The Meat Puppets

The Meat Puppets are one of those bands that anybody remotely interested in music needs to know more about. Over the years of their existence the group has been influential in sonically forging the way for many other well-know bands, including a personal credit from Curt Cobain. Now, after several years of hiatus the band is back on the road and writing new material. Since it’s pretty much impossible to be listening to music right now that wasn’t at least partially influenced by the Meat Puppets, here’s a brief little history lesson to bring everyone up to speed:

Conceived by brothers Curt and Cris Kirkwood, The Meat Puppets got their start just outside of Phoenix, Arizona in a time when a lot was happening musically. Initially as a hardcore/punk rock trio, the band played several shows with increasing popularity before earning the ear of SST records were they were soon signed. The resulting shows included sharing the stage with the likes of label-mates and the now legendary Minutemen and Black Flag.

By the release of the band’s sophomore record Meat Puppets II the punk rock threads had already begun to fray. No longer interested in straight hardcore, the band started to incorporate elements of country and psychedelic rock. This release showcased their willingness to experiment while not being afraid to genre blend, which would ultimately become defining features of their sound. With the success of the record putting them on top of the SST roster, the band was free to tour with a vengeance. And they did.

For almost two years straight they were on the road, only stopping to briefly swoop into the studio and record their third full length titled Up on the Sun. It is said that this record was recorded in just a three day span. The subsequent record release proved to delve further and further into unknown musical territory with Curt and Cris at the helm, continuing to push the bounds of their creativity.

As the SST years began to wind down in the early nineties, the band, having now produced six records, decided to make the jump to a major label. Along with increased popularity and exposure (the record Too High to Die outselling all of their previous records combined) came increased tension. Now playing alongside acts such as Stone Temple Pilots and the legendary Nirvana Unplugged set, The Meat Puppets were caught in a flurry of fame and substance availability. The band suffered some hard years, struggling with internal strife and drug addiction, resulting in the the brothers heading their separate ways. For almost almost a decade Curt and Cris would not play music together. Instead Curt would continue to release music with other bands that would be in a similar vein to the Meat Puppets, while Cris would take some time away from performing.

A reunion of Curt and Cris in 2006 along with a new drummer saw the Meat Puppets hitting the road with renewed vigor and passion. Not willing to take things any slower than they had in the past, the group has since recorded three records and performed a multitude of national and international tours. They continue to play is if the years have had no effect. The band is currently on a tour supporting the recently released album titled Lollipop, playing shows that include the groups Soundgarden and Queens of the Stone Age.

What could be arguably be called the most polished record to date not only conjures elements of the Meat Puppets of yore, but continues to do what the band does best, which is write vital music while not being afraid to experiment. Lollipop proves that the years haven’t dampened the potency that is the brothers Kirkwood. Rather than the typical formula showcased by many of their peers’ bands, the Meat Puppets are not “Burnt out Rockstars,” but maintain vibrance, producing relevant songs that continues to push the limits of what is possible with the concept of redefining band identity. This record continues to utilize their skill at lyricism, an integral feature that has always set the Meat Puppets a level above their peers. On the surface, what appears be relatively simple, proves ripe with cynicism and wit, revealing a layer of self awareness while maintaining a level of playfulness throughout. Lollipop is both catchy and complicated, two things not usually found in the same sentence let alone the same record.

At the end of the day, the Meat Puppets are the type of band that most groups could only hope to aspire to be more like. Their dedication to their craft is extremely inspiring and should be taken as an example to musicians in all forms. Their story tells of a moral simply put: once you are down you are not necessary out. The Meat Puppets are back and they still kick ass.

The Meat Puppets will be preforming at the Wild Buffalo in Bellingham on June 20. For more information visit their website at www.meatpuppets.com or their myspace page atmyspace.com/themeatpuppets.

This folk-indie-pop-rock group is comprised of Charity Rose Thielen (vocals, violin, percussion), Chris Zasche (bass), Josiah Johnson (vocals, guitar, percussion), Jonathan Russell (vocals, guitar, percussion), Kenny Hensley (piano), and Tyler Williams (drums). COURTESY PHOTO

This folk-indie-pop-rock group is comprised of Charity Rose Thielen (vocals, violin, percussion), Chris Zasche (bass), Josiah Johnson (vocals, guitar, percussion), Jonathan Russell (vocals, guitar, percussion), Kenny Hensley (piano), and Tyler Williams (drums). COURTESY PHOTO

When Jonathan Russell decided to move from his home in Virginia to pursue a music career in Seattle many wanted to know: Why Seattle? Russell jokingly replied that he was moving to Seattle to start a band, record an album, and get signed with Sub Pop Records. When The Head and the Heart’s self-titled debut album was reissued by Sub Pop Records on April 16 of this year to rave reviews, Russell had made good on his plans.

Josiah Johnson recently spared a few minutes to talk with What’s Up! as the band traveled through southern Oregon on their way home to play two back-to-back shows in Seattle, before hitting the road again.

Johnson reminisced that a year ago the band was playing for six or so people at the Ballard bar Conor Byrne, where they had met. The Head and the Heart opened for acts like Vampire Weekend and Dave Matthews Band earlier this year, before being signing with Sub Pop Records for which the band is nothing but thankful. “It’s a strange thing,” Johnson joked, “to be working with people in the music industry that aren’t scary.”

