The desire for summer to finally break is strong here at Sound, and we are more than willing to usher it in with a host of summertime party jams. In his remix of Machinedrum’s “Inner Outer Offs”, Fourth City artist Deceptikon lays down a killer synth riff that would find itself at home on The Chronic and brings it home with some super chunky bass bloops. Its a song that makes you wanna chill out and boogie all at once. Where’s the nearest rooftop patio?

Seattle-based indie-pop quintet the Myriad has been busy this year. As if propelling themselves to “The Next Big Thing” status by winning MTV’s Dew Circuit Breakout wasn’t enough, the band recently signed with KOCH Records, premiered the video for “A Clean Shot” on MTV2 and is now on a never-ending tour with Switchfoot and Eisley. On the eve of its second release, With Arrows, With Poise (due out May 13), and an upcoming performance in its hometown, Sound decided to check up with bassist John Schofield on the good, bad and bizarre of the band’s new-found fame.

SEATTLE SOUND: What are some highlights and lowlights of the tour with Switchfoot and Eisley so far?
JOHN SCHOFIELD: No lowlights, believe it or not. The dudes in Switchfoot are lovely fellows: genuine, amiable and true. It was refreshing to meet platinum-selling artists that were entirely down to earth. Eisley: old souls, splendid souls. This is a wonderfully peaceful and fun tour! Boyd rules.

SS: Could you tell me a little bit about making the video for “A Clean Shot”?
JS: Well, we filmed it up in Laurel Canyon … and I’m a Joni Mitchell fan so that in itself was delicious. Besides that we had a great crew, good coffee, medieval weaponry and assorted battle regalia, woodland creature puppets sharing mead with us, and a juicy beast frolicking around like David Bowie. All-in-all it ruled. Although, it was a 23-hour day! Yikes!

SS: What was the weirdest part of the MTV “Dew Circuit Breakout” that you won?
JS: Actually trying all the six million flavors of Mountain Dew. I had no clue there were six million flavors!

SS: Musically (and lyrically) how do you feel like this album is different from your first album?
JS: This album has a lot more soul, a lot more thump and a chillion times more fun packed into it than the last album. It’s like 12 little movies packed into a record … 12 little movies that were created to make your life better: spice, sugar, light, raspberries… etc! The last record was more linear, more mundane; we were sort of finding our sound and rocking out a bit too much in order to fill in the empty spaces. On this new record, we filled said spaces with really good European chocolate. And chocolate is delicious.

SS: What are y’all listening to these days?
JS: Goldfrapp, the London Suede, Over the Rhine, Portishead and In Rainbows like a million times over… replete with golden tears and the echoes of the ancients!

The Myriad open for Eisley Sunday, May 11, at Chop Suey.

“A Clear Shot” by the Myriad

PHOTO: The Myriad, courtesy of MyriadSpace

Olympia’s KOAS premiers new radio show, Pining for the Fjords, featuring only Scandinavian music.   THREE IMAGINARY GIRLS

Ear Candy releases full Sasquatch! Prefunk party lineup, including Tennis Pro and M. Bison. EAR CANDY

Sasquatch! announces set times. EAR CANDY

The petals are falling and, despite the fact that there is a chill in the air today, spring is giving hints at the summer on its way. With that sunshine comes the drinker’s welcomed switch from whiskey’s warmth to beer’s chill, and, of course, summer jams. This track, which was released last year on the Physics’ Future Talk, is an ode to the former and a perfect example of the latter. As the organ sample loops, courtesy of JusD’amato, Thig Natural and Monk Wordsmith inform and instruct, “Ain’t nothin like a brew on a hot sunny day, tip back 12 ounces and I’m well on my way.” It might jsut be wishful thinking, but summer is coming and this track is a perfect prep for it. Keep it in your pocket for the next four months. And in case that beat and those words aren’t enough for you, the group also provides a brutally honest breakdown of the politics of MySpace. Good stuff.

For more on the Physics, go here.

