I just read this list online, it talks about some very good WA acts:
Monthly Archives: May 2012
Coming with the third installation in a 5 part series is “A Maiden Calling”. At this point, I can’t really do much but reiterate what I have said before over and over. Jhameel is fucking awesome. Moving on from that, he continues to show his versatility with this new track. Generally associated with a poppy upbeat feel, Jhameel’s new series has shown us a lot of different things from his ‘style’ (if we can even put an umbrella term over all of his music). His “Are You Free”
and “Shadow of a Man” have definitely shown a different side to him giving us a rock/pop feel and a poppy yet dark feel respectively. Both of his new songs, I really dig and this week is no different. “A Maiden Calling” keeps that underlying pop feel like all his songs do, but is more chill and might even be classified as a love song. It’s kind of odd (in a good way of course). Most of the times I associate love sort of songs with some smoothness but the poppiness of Jhameel’s sound puts a different spin to it. Maybe it’s because of the the synths or something. But it is a nice track to listen to. A change of pace for sure because his songs are usually full of passion and bursting with energy. This one is laid back and doesn’t seem like there is an explosion of energy anywhere. It is cool how he throws the echos up after some of his hums. They blend really well with the beats behind. About his lyrics now, he describes just one absolutely dreamy girl and reading them over, it really puts a different feel to what is going on with the song because you feel like he is really just expressing his feelings about a certain girl when he sees her in the form of a song. Some pretty nifty stuff. I can really dig it. Whatever way Jhameel is taking his music, I’m right behind him, because this stuff is awesome.
i hear the sound
a maiden calling
her breath is loud
her voice as soft haze
and closer now
i feel her coming
her breath is loud i’m in a lustful daze
i turn around
i can’t believe it
a killer smile
her touch soft as haze
and closer now
her kiss is soothing
her breath is loud
i feel her lustful gaze
it’s necessary she’s beautiful but she can’t stay
Also on a side note, that beautiful cover photo for the song displays an image of him doing some sort of hand symbol. According to his own youtube comment “the corners of the hand symbol represent mind, body, heart : )”. Now that’s deep.
Keep an eye out next Tuesday for the 4th one!
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The latest edition of You Got Here How? features a BONAFIDE SEATTLE ICON and, you know, someone people all over the country and the world care about. I’m talking BONAFIDE WORLD ICON. Apparently not one but two people have come to our site to see these icons interact, and not in a peaceful manner. Yes, two of you want to see these heroes do battle. Intense battle. ASS KICKING BATTLE. In one corner, the man and the legend, Mr. “My City’s Filthy” #Sharkfacegang #I’veseenoxycodontake5lives himself – MACKLEMORE. In the other corner, Mr. “I win a lot of titles” #next Michael Jordan #possible rapist – KOBE BRYANT.
Two people reached this site by searching: “macklemore kick kobe bryant’s ass”
Not “kicks” mind you, but “kick”.
Macklemore – Seattle’s Prodigal Son and Slayer of Mufuckin’ Superstars
I’m under a week into my first listening cycle of Celebration Rock and feel myself falling in love with each subsequent listen. At this point I can safely say that the album is better than Post-Nothing and by a pretty significant margin. Japandroids’ first album will always hold a special place in my heart and my ear, and it is magnificent in it’s own right. With that said, Celebration Rock‘s riffs are greater, chemistry is stronger, lyrics are heavier, and anthems are grander. This is the album of the summer, year, possibly decade. Again, I’m biased, but it’s good. Really good. Just how good? Ian Cohen over at Pitchfork does a remarkable job of capturing what makes the album a masterpiece in his review published today. Click, read, listen, love.
The Remix Artist Collective comprised of Andre Allen Anjos, Andrew Maury and Kalk Kling have blessed us with countless of satisfying remixes (the remix of “Why Even Try” comes to mind) over the past 2 years. However, this year they sought to change things up a bit and release an original work, teaming up with Penguin Prison’s Chris Glover to craft this summer friendly feel good track “Hollywood”. Check out the original and download for free via the Green Label Sound.
After all those wonderful remixes, it’s high time that someone pays respect to RAC and do their work justice. Enter Belgian DJ The Magician, who changes things up by taking on the song and makes something of his own with a cheerful remix. So with the very first remix of RAC ever, the biggest question to be answered is quite simple: Does it do RAC justice? The short answer is an outstanding yes. It’s a remix that is truly outstanding in its bubbling, wholesome infectious tune. While there is big emphasis on highlighting the sunnier aspects of the sound to pay homage to the original, the new element to the sound comes from the integration of the groovy feel that will earn a few plays during the evening party. This remix is truly outstanding. Smooth, sexy and wholesome. Looks like I got another source to turn to when I am in search for great remixes.
Last night I had the pleasure of seeing Washington’s own legendary pop-punk act, MxPx. The band played a packed El Corazon for their twentieth anniversary, with local punks Poorsport and Amber Pacific opening the show. Great times were had by all.
Poorsport got things going with a peppy set. The band draws inspiration from nineties punk rock, with obvious influence from the likes of Pennywise, NOFX and Bad Religion. The set was chock full of double time drum beats and memorable melodies, and even though the crowd wasn’t particularly on fire it was an enjoyable set. The only misstep was the somewhat awkward cover of Adele’s hit “Someone Like You,” which seemed cliche after years of Punk Goes Pop compilations.
Amber Pacific brought their A-game as always. The boys from Federal Way have become something of a mainstay local band after eight years, and thanks to this there were plenty of people in the crowd who were obviously familiar with the material. Matt Young’s reentry into the band has proven to be a great decision as he commanded the full attention of the crowd, and the band’s chemistry onstage is undeniable. Despite a small incident involving stopping a song halfway due to a shoe lost in a circle pit (come on people, this is a punk show… you don’t kill the vibe over a lost shoe), I had a great time during Amber Pacific’s set. Their modern take on pop/rock/emo/whateveryouwannacallit got the whole venue jumping, and above all it was fun.
