Over the last several years, Danish band Efterklang has been blending post-rock, folk, and pop in new and refreshing ways. Their first studio release, Tripper (2004), had prevalent female vocals and a static-ey Postal Service-esque feel to the instrumentation, which often toed the post-rock line. Efterklang’s 2007 release Parades leaned instrumentally toward the orchestral side of thingswithout completely abandoning their electronic roots. The tightly arranged music was seamlessly blended with downplayed and raw-sounding vocals, making for a beautiful, if not slightly jarring, combination.
Efterklang brings something new to the table yet again with their latest album, Magic Chairs (released Feb. 22nd on 4AD Records). Here the vocals take center stage, accompanied by more real live instruments than electronic ones. The album has a much stronger indie-folk-pop feel that the others, giving it more general appeal and palatability to potential listeners. Efterklang’s set looks very promising. This band of Scandinavian multi-instrumentalists is often ten strong on tour, and it should be fun to see how all of these songs come together live at The Triple Door, Seattle’s classiest venue.
Below is a video of Efterklang performing “Cutting Ice to Snow” (from Parades) with the Danish National Chamber Orchestra in 2008.
Band Members:
Kenny Ball – Bass
Brandon Bogan – Guitar, Keys, Bows
Anthony Carlucci – Vocals, Guitar
Aaron Gustafson – Drums
Colin Isler – Cello, Guitar
Last Thursday cemented my position as SSG’s reviewer for Burning Building Records(BRB), after previously covering The Lonely Forest and The Oregon Donor. That night I saw two more BBR bands, with Daniel G. Harmann & The Troublestarts opening forPost Harbor. Praenumbra, Post Harbor’s first album, made a small splash when it was release back in 2007, but with the release of their latest record, They Can’t Hurt You if You Don’t Believe in Them and their show on the February 11th, Post Harbor may get more of the recognition they deserve.
DespiteNeumo’s being one of Seattle’s larger venues, most of it was closed off that night. Not only was the balcony closed, but also a curtain was closing off half the main floor. While this did create some initial worries about the size of the crowd, it turned out to be a good move. The space available was crowded, but no one was tripping over the tables or stools in the back. The entire setup created an intimate enclosure for Post Harbor’s transcendental post-rock arrangements.
Praenumbra was a bit difficult to get into, and while They Can’t Hurt You if You Don’t Believe in Them is more accessible, the way to listen to Post Harbor is live–Each song flows from one to another. With Colin Isler switching from cello to guitar, or Brandon Bogan using a bow on his guitar, Post Harbor seems to understand what makes post-rock tick and exploits it anyway they can. Each song managed to put the audience in a trance of 3-4 minutes, switching from the synth flanking of the ears to a guitar led assault. Even the encore, which was just Isler on his cello, playing the same sample over and over, kept the audience in suspense. There was disbelief that the same handful of notes that kept them all enthralled for two minutes would end the show.
I may have had their last album sitting around gathering dust for the past two years, but after the 11th, I couldn’t stop listening to them. They Can’t Hurt You if You Don’t Believe in Them is coming out on the 23rd on Burning Building Records. Here is a video from the 11th at Neumos:
Band Members
Jimmy LaValle
Matt Resovich
Drew Andrews
Gram LeBron
Tim Reece
Andrew Pates
The Album Leaf graced Neumos on February 6, 2010, and it was no ordinary show. Not an official album release show, but with A Chorus of Storytellers coming out only four days prior, Seattleites were in the mode of celebrating the long awaited record from one of our own native labels’ artists. Not only did the audience get to celebrate A Chorus of Storytellers with The Album Leaf in their full glory, there was also the added bonus of the Anomie Belle String Quartet–and what a beautiful, organic gift.
Before the music started, the room was dark and thick with anticipation. The Album Leaf always accents their sets with a grand backdrop to deepen their cinematic effect. As the soft inclines of “Perro” began, the room expanded with the reflected flecks of moving light giving a subtle, ominous tone to the evening. The mix of programed sounds, keys, sound bites, textures, and the visual show had the audience acutely engaged. Continuing with “Blank Pages,” the room was gradually lifted with strings to relaxation and elegant euphoria. The Album Leaf’s presentation of ambient electronica was well received.
