Cursive

February 22, 2012 · Posted in Seattle Houses · Comments Off 

Cursive
Event on 2012-02-24 20:00:00

Supporting Acts: Ume, VIRGIN ISLANDS

Cursive

Cursive is the longtime trio of Tim Kasher (vocals, guitar), Matt Maginn (bass), and Ted Stevens (guitar, vocals), with Patrick Newbery (keys) and Cully Symington (drums). I Am Gemini (out February 21, 2012 via Saddle Creek), the band's seventh LP, is the follow-up to 2009's critically praised Mama, I'm Swollen, which caught the attention of publications including Alternative Press, Billboard, Playboy, Rolling Stone, and Time Out New York, among others, and earned the band their network television debut on The Late Show with David Letterman. Cursive has released six full-length albums – including the heralded Cursive's Domestica (2000), The Ugly Organ (2003), and Happy Hollow (2006) – two EPs, a disc of rarities, and numerous singles since the band's 1995 inception. The band is also known for their vital, magnetic live show, earning rave reviews from outlets including the Cleveland Scene's C-Note music blog ("[Tim Kasher's] effect on the crowd was chilling last night…Cursive was focused and on-spot, composed and gripping"), Nuvo Weekly ("…the five-piece slashed through a near-perfect set of songs from their last nine years of albums"), and the Orlando Sentinel's Soundboard blog ("…the band still knows how to rock on stage…[Cursive] thrashed away with an abandon that heightened the passion of Kasher's dense, emotionally charged wordplay."). I Am Gemini is the surreal and powerful musical tale of Cassius and Pollock, twin brothers separated at birth. One good and one evil, their unexpected reunion in a house that is not a home ignites a classic struggle for the soul, played out with a cast of supporting characters that includes a chorus of angels and devils, and twin sisters conjoined at the head. Recorded in the summer/fall of 2011 at Omaha, NE's ARC Studios and mixed at Red Room in Seattle, WA with producer Matt Bayles (Mastodon, Minus The Bear, Isis), I Am Gemini marks the first time front man Tim Kasher, holding the completed story already in mind, wrote album lyrics in a linear fashion, in order, from song 1 to song 13. The result is thirteen singularly cohesive song chapters that blend effortlessly into one unique narrative. The moody and playfully sinister I Am Gemini is Cursive's musically heaviest in years, with alternately muscular and angular guitars, pounding drums and driving bass. From the eerie introductory sounds of epic barnstormer "This House Alive" and the irresistibly catchy, insistent "The Sun and Moon", to the searing "Double Dead" and the split personality prog-pop of "Twin Dragon/Hello Skeleton", to the roaring, mournful closing track "Eulogy for No Name", the album is a dynamic, mind-bending, and imaginative ride.