In late January, while the Seattle Symphony was emerging from a national publicity headache and breathing a sigh of relief after a personal injury suit brought forth by on of its violinists was dismissed, the local institution received one more piece of bad news: principal cellist, musical wunderkind and media darling Joshua Roman announced that, at the end of the 2007-2008 season, he will be leaving the Symphony to pursue a career as a solo cellist. In an email sent to friends and members of the press on January 30, Roman stated that, “As much as I have loved my time in Seattle, it is very important for me to keep a strong focus and commitment to my goals, and the foremost musical goal I have is to become the best cellist I can be. To that end, I will be doing tons of traveling over the next years, listening to many great musicians, practicing hard, performing a lot, and doing other cool stuff too.” Aside from that, Roman was in media blackout mode, until we got to him. Sitting at a SoDo cafe last month, Roman explained to Sound a little more about his reasons for leaving. On the eve of Roman’s final performance at Town Hall (he has served as the venue’s artistic director for the 2007-2008 season), Sound presents an excerpt from that conversation.

SEATTLE SOUND: Tell me about the moment you decided you were going to leave. And how long was it on your mind whether or not you would stick around after this year?
JOSHUA ROMAN: You know, I always knew that this wasn’t going to be somewhere that I stayed. In fact, when I got here, from the very first time, people were mentioning … people were coming up to me and saying, “How long are you going to stay here?” Maybe three or four instances people would say, “Oh I’m glad you’re going to be here. I’m really excited. You can have a tenure like Ray Davis; you could be here for 40 years.” Maybe three or four people said that, but I think it was very clear to everyone and to myself that this was a thing that I was going to do for a while and then I have other things to do.
So that decision wasn’t so much whether I was going to leave, it was when I was going to leave. It sort of came about more from outside opportunities than anything else, from getting busy from the second that I got here, and things happening outside of the symphony. Very exciting things, more and more stuff, more traveling, more playing other places, and eventually it just got to the point where I was thinking, “If I stay here another year I’m either going to miss so much orchestra that I’m going to get fired or I’m going to miss out on so many of these opportunities that I’m going to be very unhappy and I’m going to start to lose momentum.” I don’t remember exactly when it was that I decided I was going to leave this year. It was just a moment of clarity. “Now’s the time.” So, it was pretty easy.

SS: Was it liberating after you made the decision?
JR: It was. And it was especially liberating when I told the orchestra. When I could finally say it. Because even after I made the decision there was just … I was getting from sometime last season, people asking me all the time, “When are you going to leave? I hear your leaving. I heard you left.” So much!

SS: Do you think you were putting a vibe out there that you didn’t want to be with the symphony anymore?
JR: No. Well, maybe. I don’t think I was purposefully sending that vibe but I just think that the things that I was doing and the places that I was and all the traveling I was doing, are just pretty clear: I’m interested in outside stuff. And a lot of people in the Symphony aren’t. The typical symphony player does some outside stuff but is very like … say if I wanted to have a family right now and have a house, I would focus on work and look for houses and spend more time cleaning my room. Or doing hobbies and stuff. And I think that’s just what it was. People saw other stuff happening and recognized that as … I don’t think I put out any sort of feeling or emotional vibe, I think it was a result of people seeing everything what I was doing and it was two and two.

SS: So how did they react?
JR: Very well. I’ve gotten so much support. It’s been great. I was a little worried at first. I didn’t know what to think. I had been stalling so long on telling people, I had been diverting the question for months. People would just point blank ask, “So I hear you are going to leave the symphony, when’s that? Is it true?” And me just being like, “Oh you know … I don’t know.” And me finally getting to be able to say that … I think a lot of people, people would say that they wish I would stay a little longer, but they were very congratulatory at the same time. “It’s good. This is the right move. This is what you should be doing. I’m glad to see that you’re doing well.” So it’s good.

SS: Are you taking a pay cut by doing this?
JR: Yeah, it’s a pay cut. It’s a big pay cut. But I don’t know. This last couple of years I had ridiculous amounts of student loans and I paid those off, but like everything I made went into paying student loans. I don’t think I’ll be spending any less. I’m a big fan of the whole “money is made to use” idea. I want to save money for practical purposes, but I don’t think that my salvation lies in having a ginormous bank account. Especially if I’m not using it, why do I have it? I’m going to be making less money, but I think I’m going to be doing about the same amount of stuff that costs money that I’m doing now. And I’m saving what I can now just for that, to make sure that I have a little bit of a cushion to take off from.