As the set progressed, a highlight was “Falling from the Sun.” This song was one of the riskier ones out of the mind of Jimmy LaValle. Being such an important figure in the realm of ambient electronic music, avid fans of The Album Leaf have firm opinions about lyrics and standard structures being introduced into the The Album Leaf’s vernacular. Jimmy LaValle and his merry men performed “Falling from the Sun” with earnest, open hearts, and the audience ate it up. It was a beautiful interchange.
After “Falling from the Sun” completed, LaValle addressed the audience saying, “Those were the first five songs off of A Chorus of Story Tellers that just came out on Monday.” The audience cheered. Accepting the adulation, LaValle said “And this song is … old.” with a giggle in his voice. With the first notes of “2214,” the audience went wild. More cheering ensued when the set continued with “Outer Banks” and “Shine.” “Shine” was another set highlight; the programed electronics were beautifully married with smashing cymbals from the snare drum set. Smash, smash, smash, the cymbals went, and the room filled with celestial sounds. Jimmy LaValle’s keys were bright, and the string quartet beamed.
The Album Leaf threw in a few more songs off of A Chorus of Story Tellers mixed in with some old goodies, and the energy of the room never wavered. The last time I saw The Album Leaf, it was disheartening to see so many people talking throughout the set. That was not the case on February 6, 2010. Looking around the room, I didn’t notice a single person who wasn’t enveloped in the set. It was a beautiful night from start to finish.
Please enjoy “There is Wind,” and an interview I did with Jimmy LaValle before the set.
Band Members
Takaakira “Taka” Goto: guitar
Tamaki: bass, piano, glockenspiel
Yoda: guitar
Yasunori Takada: drums, glockenspiel
When Taka, Tamaki, Yoda, and Yasunori took the stage, the audience roared. They knew what was coming. MONO started the set with “Ashes in the Snow.” Taka introduced the set with the ambient noise of subtle distortion, and then looked to Yasunori to begin with the delicate trickles of a glockenspiel. Tamaki assisted on second glockenspiel to add a ironic twist to the once innocent sound. Taka then looked to Yoda, and with a gentle hand, he caressed the air to count off a simultaneous guitar start. Their soft guitar notes fell to the ground like tear drops.
MONO’s style of music, much likes a symphony, has crescendos and decrescendos to the superlative degree. This chilling introduction to the set was sure to be followed by thunderous roars. The audience, fully captivated, observed in silence and waited to be blown away. They were not disappointed. At exactly the right moment, sound came crashing through the venue like waves as violent as a tsunami.
MONO’s set list consisted mostly of content from Hymn to the Immortal Wind as this tour is in support of that album. However, they are not touring with a full orchestra as the album was designed to be showcased. To make this tour ultimately dynamic, they added a couple of their most epic songs that flowed with the album and intensified their heavy metal side. A favorite was “Yearning.”
When “Yearning” began, the audience began to shift a bit, for they knew what was coming. All members of the band held their heads low, faces enveloped with black hair like plumed feathers, and the drums pounded on . . . and on. As the sound was taken down to the strum of a single guitar string, the room exploded with noise as cataclysmic as napalm. Taka lifted his right arm off of strums in a full-armed extension in display of the extent of his emotion–and yet more sound erupted. Bringing this sixteen-minute song to a conclusion was a ceremony in itself; it started as softly as it began. Taka finished on his knees as if his yearning bore no fruit and he had no choice but to give up. The dark road continued as they played “Battle to Heaven.”