at Troubadour
9081 Santa Monica Boulevard
West Hollywood, United States

Yelawolf
Event on 2012-03-03 18:30:00

Yelawolf

Envision a humid world of slow-rolling Monte Carlos and slaughter houses; meth labs and rusting Mossberg's, inked up arms and haircuts that look like they've been chopped by hatchets. Trunk Muzik. Southern Pine trees, smoking pine, and pine boxes. Call him Catfish Billy or Yelawolf, just don't go make him go pop the trunk on you. Enter Yelawolf's Alabama-a backwoods badlands of sinners and salvation. He claims Gadsden, but he's from everywhere. Born Michael Wayne Atha to an absentee father and a bartender mother, he attended over 15 schools while soaking up slang and spiritualism in Baton Rouge, Antioch, Tennessee, and Atlanta. While trying to stay afloat in a turbulent home life addled by drug and alcohol abuse, he discovered rap music in Tennessee and it soon became an obsession, along with the classic rock (Lynard Skynard, Pink Floyd, The Allman Brothers) that he was raised on. "When I lived in Antioch, they'd bus us down to the projects in Nashville to go to school and everything just started clicking with me with rap music and in life," Yelawolf said. "I felt the connection, these kids had the same problems that I had at home. And the weed, the dope…" His music is a new strain of soul food, the traditional Southern cuisine that fortified the Dungeon Family, 8ball & MJG and UGK, but infused by Yela's unique experiences as a cross-country vagabond with no place to call home. And, of course, his unparalleled ability to snap off double-timed staccato raps unlike anything you've ever heard. His manager bestowed him with the nickname Joe Dirt because his experiences are so unbelievable. There was the stint commercial fishing in Alaska. An attempt to become a professional skateboarder in Berkeley thwarted by various injuries. Time spent in Seattle and New York, and of course, spots all over the South. The cross-country Greyhound tours around the country like a modern-day Jack Kerouac with the rhyme skills of LL Cool J circa the "Jack the Ripper" era. Finally settling back down in Gadsden, Yelawolf hooked up with Gheto-O-Vision, who helped him land a deal with Columbia in 2007. Suddenly, the last 20 years of life as a vagabond seemed to be at an end. Yet the perpetual state of chaos soon re-emerged, when Rick Rubin took over the label and started cutting artists left and right. Before he had the opportunity to even finish his debut album or prove himself on a large scale, he was unceremoniously dropped. "It was frustrating. I was just like, 'you don't get it? Alright, that's cool, then I guess I'm extra special," Yelawolf said. "I had to be arrogant because I could have been fucked up. I mean, Rick Rubin didn't like me? But that's just not my style. I refuse to quit." The only solution was to go harder, taking his anger at being slighted and turning it into something undeniable. He dropped a flurry of mixtapes, including "Stereo," which found him riffing on old classic rock cuts from Fleetwood Mac to Pink Floyd to Heart. But while he continued to build a fan base with each release, something was missing. "Not everybody in hip-hop messes with classic rock. There was no real element of surprise. I'm from Alabama, I'm into classic rock – it was obvious and there was no shock-value to it," Yelawolf said. "After that, I wanted to focus on making sure that people understood that I respected the craft. "Trunk Muzik" was dedicated to the trunk riders, with 808s and hard ass music. It had a dirty Southern sound, and it opened things up. Which is something of an understatement. "Trunk Muzik" dropped on January 1st, 2010, and within a matter of weeks, he was the toast of every blog. The New York Times raved about a live performance, describing him as "fully ascendant" and "striking and assured." The LA Times declared he was "as safe a bet for stardom as anyone out right now – the rare rapper capable of earning respect from both Kid Rock and Kid Cudi fans." His insanely energetic performances at SXSW were the stuff of instant-legend. Songs like "I Wish" and "Good to Go" found Yela capable of going toe to toe with lyrical giants Bun B and Raekwon. While "Pop the Trunk" epitomized his 808-heavy trunk rattling sound, full of vivid pictures of rural redneck life and violence lurking around every bend. But Interscope didn't just offer him a deal only to tell stories about the South. There are a million rappers capable of doing just that. But none of them can match Yelawolf's versatility. Whether he's rapping over the beat for Cypress Hill's "Ain't Goin' Out Like That," Gucci Mane's "Lemonade," or The Doors' "Waiting for the Sun," Yela has the ability to adapt his style to each song. He doesn't kick 48-bar freestyles, he re-interprets the song to fit a new meaning. He can spit with the most lyrical underground types or he can write an upbeat party anthem like "I Just Wanna Party," alongside Gucci Mane. "I can go any direction – arena rap or even the bluegrass hip-hop shit. I would never sign myself down to any style," Yelawolf said. "I'm always gonna have the darker edgy music – it is always in my pocket because it comes so natural to me. You'll never stop getting records like "Pop the Trunk" or "Good to Go" – the crunk south stuff. It will always be a part of what I do in some way. But I plan on evolving. You have to. I'm out to make long lasting records."

at Blue Moose Tap House
211 Iowa Avenue
Iowa City, United States

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Seattle House Cleaners Reliable And

February 21, 2012 · Posted in Seattle Houses · Comments Off 
Seattle Houses
by Travis S.

