What’s Up! Appreciation Award: James Hardesty

What’s Up! Lifetime Achievement Award: Jordan Rain

Best Silver Platter: Polecat – Fire on the Hill

Best Up Close and Personal: Polecat

Best Heavier Than Heaven: Dog Shredder

Best Booty Shakin’ Music: Yogoman Burning Band

Best Twilight Zone Soundtrack: IG88

Best Highway Americana: Polecat

Best Axes of Folk: Jenni Potts

Best Spinner: DJ Einstein

Best Rhyme and Beats: The Bad Tenants

Best Newby: The Bad Tenants

Best Rock ‘N’ Roll Explosion: Sugar Sugar Sugar

Best Pop Will Rock Itself: No-Fi Soul Rebellion

Best Smash Your Head on the Punk Rock: Livingston Seagull

Best Video Killed the Radio Star: The Bad Tenants – When I’m Back

Best Skin in What’s Up!: The Bad Tenants

Best Cover of What’s Up!: January 2011 by Brad Lockhart

Triceracorn

Triceracorn

Triceracorn is comprised of electro-wizard IG88 and MC Beige, formerly of party-rap duo The Fresh Pear. Beige, also known as Josh Dahlquist, says “[he's] been rapping since [he] was about 15 years old. But everyone raps. Give someone a few beers and anyone will rap.”

He met Jon Garrett, the other half of The Fresh Pear, through a mutual friend. “Jon was a student at Fairhaven College and he was studying audio recording,” Dahlquist remembers. “He knew I rapped and asked if I wanted to work on a project with him. I’d never worked on a project before.” Triceracorn came about when The Fresh Pear ran out of momentum due to Garrett focusing on his other band. Although Dahlquist has fond memories of his time in that group, he is excited to rap in a more serious tone.

Dahlquist heard IG88 for the first time in Western Washington University’s Underground Coffeehouse. “He was having some electronic difficulties and started to rant into the microphone,” says Dahlquist, “But we liked what he was playing.” The Fresh Pear then approached IG88 about remixing one of their songs, which opened a channel of communication between him and Dahlquist.

“I remember we started doing a collaboration with Jon, IG88, Fitz [of Battle for Athens], and Nico” says Dahlquist. He was impressed by IG88′s unique music and found that it was a great way to try a new rhyme style, separating himself from the high-energy music of The Fresh Pear. “It was just natural to work on songs with IG88,” says Dahlquist.

Triceracorn existed for a short period of time before Dahlquist left for an eight-month “life-break” in Hawaii. During that time, Dahlquist realized that he wanted to finish school and start a life in Seattle. Upon his return, he contacted IG88 and they decided to write an album before they became too busy. “We set a release date,” says Dahlquist, “And we stuck to it. It was difficult but I’m really pleased with the outcome.”

He mentions feeling somewhat rushed but he views the album as a “moment in time” and would rather have it come out than be a work in progress for years. He’s also proud to note that the album has entirely new material except for one track “Something About Molly,” one of a few tracks he’s proud of writing. “I’m one of those artists that, as soon as I finish a track, I feel like I can write something so much better.”

The future of Triceracorn is exciting for Dahlquist since they will be performing for the first time since July. “I’m excited to get my name out there and to perform again,” he says. He notes that he makes music for himself and likes to share with other people but ultimately he views it as a form of self-expression, uninfluenced by any audience he may reach. Dahlquist also says that Triceracorn are going to Portland to work with a well-known MC on a secret collaborative EP. “He’s not ‘Jay-Z status’ but people who are familiar with the hip-hop scene will know who he is,” Dahlquist explains.

Dahlquist is eager to getting into the routine of a weekly show to get the word out that Triceracorn is back.

COMING UP!

Catch Triceracorn at the What’s Up! Pre-Awards Show at WhAAM on Friday, Jan. 27. For more about the duo, visitmyspace.com/triceracorn/

The five-piece Lamppost Revival is Adam Walkiewicz on guitar and banjo, Alex Eby on bass, Jarod Faw on percussion, Stephanie Olson on trumpet and vocals, and Tyler Rablin on guitar and vocals. COURTESY PHOTO

Lamppost Revival is simply delightful. Like cupcakes, kittens, and smart cars, their likeability cannot be denied. Seconds upon hearing Lamppost Revival, listeners are lured in. Initial intrigue turns into genuine appreciation as the sound overtakes the audience. Whether heard live or through digital media, each listen of Lamppost Revival is an experience.

This Bellingham band is comprised of Adam Walkiewicz on guitar and banjo, Alex Eby on bass, Jarod Faw on percussion, Stephanie Olson on trumpet and vocals, and Tyler Rablin on guitar and vocals. This group is not only a band of musicians but also a family of friends. As Tyler Rablin said, “families don’t always get along but even if we argue, we’ll be on the same side.”

That camaraderie held together by a love of music is what has brought renewed energy to this group eagerly spreading their music to Bellingham once more, after a brief hiatus last year.

The group began with Tyler, Adam, and Stephanie playing some shows. However, in the fall of 2010, the complete band formed.The name Lamppost Revival has a rather unique background as well. Adam and Tyler were brainstorming band names, and in the end, it came down to a few essential components. They lived in an apartment which they called Narnia, they liked the idea of light and darkness, and revival stuck since they “just like the idea of bringing something back.” Hence, Lamppost Revival was christened.

For such an uplifting band, some of their motivation is rather surprising. Tyler shared that it is a running joke with the band that if he ever needs to write a new song, then someone needs to break up with him. However, no angst-filled tales of woe and depression can be found in their albums. Lamppost Revival does not play break up songs. Rather, they present music for those to listen to and look forward towards a brighter and attainable future.

Such a sound is created through a very cohesive process. This is a five-piece group with five very different individuals who all have their distinctive story to share regarding the human experience. As time goes on, Lamppost Revival has “learned to be a band and divvy up the roles” in the music-making process. And this effort has definitely been fruitful. Lamppost Revival members mention The Pacific Madrone, Jesse Morrow and Polecat as particular favorites in the local music scene. They cite Bellingham as a strongly supportive place for musicians to develop and grow. It is a cycle of bliss as the community supports music, and other art forms, that in turn enrich so many lives.

If Lamppost Revival’s sound was to be labeled, dynamic folk would be their title of choice. Like waves gently brushing upon the shore, Lamppost Revival’s sound is persistently smoothing out preconceptions of what folk music should sound like. An element of pop is proudly apparent in their music. While Lamppost Revival would be perfectly at home playing in a cozy caf , their sound would not be suitable background music. Rather, it would be the focus. Lamppost Revival demands your attention with their carefully crafted compositions. Tyler said that the band’s favorite description of their music was “if Head and the Heart and Mumford and Sons had a baby.”

However, a genre does not need to be assigned to this hardworking group. All that is needed is a chance to be heard. And once that is accomplished, listeners can determine what Lamppost Revival means to them. “We focus a lot with our songs to have some sort of message, typically about hope.”

And that is exactly the feeling one gets after hearing the carefully composed tracks. A feel-good band is an underappreciated necessity in the music industry. Being relatable is the prized jewel that this band holds in their treasure chest.

Current goals for Lamppost Revival include recording a full-length studio album, shooting a music video and expanding their tour schedule to Seattle and Portland. While it is tempting to forever preserve this band as a Bellingham treat, their talent is too delicious to not share. Lamppost Revival has many essential ingredients for being a successful band: talented musicians, inviting lyrics, a devoted fan base that grows each day, and a strong friendship with a pure love of music to anchor it all together.

COMING UP!

See Lamppost Revival at the 11th Annual What’s Up! Awards Show on Saturday, Jan. 28 at the Wild Buffalo, and at the Old Foundry on Feb. 10. For more info, visit lamppostrevival.bandcamp.com/ or follow them on Facebook.

Jon from Sandrider

Nat from Sandrider

Jesse from Sandrider

As a teenager in the late 90s and early 00s I can remember being enthralled by Northwest bands through the 107.7 locals-only show “The Young and the Restless.” While not living in Seattle, I could vicariously experience what was going on by being glued to my radio every Sunday night for two hours, obsessively taping first hand experiences with bands like Botch, Minus the Bear, Sunny Day Real Estate, Carissa’s Wierd, These Arms Are Snakes, The Lashes (ugh), and too many more to count or would want to admit ever liking. Both Akimbo and The Ruby Doe were bigger names on the heavier side of things, and the mark both bands have left on Northwest hardcore and metal is still felt. Luckily the lust to get loud still exists among their members, and they have combined forces to create their new project Sandrider.

“The associations with our other bands have definitely helped get attention, but I’ve also had a few people confess to me that they like Sandrider much more than they ever liked Akimbo, which I am totally OK with,” states Jon Weisnewski, who now plays guitar in Sandrider. The trio is rounded out by Nat Damm of Akimbo on drums and Jesse Roberts of the Ruby Doe on bass.

The timing couldn’t be more perfect for the group, as the resurgence of heavy rock bands in the Northwest seems to be even more common place with the growing popularity of artists like Red Fang and Helms Alee. Not to say that this was a calculated move on their part, this has always just been the realm in which these guys have existed.

“I feel lucky that Akimbo got to be a part of a pretty cool and thriving underground [scene] in Seattle from about 1998 to 2004, but it also made me pretty bitter when it started to evolve, as things usually do. Lately things have taken a very inspiring turn though, and it seems like there is a small group of bands and people who are super pumped on getting loud and being a part of brutal shows.”

Weisnewski attributes this to a lot of hard work from many energetic and passionate people involved such as Good to Die Records owner Nik Christofferson, who put out Sandrider’s self-titled full length. “Nik from Seattle Rock Guy and Good to Die Records has been tirelessly promoting and championing these types of bands and shows and that enthusiasm is infectious and inspiring. I’m really glad he started a label focusing on local bands, and I’m even happier he asked Sandrider to be on that label.”

Recorded by Seattle stalwart Matt Bayles in 2009, the album is a whirlwind of crushing riffs backed by Damm’s powerful drumming. This should come as no surprise considering the creators, but there are some marked differences between the sound of Sandrider and the member’s previous bands. Tracks like “Children” and “Corpse” do not thrash as much as older Akimbo songs, and for the most part the chaos feels a bit more contained. The riffs are slightly less violent and instead the songs have a chance to slow down and build towards epic climaxes, while never letting go of their heaviness.

With years of hard work, sweaty basement shows, relentless touring, and multiple recordings behind them, the members of Sandrider have a very relaxed demeanor towards the business of their band. “I am just as stoked to sit on my couch and play Xbox on a Saturday night than I am to play a crazy show with a bunch of awesome bands,” says Weisnewski.

But this attitude still doesn’t detract from the energy of Sandrider or their passion for Northwest music that rocks. “I would still trade 1,000,000 Modest Mouses for just one more Behead the Prophet show.”

Their show at the Shakedown on Jan. 13 will display Sandrider in all of their furious glory, and to miss it would be a disservice to all those who have a yearning for loud, aggressive music.

Matthew Kocel

Originally developed by ancient sages in Mongolia as a healing art, throat singing has crossed both time and continents as a holistic, musical approach to uniting man with the universe.

Matthew Kocel, an experienced throat singer, considers his vibrating, guttural art as a kind of oral poetry that helps to alleviate the body and mind from the type of pain and anguish that the brains behind Advil and Tylenol have yet to master.

According to Kocel, the universe is in constant motion; vibrating and generating sounds invisible to the naked eye.

Although difficult to explain to the novice, Kocel’s adaptation of this ancient, curative practice fuses multiple notes simultaneously via harmonic throat vibrations. The experience is also enhanced by the use of unusual instrumentals, including conch shells and Tibetan bowls, which further celebrate the journey of awakening between man and nature.

“Throat singing is a way of amplifying naturally occurring harmonics, with the human voice by manipulating the throat, the shape and placement of the tongue, and where the sound is resonating the most in the head and the body,” Kocel explained.

Earlier experiences with music saw Kocel in progressive rock bands during his 20s and 30s. However, after finding himself spiritually lost in 1989, he began seeking a greater connection with himself and his environment. A trip into a music store in Colorado, where he heard the chants of Tibetan monks over the stereo, set Kocel on the path to spiritual enlightenment, and he has not looked back since.

Like Yoga, Thai Chi, and acupuncture, throat singing, parallels the fundamentals of Eastern medicinal philosophies. Western audiences have been especially receptive to this genre of healing that supplements sound vibrations for Zoloft and Xanax. In other words, imagine Kocel’s fans as those who brew their own Kombucha and actually remember to bring their own shopping bags to their local cooperative market.

Testimonials on Kocel’s website provide accounts of the actual benefits of throat singing’s therapeutic effects. In fact, several witnesses of the spiritual healer’s techniques find Kocel’s shamanistic skill set to mend past tragedies such as the death of a child, or the captivating effects of the human voice on the mind and body.

“I do get occasional feedback from audiences and individual clients ranging from an old injury that intensified in pain that suddenly left the body, to people experiencing memories of unhealed events in the past that came up and have been transmuted, no longer causing distress.” In fact, Kocel makes no medical claims to cure any illness or ailment, but he suggests that modern medicine has used ultrasound technology in similar ways, paralleling the effects of throat vibration.

Kocel’s outlook remains skeptical of today’s doctors who diagnose children with a myriad of mental disorders by the time they are kindergarten. Who can blame his thinking when Bi-polar Disorders and ADD are treated more often than the common cold?

If Kocel’s eclectic blend of tribal chanting and mysticism resonate with your spiritual animal of choice, and you desire a deeper connection with the universe, you can observe for yourself the fruits of his unique musical genre on February 4th, at the Presence Studio on Cornwall Avenue. My suggestion: bring your favorite talisman, a bottle of your best probiotic beverage, and of course an open mind.

COMING UP!

See Matthew Kocel on Saturday, Feb. 4 at the Presence Studio at 1412 Cornwall Ave.
Visit omshaman.com for more information.

Thursday nights at the Blue Horse Gallery on West Holly is always romantic, relaxing and refreshing. Julianne Thoma Quartet plays classical jazz standards with contemporary twists.

The Blue Horse Gallery is a perfect fit for the quartet with a cozy and welcoming ambiance. According to their website, the gallery is “A convergence of art, music and sumptuous dining” making each event personable, a perfect place to take a date. I know I go on one every Thursday with this jazz foursome and I always feel satisfied.

The quartet consists of Julianne Thoma on the piano, Lyman Lipke on upright bass, guitarist Matt Van den Heuvel, and Austin Richey on the drums. This Western student ensemble is very polished for such a young group of aspiring musicians. Their selection of songs is wonderful, their dynamics are on point and the soloists were tasteful and not overbearing.

If you have not made it to this show on a Thursday night make your way down to the Blue Horse for sensational sounds and inspiration. The show starts at 7 p.m. and ends around 10.

Fabulous funk musicians all around… every inch of the stage was filled with funky friends at the Wild Buffalo on Saturday, Dec. 17, as Eldridge Gravy and the Court Supreme performed with opener The Fabulous Party Boys.

Both groups reigned over the dance floor like funk royalty, influencing every member in the crowd to move their feet. With ruffles and stripped shirts the musicians in both bands had character that matched their styles. This show was not the super tight East Coast funk, it was more West Coast party funk, inviting and motivating to any shy dancer or music lover.

Opening the show was the Fabulous Party Boys; these original B’ham boys know how to party and deliver a new initiated style to the crowd. The band sounded well rehearsed and in tune with each other. The band claims they had an “awkward adolescence in Bellingham dedicating themselves to funk” starting in 2001. From there most members furthered their musical education around the U.S. The band now includes six members – Andy Short on guitar, Jon Hansen on tuba, Scott Macpherson on saxophones, Marshall Petryni on drums, Elliot Gray on keys and Ray Larsen on the trumpet.

These boys stay fabulously fresh with a musical feel that is versatile and changes in nearly every song, creating a very distinctive sound. It started with a funky Latin beat until Petryni the drummer changed the feel into smooth reggae. The tuba played the bass lines and the mute he used looked like a trap case used to carry drums, and inside the mute is a microphone that’s attached to an effects pedal. Their name says it all – fabulous party funk is what these musicians brought to the stage.

Eldridge Gravy and the Court Supreme included a stage full of musicians offering a full-orchestrated sound. Starting as an instrumental band covering James Brown and Parliament they found a front man at a crazy house party in 2006. Soon after they smothered the group with some funkier musicians, keys, horns and back-up vocals. The now 13-member soul-funk ensemble puts on one crazy party funk show. The house moved with the band to every song. Dripping in funk gravy, this group keeps the crowd screaming, sweating and swinging.

Based in Seattle, the group has great style and stage performance giving the crowd a well-rounded experience. Bringing back the funk revolution to the 21st century, every of member in EGTCS preformed their butts off at this show. The high-energy group brought a past, present and profound funk experience for show goers on this weekend before Christmas.

So this is the event where the men who shaved down their faces at the beginning of November, then grew out and groomed their moustaches for a month, return on Dec. 3 when the best moustaches are celebrated and awarded. Team MoLove promoted the event, along with the ebullient and pulchritudinous Good Time Girls, as a means of promoting awareness of prostate cancer and also to benefit Mount Baker Planned Parenthood.

The Shakedown has been transformed into a twisted Western saloon, with the Good Time Girls and the Dirty Bird Cabaret dressed in full-out 1890s attire. Some genius welded together a beautiful mustache ride/see-saw (now above the bar at the Copper Hog) and several were taking “rides.” There was also a photobooth set up to one side to record the mustached moments.

Owen and His Checkered Past set the perfect musical tone with mandolin mountain blues. Owen up there with a suitcase kick drum strumming out a tight staccato rhythm singing in a clean backcountry front porch style reminiscent of Doc Watson or a long lost descendent of the Carter Family. The sound is excellent. Lyrics absolute 21st century. Name checking Derrida during the excellent song, “Upstanding Citizen Blues.” Later, Roger comes up with a banjo and closes out the set with people on their feet dancing like it was 1899.

The Good Time Girls then corralled all the mustached men onstage for a best mustache contest. About a dozen guys all with fine examples of facial hair do their best. But one guy towards the end, with a somewhat unimpressive ‘stache, unbuttons his shirt and then just the top part of his pants to reveal a perfectly shaved mustache in his pubic hair. Of course, there’s your winner.

The Gallus Brothers and Crow Quill Night Owl embody the spirit of a timeless American style music. You imagine a troupe of traveling musicians, well rehearsed, singing songs that are as comfortable and familiar as an old pair of boots. Working songs that walk into your brain like an old church hymn and then proceed to tell the entire congregation of mind the dirtiest joke they know. All with a disarming smile. Devin Champlin playing guitar with old time expertise and Lucas Hicks doing his usual magic with the spoons and other percussive items. Kit Stovepipe on guitar and Alex on banjo add depth and the mystery of sublime accompaniment.

The Dirty Bird Cabaret was also full swing, dancing on the bar, kicking up the bloomers, hanging from the rafters, gyrating on upturned glasses and being generally provocative and beautiful. Along with the Good Time Girls and the general assembly of everyone having a great time, the Shakedown Movember was a great event for good causes. Here’s to more events that celebrate facial hair.

The All Nighters rang in the new year at The Shakedown. Photo by Brian Kingsberry

Drums on fire with The All Nighters. Photo by Brian Kingsberry

The All Nighters

Local favorites Yogoman Burning Band and The All Nighters rang in the New Year at the Shakedown Saturday night to a rousing reception. The doors to the sold out event opened at 9 o’clock with the Yogoman Burning Band kicking things off shortly after 10. A slowly building crowd caroused in the warm pools of the Shakedown’s soft amber lighting, with laughter and drinks in equal measure as old friends greeted each other heartily. Anticipation for the music and good times ahead was thick in the air.