Lead by Tamaki on keys, MONO concluded the set with “Everlasting Light.” This song was the perfect ending to the set as it celebrates the dichotomy of triumph and tragedy. For the first five minutes of the song, Yasunori laid his head on his folded hands as if he were in a prayer. After the introduction to the song, Taka and Yoda played their guitars by themselves for a bit as Tamaki returned to her bass. As the intensity built, the most beautiful thing happened; Taka, Tamaki, and Yoda turned to face Yasunori. They looked to Yasunori as if there were no one else in the room. It didn’t feel like they needed Yasunori to lead the timing, it felt like they were honoring him by allowing him to lead to conclusion of the set. As the cymbals crashed, they honored each other as family. As tears streamed down audience members faces, MONO took off their instruments, Taka blew a kiss to the audience, and all of them exited the stage–no encore, it was over.
Taka, Tamaki, Yoda, Yasunori, thank you so much for what you do. For some, it was an incredible show. For others, you changed their lives forever.
Please enjoy “The Battle to Heaven,” “Yearning,” and an interview captured before the set. If you are interested in seeing more MONO footage, please visit the “MONO live in NYC” post captured in May 2009 featuring a 24 piece orchestra. There is an additional interview at on that post as well.
Upcoming Shows
Oct 13 2009 8:00P El Rey Theatre Los Angeles , CA
Oct 14 2009 8:00P Club Congress Tucson, AZ
Oct 15 2009 8:00P Launch Pad Albuquerque, NM
Oct 16 2009 8:00P Hailey’s Denton, TX
Oct 17 2009 8:00P The Mohawk Austin, TX
Oct 19 2009 8:00P Polyforum Cultural Siqueiros Mexico City, Mexico
Oct 20 2009 8:00P FBOLKO Guadalajara, Mexico
Dec 3 2009 8:00P Transmission Room Auckland, New Zealand
Dec 4 2009 8:00P The Hi-Fi Melbourne, Australia
Dec 5 2009 8:00P Manning Bar Sydney, Australia
Dec 6 2009 8:00P The Hi-Fi Brisbane, Australia
Dec 21 2009 8:00P 10th Anniversary Orchestra Show / Shibuya O-EAST Tokyo, JP
Alt-country? Indie-pop? Folk-rock? Americana? These United States (TUS)defies labels and simply delivers their eclectic take on what feels right for that particular moment. Making the rounds in support of their third album, Everything Touches Everything, TUS has found a permanent line-up of players and a solid groove to build upon. Creative force behind TUS, Jesse Elliott, has spent the last 18 months touring, recording, and essentially bringing his brainchild to life.
These United States has grown into a buzz-worthy band. While the albums may strike some listeners as nothing more than melodic, pop-rock suitable for background music at your local coffee shop, TUS’s live sets are a scorching jamboree sure to leave you smiling and yearning for more. The combination of Elliott’s genuine and thought provoking lyrics along with the tight crew of musicians he’s assembled creates a musical moment that is meant to be seen and heard.
If your in to the all age goodness, The Old Fire House in Redmond is celebrating its 17th birthday! Since opening in 1992, The Old Fire House has been one of the few local, all-ages venues. Join them Friday, September 25th, with a haunting line-up of Schoolyard Heroes, Sleepy Eyes of Death, Loving Thunder, and Tradewinds for Zephyr.
Ryann Donnelly of Schoolyard Heroes will give you chills with her operatic voice, and Sleepy Eyes of Death will no doubt put on their signature light performance. Sleepy Eyes of Death are not only one of the best post-rock bands in Seattle, they are on of the best all around best bands in Seattle right now. Their support of the all-ages scene is not overlooked. Even if you are over 21, don’t miss this momentous occasion and help celebrate OFH’s long running achievements. The anniversary party kicks off at 8 pm and will only cost you $10 at the door.
Screw 2012, the apocalypse is happening TONIGHT, 9/25, at the JET! Don’t be caught at home with your pants down. Come find out what happens when pure, unadulterated rock meets hip(ster)-hop!
