Category Archives: Music

Review: Vox Mod at Barboza

voxmod_ben_van_citters

Vox Mod Visuals by Ben Van Citters

The gentle wind lightly séanced me towards Barboza this past Sunday for the Vox Mod @ Barboza w/ Kairos show. I had a premonition that I was in store for some much needed positive vibes. Outside of Nuemos I was greeted by a lavender-outfitted, Vox Mod (Scot Porter) who embraced all of us with hugs at first greeting.

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Vox Mod~ Scot Porter & Trent Moorman

Wait…I feel welcome. So I tippy-toe down Barboza’s steps to a neighborly crowd of friendly twinkle-eyed guests as the joyous, Kairos set wraps up. Ben Van Citters and Do Yon Kim, diligently were maintaining the setup for Vox Mod’s visuals portion, Trent Moorman eagerly jumping to drums, and Scot Porter seemed super excited while getting his synth-drum contraptions handled.

Vox Mod~ Scot Porter, Erik Blood, Trent Moorman, Irene Barber

Vox Mod~ Scot Porter, Erik Blood, Trent Moorman, Irene Barber

Then it begins…rotating a full cast of kindred spirits accompanying the set. Erik Blood and Irene Barber cheerfully joined on the second song called, “Life Forms,” and later on Scot and Kyle Porter, and their mother Anna sang the chillingly wonderous song, “Particle.” This kind of positive vibes goes without saying on all of Vox Mod shows. Like literally, when I watch them my mind shifts from a room with no landscape, and no daily toll through a wind tunnel zooming through the chaos of a paint ball war of magnified color explosions. Thank you Vox Mod for giving all of us in Seattle some major sonic vibes.

all photo credits~ Marz Martinez

Vox Mod~ Irene Barber & Scot Porter

Vox Mod~ Irene Barber & Scot Porter

Vox Mod~ Scot Porter

Vox Mod~ Scot Porter

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Review: Beat Connection at Neumos

I’m standing in pre-show fog at Neumos last friday night, holding a spot near the stage. I anticipate having about as much room as canned fruit once the band starts, so I try to make friends before dancing forces introductions. People around me are friendly, following first meetings with the inevitable question: “Have you seen Beat Connection before?” Yes. The answer was the same on everyone’s lips. “Yes,” followed by an ear-to-ear smile and a story that bridged the gap between that show and now. I listened in, my excitement building. Beat Connection is an iconic chillwave dance band playing to their home crowd in Seattle. It’s no secret that their live performance is one of the best this city has to offer. I interpret the probing question “Have you seen Beat Connection?” to hold equivalent meaning to asking, “Are you Experienced?” Attending a Beat Connection show seems to be as much a Seattleite rite of passage as late night orders from the Broadway Dick’s window.

Expectations preceding the show are high, and the need to dance and move is primed by opening performances from Painted Palms and local chillwave/rock band, Onuinu (pronounced owe-new/ee-new). Beat Connection ascends to the spotlight; sole remaining founder, Reed Juenger, taking center stage in front of his laptop, microphone, and synthesizer. Singer/guitarist, Tom Eddy, follows to his left, with Jarred Katz mounting his throne at the drum kit in the rear. Aware that no introduction is needed, they break right into “The Palace Garden, 4am” and unleash a grooving crowd filled front to back with people dancing in joy, and it doesn’t stop.

Beat Connection plays highlights from their 2012 record The Palace Garden including:Invisible Cities,” “Other Side of the Sky,” and “Saola” (the source material for an excellent remix by emerging local artist, Odesza). Throwbacks to their Surf Noir EP “Sunburn,” “Silver Screen,” and “In the Water” are a welcome treat to see performed with a seasoned finesse, this time accentuated by the bobbing of Reed’s gold double elephant pendant. When he finally pauses five songs in to address the crowd for the first time, Reed speaks as if to old friends. Before continuing to play, he thanks everyone for coming to the show, and apologizes that they will not be in town again for a while. The lyrics from “Saola,” “I guess that’s life/You can’t pick out the pieces that you don’t like,” resonate as I listen to Reed. Being in a hit band is full time. The audience is a unified front sending the gratitude straight back onto the stage. Celebrating this music, and the joy of spring, feel like the same expression.