Seattle House Cleaners- Reliable and the best cleaning services providers

Article by Slocum

House cleaning is considered as the most hectic work since it calls for loads of hard work. Generally people avoid the work of house cleaning on their own and usually employ people from outside to execute this work. Nowadays house cleaning has become a challenge for many people because of their schedule and lifestyle. If we talk about routine, we can notice that today almost everyone is engaged in some sort of work and because of this; people have to stay away from their homes for a specific time period every day. It is least expected from people to incorporate the house cleaning chore in their routine. And now if we talk about lifestyle; it is quite natural to see people with huge mansions which again in a way make the work of house cleaning an intricate task. Therefore, people prefer to assign the work to the professional house cleaners. Offering the house cleaning services is a big opportunity for anyone who would like to earn income. Today people desire good, reliable and performance oriented house cleaners to work in their houses. That is the reason people have started getting in touch with the Seattle house cleaners to get the cleaning done for their houses.Seattle house cleaners have their own set of comprehensive and realistic business plan according to which they run their business. This makes them one of the best and reliable house cleaning service providers. They encompass a good collection of quality equipments such as the vacuum cleaners, brushes and buckets with which they provide good and efficient services.Seattle house cleaners have developed their services to directly address the individual needs of their clients and their homes. Seattle house cleaners does not only work to meet but also to exceed the client’s needs in an efficient, effective and responsible manner. The house cleaners work with the motive of giving their best performance while keeping in mind all the personal preferences of their clients.Seattle house cleaners are a professional Seattle based cleaning service providers which render customized services to the client’s so as to meet their exact requirements. They possess a team of those employees who have great potential when it comes to house cleaning. They also ensure that the safety and security of their customers are at the top priority to the professional service providers. Accounting to the reliable and quality cleaning services, their services are also hired for office cleaning. For different type of house cleaning they have diversified types of packages which vary in price. They provide their customers with the best performance according to the customer’s budget. They offer good and better services in terms of prices. This makes them give a wide range of competition to their rivals in the market who offers house cleaning services currently in operation. They work in order to give their best results so as to highly persuade the potential clients. This is the reason why Seattle house cleaners are considered as the best house cleaners in the world market today.

For more information on http://www.ladonnascleaningseattle.com“>Seattle House Cleaners please visit http://www.ladonnascleaningseattle.com.

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Tonsil Stones Secret Home Remedies

February 19, 2012 · Posted in Seattle Houses · Comments Off 

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Babe In Ghostland

February 18, 2012 · Posted in Seattle Houses · Comments Off 

Babe in Ghostland


Megan Barrows has retired from a brief career as a ghostbusting psychic and now uses her sixth sense to fill her Seattle antiques store with objects with happy pasts. After once nearly having the soul sucked out of her by a malevolent spirit, she prefers a quiet life.Case Lambert is a real estate prospector who restores old houses, then sells them for profit. He has just bought a dilapidated mansion so amazing that he wants to keep it for himself, but the house appears to be haunted. Seriously haunted. A few inquiries lead him to Megan Barrows.Megan at first refuses to help, but Case is a master of persuasion. Moving into the mansion, they discover that one of the ghosts has a thing for Case — and there may be even more amorous spirits inside this veritable paranormal vortex. But it soon becomes clear that no one — dead or alive — can stop Megan and Case from ending up in each other’s arms. . . .

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Alki Beach Bath House Seattle

February 18, 2012 · Posted in Seattle Houses · Comments Off 

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Most Popular Seattle Houses Auctions

