Coulter‘s last LP had a few similarities to The Smiths, and those traits can also be found on his new one, Grip Fast. However, the similarities aren’t as plentiful, and Coulter Leslie is starting to create his own sound. Again, he worked with Seattle producer and mixer Erik Blood (whose work includes the same for The Moondoggies, The Lights, and The Tea Cozies to name a few).
Read More »Coulter: At The End Of The Day [mp3] 
In the fall of 2009, Seattle punk band Virgin Islands gave us their debut EP after only a short time of existence. That EP, despite only containing four tracks, demonstrated the type of skill and songwriting prowess one could expect from a seasoned band with years under their belt. So it’s with great anticipation that we receive “No Doctor”, a track off Virgin Islands’ new album Ernie Chambers Vs. God. Read More »Virgin Islands: No Doctor [mp3]
It’s been a while since we’ve heard from Seattle’s Charles Leo Gebhardt IV. Well, that’s not entirely true, as last year we got a debut full length from Unnatural Helpers. But his solo project under his own name has been quiet since the release of Unfaithful, the delightfully raw and fun EP from 2008. Begin Again is the new release and it maintains much of what we heard from that previous EP, albeit with a tiny bit more production. Read More »Charles Leo Gebhardt IV: Begin Again [Album Review]
Fleet Foxes new one is a bit different from their debut. The production is vastly different. Robin Pecknold’s vocals sound extremely different (not to mention the lyrics, which a friend equated to being similar to those found in his high school journal), having been honed and crafted whereas before they sounded a bit raw at times. But what remains the same is Fleet Foxes ability to create a great sounding song. Read More »Fleet Foxes: Grown Ocean [Video]
Seattle garage rock outfit Tea Cozies boasted production by Erik Blood on their 2009 release Hot Probs. They’re back with a sound that’s really, really good. Listening to their new single, “Dead Man’s Sister”, I can’t help but think of current hot bands like Best Coast, La Sera, and Dum Dum Girls. These ladies and gents fit the mold, with light fuzz meets heavy reverb, dreamy vocal melodies meet punchy guitar riffs. What’s stunning, however, is that “Dead Man’s Sister” holds in it an originality that Tea Cozies can call their own. It’s catchy as all hell, highly dance-worthy, yet not overdone. Read More »Tea Cozies: Dead Man’s Sister [Video]
Helvetia return with On The Lam, pumping out several new psychedelic tracks blending pop and rock very much in the style of the Pacific Northwest. The title track is among the more notable tunes on the album, beginning with a simple pop guitar melody, handclaps, and a consistent beat. Like the melody, the vocals are soft and borderline playful, albeit with a hint of emotion. By the end, the song tailspins into a hazy psychedelic swirl, launching straight into the similarly vibrant “Arise Pt. 1”. The latter, however, is dreamier and more experimental.
Read More »Helvetia [Feature] 
The Cave Singers are back with their third LP, No Witch, an album that promises great things on the tail of two already widely renowned releases. While only two songs have graced my ears thus far, it’s clear that the Seattle band continues its steady pace of creating phenomenal tunes. Read More »The Cave Singers [Feature]
One of the first lines you will hear on Lindsay Fuller’s beautiful, lyrically-based album The Last Light I See is: but every tale needs a villain so I signed myself up. And it pretty much gets even more awesomely depressing (yet also enlightening) from this point on. This Seattle artist has a style that is somewhere mixed in with the anger of Ani Difranco and the sad storytelling soulfulness of Traci Chapman. But, her stories are way cooler. Though riddled with beautiful piano solos and wonderful strumming, the tales of heartache, dead birds of life, penniless gypsies, and a fear of love that is so strong it leads you to suicide is what really makes this album very captivating. Read More »Lindsay Fuller: The Last Light I See [Album Review]
A few days ago I wrote a piece on Beat Connection’s new LP, Surf Noir, which coincidentally went live a few hours ago. Shortly after wrapping that piece, I discovered their video for “Silver Screen”, crafted by Seattle’s DUMB EYES. Peruse DUMB EYES’s library of videos and you’ll find some pretty trippy stuff. But none, in my opinion, top their work on “Silver Screen”. Dizzying, kaleidoscope-like footage blended with video of the Beat Connection duo is what we get. That and a lot of flashing lights and layered footage, all of which complement Beat Connection’s style of psychedelic loops and chillwave. Read More »Beat Connection: Silver Screen [Video]
They call it “chillwave,” a term that has come to define this style of electronica meets psychidelia. The term is fitting, and of late has come to encompass a different side of beach-style pop thanks to the various effects and loops involved. It’s all quite hypnotic. I think the first band fitting the bill (the bill being beach-worthy chillwave) I really got into was Washed Out. Neon Indian followed, but with more experimentation. So the style has become prevalent of late, and Seattle band Beat Connection has created its own style somewhere between those to aforementioned bands. Read More »Beat Connection: Surf Noir [Album Review]