Since then, the band has been touring and will continue through the summer. The majority of the members are transplants to Seattle (both Johnson and Kenny Hensley are California natives, and Tyler Williams a Virginia native), and Johnson said, “The homecoming feeling is really cool. It’s nice to have pockets of friends and family–when you’re on the road for a long time it’s nice to come home, even if it’s not to Seattle home.”

Later this month, the band will be playing a free show at Western’s PAC. Johnson said the band is thrilled to be playing in Bellingham, especially an all-ages show. (Back in January, the band had played at The Green Frog Acoustic Tavern.) The show will also feature a pre-show on the PAC Plaza, with performances from two local bands selected through WWU’s Battle of the Bands competition.

“We’ve experienced some pretty amazing moments opening for bands bigger than us and having people get to see you that wouldn’t otherwise,” Johnson commented, “So I think that’s always a great thing to get that opportunity.”

What can be expected from a performance by The Head and the Heart? Johnson said the band’s main goal is to make sure the audience has a good time. Their brand of folk music breeds hand clapping, stomping, sing-alongs, and general audience participation. The Head and the Heart aim to let the audience know just how much fun they themselves are having on stage–and happiness in this case is contagious.

When asked how the recorded versions differ, Johnson commented, “They’re a really mellow version.” He clarified, “When we first recorded the songs we had just kind of started playing them…we weren’t necessarily entirely comfortable playing them yet.”

And a sophomore effort? “We like to talk about what we might do on a follow-up album,” Johnson explained, “We have different ideas for songs we’re kicking around.” He continued, “The next time that we record an album, we won’t be writing about the same things as on this album. We had all moved to a new city and were going through this change; finding a new home that’s different from where you had all your roots.”

A theme that many college students, or anyone whom has left home, can relate to. Songs like “Rivers and Roads,” and the radio-played “Lost in My Mind,” explore the theme of what is home–a universal question we each face at some point in our lives.

As the members grow and continue to play music, have they experienced a moment of perfection with The Head and the Heart? “Last night we were playing… it was our first time headlining in San Francisco… it was packed.,” Johnson said. “At several points during the night we’d go into this harmony where the three of us would be singing and we were almost drowned out because the audience was so loud singing back at us. And those moments, we just look over at each other and go Oh my God! Are you kidding me right now? It’s just like, perfect. That is perfect.”

COMING UP

Catch The Head and the Heart on May 25 at WWU’s PAC.
For more about the band, follow them on Facebook or visit theheadandtheheart.com/

A new resident of Bellingham, singer-songwriter-storyteller Louis Ledford is known for his acoustic/folk/minimalist music. COURTESY PHOTO

We at 11 Questions have opted to stir the pot, shake things up and have a little fun from time to time (all the time). That being said, we could not have a more appropriate guest this month than Bellingham’s newest resident, singer-songwriter-storyteller Louis Ledford.

Boris Budd: Tell us a lot about yourself.

Louis Ledford: Well, I come from the south meaning Virginia, which I thought was the south until I got to Louisiana. However, New Orleans isn’t really like the south at all or anyplace else for that matter. Life there is like a fever dream. It’s like living inside a children’s popup book where the little paper levers don’t work and someone has scrawled all over the pages.

I play songs that I make up. I also know a bunch of ancient-ass songs as well. I mess with the words and chords and tempos until they don’t really sound like themselves. I play alone and sometimes with friends. I have many musical friends in the Northwest so I’ll be with them often enough. I’m kinda old, kinda young. Wear more sweaters than I used to. I don’t have a gun. My amplifier is the same age as me and shocks me more often than it doesn’t…

BB: You recently moved to Bellingham. Why?

LL: I’m frightened of my own shadow and in Bellingham it’s rarely ever around.

BB: As an artist who spends a lot of time on the road you must have some great stories. Describe your best and worst moments while touring?

LL: The best/worst road story ever involves Stevie Nicks but I probably shouldn’t tell it.

BB: What drives your songwriting and what is your process?

LL: An irrepressible urge to let you know what I’m thinking in rhyme. My process isn’t really any different from the rest. I steal mostly.

BB: Who are the most influential people in your life? Musician and non musician please.

LL: As far as artists go, I prefer those who do it without regard for business or profit. Those who’re on a path where these things do not naturally apply. I admire anyone who demonstrates kindness and wit. I prefer writers who insert a sense of humor within the horrible. Knut Hamsun was pretty cool, so was Mississippi John Hurt.

BB: How did the songs for Adios King develop and how did that recording differ from you debut release Reverie?

LL: The Adios songs are a little odder than the ones on Reverie. I got the title from a rolling stone magazine I scraped off the floor of my house in New Orleans. The phrase was in a printed eulogy for Hunter Thompson who’d recently killed himself. It was originally a Kerouac quote referring to the death of Neal Cassidy. I was addressing myself, knowing that I’d be rebuilding a house for a very long time and probably not be making much music. It was a joke really and it did take a long time… Reverie is broader in subject and arrangement than Adios King. Adios was just me and the microphone. I don’t know if there is any real difference between the two. Everything I do sounds like me, to me.

BB: Where do you see yourself in 10 years?

LL: Probably puttering around somewhere, talking to myself, jotting down words, plucking guitar strings, plinking piano keys…

BB: Winners or losers. Who do you identify with and why?

LL: I’ve been on both sides and they’re not all that different and if given time they often will eventually swap places.

BB: Give a glimpse of what it was like to live in New orleans after Hurricane Katrina. Describe your impression of that music scene.

LL: After the flood much of New Orleans was a military zone with so many people missing. There were lots of strangers there to gut houses, feed people and pets, and help rebuild. Depending on where you lived, it looked pretty much as it did before or else you couldn’t recognize anything. Some neighborhoods became more dangerous when others seemed safer. In all, the few years after were pretty bloody and illustrated how bad so many aspects of the city had become before the storms. The schools, healthcare, government had all got so rotten. Some of these issues have been addressed, others have not.

New Orleans is a place for musical pilgrims. They’ll come from all over searching for whatever is in their hearts that they hope to find. while some stay and fall in with the indigenous crew most slip away. It’s a place that honors a musical tradition. A place where kids in the marching band are as popular as those on the team. Musicians don’t go to New Orleans to become famous. They go there to become musicians. It’s a pretty good scene.

BB: You have played at ourthe fabulous local festival, The Subdued Stringband Jamboree. Compare the vibe at that gathering to thers you have experienced.

LL: I think the jamboree has a perfect balance between musician and music fan. It’s a really wonderful gathering. I look forward to it every year.” Enjam the joyboree!”

BB: Are you passionate about any world? Other issues?

LL: Strengthening the levees and saving the wetlands which are disappearing quite rapidly. it would be a shame to let them go and they’re on the way out.

BB: What is your deepest, darkest hidden secret? Please share. We won’t tell.

LL: Sorry, I wish I could but Stevie would kill me.

Catch Louis Ledford every Monday night in March at the Green Frog Acoustic Tavern.

Pop Music Industry Conference

Carly Starr for the Pop Music Industry Conference

Over the weekend of March 5 and 6, Western will be home to the 2nd annual Pop Music Industry Conference, bringing a total of 15 informational sessions for those either in the music industry or who would like to be involved. The sessions range from Building a Sustainable Music Community, Booking, Planning and Budgeting a Tour to The World of the Producer.

Panel members include: Ryan Lewis (Producer), Carly Starr (International Marketing for Subpop), Christen Greene (Fuzed Music Management: Blue Scholars, Common Market, Fences, Hey Marseilles), Paul Turpin (Co-founder-Clickpop, producer-Bayside Records), Shannon Roach (Vera Project) among many others.

Along with the panels, the conference will have a brunch with speaker Chris Porter, the programming director for One Reel/Bumbershoot Festival, as well as a keynote speech by Ben London, The Seattle Music Commission Chair who also sits on the Vera Project board as well as the Advisory board for KEXP.

New this year will be a Saturday night concert in Old Main featuring The Globes and Polecat.

According to Sam Eisen-Meyers, one of the organizers of the conference as well as the AS Pop Music Coordinator, the goal of the weekend is “to enlighten students and community members who are interested in working within the industry.” He added, “It’s geared towards Western Washington students and community members, anyone who wants to know the ins and outs of the business on a smaller scale so they can apply it to the bigger picture down the line.”

Along with Sam, Megan Housekeeper (Underground Coffee House Coordinator), Craig Gorder (Marketing Coordinator of Music and Entertainment), Carlton Eide (Music for Change) and Casey Hayden (Student Activities Director) were also instrumental in organizing the conference. Though the participants working on the conference will change over the years, as students graduate and move on, Sam believes it’s set up to continue on for years to come. “The idea is that future committees will continue to expand on the ideas and approach from the years before.”

Admission to the conference is $8 for WWU students w/ID and $10 for general admission Price includes: Saturday concert, Brunch with speaker Chris Porter, and a Keynote with Ben London. There is a free option for those who only choose to attend the Panels.

Attendees will have the option of choosing one of four session tracks:

Track 1: Artist will include “The World of a Producer,” “Press Kits & Demos,” “Music Collectives & Sustainable Musicianship,” “Tips to Getting Signed,” and “Planning, Budgeting, & Booking a Tour.”

Track 2: Talent Representation will include “Working for an Agency or Label,” “Beginning Band Management,” and “Tales from the Road – Tour Management.”

Track 3: Venue and Promoter will include “All Ages Venues: Makin’ it Work,” “Club & Theatre Talent Buyers,” “Building Community through All Ages Music,” and “World of the Promoter.”

Track 4: Music and Entertainment Media will include “Print Journalism,” “Ins & Outs of Commercial & Non-Commercial Radio,” “Photojournalism in Music: from side gig to career,” and “Music & New Media / Social Media.”

For more information, reguster online at http://bit.ly/popmic2011registration. Registration is required as well for the free panels.

Carly Starr: Sub Pop’s marketing guru

As head of international marketing at Sub Pop, Western Washington graduate Carly Starr has a dream job with, arguably, one of the coolest record labels in the world. Once known for helping kickstart the Seattle sound, Sub Pop is now the home of such icon bands as The Fleet Foxes, Iron and Wine and No Age. Carly gets to work with them all. On March 6, Carly will discuss her work and the music industry at large at the Pop Music Conference.

Taking a break from her duties at Sub Pop, she answered a few questions for us about herself and what it’s like to have a cool industry job.

Please tell us about yourself. Who you are and what you do for Sub Pop?

My name is Carly Starr. I grew up in Wisconsin and was pretty much obsessed with the music coming out of the Northwest. I started a penny jar in 8th grade and wrote “Savings for Seattle” on it in puff paint. I ended up going to college at Western as a Fairhaven student and shortly after I graduated I started working at Sub Pop. I’ve been handling the label’s international marketing for the past eight years.

You’ve got what many would consider a dream job, how did you land a job at one of the best record labels around?

I too consider working at Sub Pop a dream job! I know that I’m really lucky to be here. When I was going to school at Fairhaven I started interning at Sub Pop. I drove down to Seattle three times a week for six months, filled in at the front desk for a few weeks, and then was offered a job. I will never forget that day.

What did you study in college?

I was a Fairhaven student and created my degree in Music Marketing and Promotions. Being a part the program gave me the chance to specifically find out what I liked about music, from being a DJ at KUGS, interning at a recording studio, booking concerts, writing music reviews, etc. The more hands on I could get the better.

Was a career in the music industry something you had always dreamed of?

Yes.

And, is it as cool as it seems?

Most of the time.

What is the favorite part of your job?

Getting the chance to travel around the world and meet other like-minded people. I was in Tokyo and Sydney last week! That was pretty great!

If you could change one thing in the music industry, what would it be?

I am thankful that most people I work with, including our bands, are gracious. There are people in the music industry (and in life) that feel a sense of entitlement. I could do without those people.

Often times, the media talks about the music industry (much like the print industry) as a dying entity. What are your thoughts about the industry’s viability?

I think the music industry is going strong and will continue to do so, it’s just changing, and it’s up to the participants to change with it or they will become obsolete.

What 2011 Sub Pop release are you most excited about?

Shabazz Palaces and the next Handsome Furs album.

Any last thoughts?

I love Bellingham! Thanks!

Sele appears at open mic nights around town, and will be performing at the Upfront Theatre’s Thursday night comedy night, The Project, on March 3. PHOTO BY AUGUSTINE

Jessica Sele. Photo by Augustine

Jessica Sele. Photo by Augustine

Not very long ago, the phrase “female comedian” conjured images of bolo-tied cat ladies complaining about not being able to fit into their Laura Ashley dresses because of menstrual bloat.

However, in the last few years, female comedians have established a much broader foothold in popular culture. Sharp-witted women like Tina Fey, Sarah Silverman, and Amy Poehler have proved that not all female-centered sitcoms need sink to the depths of “Suddenly Susan,” while gifted improvisers like Kristens Wiig and Schaal are injecting new life into comedy staples “Saturday Night Live” and “The Daily Show.”

And in our own creepy little corner of the Northwest, Jessica Sele has been not so quietly making a big impact on Bellingham’s fledgling stand-up comedy scene, surprising audiences with her personal brand of confessional feminist raunch.

“I think that a lot of women don’t want to go into comedy because it’s not glamorous,” said Sele. “Humor is the antithesis of glamour–you’re making ugly faces and saying ugly things, and sometimes I think that it makes people laugh because they’re shocked.”

Sele’s subject matter centers around the same topics that helped make Jerry Seinfeld and Louis C.K. household names–observations about awkward one-night stands, or relationships gone south. However, because Sele is both a young woman and an active feminist, her jokes often provoke mixed reactions–from big laughs to discomfort and heckling.

“I bring gender into the room, and it’s an elephant that people aren’t always comfortable with,” said Sele. “I think that whether they like it or not, female comedians are making a political statement when they get up on stage, because the personal is political.”

Because she mocks targets like pretentious former lovers and self-proclaimed male feminists, Sele’s routines have sometimes solicited anger from audiences.

“An open mic night that I did at the Cobra Lounge was a particularly low point,” Sele said. “This guy kept yelling at me that he felt oppressed. I don’t why people do that–it’s not like you’d heckle actors or musicians while they were performing.”

What Sele’s detractors might miss is that she is her own biggest target.

“I think it’s cathartic to take pain and turn it into humor–it feels like a transformation, a release,” Sele said. “A lot of my humor comes from a place that’s angry but doesn’t want to come off as that way.”

Sele documents her relationship with comedy and women’s issues on her blog, Getting Hysterical with Jessica Sele. She finds inspiration in burlesque stars and vaudeville comedians like Gypsy Rose Lee and Sophie Tucker, who managed to slip lots of subversive self-parody into their sexually overt routines.

Sele is constantly honing her stand-up, appearing at regularly at open mic nights at the Underground Coffeehouse, the Cobra Lounge, the Honeymoon, and the Fairhaven Pub and Martini Bar. She also plays at musical and variety events, such as Ladyfest.

“There’s becoming more of a stand-up scene in this town,” Sele said. “Travis Nelson and Justin Shepherd started the Stand-Up Comedy Klub (S.U.C.K), and they’ve been putting together some great shows.”

Sele is playing the Upfront Theatre’s ongoing Thursday comedy night, The Project, on March 3, along with D.K. Reinemer, Nathan Cox, Morgan Grobe and others. She’ll also appear at the Fairhaven Pub and Martini Bar on March 13. Other upcoming projects include a musical collaboration with Chelsea Webber Smith, as well as several possible short films.

“Ultimately, it’s sort of empowering to say something countercultural to a room full of people and have them relate to it,” Sele said.

A recent songwriters circle featured Drew Fichette (Rooftops), Alexandra Song (Mary Mary), Bradley Lockhart (Baltic Cousins), Biagio Biondolillo, Cora Glass, and organizer Kat Bula. To participate, e-mail Bula at kat@platespinnerpromo.com. Photos by Paul Turpin

The Honey Moon has been offering more than just their usual belly-warming mead. The tasting room has been spotlighting local songwriters the second Saturday of every month and housing a “songwriter circle,” featuring a changing rotation of performers that represent a variety of backgrounds and musical styles.

Over the course of the past two years the cozy space has evolved into a full-fledged music venue. They now offer live music on a regular basis, greatly contributing to Honey Moon’s success and making it a local staple.

“I think a lot of people don’t realize what an amazing venue the Honey Moon is,” organizer Kat Bula explained. “It’s intimate; classy but unpretentious, and they have live music five nights a week. I wish more venues in town looked to them for a model of how to take care of musicians. And since it’s a tasting room, not a bar, it’s all-ages.”

The idea for the once-monthly gathering came about on the eve of a canceled gig about two years back. One of the bands Kat Bula played in bailed last minute, but she felt compelled to go on. “I hate being onstage by myself,” admitted Bula, “So I got friends to come take turns playing songs with me.”

Among the original participators were Wesley Davis, Kayla Jeffress, and Go Slowpoke’s Anna Arvan. “I generally try to book a variety of songwriters from different parts of the scene and even a few out-of-towners,” Kat explained. “That way the audience who comes for one particular person is exposed to others they might not normally go out of their way to see.”

The Jan. 8 show featured Drew Fichette (Rooftops), Alexandra Song (Mary Mary), Bradley Lockhart (Baltic Cousins), Biagio Biondolillo, Cora Glass, and Kat Bula. To hear the wide range of perspectives between each performer allowed me to hear them each in a unique way. For some of the performers, it was enlightening to see them outside of their normal band format and perform a broken-down version of their songwriting process. Typically Drew Fitchette can be seen pummeling his guitar and executing complicated math-rock melodies at a Rooftops show, but watching him play an acoustic set acquainted me with a different side of him musically.

“As a listener I think the change of context helps you listen to the songs differently, especially if the person usually plays with a loud band,” said Bula. “As a musician, it can be a creative challenge to figure out how to put your songs across when you’re used to having others helping you.”

The atmosphere of the performance in its entirety was calm and refreshingly intimate compared to a typical amped-up show at a noisy bar. However, shortly after the show had started, Honey Moon booker and bartender Linda Melim had to hush some patrons because they were speaking over the performers. It instantly shut up the entire room. Thankfully they became sincerely engaged with each songwriter and actually paid attention to the voices and melodies amplified by nearby microphones. Previously distracted audience members were absorbed into the songs and and nestled into a deeper understanding and appreciation for the row of musicians before them, so much so that you could instantly tell that it made an impression.

Kat maintains that in order for the circle to work it’s important to keep things low-key and open. Essentially, it’s a house jam show in a live venue format. It makes the musicians more comfortable and spontaneous while helping to mix up the sound and keep people engaged.

Kat Bula, excited about the rising popularity of songwriting circles in other cities and within Bellingham, said, “I think that is just smashing. Songwriter rounds are a good thing.”

For those who’d love to hear covers of their favorite locals bands this might be of interest to you; every six months, musicians gather at Honey Moon for a local covers circle. “It’s so fun to hear local musicians cover each other’s songs and to see which ones they choose,” stated Bula. “I also love to hear people play songs by artists who moved away or don’t really play anymore. It can be easy to forget that local music has a past as well as a present.”

Kat Bula is looking for a broader range of talented performers, especially those over 40 and under 21. If you’re interested in joining up for another songwriting session e-mail Kat a link to your music at kat@platespinnerpromo.com.

Polecat

Polecat is a model for what most bands strive (or should strive) to be. Sitting together in Boundary Bay Brewery, front man Aaron Guest and company share a beer before Guest heads into the bar for his weekly piano gig serenading the brewery’s patrons. “I just came in every week and bugged them until they let me start playing here,” says Guest.

The reason we sit in Boundary Bay is simple: Guest’s persistence and the good graces of this bar helped give birth to one of the hardest working bands in Bellingham.

The five-piece bluegrass outfit premiered on March 1, 2010 with a weekly Monday night slot, building a strong foundation and expansive musical repertoire. They also happen to be experts on the menu and seasonal beer selection. “Just can’t get away from the lamb burger,” says electric guitarist Jeremy Elliott. “You should try it.”

Polecat has been remarkably busy and will be celebrating their 100th show in just over one year as a band on St. Patrick’s Day at the Wild Buffalo. “Of course, 75 of those shows have been here (at Boundary),” jokes Elliott. “Well, we all used the connections we’ve made over the years in Bellingham,” explains Guest. “We really hit the ground running with this project.”

Each member is a Bellingham music scene veteran, playing in one or more projects around town while devoting a huge amount of time to constant regional touring. With a series of weekend tours around central Washington and the San Juan Islands, Polecat is spreading the good word and good feelings of their unique brand of bluegrass.

