popwreckoning

From the very beginning of Death Cab for Cutie‘s set at City Market on Monday night it was obvious that Death Cab has only sweetened with age. The mix of tweens (with their parent accompaniment), the typical Kansas City concertgoers, and those just looking to  be ‘Followed into the Dark’ made for a crowd that seemed unsure as to what to do when the music started. The opening song “I Will Possess Your Heart” made this all the more obvious. The elongated intro (as compared to the radio edit) left the casual Death Cab fan slightly confused, but for the avid music listener it built the perfect tension that would soon be released in a two hour set of Death Cab’s finest.

It would seem to be the norm in this day in age that when you are touring right after an album release, especially one as notable as Codes and Keys, you would tend to play mainly songs from that album, this was not the case with Death Cab for Cutie. It wasn’t until their fifth song they decided to introduce a track from their new album “Doors Unlocked and Open,” and did so to an enthusiastic crowd. In all, Death Cab only played five songs, out of twenty-three, from their most recent release. Those five were matched by five from Transatlanticism and another five from Plans and even included one track from their first release You Can play These Songs With Chords.

The most impressive part of the show for me was the reserve that Death Cab has. Their sound was flawless, never overplaying, and not like most Rock n’ Roll shows where you have a ringing in your ears for weeks. The one word that stayed in my mind from the entire experience was tasteful, Death Cab is always tasteful. Not even a two-drummer drum solo got out of hand, their lights only added to the atmosphere of City Market and never took away, they sounded exactly like you would hope they would, almost as if you were listening to their records at home with your 5,000 closest friends. Don’t get me wrong, they played their hearts out, but it seems as though they have perfected their craft to the point that they know what needs to be done, they know how to keep a crowd enthralled, they know how to appease old fans and new, and most importantly they know when to stop.

Setlist:

I Will Possess Your Heart
Crooked Teeth
We Laugh Indoors
A Movie Script Ending
Doors Unlocked and Open
Long Division
Grapevine Fires
Codes and Keys
What Sarah Said
I Will Follow You into the Dark
Title and Registration
You Are a Tourist
The New Year
President of What?
Company Calls
Some Boys
Soul Meets Body
Cath…
We Looked Like Giants
The Sound of Settling

Encore:
Brothers on a Hotel Bed
Stay Young, Go Dancing
Transatlanticism

Wayne Zimmerman contributed to this review
photos by Casey Osburn

Death Cab For Cutie have announced a fall tour to start September 30th in Cincinnati and go through the end of October. Support includes Telekinesis, The Hold Steady, Explosions In The Sky, and The Head And The Heart. Furthermore, DCFC will also be among the headline acts appearing at Sunrise, Florida’s annual Langerado Music Festival on October 8^th and San Francisco’s Treasure Island Music Festival on October 16^th. Below is a complete list of tour dates. For more information please visit www.deathcabforcutie.com.

AUGUST

1                      Boston, MA                           Bank of America Pavilion

2                      Brooklyn, NY                        Williamsburg Waterfront

5                      Philadelphia, PA                  Mann Center for Performing Arts

6                      Pittsburgh, PA                      Stage AE

7                      Columbia, MD                      Merriweather Post Pavilion

8                      Cary, NC                                Koka Booth Amphitheatre

10                    Nashville, TN                       Bridgestone Arena

11                    Alpharetta, GA                     Verizon Wireless Amphitheatre

12                    New Orleans, LA                 Kiefer UNO Lakefront Arena

13                    Grand Prairie, TX                 Verizon Theater

15                    Phoenix, AZ                          Comerica Theatre

16                    La Jolla, CA                           RIMAC Arena

18, 19              Los Angeles, CA                  Greek Theater

20                    Las Vegas, NV                      The Pool

22                    West Valley City, UT          Maverik Center

23                    Morrison, CO                        Red Rocks Amphitheatre

25                    Chicago, IL                            UIC Pavilion

26                    St. Paul, MN                          Roy Wilkins Auditorium

SEPTEMBER

30                    Cincinnati, OH                     PNC Pavilion at Riverbend Music

OCTOBER

1                      Champaign, IL                      University of Illinois-Assembly

2                      St. Louis, MO                        The Pageant

5                      Memphis, TN                       Mud Island Ampitheatre

6                      Birmingham, AL                  Alabama Theatre

7                      Jacksonville, FL                    Florida Theatre

8                      Sunrise, FL                            Langerado Music Festival

10                    Houston, TX                         Verizon Wireless Theatre

11                    Austin, TX                             Austin Music Hall

15                    Santa Barbara, CA                Santa Barbara Bowl

16                    San Francisco, CA                Treasure Island Music Festival

18                    Boise, ID                                Taco Bell Arena

20                    Portland, OR                         Portland Memorial Coliseum

21                    Vancouver, BC                     Rogers Arena

22                    Seattle, WA                           Key Arena at Seattle Center

Saturday of Sasquatch began a theme I noticed for the next three days. The smaller stages rocked this year. I’d go as far as saying that the acts that graced the Bigfoot and Yeti stages were better than the main stage.