However, the main attraction for the night was obviously MxPx. The band took the stage at around 9:40 and didn’t let up until after 11, tearing through a self-described “greatest hits” of the band’s twenty year career. They played pretty much everything a long time fan could want to hear, from “Chick Magnet” to “Next Big Thing,” and the encore (consisting of a “Should I Stay Or Should I Go” cover and the mainstay “Punk Rawk Show”) brought the house down. I especially have to applaud the band for the few new songs they played, because they were absolutely fantastic. I strongly believe that the new record Plans Within Plans features the band’s best material by a long shot and it was awesome to hear them play some choice cuts (“Aces Up,” “Screw Loose,” “Far Away”) from the album when they could have easily ignored the record in favor of fan favorites. The band also recently added a second guitarist for live shows and having listened to older live recordings from the band, this really filled out their sound, with the lead and rhythm parts accounted for just like they are on record. Seeing these Bremerton punk rock all-stars in front of a crowd of their hometown fans was a huge treat. Hopefully Mike Herrera and co. will keep on writing circle pit friendly jams for decades to come.
This edition of Call and Response features an interview with Bryce Jardine, an up-and-coming Canadian singer-songwriter with a talent for making solid, polished roots rock. His new album, The Kids Are Gone, is streaming on his website for free, and it’s worth a listen. It’ll be released for download September 7th. The album is a labor of love, and it shows, with solid production and guest talent such as Serena Ryder (of whom I am a huge fan) and members of the excellent City of Colour. The highlight of the album is easily “Better Half”, with its solid lyricism and unabashed roots-rock feel. In an era when most indie artists focus on synthesizers and drum loops, Jardine takes great care to make his album with real instruments and real vocals, and the arrangement is noticeably tangible. While there’s certainly room for him to grow as an artist from this album, I’d say the raw potential of this album indicates some really cool music ahead for listeners who appreciate roots rock, country, and, well, Canadian Americana (ha).
1. What was it like working with Serena Ryder, and how did that collaboration come about?
Serena is a pro. She came in, invented the hook off the top of “The Kids Are Gone” and nailed her parts in about 2 hours. She also appears on “Better Half.” We had met briefly at the Dakota Tavern, here in Toronto, before the session. My producer Derek Downham set the whole thing up as he plays drums in her backing band The Beauties. It all went down very quickly, I thanked her and that was that.
2. Your website notes that you were in a band before you decided to go solo. What band and why the switch?
I was in a heavy rock n roll act. I left for various reasons, but mostly to make the type of music I had grown up listening to. I love heavy music and always will but for now I feel most comfortable in a solo singer/songwriter role. It feels honest.
3. Who are the biggest influences on you as a musician, and as a person, and why?
My earliest influence was Neil Young, specifically his record Harvest Moon. That record was the soundtrack of my childhood and I still do this day listen to it all the time.
Lou Reed, Tom Waits, Leonard Cohen, Townes Van Zandt, Steve Earle and Iggy Pop are just a few of my other influences. They all are writers, and complete individuals. I like songs that carry ideas. I like songs that take risks. I like songs that are timeless. All of these artists have helped me find my own voice and my own path.
4. What are your favorite songs of all time?
My favorite songs change all the time, and I would feel like I am leaving things out being too specific. Arcade Fire, Antony And The Johnsons and Springsteen are on my ipod all the time right now.
5. Why did you choose Derek Downham to produce your record, and what was the process like working with him?
I met Derek online. I sent him my demos I had and he responded quite enthusiastically. We spent time hammering out arrangements in pre-production then hit the studio for six days. It wasn’t until I saw him work in the studio that I became aware of just how fortunate I had been to find him. Derek is one of the most musically gifted people I have ever met. We worked on a shoestring budget. The experience was fast and intense but after all was said and done I couldn’t have been happier with the outcome.
6. What is the music scene in Toronto like, and how do you think it’s different, if at all, from an American music scene of a similar size?
Toronto’s music scene is vast but if you narrow down what bars specialize in your kind of tunes, the communities there can be quite tight knit. For instance I am going to be playing a pub called The Cameron House every Tuesday in June and it’s basically a one-stop-shop for singer/songwriters. I couldn’t begin to compare the Toronto scene to anything else simply because thus far I haven’t cut my teeth in the States yet. That will change within the next year or two.
7. As an independent artist, what is your goal for the near future with this record?
I want to use my debut as a ticket to go out on the road and be the workhorse and performing troubadour I know I can be. I would like to spend most of next year on the road playing clubs and winning people over throughout North America. I do not dream of over night success and in the short term I see success as just being out there doing it.
8. All your upcoming gigs are in Toronto–any plans to tour a wider area in the future?
I am starting with an Ontario tour in September to coincide with the release. From there the plan is to go national then international. Much of my business is D.I.Y right now, and with only so many hours in a day it can take time for negotiations to unfold.
9. How did the collaboration with member(s) of City and Colour come to be?
Aaron Goldstein, pedal steel player for City And Colour came to be through Derek. Derek likes to joke that he is the Kevin Bacon of the Canadian music industry. I believe Aaron has done session work with Derek before. Aaron was super friendly and put his passes down on the fly.
10. If you could pick one song off this LP to get huge, which song would it be and why?
I would love to see Better Half do something on NPR and CBC. That song is a tribute to my folks and is a tune I have a strong emotional connection with. Serena’s voice kills me on that track and I think the arrangement and production all came together seamlessly. That being said, I think I’d still pick it for a third single behind “The Kids Are Gone” and “Death In Life.” Stream em all on brycejardine.com folks!
Check him out here: