There’s an ocean and a continent between Glasgow and Seattle, but the ties between the Vaselines and Northwest music run so deep, the Scottish duo may as well be from here.
Frances McKee and Eugene Kelly, who appear at Neumos Saturday, wrote “Jesus Wants Me for a Sunbeam,” “Molly’s Lips” and “Son of a Gun” — all recorded by Nirvana. Kurt Cobain even mused about the couple in his journal.
On the list of bands overdue for a Seattle show, Tame Impala ranks near the top. Following 2012’s star-making “Lonerism,” the Australian psychedelic rock juggernaut was a disappointing no-show at last winter’s Deck the Hall Ball, and hasn’t been heard from since. Tuesday, however, the Tractor Tavern in Ballard hosts Pond, featuring two of Tame…
A bastion of live-music tradition in a gentrifying city, Seattle’s tight-knit Ballard neighborhood is like a big house with different artists making different work in different rooms.
Fitting, then, that this weekend’s Macefield Music Festival honors the late Edith Macefield, a local musician and folk hero for refusing high-rise developers’ millions to stay put in her 100-year-old cottage. (Think the house in the 2009 Pixar film “Up.”)
New York youngbloods Cymbals Eat Guitars might’ve been overshadowed by glitzy trip-hop headliners Phantogram at Seattle’s Barsuk Records’ 15th-anniversary gala last winter, but their dynamic, charged performance ensured they were not outshined.
Six months before Nirvana’s “Nevermind” came out in 1991, a band called Slint — playing Seattle’s Showbox Wednesday — issued its own one-of-a-kind record. An angular, shadowy six-song suite, “Spiderland” is today considered by many to be the genesis of post-rock, a style emphasizing atmosphere and extreme dynamics over verses and choruses. Without it, there’d be…
If you’ve ever checked out the jukebox at a Seattle dive bar, The Murder City Devils require little introduction. The reunited locals, back on stage this weekend, provided a jolt of excitement during the lean post-grunge years. Like their forebears The Misfits, MCDs dealt in punkish rock with fright-night flair.
While most musicians — most people — are dead asleep, Buzz Osborne, who plays Neumos Friday, is already wide awake.
“Most days, I leave before the sun [comes up] and go play 18 holes of golf with the working-class people at the municipal courses around Los Angeles,” he says via telephone from his house in Hollywood. “They just think I’m some weirdo. It’s funny.”
Can this be the same musician who taught a young Kurt Cobain his first few guitar chords and introduced Dave Grohl to his eventual Nirvana bandmates? Never mind practically inventing the sludge and stoner metal subgenres on 1991’s seminal “Bullhead” and ’93’s “Houdini” — to name just two of 19 Melvins LPs.
Yes, it is. And on his new solo album, “This Machine Kills Artists,” (an allusion to Woody Guthrie) he plays acoustic guitar.