My day began at with local band The Globes on the Yeti stage, who just released their debut album on Barsuk Records Future Self, and I can say that I do prefer them in a smaller venue, but they did attract quite a nice crowd for 1 o’clock in the afternoon. Basically, local bands ruled Sasquatch this year. It makes me proud to be a Washingtonian.

Speaking of locals – the Head and the Heart were at the main stage next. To be honest, they were one of only three bands I saw on the main stage that day, and the one I was most excited for. Not because I hadn’t seen them – because this was the fourth time I’d seen this lovely band play, but because they are so inspiring. At 2 o’clock in the afternoon, an amazing group of people came to the main stage to see them play – just over a year after they’d even started playing together.

Drummer Tyler Williams told a little story during the set about that very thing. He was wearing a wristband that he’d gotten at the festival last year, not from playing, but from attending. He said that last year he told himself that he wasn’t going to take that wristband off until they played Sasquatch. Lo and behold, a year later, the little band that could was playing the main stage of one of the biggest festivals in the country (certainly the most beautiful). I was in awe, and I can’t praise this band enough, so I’ll move on.

Not only was the festival full of lovely Seattle locals, but the Canadian crowd this year was surprisingly large. I haven’t heard so many “ayes” in one weekend. So naturally, Vancouver native Dan Mangan got lots of love during his set. But it was well deserved, because not only were his songs awesome live, his charisma was infectious and adorable. The folk rock crooner, with his Seth Rogan-esque curly locks can really get a crowd going – and only with some energetic acoustic guitar. You would have thought we were at a Matt & Kim show. Wait, that came later.

The Antlers graced the Bigfoot stage next, and they pleasantly surprised me. I hadn’t heard much of their music before hand, and I loved their set. It wasn’t just because the lighting was gorgeous either. This was when I started to see that the Bigfoot Stage would outshine the main stage. Jenny & Johnny played the same stage a little bit later, bringing a charming rockabilly vibe to the mid-afternoon sun.

Serial collaborator Jenny Lewis wore a retro red frock with an over-the-top pointed collar and some fashion-forward bug-eye sunglasses, and boyfriend Jonathan Rice sported some matching shades. I certainly hope Rice and Lewis don’t break up anytime soon, because they’re making some catchy summer tunes.

Before settling into the Bigfoot stage for the night, I caught Wye Oak and The Thermals back the Yeti stage, both of whom were fantastic in different ways. The duo Wye Oak brought an insane amount of sound between the two of them, and I wish my camera battery hadn’t died so I could have stayed at their set longer. I’ve seen the Thermals four times since September, so I knew exactly what I was getting, but they never cease to entertain. Seriously, their songs may be simple and many are quite similar, but seeing the Thermals is some of the most fun you’ll ever have at a show.

But the fun kept coming, as Matt & Kim were up next at the Bigfoot stage. The couple ran out on stage, smiling ear to ear, standing up on their seats hyping up the crowd – as if they needed any more hyping. I’m just thankful that there was a steel barrier between the crowd and me. The beauty of the Gorge didn’t fail to make any appearances during several sets that day, but Matt & Kim were the most insistent in expressing their excitement about being at Sasquatch. It was their first time here, and even I’m still in awe of it three years running. I can’t even remember what I thought the first time I went.

It was at this point where the schedule went out the window for all three stages. That was the only negative about this year’s festival. Timing apparently wasn’t on anyone’s mind, as Robyn was half an hour late to the Bigfoot stage. I’m not sure whether there was a legitimate reason why she went on late, or that she wanted to wait until the sun went down, but once she started playing I didn’t really care. That girl is crazy on stage.