Joshua Roman will perform “Duo” Saturday, May 11, at Town Hall. For more information, go here.

For a more in-depth look at what the future holds for Joshua Roman, check out the June issue of Sound, which will be on newsstands the last week of May.

The Tractor Tavern is hardly one of Seattle’s hidden gems, but it seemed like a fair place to start a series spotlighting local roots music venues. With its middle-America-roadhouse energy, the cowboy boots hanging from the ceiling, a rotating nightly lineup of local, regional, and national touring acts, this is certainly the most visible local roots venue in town, if not the most reliable.

It all started back in 1994, before people were heading to Ballard just to see what was going on. It was the middle of the Seattle grunge era, the year Kurt Cobain died, when Dan Cowan and Eric Sumearll took over a venue called the New Melody. The New Melody had become known as a reliable source of local folk and roots music. Cowan and Sumearll renamed it Tractor Tavern, and decided to carry on the tradition of presenting roots artists, despite the fact that the local music scene was famous for rock.

By the end of the first year, they’d already started the tradition of Hank Williams Wednesdays: where local artists covered the songs of the great country singer/songwriter. This scored them write-ups in Dirty Linen magazine—one of the folk scene’s greatest media thermometers—and elsewhere. Eventually, Cowan took over as the sole owner of the venue and, through the years, he has expanded its reach. While it’s become a reliable source and center for local roots artists and fans, rock, jazz, and other experimental bands are often welcome there, as well. According to Ryan Ellis, Promotions/PR Director, the Tractor’s “focus is on whoever will bring in people…[We do] everything from roots to country to rock to indie.”

The sound system isn’t always reliable on acoustic instruments, but there is a sense that this is a venue that understands why someone would pick up a banjo instead of an electric guitar. Just about every local roots artist of note has graced the Tractor stage early in their career. As a result, the venue has become poised as somewhat of a stepping stone for local, regional and national under-the-radar roots artists.

If you’re looking to head out for a show at the Tractor, next week is your best bet for roots artists. Kate Walsh will be there on Tuesday (May 13), followed by an alt-country night with Carrie Biell, Pwrfl Power, and Band of Annuals. Singer/songwriter Erin McKeown stops by next Thursday, Chuckanut Drive on Friday, Girlyman on Saturday.

Second Sasquatch! Prefunk party band announced: Royal Brougham. EAR CANDY

First Sasquatch! Prefunk party band announced: Skeletons with Flesh on Them. EAR CANDY

Shins, Brothers of the Sonic Cloth (featuring Tad Doyle) and Gutter Twins added to Sub Pop’s 20th anniversary lineup. EAR CANDY

Ear Candy announces Sasquatch! Prefunk party featuring six local, undisclosed bands to launch Memorial Day weekend at High Dive. EAR CANDY

Nada Mucho to release Seattle Sounds and Songs CD, a compilation of the sounds of the “Seattle Underground.” SOUND ON THE SOUND

Avril Lavigne sick with laryngitis, postpones shows in Everett and Spokane. SEATTLE POST-INTELLIGENCER

DeVotchKa added to Capitol Hill Block Party lineup. Also added: Grand Ole Party, Zeke, Thee Emergency and Voyager One. THE STRANGER

Common Market

KEXP Ballard Day-Friday, May 9, 6am-6pm
Celebrating Ballard’s win in last summer’s second annual Hood to Hood challenge (part of KEXP’s summer membership drive), KEXP will be presenting a full day of free or discounted events throughout Ballard, including FREE live performances from some local favorites. There will also be some cheap–but not free–shows at the Tractor, the Sunset, and Conor Byrne’s. (Your KEXP membership card gets you $3 off the cover.) For full details, head over to KEXP’s events page. But now, on to the free stuff:

Seattle hip-hop duo Common Market (DJ Sabzi of Blue Scholars and RA Scion) will be playing at Verite Coffee (2052 Market St.) at 7am. They’ll be performing four songs from their about-to-be-released EP Black Patch War. If you can’t make it to either of their CD release parties—May 9 at Vera and two shows (all-ages and 21+) May 10 at Tacoma’s Hell’s Kitchen—this is your chance to hear some of their new songs live. If 7am is too early to drag yourself out of bed, don’t worry: KEXP will be broadcasting Common Market’s set (and later performances, all the way until 6pm), so you can listen on your bedroom clock-radio or your computer at work. Common Market has three tracks from Black Patch War available for listening on their MySpace. You can currently buy it online through iTunes or pre-order a hard copy from the band’s label, Massline Media.