February 17, 2012 · Posted in Seattle Houses · Comments Off 

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Cursive

February 17, 2012 · Posted in Seattle Houses · Comments Off 

Cursive
Event on 2012-02-24 20:00:00

Supporting Acts: Ume, VIRGIN ISLANDS

Cursive

Cursive is the longtime trio of Tim Kasher (vocals, guitar), Matt Maginn (bass), and Ted Stevens (guitar, vocals), with Patrick Newbery (keys) and Cully Symington (drums). I Am Gemini (out February 21, 2012 via Saddle Creek), the band's seventh LP, is the follow-up to 2009's critically praised Mama, I'm Swollen, which caught the attention of publications including Alternative Press, Billboard, Playboy, Rolling Stone, and Time Out New York, among others, and earned the band their network television debut on The Late Show with David Letterman. Cursive has released six full-length albums – including the heralded Cursive's Domestica (2000), The Ugly Organ (2003), and Happy Hollow (2006) – two EPs, a disc of rarities, and numerous singles since the band's 1995 inception. The band is also known for their vital, magnetic live show, earning rave reviews from outlets including the Cleveland Scene's C-Note music blog ("[Tim Kasher's] effect on the crowd was chilling last night…Cursive was focused and on-spot, composed and gripping"), Nuvo Weekly ("…the five-piece slashed through a near-perfect set of songs from their last nine years of albums"), and the Orlando Sentinel's Soundboard blog ("…the band still knows how to rock on stage…[Cursive] thrashed away with an abandon that heightened the passion of Kasher's dense, emotionally charged wordplay."). I Am Gemini is the surreal and powerful musical tale of Cassius and Pollock, twin brothers separated at birth. One good and one evil, their unexpected reunion in a house that is not a home ignites a classic struggle for the soul, played out with a cast of supporting characters that includes a chorus of angels and devils, and twin sisters conjoined at the head. Recorded in the summer/fall of 2011 at Omaha, NE's ARC Studios and mixed at Red Room in Seattle, WA with producer Matt Bayles (Mastodon, Minus The Bear, Isis), I Am Gemini marks the first time front man Tim Kasher, holding the completed story already in mind, wrote album lyrics in a linear fashion, in order, from song 1 to song 13. The result is thirteen singularly cohesive song chapters that blend effortlessly into one unique narrative. The moody and playfully sinister I Am Gemini is Cursive's musically heaviest in years, with alternately muscular and angular guitars, pounding drums and driving bass. From the eerie introductory sounds of epic barnstormer "This House Alive" and the irresistibly catchy, insistent "The Sun and Moon", to the searing "Double Dead" and the split personality prog-pop of "Twin Dragon/Hello Skeleton", to the roaring, mournful closing track "Eulogy for No Name", the album is a dynamic, mind-bending, and imaginative ride.

at Troubadour
9081 Santa Monica Boulevard
West Hollywood, United States

Gotye
Event on 2012-04-10 20:00:00

STG presents Gotye at Showbox SoDo in Seattle on Tuesday, April 10, 2012. All tickets purchased for the original show at the Neptune will be honored.

Ask Gotye about his new album Making Mirrors and he’ll speak not of songs, but of sounds. He’ll describe the various valves through which strings and choirs cycle on his Lowrey Cotillion, a vintage organ bought for 100 bucks in a second-hand shop that features on the record. Or how he constructed a bassline by sampling the Winton Musical Fence, an unlikely instrument he discovered in the outback of Queensland, Australia, comprised of five large metal strings attached to wooden fence posts and a resonant chamber. He may mention the horn break from a traditional Taiwanese folk song he discovered on a 1970s Cathay Pacific promotional record, which he sampled, sped up and dubbed out, before introducing it to some Turkish drum sounds. Or the unique, virtual versions of acoustic instruments – among them a chromaharp and an mbira – he created by painstakingly multisampling every note.

Listen to Making Mirrors and you’ll be drawn in by the details, transported to a world where every moment matters. This is pop at its most precise, but also electronic music at its most emotional. The record delves into dub, Detroit-era Motown soul, stadium-size politipop, synth-folk and world music on glorious, sprawling, huge-hearted songs.

Gotye (pronounced Gauthier) first found fame in his native Australia with his second album, 2006’s Like Drawing Blood. Radio station Triple J named it their album of the year, as did iTunes on its release in Europe in 2008. It was recently voted the 11th greatest Australian album of all time. In Britain, Like Drawing Blood became a cult hit while in the States, it made waves after Drew Barrymore fell in love with single Learnalilgivinanlovin’ and used it in several of her films.

Making Mirrors, its extraordinary follow-up, was more than two and a half years in the making. To write and record its dozen sumptuous songs, Gotye moved from Melbourne to a barn on his parents’ remote five hectare block on the Mornington Peninsula in Victoria. There, he had the space to permanently set up his growing array of instruments and recording equipment, and found the isolation that allowed for sonic experimentation and recording at any time of the day.