The masterful appeal of Beat Connection’s sound is that the lure to dance is not driven by the tempo, but by the rhythm. The beats-per-minute are slow enough to be funky, crisp enough to allow room to breathe, and fresh enough to bust a frenzy. During the show, I could take some space and smile at my neighbors. Ten person dance circles formed, encouraging everyone to show off their style. The room had the intimacy of a great house show. Even in a 600 person venue, it felt like we were all on the same great ride together, the band included. All of us were as friends, enjoying music, life, and each other.

Beat Connection was the perfect warm up for Sasquatch this coming weekend, and a good sign of the summer to come. Even for those not headed to the Gorge, this show was only the first in a season full of touring bands, sunburns, and steamy dance parties. The Northwest Folklife Festival is also this weekend, Friday-Sunday from 11am to 10pm, free as usual at Seattle Center. If you missed Beat Connection’s show, catch the similar Florida chillwave/rock band, Surfer Blood, Friday and Saturday night with Foals at Neptune.

Photos by Korbin Bennett-Gold
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Brand New Talk: Duh Cripe for youryoungbody

Dark wave electro duo, youryoungbody, has stolen many a heart since their inception less than a year ago. Their fusion of gothic orchestral beats and subfuscous vocal melodies paint an aural picture in blues and greens of the ghosts of beautiful women or dying in a dream. Stylistically similar to some of the greatest acts in the business—recent Crystal Castles, Purity Ring, Grimes—upon first listen, it’s not difficult to discern how the budding young band has swiftly garnered critical praise. Coming from vastly different backgrounds, producer Killian Brom is a sound designer for video games, while singer, Duh Cripe, used to be a folky singer/songwriter. Somehow the pairing has led to magic, with Duh’s ethereal mezzo-soprano giving context to Killian’s sprawling production.

youryoungbody’s nearly immediate success is indicative of a greater trend that’s sweeping Seattle. More and more local groups are cropping up that fall into the dark side of electronica. Crypts, Nightmare Fortress, and most of the No Sleep roster signify the emergence of a micro scene that caters to fans who crave a gothic feel. “I think we are all drawn to darkness,” says Duh, “but I like tunnels with a light at the end.” This statement is an excellent metaphor for youryoungbody’s sound overall; it’s dark and pensive, and hopeful at the same time. While each group within this microcosm offers something slightly different from the next, when taken as a whole there is a sense of cohesion. “I totally think there is a demand here for more dark electronic music,” Duh explains, “The scene combines fashion, music, and art to make a spectacle. It’s beautiful and needs to constantly be recreated over and over and over again.”

Perhaps it’s our dreary weather, or perhaps our high concentration of big brains within this city, but this emotionally visceral dance music seems to transcend the boundaries of place and time. youryoungbody is just as great when experienced through headphones while walking alone as it is blasted through big speakers with the volume turned to eleven. It carries with it an unpretentious intelligence and a frenzied sense of spontaneity, made whole by calculated execution. Their live performances are intensely high energy, with Duh invoking the spirit of Poly Styrene and Siouxsie Sioux, despite a serious case of stage fright. “The second the music starts and the mic is in my hand, I feel like someone is holding a knife to my throat,” she says, “People always tell me I look pissed off on stage but I am just counting the minutes until it’s all over.” It’s these subtle contradictions that make youryoungbody so interesting, and make their music so inviting.

youryoungbody will be playing the Vera stage at Capitol Hill Block Party this year, a set that is truly not to be missed. A fashion merchandising student and vintage sales associate by day, Duh took the time to answer our questions for the latest installment of Brand New Talk. Read on to find out how this aspiring fashionista takes her look from the streets to the stage.

How would you describe your day to day style?

My day to day style is hard to define. Its often a mixture of whatever I have laying on the floor and a recent purchase I have been dying to wear. I am often shopping and swapping out clothes in my closet. Its important to stay fresh, and never wear anything too much.

Is there a difference between what you wear everyday and what you wear on stage? What is the difference?

There really isn’t a difference. Its not too uncommon for me to walk out of the house to get groceries in heels and a wig. I enjoy living in my own little fashion bubble.