Big High is bringing the rock to Mill Creek tonight. After a sizzling set at this year’s Summer Meltdown, JamBase.com writer, Dennis Cook, had this to say about the Big High boys:
Big High aren’t screwing around and it wasn’t a whole tune before I was shaking like a madman close to the stage. Killer tunes, a crazy tight band and a lead singer (Mesa on “vocal flyfishing”) possessed of a fathomless bottom and high reachin’ top end plus a leaping, fiercely engaging stage presence, and well Big High sorta rocked my widdle world. It’s serious heavy muscle that puts a lil’ anger and sex in your bloodstream, culminating in a frighteningly good cover of The Who’s “Baba O’Riley” delivered in Dr. John style feather masks for no good reason except to be delightfully weird. If you’re feeling Clutch, Parlor Mob or just dig quality hard rock you’re missing out if you don’t get to know Big High.
As previously covered on SSG, Big High is spear-heading a rock revival and now is the time to join the revolution!
Also, Mad Rad is making the trek up to Mill Creek. If you are still unfamiliar with this merry band of local troublemakers, you must be living in a cave. SSG has nothin’ but mad love for these boys and believes one MUST experience their live show at least once before casting your vote and writing them off as a flash-in-the-pan, novelty act.
Post-rock heads, it’s time to unite! We’ve got ourselves an occasion to celebrate. El Ten Eleven is returning to Seattle to give us the night of our lives!
El Ten Eleven make some of the most playful post-rock for people to get lost in. Kristian Dunn plays guitar, bass, and loop stations. Being a one-man-show on strings, Kris is something of a genius. He layers up his tracks so intricately, it’s hard to believe that there aren’t musicians hidden under the floor boards to assist him. Either he is a genius or a magician-– it’s still up for discussion. Not only does he know how to work a peddle or 13, his childlike playfulness comes through in all of their music. El Ten Eleven is a band that makes people want to play. Its recess in kindergarten — you can’t get much better than that.
Kristian Dunn might have a spotlight here but El Ten Eleven is not a one person band. Tim Fogarty in the drum section knows how to turn out a beat. His use of synthetic drums mixed in with organic drums works a number on the listener’s ears. When the music is dancy, Tim turns the dance factor up from a 6 to an 8. When the mood is on the reflective side, the drums are nice and chill.
Tonight’s show is going to be the BOMB! Come out and play; I promise you, if you miss this show, you’ll regret it. Here is a clip from a previous Seattle show.
Band Members
Andrew Barnes – Guitar
Nathaniel Dominy – Bass, keys, samples, vocals
CJ DeLuca – Guitar, some vocals
Jud Mason – Drums
Tim Skirven – Guitar, keys, samples
featuring LJ Stank – Lighting
How much virtuous throttling can one tiny stage take? Put six men from Virginia in the corner of the short-ceilingedSunset Tavern in Ballard and you might not see a more amazing, skull opening performance. I feel like every night in the city there is one show you could go to that would far surpass all the other shows available. Not many people came to see Gifts From Enola open for other local instrumental acts Joy Wants Eternityand Misery Love Company, but there were enough on hand to justify such a livid and inspiring performance.
The Enola Gay was one of the American planes that dropped an atomic bomb on Nagasaki, and though their cheeky moniker is befitting of their epic, angular guitar brigade, Gifts From Enola started their show by giving the gift of ear plugs. Guitarist and keyboardist Tim Skirvin offered up a couple extra pairs of the precious ear foam before all five members leapt into their opener. They were collectively swaying and stomping, heads and beards darting betwixt each other, and firing each other up. It was an infectious beginning, one that fired this writer up to dance.
Highlights from the show included the monstrous Trieste, the twelve-minute center-piece off their brand new From Fathoms disc (the vinyl version of which is so premium and beautiful). With as many movements as a three act play, the band moved between pretty interplay among the three guitars, dreamy neck-hammering over synth washes, gigantic metal assaults complete with off-the-mic screams from bassist Nate Dominy, and momentous rock jams that contain a wealth of dynamism. This band can play! The sound inside The Sunset Tavern was average, but the guys from GFE later said their sound on stage was the clearest of their large North American tour.
