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Substation645 NW 45th StSeattle, WA98107
deca joins at Substation Seattle
deca joins at Substation Seattle
21+ only.
deca joins is an indie mandarin rock band from Taipei, Taiwan. The band consists of vocalist/guitarist Chingju Cheng, guitarist Shanghua Yang and bassist Junyan Xie. Some people say they sound a little bit like Fishmans and Mild High Club.
In November 2018, the band released the album Go Slow. The video for the single from this album, "Wave" (海浪), has received over 1.5 million views on YouTube. In 2019, the music video for the song "Go Slow" was nominated for the Golden Melody Award (Taiwan) for Best Music Video.
In October 2019, the band released the single "When Fog Dissipates" (霧散去的時候). They began their tour "In Between Mountains" to promote the single in Asia, Australia and the United States, but the U.S. leg of the tour was cancelled midway through due to the COVID-19 pandemic. Their scheduled appearance at SXSW 2020 was also cancelled. 2020 also saw the release of their latest album Bird and Reflections, to critical acclaim.
deca joins are set to return to the United States for touring in March 2023.
#live #indie #rock
Substation645 NW 45th StSeattle, WA98107
Hooveriii hits Substation with Special Guests!
Substation presents:
Hooveriii
with Frond
21+ only. Substation Seattle. 645 NW 45th. St. Seattle 98107
Hooveriii
Los Angeles psych-rock band Hooveriii (pronounced "Hoover Three") have announced the July 29 release of their new album A Round of Applause.
Today the band shares the first take of the album by way of A Round Of Appluase’s opening track, “See.” The band’s Bert Hoover notes, “‘See’ is about trying not to take life for granted. Some things are easier said than done. It’s our first song to feature Anna Wallace singing along with us and it came together rather seamlessly. It was a pretty bare bones jangle jam until the band filled it with ear candy.” The video was filmed on 16mm at the Trona Pinnacles in Trona CA. Conceived and co-directed by the mighty Nikki Houston and Owen Summers it features aliens stranded on earth try to find their way home until things go very wrong.
Hooverii have confirmed their first U.S. tour in support of A Round of Applause. The dates kick off July 23 in Oceanside, CA and conclude in Phoenix, CA on August 27.
Though created in large part by founder Bert Hoover, Hooveriii has grown to include Gabe Flores (lead guitar and vocals), Kaz Mirblouk (bass and synths), James Novick (synths), and Owen Barrett (drums).
Prior to delving into A Round of Applause — Hoveriii’s second album through The Reverberation Appreciation Society —the band had stuck to a routine of issuing about two releases a year (including singles, live albums, etc.). After the rise of a certain five-letter word that starts with a C, they realized that time really shouldn’t be taken for granted. Finding additional inspiration via Nick Cave, who once said that dabbling with new ideas continues to fuel his near-50-year career, the band decidedly took a different approach with their new album and gave themselves the freedom to explore in the studio.
The end result is A Round of Applause, an expansive and even, at times, experimental record. Whereas 2021’s Water for the Frogs was akin to a jam-band record — most of its seven songs are about five minutes long (including a closing track that lasts nearly 10) — A Round of Applause could be considered their “pop” album. Occasionally paying homage to the Canterbury scene, the band consider it to be a palette cleanser of sorts. “I am not really a playlist guy or a singles guy,” Hoover admits. “I’m really into the album experience. … So yeah, we made a pop record. But also, to me, this record is very progressive as well, and I think that that provides a nice balance.” HE previously referred to Water for the Frogs as the band’s equivalent of Iggy Pop’s The Idiot. Playing with that idea he says A Round of Applause is the kindred spirit of Lust For Life.
Hooveriii derived the album title from the late-‘80s Roky Erickson song “Click Your Fingers Applauding the Play.” “That’s too much of a mouthful,” Hoover qualified. “My title, A Round of Applause, just came one day, and we were like, ‘Yo, that sounds like a Gentle Giant record.’”
Reflecting the mostly lighthearted and uplifting record, A Round of Applause closes cheekily — but not sarcastically — with the sound of people clapping. Hoover adds graciously: “We've been lucky so far. I don't think we really have a, you know, ‘bad song.’ ” Maybe one will, someday. But Hoover doesn’t dwell on that; after all, his band has more records to make — and time is of the essence.
#live #rock
Substation645 NW 45th StSeattle, WA98107
True Widow at Substation Seattle
Substation presents:
True Widow
21+ only.