I can remember when she had that one hit song “Show Me Love” in the 90s, and this is light-years away from the one-hit wonder pop princess of my childhood. If Lady Gaga gets this much credit for wild antics on stage, then Robyn should at least be close. Wearing some obscenely loud stretch pants and a sweater that looked like she literally just sheered a sheep herself, Robyn strutted all around stage, shaking her booty in equally as obscene platform shoes. It makes me wonder if people actually dress like that day-to-day in Sweden. After missing her club show in Seattle earlier this year, I was incredibly thankful that I finally got to see her at Sasquatch, because it was a show I won’t forget.

I would have been happy going back to the house I was staying, but I did head down to the main stage to catch some of Death Cab for Cutie’s set, which started out splendidly. The first four songs – I’m not kidding – were all old. Two of them were actually from when Death Cab was still on Barsuk Records, which made me proud. It wasn’t the feeling all through the audience though, because the old songs, “Why You’d Want to Live Here,” “Photobooth,” and “We Looked like Giants,” weren’t particularly popular. It wasn’t until Death Cab started playing songs off Transatlanticism, Plans, and Narrow Stairs did people actually respond in a big way. And this was after they’d played a few songs off the new album Codes and Keys, which I liked on record, but was sadly lackluster live. I left before their set was even over. Maybe it was because the new songs aren’t that exciting or impacting, but after a nice and unexpected beginning, Death Cab’s set had a unfortunate case of dull.

After that, I stuck to the smaller stages for the rest of the weekend. Besides, I don’t think any band on the main stage could have outdone the Foo Fighters on Friday.

Check out Friday’s post.

I have good news and bad news. Bad news: Departing doesn’t blow the first Rural Alberta Advantage album out of the water like some of us were hoping. Good news: it’s still pretty great.

I often think of RAA as beat centric folk music. I’m pretty sure this has more to do with the way the drums on the first album, Hometowns, were placed higher in the mix than anything else. It was something that took me a half dozen listens to notice (never call me perceptive), but quickly became one of my favorite things about the album. It’s something that can be heard to a certain extent on the second song, “The Breakup”, but it’s mostly dispensed with here. “The Breakup” is a wistful (this band does a lot of wistful) song about the end of a relationship. The drums kick aggressively against a single mournful keyboard chord before the vocals. The way the lyrics are sung reminds me of old Death Cab. “I held you tight. We were waiting for the breakup.” My heart breaks a little each time I listen. These are sad songs sung as anthems.

My favorite track is number three, “Under the Knife”. Its folk music you can dance to, I swear to god. The beat plays against keyboards and the vocals are slightly nasal, but totally gorgeous. “Oh, the kids are never right. Oh, the kids will never find us”. I’ve listened to this song something like thirty times in the last couple weeks, and it’s already made its way on to one mix. It’s definitely the best thing here.

Track four is “Muscle Relaxants”, and finally a fast one. It’s a song about drugs and, of course, love. The electric guitars twitch, the drums kick, and the whole song kind of swings.

The only thing I don’t really like here is “Goodnight”, the final track. It feels a bit unfinished, and kind of annoys me. It’s an acoustic number that doesn’t really go anywhere. It’s a weak finish to a pretty enjoyable album.

This is recommended, for sure. It doesn’t really light anything on fire, but it’s pretty soothing. If RAA do the same thing for a couple more records, I might get annoyed, but as a sophomore record it works. They’ve found a sound and they’ve settled into it. I just hope next time they bring more to the table. I’d love to be as excited about their next album as I was about their first album.

Track Listing:
01 Two Lovers
02 The Breakup
03 Under the Knife
04 Muscle Relaxants
05 North Star
06 Stamp
07 Tornado ’87
08 Barnes’ Yard
09 Coldest Days
10 Good Night

Mad Rad, Das Racist and The Thermals brought the house down at the free Sasquatch Launch Party at the Showbox at the Market last night, where the lineup to the now four-day festival would be announced.

Put on by Livenation and Sasquatch creator Adam Zacks, the launch party was MC’d by Comedian Todd Barry, who kept the crowd entertained between sets with dry wit and some fake teaser headliners.

“If you love me now, you’ll love when I play a set between headliners Elvis Presley and the Beatles, and tickets are only $7!” Barry proclaimed sarcastically to the less-than-attentive crowd. But I guess that’s what you get when you have a free show.

After Mad Rad and Das Racist played their sets, the lineup was announced in a video like previous years, which was played twice over, most likely so people could get a second look because they were freaking out too much over the Flaming Lips.