Gifts From Enola impress with their stagemanship; no song is left to hang. Sound and sonic detail is constant as they move through a set. Silence was used as a tool, not a chance to catch one’s breath. They even brought a lighting artist with them on tour, further boosting the stage presence. LJ Stank, they call him, and he is just as into the music as the players, bobbing and thrashing at his console. At one point he changed shirts without anyone noticing. They finished with the album closer Aves, which climaxes with over-the-horizon guitar worshiping and all-together-now vocal harmonies. It’s just so incredible to be in such a small space and witness such a great band absolutely destroy. Who knew? More people ought to. Gifts From Enola are genuine, passionate artists that deserve to be heard.
Please Enjoy a video captured from their Seattle show at The Sunset Tavern captured on July 19, 2009
Upcoming Shows
Jul 24 2009 8:00P The Meadowlark Denver, Colorado
Jul 26 2009 8:00P The Replay Lounge w/Actors and Actresses Lawrence, Kansas
Jul 27 2009 8:00P The Record Bar w/Actors and Actresses Kansas City, Missouri
Jul 28 2009 8:00P Amvets Post 19 Waterloo, Iowa
Jul 29 2009 8:00P The Turf Club St. Paul, Minnesota
Jul 30 2009 7:00P The High Noon Saloon Madison, Wisconsin
Jul 31 2009 8:00P The Metal Shaker Chicago, Illinois
Aug 1 2009 8:00P Rubble’s Mt. Pleasant, Michigan
Aug 2 2009 8:00P The Pike Room Pontiac, Michigan
Aug 3 2009 8:00P Blue Rock Tavern Cincinnati, Ohio
Aug 5 2009 8:00P The Robin Hood w/If These Trees Could Talk Kent, Ohio
Aug 6 2009 8:00P The Smiling Moose w/If These Trees Could Talk Pittsburgh, Pennsylvania
Aug 7 2009 8:00P The Spy Club w/If These Trees Could Talk Harrisburg, Pennsylvania
Aug 8 2009 8:00P The M-Room w/If These Trees Could Talk Philadelphia, Pennsylvania
Aug 9 2009 8:00P The Public Assembly w/If These Trees Could Talk New York, New York
Aug 10 2009 8:00P Summer Tour tba, Connecticut
Aug 11 2009 8:00P The Elevens w/Irepress Northampton, Massachusetts
Aug 12 2009 8:00P The Monkey Bar w/Irepress Winooski, Vermont
Aug 13 2009 8:00P The Green Room w/Irepress Montreal, Quebec
Aug 14 2009 8:00P Hopfenstark Brewery L’Assomption, Quebec
Aug 15 2009 8:00P St. Michaels Hall Boston, Massachusetts
Aug 16 2009 8:00P The Blackstone Pawtucket, Rhode Island
Aug 17 2009 8:00P The Saint Asbury Park, New Jersey
Aug 18 2009 8:00P D.C. Mini Gallery Washington, DC, Washington DC
Aug 19 2009 8:00P Outback Lodge Charlottesville, Virginia
Aug 20 2009 8:00P The Bat Cave Harrisonburg, Virginia
Band Members
Jim Acquavella – Drums
Bryce Shoemaker – Guitar
Steve Becker – Bass
When it comes to Bronze Fawn, emotion is the name of the game. Bronze Fawn is a group of three highly talented musicians who compose instrumental rock. Having their music as a wide-open canvas gives people all sorts of places for their minds and hearts to wander off and get lost.
Wherever each person ends up in the wanderlust of a Bronze Fawn’s show, it is a sure thing that you will be taken there by way of passion, powerful execution, and a hint of romance. Jim provides the drum blast with quite strength. He keeps his fire bridled when appropriate; but when it’s time to bring the fire, he unleashes an explosion. Steve brings his years of musical experience to the bass with creative infrastructure. His stimulating contributions build on a solid foundation that gives the lead guitar the space to thrive. Bryce, the lead guitarist, takes the solid foundation prepared for him and dances all over it. His contributions are extremely compelling. The three of them together are a dynamic compliment to each other and a perfect mix to keep the audience very excited throughout their set.
Visually they are a bit of kilter. Bryce, with his interesting guitar parts, is usually focused on the execution and not on stage presence. I would rather have accurately executed music than motivating stage presence, but it is preferable to have both. Steve on the other hand has movement in spades. His exuberant energy is good, but it also draws attention to where stage presence is lacking elsewhere.