“We busk on all the ferries,” Guest says about their travels to their gigs in the islands. “They love it…sometimes we can make our ferry money back.” Elliott adds that there have been several impromptu ferry gigs that have been more productive than the actual gig they were going to. “They can’t go anywhere, they’re stuck, so it’s a really big novelty for passengers,” says drummer Karl Olson.

Guest (12 string guitar/vocals) and Elliott are joined by drummer/percussionist Karl Olson, upright bassist Richard Reeves and fiddle player Caley Schmid. Each bringing a series of different influences, Polecat comes together to create an unparalleled approach to bluegrass music. “We’re really proud of what we’ve done,” says Guest. “But I think a lot of folk and bluegrass musicians may get mad at that classification. We’re a rock band that plays fast.”

“I guess we’re really just trying to straddle that genre of being a little bit country and a little bit rock and roll,” adds Olson.

Brainchild of Guest, Polecat has evolved and continues to change their sound since their inception. Guest initially envisioned an all-string classic bluegrass band, which is what enticed Elliott to join in the first place. Once they got together and started working on the songs, they began to take on a life of their own, inspiring Elliott to pick up the electric instead of acoustic guitar. Shortly after the project took shape and all members were in place, the band went into the Fairhaven studios to record an EP.

“With the EP, we just added the first thing that came to mind to fit with Aaron’s original song,” says fiddle player Caley Schmid. But as time went by and they began writing their follow up record, things began to take shape in a different way. “A lot more thought goes into what we’re playing and how we’re doing it now.” She says Guest will bring songs to the band, which they’ll play with for a while, but things have changed a bit. “If it doesn’t sound like a Polecat song, we won’t do it.” Guest jokes, “Before it was like a dictatorship, but not anymore.”

Olson attributes much of their success to band’s instrumentation. “A lot of people don’t see an upright bass, or even a violin, so just seeing that can be amazing and something new for people. We try to have a simple setup but drive as hard as you can.”

“When it’s a five piece band, I feel it drives harder,” agrees bassist Richard Reeves. “It’s like a wall of sound that most bluegrass bands don’t usually bring.” Guest says they approach their music with the same tenacity and energy as, say, a polecat.

Inspiration for the band’s unofficial mascot and namesake came from Reeves. “I was in Arlington in this guy’s log cabin and he had a bunch of skins on his wall…and this guy’s alright, he’s not that weird. One I didn’t recognize, stripe down its back, and he’s like, ‘That’s a polecat’.” After researching the weasel-like creature (and the various other meanings that ‘polecat’ has), the name was chosen.

“Our first album was very basic as far as instrumentation,” says Olson. “On this one, we’ve got a basic foundation, but the parts are a lot more calculated.”

When Polecat recorded their EP, they were meeting each other for the first time and learning to work with one another. The band has been writing and honing these songs for months until they have gotten to the place they are now. “We’ve grown a ton,” says Elliott.

The upcoming album has several songwriting voices featured, including Schmid and Elliott. “It’s nice to have Caley as a different sound for the lead,” says Guest. “But we don’t sound like an Irish band backing her.”

Schmid has devoted much of her life to Irish music and dance. “When I’m writing, that’s what I hear,” she says. “So it’s cool, all of a sudden it becomes a different song.”

Once the album is complete, Polecat will be holding a CD release show at the American Museum of Radio & Electricity on Friday, April 8. “We are going to play several sets of our most stomping hits,” says Guest, adding the band wants to showcase the new album in a unique venue.”

“We like to try to create something that’s different for our fans, everywhere we’ve gone so far,” adds Elliott. “Polecat’s doing something that not a lot of others around are doing.”

For more about Polecat, check out www.polecatbluegrass.com/

Baltic Cousins

For the Hell of Us, the debut EP by Baltic Cousins, opens with the sure foot of Shawn Stalberger stomping on a kick drum while the hand of Bradley Lockhart finger picks and slides up and down the neck of his electric guitar. The country tinged proceedings are joined by the elongated notes of a gentle violin played by Tannananika “Nika” Munn. The mellow introduction to “Fatima (Make the Most)” is soon disrupted in the best way, with all three members taking flight in a raucous country-punk anthem that never lets up. It is riveting and joyous all the while maintaining a feeling of melancholy, as if the escape to the West Coast by the characters detailed in the song will not necessarily end in prosperity or happiness.

And the rest of the record only improves with every track, although this should come as no surprise to the many fans of Baltic Cousins. With their demos released last year and a west coast tour under their belt, the band has already come a long way from their origins nearly two years ago. Many of the songs were originally written by Lockhart for his band Wooden Wings, but the end of that band as well as local favorites Black Eyes And Neckties found him looking to collaborate with his roommate Stalberger, whose group The Russians had also just called it quits.

“Bradley and Shawn started playing together first in their basement, I think,” explained Munn, with the rest of the band, over beers and disco music. “They had some songs written already and then Bradley asked if I wanted to play violin. Then we practiced just him and me for a couple of months. We joined everything together and it worked out really well.”