So far the lineup includes:

Death Cab for Cutie, the Decemberists, Modest Mouse, the Foo Fighters, Robyn, Wilco, Flying Lotus, Bright Eyes, Flogging Molly, Rodrigo Y Gabriela, Das Racist, Sharon Jones & The Dap Kings, Iron & Wine, The Flaming Lips.Black Mountain, Macklemore and Ryan Lewis, the Head and the Heart, Mad Rad, the Moondoggies, Noah & The Whale, Sam Roberts Band, Secret Sisters, Twin Shadow, Wye Oak, Tig Notaro, Smith Westerns, Rival Schools, Foster the People, Alberta Cross, S. Carey, White Denim, Washed Out, Gold Panda, Dan Mangan, Axis of Awesome, The Globes, Cotton Jones, Jaill, Basia Bulat, Other Lives, The Bronx, White Arrows, Pepper Rabbit, Talkdemonic, Rebecca Gates and The Consortium, The Young Evils, Bassnectar, Pink Martini, Cold War Kids, Old 97′s, Ratatat, Wolf Parade, Chromeo, Guided By Voices, Yeasayer, Beach House, Local Natives, Matt & Kim, Deerhunter, Mstrkrft, Trailer Park Boys, Sleigh Bells, Major Lazer, Skrillex, Fitz & The Tantrums, !!!, Archers of Loaf, Against Me!, The Thermals, Best Coast, CSS, Surfer Blood, Jenny & Johnny, Bonobo (DJ Set), City and Colour, Reggie Watts, K-Os, Gayngs, Tim Minchin, The Drums, The Radio Dept., Young the Giant, The Antlers, Sharon Van Etten, Villagers, Stornoway, Aloe Blacc.

Tickets go on sale on Feb. 14th starting at $79.50 per day and $285 for three-day passes.

Go to http://sasquatchfestival.com/ for more information or to purchase tickets.

Seattle got a special treat Wednesday when the Death Cab for Cutie frontman Ben Gibbard took the Crocodile Cafe for a solo show.

Common to his solo shows, Gibbard whipped out some covers such as a Radiohead song and another cover, which called for a special guest: his wife. Gibbard called actress and She & Him singer Zooey Deschanel up to the stage to help him with the Searchers‘ “I’ll Never Find Another You.” Watch the duet below:

The night also included a performance of a new, untitled ballad about Seattle.

The show was a benefit for Teen Feed.

I recently had a chat with guitarist Sam Halliday of up-and-coming Irish indie rock/pop band Two Door Cinema Club. The band was in New York City to do requisite press before getting ready for two shows in the city. Sam tells me about how much they enjoyed Austin (and their tasty food in large quantities) and the music festival experience, and we talk about their debut album Tourist History and their promo videos. Read on.

Mary Chang, PopWreckoning: Hello Sam. So how are you guys, where are you guys at the moment? And what are you doing?
Sam Halliday, Two Door Cinema Club: Yeah, we’re good. We’re presently in New York City at our hotel in Manhattan. We have a bit of promo today, then we have a show in Brooklyn tomorrow and at the Bowery Ballroom on Wednesday.
MC: So how are you enjoying New York? Is it your first time there?
SH: No, it’s my third time. But the other guys [guitarist/lead singer Alex Trimble and bassist Kev Baird], it’s their first time. We arrived at about 2 a.m…
MC: Oh wow…!
SH: Yeah, and we went straight out to, sort of, go see Times Square. They’d never been here before so…
MC: Excellent. So I guess you’re the globetrotter of the group then?
SH: Yes, I guess, yeah! (laughs)

MC: So let’s talk about your debut album, Tourist History. I’ve been playing it a lot since it came out. It’s really fantastic. If you had to explain what you sounded like to an American who’d never hear any of your songs, how would you describe it?
SH: Um, I think it’s not quite rock music; it’s not quite indie music; it’s not quite electro music. I think if you’re open to any type of music I think you might like it. It’s very accessible. You know, it’s a lot of upbeat [sound]. And you know, I mean, we love it, we think it’s a great album. We think it’s for everybody. We loved bands like Death Cab for Cutie, Modest Mouse and Bloc Party; they’re kind of the bands that we agreed on early. We love all types of music but those were the bands we bond over most.