What is your process for styling for performances?

Typically I try and fit the aesthetic of the band. I try to find a balance between Killian’s style and mine (but every once in awhile I go over the top).

How has your style evolved since the band first began?

Definitely, I think I got less worried about looking like a nutcase and just started to accept that I am one.

Who’s style inspires you, who are some of your fashion icons?

I try not to get too much inspiration from current musicians or actress, you can start recreating that person in your own style and I prefer individuality. I try and study history and its fashion rather than current style icons.

What are some of your favorite pieces from your own wardrobe?

Hmmm…that’s a tough question. I have some fun pieces but since I am constantly collecting, I cant keep track of it all. My favorite pieces are my staple items. Great fitting black pants, vintage bras and comfortable heels (yes, they exist).

If you could go on a shopping spree anywhere on the planet, a.) Where would you go? b.) What stores would you go to? c.) Who would you bring with you? d.) What is at least one item you definitely be shopping for?

I think any fashion obsessed girl like myself would go to Paris. I’d probably bring Anna Dello Russo with me and we would just chit chat about Marc Jacobs and all the Euro pop we can’t get enough of. Stores wouldn’t be necessary…if were going to Paris, I am visiting Karl personally. Now, that’s a shopping spree!

(Photo credits in order of appearance: Kendall Paulson; unknown; Haley McLain; Bebe Besch; Nina Toy)
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All Tomorrow’s Parties: Beat Connection at Neumos on 5.17

Iconic local chillwave group, Beat Connection, will be headlining a line up at Neumos this Friday that promises sparkly Balearic sounds just in time for the sunshine. While the group may have started as a duo, their roster has changed quite a bit over the last few years. What started with the live addition of musicians who had lent their talents on record, has swiftly morphed into a shrinking roster, with the current line up including only three members. One individual missing from the stage stands out more than others. Founding member, Jordan Koplowitz, has left the group for greener pastures. Beat Connection co-founder, Reed Juenger, explains: “(Jordan) just wasn’t feeling it.  Trying to make a band work is a ton of fun, but it’s also a lot of hard work, it’s not for everyone.  We had some set backs, and I guess he just wanted to pursue other things in life.”

Fans can expect Beat Connection to branch into some new musical territory, but Reed assures us that the sound will stick closely to the foundational roots the group began with. “We aren’t gonna make an ambient screamo record or anything,” he says. The Neumos show will be the perfect opportunity to check out what the new Beat Connection has to offer. The venue is exactly the right size for this band, and has even become one of their favorites to play. “We are always on a feedback loop,” Reed says, “so our favorite shows are ones where the crowd is just going for it, (it) helps us get into it.  This tends to happen most in like 300-600 person rooms.  The last time we were at Neumos was maybe one of my favorite shows ever, the sound and the lights were amazing and I’m really looking forward to making a return.”

Supporting Beat Connection on the bill will be similarly chill acts, Painted Palms and Onuinu. Doors open at 8PM on Friday, May 17th, with advanced tickets going for $15 a pop. The show is all ages, so every one’s invited! Bring a friend and bliss out to some brilliant beats and beaming melodies.

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All Tomorrow’s Parties: VOX MOD with KAIROS + CABANA at Barboza on 5.19

VOX MOD is Seattle’s most extreme positive viberzzz. I got a chance to see them this past Saturday at Lo-fi and was blown away by their sheer starburst-like energy. They are sure to radically transform Barboza on May 19th with a lightning bolt rush of spazz-matic ear candy with one goal…FUN. The trinity includes Scot Porter, drummer Trent Moorman accompanied by Ben Van Citters on visuals. Dance Party!

5/19/13~ VOX MOD with KAIROS + CABANA at Barboza 21+/ $8 ADV

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Review: The Thermals at Neumos

The crowd pushes a surfer into Kathy Foster as she plays the bass

I have to admit, two punk bands and a surf-rock quartet had me curious about how last Thursday night’s show at Neumos would flow. When La Luz stepped up to the stage to open the night, I felt a pang of disappointment that my most anticipated new Seattle sound would not benefit from a warm up act. But it was perfect. La Luz played their own one-band show complete within itself.La Luz Then Wimps primed the crowd for The Thermals to the point between mosh-rage and full on surfing stage-dive. When Hutch Harris (guitar and vocals), Kathy Foster (bass), and Westin Glass (drums) of The Thermals ascended to the spotlight at Neumos they spared no time before striking the first chords of “Born To Kill” the opening track from their new album out now on Nebraska’s Saddle Creek label.