Dallas trio TRUE WIDOW craft patient, rounded music that calls to mind images of foggy dawns and parched fields. Formed in November 2007, TRUE WIDOW released their self-titled debut a year later and immediately caught the ears of the underground. At its core, the music of TRUE WIDOW is powered by the driving, guitar-dense aspects of shoegaze and stoner rock and the heavy, low-moving evocations of ambient music.
Following their auspicious start, the band returned in 2011 with their sophomore full length, As High As The Highest Heavens And From The Center To The Circumference Of The Earth. As High As The Highest Heavens saw the band solidify their direction and further mature their sound, but it wasn’t until 2013’s Circumambulation (TRUE WIDOW’s debut album for independent label Relapse Records) that they reached the heights - both professionally and compositionally - they have now. Circumambulation garnered the band widespread praise both within and beyond the metal world and was praised by publications as diverse as Pitchfork, NPR, Decibel Magazine, and Metal Injection. The band followed up the success of that album with extensive touring across the US, Russia, and Europe, including numerous appearances at renowned festivals such as Roadburn, Fun Fun Fun Fest, Psycho California, and more.
This year, Avvolgere, the forthcoming LP from Texas trio TRUE WIDOW, perfects the formula that Circumambulation established. The album rocks and rolls with serene, rounded climaxes and steep, jangling choruses that engulf the listener with waves of downbeat, saccharine melodies and mesmerizing distortion. TRUE WIDOW’s signature alternation between male and female vocals helps further blur the boundaries between the heft of stoner rock, the droning atmosphere of shoegaze, and the twangy catchiness of blues and indie rock. It’s both concise and circuitous - the album takes you on a journey that you can’t ever quite predict or expect. Avvolgere is TRUE WIDOW sounding more infectious and consummate than ever before.
True Widow is:
D.H. Phillips (guitar/steel guitar/vocals)
Nicole Estill (bass/acoustic guitar/vocals)
Slim TX (drums/piano)
#livemusic #live #rock
Tryout // Living in Frames // Animal Adjective // The Get
Substation645 NW 45th StSeattle, WA98107
Substation presents:
Tryout // Living in Frames // Animal Adjective // The Get
21+ only. $15 tickets.
#livemusic #live #rock
Substation645 NW 45th StSeattle, WA98107
Psychedelic doom rock legends, Elder, return to Substation
TICKETS ON SALE FRIDAY JANUARY 20TH @ 10AM
Substation & Heavy Talent present:
ELDER
support from:
Ruby the Hatchet & Howling Giant
at Substation Seattle. 21+ only.
ELDER:
is the sixth Elder full-length. It finds the mostly-Berlin-based band in the post-pandemic era as veterans at the forefront of a league of progressive and heavy groups working in large part under their influence; a stately presence as reliably forward-thinking as they are unpredictable in sound. They are among the most important acts of their mostly-still-emerging generation. Genuine leaders in style and expressive intention. Innate Passage is further proof why.
In Spring 2020, Elder released their fifth album, Omens, and with it established a claim on their most prog-leaning interpretation of sprawling heavy rock and roll. Two years later, Innate Passage builds on many similar concepts, but outdoes its predecessor on every level of performance, weight of its impact, interplay between founder Nick DiSalvo and Mike Risberg’s guitars and keys, the now-settled-in drumming of Georg Edert – who made his debut on Omens – and bassist Jack Donovan’s tonal warmth underscoring the shimmer of DiSalvo’s leads.
Says DiSalvo: “This record channels the surreal world we live in from a fantastical point of view, not super-literally, and how we as humans processed that; everyone on their own passage through time and space and whatever version of reality they chose for themselves. The phrase ‘Innate Passage’ appeared to me when writing the record. Passage and transition are necessary in the human condition and this process is intrinsic to us. All the growth and introspection we underwent in the past few years totally made this apparent to me more so than any other experiences in life so far.”
“Catastasis” begins Innate Passage with a pointedly bright perspective and the most complex vocal harmonies that Elder have ever produced. Alongside DiSalvo, Innate Passage features a guest singer for the first time in Behrang Alavi (Samavayo), who adds his voice to what’s already a career performance for DiSalvo as a singer; his voice is more confident, has more presence, and more reach than ever before. That is but one way in which Innate Passage steps boldly deeper into this new era for Elder.