MC: So your name…back in February I sat in on an interactive chat with the Gigwise folks the three of you did in London…
SH: Yes!
MC: …during which you replied to an English fan that it came from the Tudor Cinema near where you lived in Ireland.
SH: Yes…
MC: I’m sure everyone’s asking you about the band name on this tour and where it comes from. (Sam laughs) Have you been back since to tell the proprietor of the Tudor Cinema that his theatre is now famous?
SH: We went back [to Ireland] before we kinda became a bit big, we went back and recorded like a music video, for “Something Good Can Work.” This was a couple years ago. Just a friend did it with us recorded it over there. We moved off to doing different things and we can’t see him anymore, sadly. And then we kind of did the official one. Yeah, we haven’t been back as a band. Yeah, it would be good to go back, I think.

MC: The three of you are from Bangor, in Northern Ireland, right?
SH: Yes.
MC: But I’ve heard that you now call London home.
SH: Ohhh…I wouldn’t personally call London home.
MC: Okay, so it’s a temporary home then?
SH: It’s more of a base. I call it a base. We have a band flat there. You know, it’s great because it’s easy to get flights from Heathrow [Airport] and things, it’s just very handy that way. And honestly, we have our management there, and there’s lots of press people in London. So it’s a good place to have a base. But you go home and have friends and family in Bangor.
MC: What has been your family and friends’ reaction to all that’s happened to you guys so far?
SH: They’re very supportive and very happy, yeah. In my experience, my mum would always be on our Facebook page and our Twitter page, paying attention and telling me before I read it what people are saying on things, read reviews. It’s very exciting [for her] I think.

MC: So it sounds like you’ve barely been able to take a breath with all the relentless touring. You’ve been around Europe and then America with Phoenix, and now are in the middle of your first headlining tour of North America. From what I hear, your shows have been going down great with the locals and you’re selling out most everywhere, so congratulations on that.
SH: Thanks.
MC: What’s been your most memorable show so far this year?
SH: (whistles) Well, it was only last week, but I think one of the real highlights was when we played in L.A. last week. You know, the Troubadour show? It’s just crazy, because it’s kind of our first headline show of America. Having been from somewhere small and having never played here, and we’ve never come here before. It’s crazy that how well we were received! It’s just amazing, feeling like we’ve “gone” somewhere! It was cool. Other than that, since the album has been released, all the shows, you know, have kind of stepped up in attendance and it’s really been amazing, because people know more of the songs and they sing a bit more, because they enjoy the album. The [album] launches were great in Belfast, in London, and in Paris.

MC: Great. Do you have a worst moment? Or any funny tour stories you care to share?
SH: Ooh…um… (laughs) oh boy…you know, everything’s been great, really. It really has. Touring with Phoenix was a great experience, they’re lovely, lovely guys. It was so great to tour with a band that was much better and more experienced. You learn so much, in terms how they act, how they play their sets. I can’t think of any stories off the top of my head…I dunno! (laughs)

MC: Before coming over to North America, how did you prepare for your first-ever shows on this side of the pond?
SH: Oh, I dunno, I guess we’ve been so busy! Over the past year touring all over Europe. So we were really excited to go somewhere new. It’s always really great to go somewhere new. It’s great to go to places you’ve played before, but it’s somewhere new. It’s just real exciting. I think we’ve been playing together for long enough that we’re confident in our live show – well, I am. So we weren’t too nervous about the show, we were more excited to play to new people.
MC: I think it was Fearne Cotton’s Radio1 programme in February when you guys did a set and a short interview…she asked you what you were looking forward to, and this was far, far in advance of you guys coming over here. And one of you said visiting Texas. I know you guys have been to Texas now, and you were in Austin. I read on your Twitter that when you were in Austin, Kev got a tattoo and you bought a guitar…?
SH: Haha, yeah, that’s right.
MC: So what did you think of Texas? Did it live up to everything you thought it was going to be?
SH: Yeah, it was brilliant. It’s just so different. Everywhere in America is so different between cities and states. But Texas was really cool. We got to spend a couple days in Austin in particular. Great weather, being able to sit in our dressing room, outside, in the late hours of the night. Just kind of laid-back atmosphere sort of a city. Yeah, um, obviously Kevin got a tattoo…(I laugh)…of the cat’s eyes from our album [cover]. And then we went to a pawn shop. We wanted to do a kind of typical American thing and so we would go around to pawn shops and picked around. And we went and found this amazing old guitar. I really wanted to get a guitar from this tour, to kind of have something to remember it by, so it was a great find.
MC: That’s cool.
SH: And we had some great Texas barbecue.
MC: How does it compare to the food at home?
SH: Oh, there’s a lot more of it here!
MC: (laughs) That’s what most people [from outside America] tell me!
SH: The portions are, very, uh, large.
MC: Yeah, sometimes they last for days, usually.
SH: Yeah! We actually have a competition, it’s quite sad. We have a competition, because we knew your American food was very tasty and very big. So we have a competition to see…we’ve documented each other’s weights, so we’re having a competition to see who put on the most [weight from the tour]. Whoever puts on the most has to take the person who puts on the least out to dinner.
MC: Oh, okay.
SH: I know, not very rock ‘n’ roll. (both laugh)