Their website says of The Thermals’ new album that “Desperate Ground is a true scrappy-and-scratchy return-to-form for The Thermals.  Fast, cheap, and out of control.” In sound this is true, but last Thursday I heard much more than the fast and cheap out of control post-pop-punk of ten years ago. Hutch Harris Singing into micSinger Hutch Harris is a voice of our generation. We have moved from the age of love, through the prosperity of wealth bubbles, and into a very real world of inequality, struggle, and complacency. The Thermals capture the energy and tone of a people who are surviving, who are waking up and taking action. The lyrics throughout Desperate Ground reconcile what we have been through with what we now must fight for. The set started off with the first two tracks from Desperate Ground: “Born to Kill” and “Faces Stay With Me” and then brought the engaging energy behind Desperate Ground into songs from their first album More Parts Per Million. In celebration of the 10th anniversary of it’s release on local label, Sub Pop, the remainder of the set alternated between classic hits from a decade ago and new material. Both eras flowed together seamlessly for an as-expected raw party energy on the dance floor.

Hutch Harris and Kathy Foster play facing each other.

The Thermals are touring Desperate Ground in a lap around the U.S. and then going abroad – so it will be a while before we can see them again in the Northwest. But you can catch the sunny tunes of La Luz at the Underground Events Center in Belltown this Sunday May 5 at 8:00PM. Li Pino on drumsI highly suggest getting close enough to the stage to enjoy the smiles, stories, and wonderful personality of drummer Li Pino. Unless they wise up and move the drum kit up front, there wont be many more opportunities to get close enough to enjoy the hidden treasure at the back of the stage – La Luz are not staying a Seattle secret for long.

 

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Brand New Talk: Prom Queen

Smoldering like a summer fling, the 60′s inspired, vintage rock ‘n’ roll of Prom Queen is like the soundtrack to a good Tarantino flick. It’s music for muscle cars, leather jackets, fast chicks, and desert sunsets. Attacking the style with utter perfection, the cinematic narratives delivered by Celene Ramadan (the band’s one and only member) invoke the spirit of Nancy Sinatra, Peggy Lee, Françoise Hardy, and Dolly Parton. Completely committed, Celene’s voice emotes with powerful conviction, transporting listeners back to an era of exploitation films and pulp magazines.

With elements of surf rock and psychedelia fusing with the warm fuzz of a worn guitar, Prom Queen seems to come from a completely different planet than the frenetic 8-Bit music Celene makes as Leeni. “8-bit (or chiptune) sounds are only a small sliver of the sounds that inspire me,” she says, “I’m inspired by all kinds of styles and I wanted to start making some of them. I don’t consider myself to be a one genre person. As a listener and appreciator of music, I listen to a vast variety. My moods change with the seasons and it’s nice to have new sonic colours to listen to. It’s been interesting, the similarities and differences between my two projects. It makes me feel like two different people, but I like that. I like having different soundscapes to play with and to be able to write a lyric and say ‘oh, that’s a Leeni lyric,’ or ‘this is definitely a Prom Queen song,’ and have a way to sort through my ideas, essentially. Not that those two are the only two styles I plan on doing. I love all kinds of music and I plan on making more varieties as long as I live.”

Celene taught herself how to produce and record vintage rock music when she joined forces with Jon-Michael Kerestes to form Romeo + Juliet, which was a project the two developed entirely via email. However, playing around with lots of different instruments and styles isn’t new to Celene. Largely self-taught, the multi-instrumentalist extraordinaire can expertly play the piano, the guitar, the oboe, and the Game Boy, as well as create professional sounding beats using Garage Band, of all things. The icing on the cake is her beautiful voice, traipsing between styles ranging from jazz and classical to pop and rock.

