I just bought this t-shirt. Two of them in fact. Starting today, the ever clever National have put it up on their merch page. I think it is downright genius. And while it may be a bit premature to call him “Mr. November” just yet, in democratic fashion the National are donating all proceeds to the Obama campaign so you can be ready when the time to rub it in the face of your Republican friends arrives. I am literally counting the days.

If you just examine the name, it really does seem like a good match. But if you listen to the content actual song, the meaning of the shirt and name might change entirely for you. A sampling of lyrics:

“The English are waiting and I don’t know what to do, In my best clothes”

“I’m the new blue blood, I’m the great white hope”

“I won’t fuck us over, I’m Mr. November”

“I used to be carried in the arms of cheerleaders”

It’s too bad such a good title does not make a good campaign victory song. All sorts of political things could be construed from those lines. Things Barack might think are contrary to his message. Attitudes the McCain camp would love to pin on Obama. If the Obama campaign can’t embrace the lyrics of the song, hopefully they can embrace the gesture.

You can buy one here! There’s a women’s version too!

PS. It should be noted that the song itself is not in reference to Barack Obama, and originally appeared on Alligator, an album released in April of 2005. Just to be clear.

… of this.

We’ve already heard about the Constantines and the Obits…

I’m thinking one of July 12’s early day TBA’s could got to be reunited Dead Moon. Pierced Arrows is playing the Funhouse later that evening, so it isn’t out of left field.

Also, The Jesus and Mary Chain are playing Showbox SODO July 16. Hmmmmm….. very interesting.

The one act I would really like to see, but don’t believe is happening though is the Fruit Bats. I would give my left nut to go to a Fruit Bats show and hear some new songs. I hear Eric is planning on playing a few shows this year…

SP20 TBA sleuthing. Can we expect the Constantines on the bill? I sure hope so. |reverb|

Damien Jurado covers Low. |stereogum|

Minus the Bear visit Daytrotter. |daytrotter|

Musicfest NW announces lineup. And wouldn’t you know it, the Murder City Devils are reuniting to play it. |musicfestnw|

KEXP is at the Pitchfork Music Fest this year. Per usual they are having some exclusive in-studio performances were you can sign up and attend. |kexp|

Are there not enough people in Seattle who would jump at the chance to actually Pearl Jam or Eddie Vedder play in Seattle? Today’s release of an August solo tour schedule for Vedder suggests once again that big bands who actually live in Seattle could care less about actually playing in Seattle. I am giving this phenomena a name: The Seattle Snub.

Here’s the deets on Eddie’s tour with Liam Finn straight from the Ten Club (for those who get to care):

DATE VENUE CITY PRE-SALE

Aug-01 Opera House Boston, MA Jul-07 at 9am PDT
Aug-02 Opera House Boston, MA Jul-07 at 11am PDT
Aug-04 United Palace Th. New York, NY Jul-07 at 1pm PDT
Aug-05 United Palace Th. New York, NY Jul-07 at 2pm PDT
Aug-07 NJ Performing Ctr Newark, NJ Jul-07 at 3pm PDT

Aug-09 Salle Wilfrid Pl. Montreal, QC Jul-08 at 9am PDT
Aug-10 Salle Wilfrid Pl. Montreal, QC Jul-08 at 11am PDT**
Aug-12 Massey Hall Toronto, ON Jul-08 at 1pm
PDT
Aug-13 Massey Hall Toronto, ON Jul-08 at 3pm PDT

Aug-16 Warner Theatre Washington, DC Jul-09 at 9am PDT
Aug-17 Warner Theatre Washington, DC Jul-09 at 11am PDT
Aug-19 Riverside Theatre Milwaukee, WI Jul-09 at 1pm PDT
Aug-21 Auditorium Theatre Chicago, IL Jul-09 at 2pm PDT
Aug-22 Auditorium Theatre Chicago, IL Jul-09 at 3pm PDT

All dates are subject to change.