MC: So I’ve had a look at your very busy summer schedule. You’ve confirmed festival appearances at Glasto[nbury] (England), Hove (Norway), Benicassim (Spain), Summersonic (Japan), and Reading/Leeds (England) among many others. You played Glastonbury for the first time last year…what are your feelings on the summer festival circuit?
SH: Ah, they’re so much fun, it’s kind of great, because you see so many bands. Like, being on tour all the time, you don’t get to see that many, unless you they ask you to tour with them. But being at festivals is amazing because…especially at Glastonbury, we’re spending the whole weekend there, so we’ll get to see loads of bands, which will be cool. We’re real excited to be doing all the European ones this year, and Australia and Japan, because you know, last year we only did one outside the UK. It was amazing, it was our favorite last year. It’s called Riga in Latvia. It’s a totally different kind of vibe than the European ones. So it’ll be great to experience all those.

MC: So you have signed to the French label Kitsune Maison for your European releases and Glassnote Records here in America. How did the Kitsune people find you?
SH: They were trying to put another one of their parties in Paris, and they were trying to find an up-and-coming UK band to bring over. And so a promoter in France told them about us, and then whenever they listened to us, I think they liked us a lot more than they thought they would, and [they] wanted to put out our single. And then our relationship just grew from there. And then they released our single and finally our album. It’s great. It all felt really natural.
MC: What is it like being Irish on a French label? Did it seem weird that a British label didn’t come to you first, or another European one?
SH: I mean, yeah, maybe it sounds a little weird. But for us, being from Bangor, we weren’t really connected to the London music scene all that much. We’d only played in London a couple times before we signed the record deal, and it’s just…it’s don’t really have a connection with that sort of scene. For us, we feel apart from that, just as much as we feel part from the Paris music scene. And they seemed like the right label for us, we didn’t want to go with a major label, and they were really passionate about working with us.
MC: Have you been able to hang out with the other UK bands they’ve signed like Delphic and La Roux?
SH: Well, we got a chance to tour with Delphic back in October in the UK. Yeah, we really hit it off with them, they were really great guys, into the same, similar stuff. So we formed a little friendship with them. We’ve seen them a few times since, they’re fun. Can’t really think of any other people…Kitsune is really good with DJs and things, some great people have remixed our stuff through Kitsune. That sort of thing.

MC: Going back to your debut album, Tourist History, is definitely one of my fave releases of 2010 so far, I really love the album. Loads of fun, poppy, peppy, and brilliant. How long did it take to record everything and put together?
SH: The one thing we do, once we write a song, we would demo it ourselves, and kind of get it to the point where it’s not the best recording, but we know where all the parts are, of what we’d want to be in the song. So we had this whole album demoed ourselves, and then it was about getting to a studio and doing it professionally, you know, getting a producer’s point of view and things, and trying different things like. So then we went to the end of June then we finished tracking by the end of July, and it took a month to mix the album. Once that was finished, we had some further mixing done with Philippe Zadr [the producer of Phoenix's albums United and Wolfgang Amadeus Phoenix and a member of French house duo Cassius] in his studio in Paris, and for the songs that might be singles. It was great getting people’s different perspectives on our music and we respect their work, so it was amazing.

MC: Your promo videos. The “I Can Talk” video was actually the first videos of yours I ever saw. It was so frenetic, Alex’s head was coming off, clothes were flying around…whose idea was that?
SH: That was a French team called Megaforce, that was from a suggestion of Kitsune’s. They came out with that.
MC: It’s a real cool-looking video!
SH: Yeah, it was the first proper video. And we shot it in a really crammed chateau in Paris.
MC: Yeah, I was wondering about that. Because it has a very old-fashioned dollhouse kind of feeling, almost.
SH: Yeah, you don’t really see a lot of it in the video.