Part of the Prom Queen package is the image Celene projects when she performs. With big flowing hair, tendrils of dark curls dance around the delicate neckline of a vintage prom dress. A bright pink guitar crosses her waistline. The visual aesthetic serves to reinforce the sounds coming from the stage, but this is not a character performance, nor is it a novelty act. “It is a stylistically decisive act,” Celene explains, “but not novelty, as it is sincere. I am a person who is very decisive and likes to go all the way with something and still try to find ways to make it my own. Ultimately, I never sat down and sketched out what this would be, I just wrote what I felt like writing and produced it the way I wanted it to sound. I aim to write the music that I myself search for in hopes it exists, but it doesn’t. Yet.”

To behold this breathtaking audio/visual experience, join Prom Queen at Vito’s on May 11th at 9PM (for free!). She will be accompanied live by Ben Von Wildenhaus on guitar and Tom Meyers on drums, however the strings, vibes, timpanis, percussion, organs, etc. found on the recordings will be delivered via backing track, ensuring that the sound quality Celene has worked so hard to achieve is vibrantly maintained. “They have a scratchy, old quality to them that would be difficult to re-create live,” she says. The May 11th show will be the last chance to see Prom Queen play live until August, as Celene is heading back into the studio to work on a new record. Until then, keep reading on to see what Celene had to say when Seattle Peach had a few little fashion questions for her for Brand New Talk.

How would you describe your day to day style?

Pretty practical, unfortunately. Head to toe Lululemon on most days. I am pretty active and my transportation is either running, taking the bus or riding on the back of my boyfriend’s motorcycle: all of those things are enemies to fancier attire. But, it really makes the times when I can dress up feel really special.

Is there a difference between what you wear everyday and what you wear on stage? What is the difference?

Big difference! On stage, I wear a prom dress, heels, big hair, lashes. It’s all sparkle and glamour. At home/during the day, I am pretty understated and casual.

What is your process for styling for performances?

I have a rotating collection of vintage prom dresses that I wear. I’m usually more in the mood to wear one versus another of them. Then I style everything else to match the dress. It’s pretty simple, and it doesn’t take me much time at all. I’ve gotten my hair routine down to under 5 minutes!

How has your style evolved since the band first began?

It’s evolved most in the hair department. I’ve always worn prom dresses for the shows but I didn’t really grasp the brilliance of a well styled wig until much later. I saw the light. In the beginning, with Prom Queen, I really wanted there to be some androgyny to the outfit. I wanted to get someone to design me this hybrid outfit that was a prom dress with a tux jacket and cummerbund and kind of wear a men’s and woman’s prom outfit at the same time, cause I think it suits me. I’m not much of a girly girl, and my music also reflects a masculinity at times. I haven’t abandoned the idea of that outfit, actually I should probably get on getting that made soon.

Who’s style inspires you, who are some of your fashion icons?

My fashion icons are actually the same as my music icons: Debbie Harry, Francoise Hardy, Brigitte Bardot, Nancy Sinatra, Amy Winehouse, Marina and the Diamonds, … and Beyonce.

 

What are some of your favorite pieces from your own wardrobe?

I love all of my prom dresses, but in particular I have a long sleeve mint green dress that I think is just beautiful. The whole top of the dress is sequined and sparkly and then the skirt part is flowy and airy.

If you could go on a shopping spree anywhere on the planet, a.) Where would you go? b.) What stores would you go to? c.) Who would you bring with you? d.) What is at least one item you definitely be shopping for?

1968 Paris with Mick Jagger. For scarves.

Photo credits in order of appearance: Wittypixel Photography; Wittypixel Photography; Rodel Casio; Tony Tibbets; Tony Tibbets
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Album Review: Syn-Æsthetic by Vox Mod (With Free Giveaway!)

Syn-Æstetic Cover

For his new album, Syn-Æstetic, Scot Porter – aka Vox Mod – invited Seattle to join him on a trip through space and time, through the expanse of the the infinite universe, into the split trenches between the continents of our own planet, and further into the depths of self. Under the leadership of Vox Mod, 10 of the most talented explorers-of-the-unknown formed the crew who came together to create Syn-Æstetic. Standout contributors include Palaceer Lazaro of Shabazz Palaces, Rik Rude of Metal Chocolates, and Erik Blood, producer for THEESatisfaction and Shabazz (among many others). The album is an auditory record of their cinematic journey through space and time; the captain’s log as processed through the ship’s on-board ARP 2600.

