ever seen.  From the first organ wail wavering from the curtain of smoke concealing the stage, to the final sweaty and exhausted encore applause that guided Pickwick from the stage. When they performed at Sasquatch I could hear them just over the knoll that separated the main stage from the rest of the festival, it was early in the afternoon, a difficult time to deliver a performance filled with gusto, but I could feel their energy spilling over that grassy hill hitting me in the back.

If you’ve listened to Pickwick’s album Can’t Talk Medicine, then you know that it’s special, their soulful R&B sound coupled with classic indie rock is unparalleled. Seeing the band live was equally as special as their album.  Frontman Galen Disston was a one man fireworks show, exploding all over the place with his big bright voice, spitting soul filled notes and stuffing every crack of Neumos with its energy.

There are a handful of bands I’ve seen perform that I would suggest to anyone, these are bands who not only play great music, but do it with expert showmanship and tinderbox performances. Pickwick is one of those bands. Don’t take my word for it, there was a packed house of ravenous fans behind me that devoured Pickwick’s legendary set, and nearly swallowed Galen alive when he braved the wild animals during their rendition of Lou Reed’s The Ostrich.

If you missed Pickwick, and then didn’t get to see them Monday performing before a massive crowd at Safeco field for Mariners Opening Day,  then you’ll have to buy your tickets to see them at the Capitol Hill Block Party, because they’re headed back out on tour.  And please don’t forget to visit pickwickmusic.com to buy their album, or a rad t-shirt, or perhaps even a sweet keychain.

I want to thank Pickwick again for the tickets, I never would have made it to the show otherwise, and then I would have missed an awe-inspiring performance.

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