Seeing them live displays the fantastic energy and musical kinship that the trio possesses which also exists in the band’s songwriting process. “It usually starts just with a riff. Then I show it to her (Nika) first. Then Shawn is the last stop on the train. Shawn will usually hear us playing it before we all practice and even just play drums on his legs and be like ‘oh yeah, I know exactly what I’m gonna do,’” stated Lockhart.

This sense of freedom permeates their music, and yet there is a definite nervous, tautness to their music which comes from the pronounced punk/hardcore influence. Many bands that possess Americana and country influences rarely sound this technical or ferocious.

Both live and on record Baltic Cousins manage to produce a huge sound, making the need for bass almost obsolete. This however has not stopped the band from adding new members; 2011 has seen them welcome Rabia Magnusson, of Biagio & the Argonauts, to fulfill piano duties. “I remember her seeing us the first time and saying to us that she could hear really deep and dark piano parts to the songs that would go wonderfully. We of course said yeah because we knew how good she was playing with Biagio,” said Munn.

Lockhart also agreed emphatically about the way Magnusson’s piano playing helps the band; “Everyone always asks to play bass for us, but the way we write these songs, they don’t need bass. But with piano, you get both bass and melody which is the perfect compromise.” The band has only played a handful of shows with Magnusson, but fans should expect her to appear consistently in the future.

The band recorded primarily as a trio for their first non-demo recording, the six-song EP For the Hell of Us. “It was recorded in August over a week or two by Rich Canute in his studio called Lab Partner. Then we got it mastered by Paul Turpin in January,” Lockhart said.

Recording the EP proved to be a very positive experience for the band, who delighted in regaling stories of Canute as both a producer and a musical collaborator. “We recorded it and then came back and he had just added some trumpet to the songs. Just him playing that on his own is awesome, but it sounded great on the record so we kept it. And he’s an analog man; he has all these reels of tapes of early Black Breath demos and stuff,” recalled Stalberger.

Lockhart laughed as he talked about Canute’s added instrumentation; “I even had to tell him not to play saw this time. ‘Sorry Rich, but this is going to be a sawless record.’”

Released independently online and in physical copies last month, For the Hell of Us is an amazing document of a still young and yet musically mature band. From its celebratory title right down to its grainy Polaroid cover image (taken by Munn) of the infamous Matthew “Buddy” Rennick offering a swig of champagne in the snow, the record is wonderfully consistent in both its imagery as well as its thematic material. Over six songs, the band forges dark and foreboding American melodramas that oscillate wildly between despair, anger, and joy. And Lockhart’s lyrical themes are always hard hitting, especially with the mesmeric closing track “You Are Bound,” which displays his knack for first person narratives that shine light on the alienated lives inhabiting the dark corners of the new American West.

This spring, Baltic Cousins will perform at the Yellingham festival with Helms Alee and have also been applying to play other fests. Also on the horizon are shows with Cold Lake and performances at the Shakedown.

For more about Baltic Cousins, check out www.myspace.com/balticcousins

Anna Arvan, Krissa Woiwod and Rosemary Guarino in costume. Photo by Paul Turpin

The story of Alice in Wonderland by Lewis Carroll has inspired artists for over a hundred years. Its literary gibbergabber, social commentary, and anthropormophic creatures transcend cultures and generations. Silent films from the early 1900s; the creepy stop motion Czech adaptation by Jan Svankmajer; Tom Wait’s Alice; Disney’s ubiquitous 1951 animated version; and Tim Burton’s newest addition all describe the curious young maiden’s strange and lonely journey. Everyone has (or should have) a favorite Alice depiction, be it the multi-culti Disney mini-series, complete with MC Hammer lookalike Tweedledum/Tweedledee, or Alice at the Palace, a live theatrical recording featuring a singing, dancing Meryl Streep in the title role. But when it comes to Alice and company today, Bellingham brethren beware, a brand new, epic Wonderland undertaking, titled Curiouser & Curiouser, is just around the corner.

To understand the production, you must meet its maker. So I met with Krissa Woiwod in the company of the play’s two other actors Anna Arvan and Rosie Guarino during a rehearsal. Woiwod, besides being the play’s writer, director, prop master, and steadfast champion, also plays Alice–a task that has her memorizing lines, giving direction, and acting at the same time. In rehearsal, she studies the room while recanting lines in a reserved British accent looking at the show from different angles and perspectives. “I try to move around the seats when we’re working on scenes to make sure each side has an interesting picture,” she says. The actors suggest solutions: collaborating on the blocking of the show, miming the action, and managing the props. The actors’ enthusiasm is noteworthy as they try to map out the show. After hours of rehearsal, they are still exacting and still excited about every detail.

I was first struck by the show’s…cardboard. Don’t be fooled, this is no ordinary cardboard. It is a meticulous craft. Cardboard masks, expressive cardboard bodies with swiveling arms, a house to ensnare poor Alice. This is cardboard that will inspire children to build better forts and 9-to-5ers to think twice before throwing away oversized Best Buy boxes. The props, set pieces, and characters built from cardboard account for countless hours spent with glue, Velcro, and other adhesives. “I think taking a minimal approach lets the audience know that you believe in their ability to play along,” says Woiwod, “It’s cardboard with purpose. Cardboard on purpose.” The effect is somewhat magical and definitely surreal, like a painstakingly crafted Lego world. It is the same jarringly alien effect as stop motion animation; a simple prop somehow used in a way that feels otherworldly. At a point, it became a utilitarian preference, “I love being able to look at the props or costumes in a play and to understand how they’re made. I’m not trying to fool anyone–it’s for pretendsies.