The adventure unfolds as the album begins: adrift, floating in zero G. Outer space tinkles excitedly in the background, anticipating the journey to come. The flame distorted bass of stabilizer jets blast and correct to maneuver the listening passengers. The pilot, Palaceer Lazaro, begins. His hands glide over the controls and they begin to glow, their light and synthetic hum fading in and out in anticipation of being pressed. Visible light stretches, blurs, and streaks. The ship goes into warp speed. The wonders of the universe slowly float by the window. Palaceer describes celestial visions in aid of our synesthesia – a term the album title borrows that describes one sense (such as sight) reacting involuntarily to the stimulus of another sense (such as sound).

Vox Mod pilots the listening experience out of the depths of space and into the deepest oceanic trench on earth. He emerges from the ocean into a prehistoric era, increases the speed of travel, and breaks through the atmospheric barrier into humming, empty, black space. He takes us into Rick Rude’s jungle of jangles, and we enter with him the temple where we find self. The temple commands us to live. We come out of our selves to hear the sound of the cosmic aurora borealis all around us. Eric Blood, a co-producer on the album, reforms in the last song, adding indie/pop rhythms and vocals to the concluding track. The listening voyager discovers that at the end of the tunnel of discovery and introspection, shines the bright light of joy.

Syn-Æstetic marks an expansion upon the sound we have come to expect to hear from Vox Mod. Commonly instrumental, he is now collaborating with vocalists for more than half of his songs, bringing a very different feel to his music from previous releases. Rooted in the Seattle electronic music scene, Vox Mod provides a uniquely cosmic sound, his sonic inspirations coming from all over the place, but always transforming into a synesthetic representation of colored light in motion.

From voxmod.com, here is a helpful short description of each song, in the captain’s own hand:
1 – Iridescent Asteroid Mists (feat. Palaceer Lazaro) – Ishmael Butler aka Palaceer Lazaro of Shabazz Palaces describes multidimensional celestial visions.
2 – Particle (feat. Anna Marie + KMP) – A look within the origins of man and the universe featuring a collaboration with my mother, Anna, and brother, Kyle. Organ samples from St. Mark’s Cathedral.
3 – Life Forms (feat. Irene Barbaric) – 300 million years of yearning narrated by Irene Barber of Eighteen Individual Eyes.
4 – The Marianas Trench -Theme song for all the deep-sea creatures and explorers.
5 – Quetzalcoatlus – Giant majestic pterosaurs gliding through the skies.
6 – Holocene Halocline (feat. Jahcoozi) – Sasha Perera of Jahcoozi oscillates in between dream states and reality.
7 – Prismatic – The kaleidoscope of the mind’s eye.
8 – In The Temple Where I Found Self (feat. Rude Boutique) – To truly know one’s self is to know know the universe. Rude Boutique aka Rik Rude of Metal Chocolates walks into the temple of knowledge.
9 – Filament (Incantation) – The conductor. The synapse. The activator.
10 – Iris + Clavicle – An intimate anatomical study. Performed on Steven Fisk’s ARP 2600.
11 – Æon + Trevor (feat. John Rafter Lee) – Trevor Goodchild (voiced by British actor John Rafter Lee) reminisces about his relationship with Aeon Flux.
12 – Quenched Consciousness – The Moebius twists through the fabric of space and washes up on the shore of time.
13 – Ecophony Infinitum (feat. Erik Blood) – Infinity and expansion are within human’s reach. And so, Mr. Blood reaches out to the universe.

“Quenched Consciousness” is a great track to introduce yourself to the music and the album. Syn-Æstetic can be purchased or freely streamed on Vox Mod’s Bandcamp, but for you, our dear readers, Seattle Peach has four digital download codes for Syn-Æstetic to give away for free! To get one of these coveted codes, simply share your thoughts on Vox Mod’s new album in the comments section below. We will send out the codes to the first four people to comment.

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