After Like Drawing Blood, which was constructed almost entirely from samples of old vinyl, Gotye set about making an album using more physical and acoustic instruments.

“I ended up sampling a lot of them note-by-note and turning them into virtual instruments,” he explains. “It’s a slow and sometimes laborious process, but it can completely change the sound of the instrument and how you approach playing it. You can buy so many virtual instruments online these days, but it’s not nearly as personal as making them yourself. I found a beautiful old chromaharp at an antique shop, and ‘virtualised’ it in this way. It ended up sounding more like an unusual hammer dulcimer when played on a midi keyboard or programmed with software”

Meanwhile, Gotye continued to raid local second-hand shops for obscure vinyl to sample.

“A lot of samples came from 1950s and ‘60s exotica records,” says Gotye. “Guys like Les Baxter; these amazing orchestrators and producers who experimented so boldly with musical colours and the stereo spectrum”

“For Bronte, the closing track on the new record, I used a sample of ‘60s orchestrator Leo Addeo. He made an exotica record called Calypso which featured lots of wildly out-of-tune steel drums. I pitched some grabs of these around, really messing with the overtones of the samples, and it became a gentle, beautiful loop, while still being quite odd sonically.”

Gotye’s background is as a drummer and often plays his shows solo, setting off samples from behind his drum kit while singing. On Eyes Wide Open, the first song recorded for Making Mirrors, he played live drums for the first time on a Gotye record. There is also live piano and bass guitar, plus some strange field recordings.

“I recorded sounds from around my parents block – me walking up the path, the frogs in the background – and wove them subtly in to several songs. I even included the ambience of the barn in the background of Don’t Worry, We’ll Be Watching You. The most obvious field recording is of the Winton Musical Fence. I played the fence strings one windy night in the outback and recorded it on a portable stereo. That became the bassline for Eyes Wide Open.”

The dubby State Of The Art, with its spooky, pitch-shifted, sci-fi vocals, is an ode to the Lowrey Cotillion, with lyrics that mention its keys and functions.

“I’m fascinated by how attached to certain pieces of technology we can become. I mean, I love this organ!,” laughs Gotye. “But I was also interested in how these relationships don’t often hold between generations. Certain pieces of gear that once captured peoples’ imagination can now appear quaint and outdated to younger people. Yet those who experienced them when they were at the vanguard of technological achievement, sometimes still hold onto that glorious vision of the future they provided. It’s like we inscribe our dreams on these machines sometimes; we can develop these peculiar yet profound personal relationships with them.”

In contrast, the joyous, uptempo I Feel Better revisits the Motown sound of Like Drawing Blood’s breakthrough single Leanalilgivinanlovin.

“That song was a direct response to listening to Martha Reeves’ Dancing In The Street when I was driving home one day,” says Gotye. “I was struck by how massive the tambourine sound on the recording is – it feels like it’s being hit by the hand of God. I thought it was cool that such a wall of sound could be dominated by a physically quite small instrument like a tambourine. So I arrived home, played a tambourine backbeat at a similar tempo and put an impossibly big plate reverb on it. Sitting down at the piano in response to this percussion track, I had I Feel Better written in about an hour.”

Already Making Mirrors is making waves thanks to stunning, Peter Gabriel-esque, first single Somebody That I Used To Know, a collaboration with New Zealand singer Kimbra which is currently nestled in the Australian Top 10. Within three weeks of its striking, stop-frame, body-painting video being posted on YouTube, the song had received more than two million hits and made it to No.1 on the Hype Machine Twitter chart. Hear it once and you’ll be haunted by it for weeks.

Gotye launched Making Mirrors in Australia in August with a gig at Sydney Opera House, which is followed by a tour in the autumn. For the first time, he will be playing Gotye music completely live.

“I have a ten-piece band, in which everyone sings and plays multiple instruments,” says Gotye. “These are by far my most ambitious shows to date. There will be no backing tracks used. All visuals will be triggered live too. We’ve been rehearsing twice a week for the past 3 months, and it’s exciting because it’s dangerous. It could go wrong on every song. I’ve never been one to make my life easy.”

at Neptune Theatre
1303 NE 45th
Seattle, United States

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