Bedroom pop quintet Throw Me the Statue just rolled back in town after completing their first national tour, which included appearances at San Francisco’s Noise Pop festival and South By Southwest, in support of their Secretly Canadian-released debut full-length Moonbeams. Their 11am show at Ballard’s Sonic Boom will be their first appearance in Seattle since March and their only local show until their appearance at Sasquatch May 24 (unless you’re going to the May 11 Cake show at the Paramount; TMTS is opening). It should be a fun, intimate homecoming for Scott Reitherman and the boys—not to be missed. Later this summer, TMTS will be playing the Capitol Hill Block Party and Bumbershoot, for those of you who prefer your sunny, energetic pop in an outdoor setting.

Here’s the full list of free shows (for full listings of Ballard Day events, refer to KEXP’s events page):

At Verite Coffee:
7am: Common Market:
9am: Arthur & Yu

At Sonic Boom Records (Ballard location):
11am: Throw Me the Statue
1pm: Man Plus
3pm: Velella Velella
5pm: Cloud Cult

Yearning for more on KEXP, Common Market, or Throw Me the Statue? Information is just a hyperlink from the preceding sentence away.

It was 1979, the Shah fled Iran for Egypt, the United States and China established full diplomatic relations, Senator Ted Kennedy announced he would challenge President Carter for the Democratic nomination, and at the Chicago Symphony violin virtuoso, turned conductor, Vladimir Spivakov, made his conducting debut.

Not long after his debut in Chicago, Spivakov returned to the Soviet Union and founded the Moscow Virtuosi. Spivakov hand picked many of the 24 members from the Soviet Union’s elite orchestras. The original 24 didn’t last very long. A retreat to Spain, with the goal of enhancing the nascent ensemble’s sound and precision resulted in half of the players staying in Spain. Undeterred, Spivakov returned to the Soviet Union, replenished the group’s ranks, and proceeded to launch the Virtuosi on a 30 year trajectory recognized this year with a North America tour by the group.

The U.S. leg of the tour has been selling out venues from Boston to California. Sunday, the Virtuosi came to Benaroya Hall with a program that is an atypical mix of classical and twentieth century works for an ensemble known for their interpretations of Russian music.

In the 30 years that have passed by since the group’s founding, the Virtuosi have cultivated a sound that can only be described in timbre and temperament as Russian. Exposed emotion and occasional brashness are at the core. An RCA recording of the Virtuosi and Evgeny Kissin performing Shostakovich’s Piano Concerto No.1 is an indulgent listening experience. Finesse takes a back seat to a volcanic performance by ensemble and soloist alike.

On Sunday it wasn’t Kissin but Olga Kern who joined the group to perform Shostakovich’s concerto.

Kern’s star has risen rapidly since 2001 when she won a Gold Medal at the Van Cliburn International Piano Competition. It isn’t surprising Kern’s reputation is quickly rising; she started playing the piano when she was five and her family’s lineage has direct links to both Tchaikovsky and Rachmaninoff. In addition to Shostakovich’s concerto, Haydn’s D Major Piano Concerto was also on the program.

Absent though were Tchaikovsky and Schnittke. Prokofiev was no where to be heard either. Shchedrin? Nope. In their place was Arnold Schoenberg’s Verklarte Nacht “Transfigured Night.” This seemed like a strange choice for a Russian ensemble’s 30^th anniversary. Schoenberg’s claim to fame isn’t with his post-Wagner compositions like Transfigured Night, but with his rejection of harmony in favor of twelve tone writing. His compositions are known as cerebral and not heart felt. Transfigured Night is an early exception to the Schoenberg rule.