When it comes down to it, Bronze Fawn is about the music. With their diversity of sound and skillful execution, their music does and will continue appealing to many.
Being intrigued with Bronze Fawn, I asked Bryce a few questions about where they are and where they are going.
Nikki: Why do you make music?
Bryce: I make music because it is something I have done since taking my first piano lessons in fourth grade. Therefore, it has become more a part of what I am as a human being, not a tool through which I hope to gain trivial things such as money, pussy or fame. Though I cannot fully speak on behalf of my band mates, it is my observation that we do this because we enjoy the challenges of working together to create smart compositions with interesting dynamic shifts, logical key changes, aurally stimulating tones, etc , etc, with the end result being a product we can all be proud of and have our own individual marks on. It’s a pretty simple concept: we make music because we like to make music.
Nikki: What contribution do you hope to make in the melting-pot of post-rock?
Bryce: “Post-Rock” is an incredibly vague designation and one that I personally loath. Too many bands are thrown under this umbrella term and it really does no justice nor provides ample description in regard to the music they actually make. At our core, we are an instrumental rock band with moments that are psychedelic, heavy, cinematic, lush, sparse, and so on. Diction aside, our contribution to the musical landscape would be one of creating an interpretive journey in each of our songs via varying motifs and passages that one can easily connect to without the aide of vocals for guidance – analogous to the hallmarks of classical music, only transcribed to a guitar/bass/drums format.
Nikki: Who are the Bronze Fawn influences?
Bryce: Space, massive volume, silence. We listen to such a wide range of things and come from such differing-yet-relatable musical backgrounds that our best influences may very well be one another.
Nikki: What’s next for Bronze Fawn?
Bryce: Just finished mixing our second album tonight [6/15/09] and the next step will be to get it mastered and put out either by a label or by our own means.
Thanks Bronze Fawn for the mini interview
So there you have it. Bronze Fawn is definitely a band to look out for, but you don’t have to take my word for it! Please enjoy clips from their June 5th performance at The Sunset Tavern.
Band Members
Takaakira “Taka” Goto: guitar
Tamaki: bass
Yoda: guitar
Yasunori Takada: drums
Special Guests:
Jeff Milarsky and the Wordless Music Orchestra
Trying to describe being at this show is like trying to describe color to a blind person; if you weren’t able to see and hear it for yourself there aren’t words or even media recreations that can appropriately convey the experience, but here goes nothing — here goes everything.
Being an audience member for the 10 year anniversary celebration of MONO’s first show was an emotional experience of the most profound kind. Their newest release entitled “Hymn to the Immortal Wind” includes a full orchestra. The evening of May 8, 2009 was the first time that MONO recreated the full orchestra for a live concert; it was a smashing success.
The evening before the concert I had the honor of interviewing Taka. We were able to talk about some of the meanings behind MONO’s music and what being able to deliver that music meant to him among other things. In the interview below Taka discusses a song entitled “Ashes in the Snow.” This song is about a woman who loses her husband — her soul mate in death. Still yearning for connection with her partner, she takes his ashes and scatters them at sea. The sun lifts the ocean water commingled with her husband’s ashes into clouds. When the clouds release it’s matter into snow, the woman knows she is enveloped in the presence of her husband. This is the type of rich emotional substance that goes into MONO’s work. Even if you aren’t aware of the stories behind each of the songs, MONO has some of the most emotionally evocative material that I have ever been able to experience.
Even with that foundation, I went to the concert unprepared for what I was going to get. The tender lulls of the music were organic and spiritual; in those moments I felt motionless and fetal. The swells were so intense that the only matching physical manifestation would have been if I had run to the edge of the third floor balcony and jumped off.
I have an affinity towards music of this ilk because I crave the ultimate rush. The music had the same effect on my guests but it occurred to them as unsettling. My sister likened this concert to extreme sports and other forms of pleasure that aren’t suitable for the faint of heart. I could not have agreed with her more. MONO is an accessible realm for me to get the same type of rush as free falling out of a plane. For some, that experience is fearsome. For others like me, it is the thrill of a lifetime.