Whether it’s a shredding lead in the culmination of “Endless Return” or the willfully patient, almost meandering, build into the crescendo and fade of “Merged in Dreams/Ne Plus Ultra,” Elder are poised as never before as they execute this material. In centerpiece “Coalescence,” they offer Opeth-worthy rhythmic intricacy and piano drama offset by crunching heavy guitar and twisting leads, and in “The Purpose,” they craft a wash of melody that is engrossing without sacrificing any clarity of the individual instruments that make it.
As the album ends with soft guitar in an answer to the intro of “Catastasis,” the sense of wholeness that comes through is one more aspect arguing for Elder as singularly crucial. Innate Passage is a culmination of everything they’ve done before, and that’s reason to celebrate, but more, it is that after more than 15 years, they’re still pushing forward to places where neither they nor anyone they’ve influenced have yet gone. – JJ Koczan, Sept. 2022.
#live #rock
Substation645 NW 45th StSeattle, WA98107
Cherubs
Cherubs are an Abrasive noise rock trio from Austin who were first active in the early '90s, and reconstituted in 2014 after a 20-year dormancy. Current members include Kevin Whitley, Brent Prager, and Pete Shore (formerly of Unsane, Boss Hog). Albums: Icing, Heroin Man, Short of Popular, 2Ynfynyty, Immaculada High, Slo Blo 4 Friends & Sexy (EP)
support from: Rid of Me
#livemusic #live #rock #noise
Buffalo Daughter (Japan) w/ babybaby_explores
Substation645 NW 45th StSeattle, WA98107
Buffalo Daughter at Substation with babybaby_explores
Substation Seattle presents:
Buffalo Daughter
with special guest:
babybaby_explores
Support: Tomo Nakayama
Buffalo Daughter
Buffalo Daughter is a three member group consisting of SuGar Yoshinaga, Yumiko Ohno and MoOoG Yamamoto, often augmented by a drummer and other guests. Their sound is heavily influenced by German progressive rock and techno pop, but also includes bits of dub, club, shoegaze and post-rock influences. Given their mix and match style, and that they emerged in the mid-90s, they are often considered as part of the Shibuya-kei movement.
Before putting together Buffalo Daughter, Yoshinaga and Ohno played together in a band called Havanna Exotica. Buffalo Daughter’s 1994 debut EP Shaggy Head Dressers was released on the Cardinal label, a spin-off of the popular indies magazine Beikoku Ongaku.
When the American group Luscious Jackson were touring in Japan they met Buffalo Daughter, and favorably impressed with their music, passed samples along to the their label honchos at the Beastie Boys own Grand Royal Records. As a result Buffalo Daughter signed with Grand Royal in 1996, and released Captain Vapour Athletes internationally.
The band spend a good deal of 1996 in the States, first playing a few East Coast dates in March, then doing an extended tour with Butter 08 in September, and returning again for dates in November with Luscious Jackson. Their impressive live shows had a great deal to do with breaking the band both in Japan and internationally.
In 1997 Grand Royal followed with a remix EP, with Buffalo Daughters remixed by the likes of Alec Empire, Money Mark and U.N.K.L.E. Also in 1997 Buffalo Daughter played Grand Royal events in London and Paris with labelmates Ben Lee, BIS and Luscious Jackson.
In 1998 the band returned with the new studio album “New Rock”, and toured the US and Europe with Money Mark. They also performed at the Tibetan Freedom Festival in Washington DC in June 1998 along with the Beastie Boys, Radiohead, REM, Sonic Youth and Herbie Hancock. They returned again to the States in July and August to tour with Boys Against Girls. In 2001 Grand Royal suddenly shut down, and the band moved to LA based Emperor Norton, where they released “I”. Also in 2001 Buffalo Daughter played Japan’s top electronic music event Electraglide, on a bill with Fatboy Slim, Aphex Twin and Plaid.
In 2003 they released “Psychic” on V2 Records, and toured America with Blonde Redhead, and in 2006 released “Euphorica”. This versatile group has collaborated with a wide range of artists including the French ambient pop group Air, former member of techno-pop pioneers The Plastics, idol Ami Suzuki, veteran Mari Natsuki, Takako Minaka, Cornelius, Naoko Yamano of Shonen Knife and Cibo Matto. Sugar also sometimes plays in the side project band Metalchicks, and has toured the States and Europe with them.