Curiouser & Curioser relies on a healthy serving of the pretendsies. The play is told as a story by Alice and her two sisters enacting the mythic adventure. Alice leads the action, moving from place to place, while her sisters manipulate and play tricks on her. Instead of a dozen actors playing all of the various talking creatures, Anna and Rosie assume the roles of The White Rabbit, The Caterpillar, The Hatter, The March Hare, The Cheshire Cat, The Queen of Hearts (and all of the characters you don’t remember) using minimal costumes and detailed cardboard masks. Suspension of disbelief is a must in this Wonderland.

The play is equal parts imaginative fiction, frame story, and MTV circa 1989. As Woiwod describes it herself, “I think my play is somewhere in between [Czech director] Svankmajer and Tim Burton, hanging out at a techno show with Edward Gorey and the Muppets. Maybe it’s a little drunk, but it’s very entertaining.” One of the many exciting elements the play boasts is original music composed by Krissa Woiwod and Paul Turpin. These songs are melodic arrangements of poems from the original story set to 80s synth and drums. The musical numbers will be performed live by the cast interspersed throughout the show with ribbon dancing.

Unlike many versions of the story, this play reserves the original text and structure. “I think one of the reasons the text gets so chopped up and mixed with Through the Looking Glass is that it is incredibly meandering and nonsensical and those sorts of things seem to stymie most playwrights and filmmakers who are looking for a story that drives the action straight through from beginning to end.” The book was not widely accepted when it was first published in 1895. It wasn’t until much later that readers became enamored with this visual, visceral children’s story. It is creepy, but there is something that children like about being scared. Kids feel lonely, detached, and completely self-centered–just like Alice in her Wonderland world. . Hell, I think we all feel a little like that and maybe that is why so many artists have found inspiration in this text.

The ultimate question with any Alice-inspired creation is whether it will work or not. Will the result be creepy or cutesy? Will the room, props, and effects help or hinder the show? Will we find ourselves thinking too hard or will we be able to, like a child, just enjoy ourselves? To find out you’ve got to see the show for yourself, but my guess is that the madness will be just the right sort, and that as things get curiouser and curiouser, we will find ourselves falling deeper and deeper down the rabbit hole–in the best way.

Curiouser & Curiouser will be performed at the Idiom Theater on Thursday, Friday, and Saturday February 17-26. Visit www.idiomtheater.com for more info.

BOAT: Charmed to Meet You

BOAT: Charmed to Meet You

BOAT: Charmed to Meet You

BOAT: Charmed to Meet You

BOAT is toting a fine line, balancing their fledgling indie rock stardom with a simple Seattle, WA existence. Drummer J. Long describes shows they have played in New York to full rooms. “We’re kind of a real ‘band,’ people are excited to see us, but at the same time, we’re like normal dudes, land locked to our normal lives.” While BOAT have never had a big break or been asked to head out on a long national tour, J. Long maintains that they have had some pretty amazing experiences playing festivals from NYC to San Francisco.

Brainchild of singer/guitarist D. Crane, BOAT is gearing up for the release of their fifth studio album on Portland’s Magic Marker Records. Since the band’s inception in 2004, there has been a rotating lineup which was eventually solidified in 2007. Members now include former Bellingham residents and local music heroes J. Long (ex-Racetrack and Fairhaven College Audio Recording Studio manager), M. McKenzie and J. Goodman (ex-Lands Farther East, ex-Treasures).

BOAT is now the primary musical project for each member. “It’s not the Bellingham thing to do, where everyone is playing in a lot of bands,” J. Long jokes. “But in Seattle… just to meet up for practice is a lot harder than everyone coming to the York neighborhood to play in someone’s garage.”

Known for their high energy and upbeat live performances, BOAT is one charming band. The artwork for each album is illustrated by D. Crane, and their Topps EP (named after a brand of baseball cards) featured hand-drawn baseball cards and sticks of bubblegum with each album. J. Long and D. Crane bonded over their mutual love for baseball and still maintain quite the collection of cards. “When we were doing a show in New York, this guy came to us and said, ‘Hey, how’s it going guys? I’m actually from Topps (the baseball card company),” says J. Long. “We’re like, ‘oh shit!’” fearing copyright infringement issues. Instead, the Topps employee introduced the band to their top baseball card producer who gave them a bag of new cards. The album was also featured on Major League Baseball’s official website.

Their upcoming album, Dress Like Your Idols, is a departure from BOAT’s classic studio sound. “It’s more concise in length and heavier than Setting The Paces (BOAT’s last full length),” says J. Long. “It sounds like our shows sound.” J. Long is also the band’s audio engineer and producer since he joined the band in 2007. He describes Idols as a collective effort, citing the key to maintaining the live energy is to get the basic layers down while everyone is playing physically together. “It’s great to get that momentum of everything gelling together at one time,” he says.

With the new album finished and an all new album cover drawn by D. Crane, BOAT is excited about the future. “There is always something happening,” says J. Long. “This year we got asked to do Bumbershoot. Things are progressing.”

Cath BOAT March 4 at the Underground Coffeehouse. Check out www.myspace.com/boatmusic