MC: A while ago you guys released a newish video for “Something Good Can Work” [watch video here]. In this new one, you guys are at a fancy resort, the forest, the desert, an amusement park. Where did you go to film all the scenes for it?
SH: We got to go to Gran Canaria [the second most populous island of the Canary Islands], and everything was shot there. Yeah, they’ve got a little different kind of scenes there, they have forest, and mountains, and nice beaches and sand dunes and things.
MC: Hopefully you got some vacation time in then?
SH: No, unfortunately we were only there for 2 days.
MC: Only 2 days? Golly. Well I hope you get to spend some time there in the future, because it looked so beautiful on screen. When I first saw it in March, I was thinking, “this is the perfect summer song.”
SH: We wanted to capture that kind of sunshine, the summery feel with it.

MC: I have Steve Lamacq to thank for playing “Something Good Can Work,” a long while ago it feels like, on his 6music programme. I have my own strong opinion on the subject, but what are your thoughts on the BBC’s proposed closure of 6music? [In early March, Director General Mark Thompson of the BBC Trust announced that BBC 6music, along with the Asian Network, may be closed due to budget cuts.]
SH: Oh yeah, it’s awful. I mean, especially because Radio1 is kind of being taken over by r&b and just bland pop tunes. There’s really not a lot of room for up-and-coming or not commercially appealing bands. So yeah, and especially because we got our first airplay on 6music, and without it we wouldn’t have gotten so much attention.

MC: Speaking of the UK, have you been following the general election while you have been in America?
SH: Yes, we have been, just on the BBC News website. I’m not really too involved in our politics.
MC: Any of you endorsing any particular political party?
SH: I think this is the problem, I don’t think anyone wants to be in government. Completely. I think that’s the problem here. I dunno, I don’t really know too much about it.
MC: Neither do I, but it was interesting watching everything unfold real time on the website.
SH: Yeah.

SH: I’m being told I need to move on…
MC: Okay, so one final question. Based on the crazy reception for your first tour of America, so when are you guys coming back here?
SH: We’re going to come back in October.
MC: Great.
SH: Yeah, very soon.
MC: Well, thank you so much Sam, I appreciate it, I know you’re very busy doing a lot of press. So enjoy New York and I will see you guys on Thursday [in Philadelphia].
SH: Brilliant, can’t wait!
MC: Take care.
SH: Thanks.

Two Door Cinema Club‘s debut album Tourist History is available now from Glassnote Records. The band has several more dates in North America before their first headlining tour of our continent ends May 17 in Toronto.

Tour Dates
May 11 – Bell House / Brooklyn
May 12 – Bowery Ballroom / New York City
May 13 – Johnny Brenda’s / Philadelphia
May 15 – Great Scott / Boston
May 16 – Salla Rossa / Montreal
May 17 – Wrongbar / Toronto

Two Door Cinema Club: website | myspace | Two Door Cinema Club To Tour with Phoenix in Spring, Headline First North American Tour | “Something Good Can Work” video | @ Constitution Hall

Sage Francis‘ new album Li(f)e is currently available for stream on MySpace.

Li(f)e pairs open, honest lyrics with an atmospheric to rock musical backings. Francis worked with a variety of artists such as Death Cab for Cutie‘s Chris Walla, Calexico and DeVotchKa to help bring about Li(f)e.

Li(f)e hits stores May 11, 2010 on Anti- Records.

It looks like The Thermals will once again be teaming up with Chris Walla, indie power-producer extraordinaire and guitarist for DCFC, for an anticipated September 2010 release on Kill Rock Stars.

Since 2002, The Thermals have consistently churned out authentic, snot-nosed, un-fussed, tri-chord punk pistols that fire with a shot from the hip kind of glory. Walla, who has previously worked with the beloved Portland-based punk rock rascals, producing Fuckin A in 2004, will be setting up camp with The Thermals at the Jackpot Recording Studio in Portand, OR.

This will be the fifth LP from The Thermals and the first with new drummer Westin Glass on board. Keeping Walla in the family means we can look forward to another classic from these bruisers.

The Thermals: website | myspace | interview | @ monolith 2009 | @ the slowdown

As the first part to a tribute to Northwest music, the Showbox lit up Pike Place Friday night with local favorites The Lonely Forest of Anacortes, and Telekinesis and The Globes of Seattle. Just to say how much Seattle loves their locals – even before the doors opened up, the line curled around the block as horse-drawn carriages rode by on the rare rain-free night.