I invite you to have the experience the way that I did. Please enjoy the interview with Taka followed by the full songs Ashes in the Snow, Follow the Map, and Everlasting Light.
Band Members Kristian Dunn – Guitar, Bass, Loops, Pedals
Tim Fogarty – Drums, Electronic Drums
I am not going to bother being bashful admitting that I was already a fan of El Ten Eleven before I saw the show that is under review. However, my opinion is unbiased because my first exposure to El Ten Eleven was at a live show. On top of the fact that my first exposure was at a live show, it was at the very same venue as the show in question; The Sunset Tavern. When I first saw El Ten Eleven, I was blown away. Happily they have only gotten better.
The first stand out quality about El Ten Eleven is their technical excellence. Kristian’s pedal station is so massive that it’s on the verge of becoming an unincorporated city! Some might argue that working pedals is no extraordinary feat -no pun intended- because most bands these days use pedals and loop stations. Am I right? WRONG! The way that Kristian works his loop stations and pedals creates expanding structures; his skills are uncontested and his style is indubitably unique. There are songs when Kristian will only play his guitar and there are songs when he only plays his bass. For those extra special songs Kristian gets crazy and plays his double-headed beast of a guitar/bass combination guitar. While he is navigating through his instrumental structures, he works multiple pedals to create sound layers that most people can only create in studios. Although complicated, El Ten Eleven manages to recreate a flawless sound with no pre-recorded material.
With all of their changing structures El Ten Eleven has a great variety of moods within their music. My favorite moods are the fun, exciting, playful ones. There are songs that evoke emotional tangents towards reflection and pondering, but even within those songs there is a playful forward moving style that is signature to El Ten Eleven.
El Ten Eleven extremely fun to listen to, but they wouldn’t be complete if they weren’t as fun to look at too. There really isn’t even a need for me to expand on that statement. I mean… come on. Wouldn’t it be weird if their music was action packed but the band members were dead pan on stage? Yeah, El Ten Eleven isn’t weird. To sum it up in one statement, an El Ten Eleven concert is a fun place to play.
Please enjoy the footage for El Ten Eleven at The Sunset Tavern in Seattle, WA. I’ve got a sneak peek at their brand new song Indian Winter, and one of my favorites, I like Van Halen Because my Sister Says They’re Cool.
“Indian Winter”
“I Like Van Halen Because my Sister Says They’re Cool”
The Interview
Now after ranted and raved about El Ten Eleven, wouldn’t it be weird if I didn’t snag an interview? Don’t worry, I wasn’t weird.
This interview was unplanned on my part nor on El Ten Eleven’s, but they were great sports. Please enjoy an extra special interview with El Ten Eleven!
Upcoming Shows
May 5 2009 10:00P Skull Alley Louisville, Kentucky
May 6 2009 11:15P Drunken Unicorn Atlanta, Georgia
May 8 2009 10:00P Orpheum Tampa, Florida
May 9 2009 9:00P Sluggo’s Pensicola, Florida
May 10 2009 10:00P Jack Rabbits Jacksonville, Florida
May 12 2009 9:00P sticky fingers little rock, Arkansas
May 13 2009 10:00P The Circle Bar New Orleans, Louisiana
May 14 2009 11:00P Rudyard’s British Pub Houston, Texas
May 15 2009 11:00P Beauty Bar Austin, Texas
May 16 2009 11:00P Double Wide Dallas, Texas
May 18 2009 10:00P Plush Tucson, Arizona
Seattle Show Gal is in hot pursuit of undiscovered talent! How many great bands are out there that are slipping through the cracks? Seattle is saturated with so much music, it would be nearly impossible to sift through it all to find the good stuff. The Seattle Show Gal staff is not so proud to think that we can bring you all of it, but we are actively pursuing all different types of acts to give you a pulse on what is going on--right here in Seattle! (See more in "About")