They have also had their music used in ads for Listerine, Minute Maid, Minolta, Panasonic and 7-11’s Slurpies amongst others. In 2007 they played the Formosa Festival, their first live show in Taiwan.
In July 2010 Buffalo Daughter released “The Weapons of Math Destruction”, on their own Buffalo Ranch label, their first release in four years. They again collaborated with support drummer Atsushi Matsushita, who also plays with Zazen Boys, and with who played at Fuji Rock 2010 and did a national tour in November.
In 2013, Buffalo Daughter released their 20th anniversary best album “ReDiscoVer. Best, Re-recordings and Remixes of Buffallo Daughter”. This album not only includes their past songs but also a mix of some new recordings, covers, concert performances and remixed recordings. Recently at a Tokyo and Osaka gallery, an exhibit was created, which follows the band’s history.
In 2014 double album “Konjac-tion” is released worldwide (physical release through U/M/A/A in Japan and Modulor in France/EU). The album features various guests such as Kahimi Karie, Shintaro Sakamoto (ex. Yura Yura Teikoku) and remixes by Cibo Matto, Sean Lennon, Varo, Yoshinori Sunahara, etc., with nearly two hours listening volume. The world tour is followed soon to all through 2015, including some major and small rock festivals/ showcases – SXSW (USA), The Great Escape (UK), Micro Festival (Belgium), Off Festival (Poland), V-Rox (Russia), Fuji Rock Festival (Japan), Big Mountain Music Festival (Thailand), Lobo Jam (Taiwan) etc.
While keeping themselves busy with the tour life, Buffalo Daughter also finds it interesting to collaborate with the visual artist such as graphic artists and painters. The band has the history of having close relationships with the artists and that gave them some opportunities to perform at the gallery and museum in the past. Most recent one is January in 2016 at the illustrator Ed Tsuwaki’s exhibition at Museum of Contemporary Art Tokyo. Tsuwaki’s live-painting features the band’s improvisational performance with the avand-garde cellist Hiromichi Sakamoto. It was their second museum performance next to the British artist Peter McDonald’s Exhibition in 2012 at 21st Century Museum of Contemporary Art, Kanazawa.
Buffalo Daughter’s latest album We Are The Times, their first new album in seven years, came out September 17th, 2021.
#livemusic #live #indie #rock
Substation645 NW 45th StSeattle, WA98107
Substation presents:
REZN
open.spotify.com/artist/3pDqLo5LnCyCBxhKZygkfK
with: Grivo
open.spotify.com/artist/0NsL0iHM7x5iahPLXXGf9C
Local Support: Calm Collapse
21+ only. Doors @ 7 / Show @ 8
REZN bio:
For the uninitiated, the music churned out by the Chicago ethereal heavy psych quartet REZN manages to convey both crushing mass and cosmic weightlessness. With their fourth upcoming full-length entitled Solace, the band once again blurs the boundaries of their psych and doom labels by exploring more delicate and introspective emotions in the lyrics and instrumentation, using the feeling of empty space to build into towering moments of maximalist density. The appearance of piano, flute, and acoustic guitar are intricately woven throughout the record, and their dynamic range seems expanded even at the heavy end with odd time signatures and thicker, more colossal walls of sound built by the rhythm section.
“This was the first time we were able to immerse ourselves 24/7 in the studio,” says guitarist and vocalist Rob McWilliams, “and it was essential in giving us the headspace to take risks with the songs. After a week straight of recording for twelve or more hours every day, you start to go crazy in a good way. We wanted it to push us into new territories musically, but also transform the record into something much bigger than what we initially envisioned.”
Solace was recorded at Earth Analog in Tolono, Illinois by producer/mixing engineer Matt Russell, and mastered by Zach Weeks at God City Studio. Featuring cover art by the prolic Portland-based painter Adam Burke / Nightjar Illustration, Solace will be released March 8th on vinyl, CD, and digital formats.
Grivo bio :
Emerging like an ornate relic, Austin-based power trio Grivo combines slow, methodical hooks and warm tube amplifiers to artfully re-establish the line between heavy guitars and downtempo pop. Grivo's tones and effects are utilized as active compositional elements, crafting and pacing their infectious riffs to allow the saturated guitars and bruising low-end to fully bloom. Within the tidal sound waves and bleak timbre, Grivo forges a distinctive personal connection that challenges the modern definitions of doom metal and shoegaze.
#livemusic #live #rock