The Globes were up first. Lacking a record deal, but with nothing lacking in the talent department, The Globes were a great way to start the show – bringing in a mixture of shoegazing guitar rock and raw indie pop. Guitarist Kyle Musselwhite provided almost Thom Yorke-like vocals next to lead vocalist Erik Walters’ high-energy wails, bassist Sean McCotter’s low-key vibe and drummer Marcus Ourada’s excellent beats. They were just experienced enough to have the charisma to hold the room, but with just a little more stage time, they’d be just as charming as the two bands that followed. And with their first LP coming out soon, The Globes are one of Seattle’s emerging indie acts that show the promise of what our region has to offer the next few years.

After The Globes’ short half-hour set, Telekinesis came to set up their equipment, with one rare addition. My friends and I were standing right off to the left of center by the stage, and I swore Chris Walla of Death Cab for Cutie was tuning his Rickenbacker. I turned to my friend and asked, “Is that Chris Walla?”

“No, it can’t be. It’s gotta be some guy that looks totally like him.”

“That’s Chris Walla. I’m not kidding. Look.”

And I must tell you; my friend is a diehard Death Cab for Cutie fan, so she of all people should know who and who isn’t Chris Walla. But this time, I was right. Chris joined Michael Lerner (a.k.a. Telekinesis) and his touring band for this one-night Seattle engagement. Just because. Lerner later mentioned Chris as one of the people who was responsible for his record being released. He said that, “He made me write this record.” Signed to Merge Records in early 2009, Lerner has been touring for most of the year with David and Jodie Broecker and Chris Staples as his live band, and the unconventional stage lineup threw me off a bit, but made the night more interesting. Lerner sat at the drumkit as he sang on most of the songs, and the unexpected cameo by Walla excited the crowd like they should be on a Friday night at 10 p.m.

I would have liked to have heard “Awkward Kisser,” just cause it’s such a damn cute song, but Lerner played the lot of the songs off his eponymous debut released in April – a few highlights being “Tokyo,” “Coast of Carolina,” and “Foreign Room.” My sister especially liked “Calling All Doctors,” with its distinctive hook of a repeated “twitchin, twitchin.” There were a couple songs where Lerner got up off the drums and stood with his acoustic guitar by himself while the rest of the band lounged on the floor. “I Saw Lightning” was a perfect example of a Seattle ballad – heartfelt and not overdone. Like one of those songs you can sing to your girlfriend at an open mic and not sound too amateurish.

And I must say how epic David Broecker’s mustache was. It truly was amazing.

Right on schedule, headliners the Lonely Forest graced the stage at just after 11 p.m., right as my feet started to ache. The Showbox had become even more crowded than when we first arrived, which again shows how much buzz this band has gotten with the locals. Lead guitarist and vocalist John Van Deusen actually started off the set with “Can I get a shout out to Anacortes!” and the room threw up their arms and cheered with pride.

The Lonely Forest manages to bring together emotional piano pop with heavy, complex indie rock, without sounding generic in the slightest. Their newest album We Sing the Body Electric, released on Burning Building Records earlier this year, is easily one of the most dynamic and, dare I say, best of the year. Van Deusen, along with guitarist Tony Ruland, bassist Eric Sturgeon and drummer Bradyn Krueger started off the holidays just how they should be – full of vigor. By halfway through their set the Lonely Forest had the whole room jumping to the sound of Ruland’s badass guitar licks and Van Deusen’s weathered voice with tracks from We Sing the Body Electric, “Two Pink Pills,” and “Tomato Soup.” They also played “Soil Silt and Clay,” a track from their first LP, 2007’s Nuclear Winter, a concept album about the world ending and the protagonist’s escape from destruction through space travel.

One of my favorite songs of the night was “They’re On To Something,” a fast and guitar-heavy track with a shy piano line and the perfect beat for the lively crowd to dance around to. But it wasn’t until towards the end of the night where most of the people surrounding me on the teeming floor sang along to “We Sing In Time,” the undeniably catchy pop song with a killer building hook. Once the band stepped off stage, people immediately started shouting for an encore, and as it’s become standard practice, The Lonely Forest walked back out for not one – but two – songs for an encore.

You’d never think that Van Deusen spent time in rehab and Ruland almost died after a stint in the hospital two years ago. But then again, with how much passion The Lonely Forest has both on their record and in a live setting, one has to wonder where they get their fire.

The Lonely Forest: website | myspace