Ravens & Chimes ::: photos by Abbey

Despite everything going against them–time, one of the the worst opening bands in the history of opening bands, a mediocre crowd, and the usual poor sound set up at the High Dive–Ravens & Chimes impressed with their performance. While the band’s album is its masterpiece, their live renditions of the songs retain the same emotion and fullness they do on the album. Compared to some of the over-the-top antics we are treated to nightly in the Seattle scene, Ravens & Chimes presence on stage was reserved but completely genuine and without pretense. We can’t wait to see these guys in a few months when they play Bumbershoot.

Last Friday, KUOW had an hour-long discussion about the existence of a “Seattle Sound” and invited a number of local luminaries to weigh in. Among them was imaginary dana, who summarized the discussion in a TIG post and then posed the question to the rest of us: “The Seattle Sound: does it exist?” While I agree with much of what the panelists had to say -that it is tough to pin a Seattle Sound down- I would also add a few thoughts, and take that idea a bit further.

Let’s start at the beginning and examine if the original moniker was deserved in the first place for the genre of “grunge?” Maybe. Did it more properly define the aesthetic of one label’s roster? Definitely. Was the term a way of blindlessly grouping similar sounding bands from a single geographic location? Unquestionably. Would I group any newer up and coming bands into that definition today (local or national)? I doubt it. It was the not only a sound, but a moment.

Does a new “Seattle Sound” exist then?

As the title of this post implies, my answer to the question is no, and here is why: modern technology and business has made it possible for anyone who wants to produce and release music on global scale and make a career of it, to do so with minimal effort and outside support. Just 20 years ago, bands were reliant on a major label for just about everything; today entire records are produced on a Macbook in a bedroom in days. The advent of a widely available internet as a distribution and audience development tool has also changed the game completely for labels, retailers and bands, often altogether removing the need for a middleman or a mediator.

Without anyone but the musicians themselves to define their music making parameters, the opportunity to diverge completely from the waning major label defined “mainstream” is available to everyone. Here and now, being unique is not only possible, but Seattle’s independent and ‘authentic’ ethic demands and prizes such individuality. (Whether it properly rewards such individuality is another story entirely.)

The “Seattle Sound,” if it can be said to exist at all, is a “bricolage cacophony,” a state of being where no band is sounding too much like anyone else simply because each is being allowed to find their own way, in their own time, on their own terms. Portland is by all accounts a similar scene with an even more pronounced DIY and nonconformity streak.

And you know what? I wouldn’t have it any other way.

There are three very important points I will now address, that will most certainly sway you in to feeling as estatic about the new song by The Daredevil Christopher Wright’s new single “The East Coast”. If they do not sway you, you are most likely some form of carbon-synthetic robot sleeper agent, and everyone knows how your music taste is. Thank you, come again.

1. Their new album, including this single, is mixed by none other than Justin Vernon i.e. Bon Iver. This is the man behind For Emma, Forever Ago, I would follow his music in to a cold, Wisconsin bear-trap and die a happy man.

2. It was recommened to/fousted upon me by Amble Down Management guru Kyle Frenette. Mr. Frenette was the first to expose me to Cranes and Crows, The Wars of 1812, and The Gentle Guests. His label, also trickily named Amble Down, continues to release the best that Northern Midwest has to offer, which seemingly is quite a bit of amazing music. I would not follow Kyle in to a cold, Wisconsin bear trap, but I would certainly buy him several cheap beers.

3. It is an amazing song. I don’t want to refer to it as “medieval” because then you of the wild imaginations would start fantasizing about hammered dulcimers and harps and that would just be a disappointment. But there is certainly something “medieval” about it, in the sense that “Scarbourough Fair” is slightly “medieval”. Perhaps it’s the gentle horse-clop sound, or the breakdown highlighted by the three part harmony and flute-play, but I can’t shake the image of a group of colorfully bedecked troubadours sittin’ round a campfire, telling tales and playing to their hearts’ content.

Sadly, this super talented group has a full album (In Deference To A Broken Back) in the wings, just waiting for that eager, on-the-ball record label to swoop them up.

Myspace: The Daredevil Christopher Wright

MP3: The Daredevil Christopher Wright - The East Coast

… AND I LIKE TO F**K!

Keith Ledger in their first show ever at the Comet Tavern last Friday ::: Photos by Josh