Assuming his position behind his drum set perched at the end of the Shakedown’s small stage, Jordan Rain, lead singer and drummer for Yogoman Burning Band, and the rest of his merry troupe set the tone for the evening with a fast paced tune that wouldn’t feel out of place in an old cantina somewhere in Mexico. Snatching up the collected bodies of the New Year’s revelers in the brassy and staccato tones of horns and drum alike all were thrown into sudden, elated, motion. The quick tempo of the music was only matched by the equally speedy dancing of the raucous New Year’s crowd.

Yogoman Burning Band kept the gathering on their feet the whole night, mainly sticking to upbeat fair. While occasionally dipping into some slightly slower songs, YBB alternated between a heady mixture of southwest influenced ska to being a steel drum short of full on reggae. Continuing to play in such a fashion, the YBB rounded out 2011 by enthusiastically pleasing an obviously dedicated and knowledgeable group of fans that often sung right along with Mr. Rain.

At the conclusion of the set nearly everyone in attendance was pleasantly weary from their mirthful exertions. An intermission of about 30 minutes, starting around 11:30, bridged the gap between the new and old year and the beginning of the All Nighters’ portion of the evening.

Roughly 30 or so seconds before the emergence of 2012, the All Nighters, clad in tattoos and black suits, assumed the stage. Accompanied by three members of the Dirty Bird Cabaret, the surf and psychedelic rock group counted down the last 10 seconds of 2011 to the echoing chants of the collected audience. Launching immediately into the electric twangs of their surf rock inspired set, the All Nighters quickly had the sold out crowd right back to where the Yogoman Burning Band left them off – bouncing and jamming around the dance floor.

After the initial burst the group paused for a moment to thank their ardent fans and supporters for coming out and seeing them play. Taking a big swig from a champagne bottle proffered by a member of the audience, lead guitarist Jimmy Kastelic loudly announced what a pleasure it was to be there at the venue. Without any further ado the All Nighters launched right back into their eclectic rhythms to the overwhelming joy of those there that night.

With the final strains of the All Nighters’ wonderful set still ringing in their ears, the merry attendees filed out into the crisp air of the New Year. Some stumbling, some laughing, but all contented and hopeful after a night of mirthful music.

This was a show of sibling rivalry. Jerns against Jerns in a battle of the blood. So when I heard that Leatherhorn and Chambers were playing there I knew it was a show that I couldn’t miss.

Chambers started the night off with a glacial drone. Primal drone made of the melodies of our ancestors breaking bones with rocks. Bleak sounds that sound as if they come from the tundra when the mammoths roamed the earth. This music has teeth and I’m sure that Sarah Jerns and Matt Curtis aren’t afraid to drink the blood from the mammoth’s tusks. It’s like they gutted Mogwai and put Barn Owl inside to keep it warm. This is loin cloth music. Cro-Magnon.

Leatherhorn. The Bones and the Blood. The Blood and the Bones. Twisted roots in an evil forest of the mind. Depression. Jeff creating the sound of a disembodied angel, the sound of Gabriel dying. The bones, oh the bones. A mosh pit occured for a moment. I mean can the people help it? It’s not their fault. The squeals of cats dying coming from Sean’s guitar. Everything twists and times change, morph into something new. There is no beauty anymore. We truly are in this dark forest now. It’s a forest that they made for us to feel for the first time in a long time. Noah Burns takes us there through fourth dimensional drumming that travels time. I’m not sure if he’s ever gonna bring us back. Clapper tries to hold us all to the earth with his paleolithic rumble but it’s not possible. There is a tornado of bones, souls, and blood and it is this. Relentless. The Bones and the Blood. Yes Shani, I will have another whiskey.

Should these Jernses ever join forces I’m sure that the moral fabric of the world will change. I know that I’m different. I can feel it… deep… within my bones.