Transfigured Night is easy enough to understand, the composition follows Richard Dehmel’s poem about two lovers as they amble through a forest. They interact with one another as the woman reveals to her lover that she is pregnant with a child from another man.

Transfigured Night was originally conceived for a string sextet, but Spivakov and Virtuosi performed the more popular chamber orchestra version. Lush strings, romantic in sentiment, characterize the piece. But Schoenberg’s music is also sharply ordered as the music’s passages follow the dramatic narrative of Dehmel’s poem.

Earlier in the year the Seattle Symphony strings performed Transfigured Night with Ingo Metzmacher conducting. That performance was marked with an opulent tone but a keen attention to the narrative foundation of the work. A well rounded performance. By contrast, Spivakov’s take on the piece was all tone and no structure. Spivakov pulled out a thick, bold sound from his ensemble. If Metzmacher understood the shape of the music, Spivakov understood the heart of the music. Spivakov’s interpretation was at the same time moving and frustrating. The sound was big and almost melting but without the tension that would be found in a more attentive interpreter.

For the remainder of the evening, the Virtuosi and Spivakov were accompanied by one soloist or another. The middle of the program featured Olga Kern at the piano and the final Piazzolla tangos were assisted by Nikita Vlasov on accordion.

The best of the concert was reserved for Olga Kern. Shostakovich’s piano concerto may seem like a novelty with its scoring for chamber forces and trumpet soloist, but strip the novelty away and what’s left is a fine piano concerto by a composer who knew how to rebound from whithering Soviet criticism. Kern provided a blistering and effortless performance. Her sound matched Shostakovich’s witty writing better than the Haydn which at times sounded prickly. She received good support from Spivakov’s strings as well. They played with panache and ample sound.

The panache carried over into the concert’s concluding moments with vibrant performances of Piazzola tangos and Friedrich Gulda’s Aria. Gulda’s Aria deserves to be heard more. Gulda’s music has been panned as derivative and unimaginative. His Aria is so strikingly beautiful that it begs the question: who cares if it’s derivative? The work is dominated by melody more closely aligned with Tchaikovsky than with Gulda’s 20th century contemporaries.

A large Russian contingent made up the bulk of the Benaroya audience and vendors in the lobby sold Russian compact disks. The Schoenberg and Haydn received polite applause, but the audience really took to Kern and the Moscow Virtuosi’s crack at Shostakovich’s concerto. Like the audience, the Virtuosi seemed much more comfortable with the Shostakovich. Perhaps Spivakov should have considered more Russian music rather than less.

Pearl Jam’s Stone Gossard, a Northwest School alum, is a fan of Hank Williams and of arts education for kids. He’s even put together a lineup of local musicians to demonstrate why you should be, too.

Per the press release, the High Dive will host “… a night of Hank Williams cover tunes [by] the Hank Williams ‘Choir’ this Wednesday.”

Joining Stone Gossard on stage is Vince Mira, Brad Sinsel (TKO and War Babies), Jeff Fielder (JF & the Dinosaurs, Sera Cahoone), Michael Musburger (Fastbacks), Barbara Ireland, Dejha Colantuono (Rotten Apples) and the legendary Keith Lowe and Hans Teuber.

DJ Johnny Horn of KEXP’s Preachin’ The Blues will open and close the evening’s festivities. Proceeds from this special event will benefit Arts Corps.

While this Sounder doesn’t know Colantuono or Teuber from Adam, there’s no question that Vince Mira is Johnny Cash reincarnate. The teen impressed at last year’s Pike Place Market Party, appeared on freaking Ellen, recorded Cash songs at the Man in Black’s own cabin and played two sold-out Triple Door shows early this year. Whether he’ll attempt to channel Hank or just do his Cash thing, it’ll no doubt be a boot-heeled kick—and just another star night for Mira. (Mira’s youth and talent actually reflect Hank’s own—the country legend was known as the “Singing Kid” from his gigs on Alabama radio.)

Here’s Mira on Ellen:

Your ticket sales dollars—thanks to Gossard’s philanthropy—will help Arts Corps “bring free arts classes to low-income youth.”Brown Paper Tickets | 21 + (except Mira!) | $13 (plus fees) | Doors at 6pm
PHOTO: Stone Gossard with Pearl Jam, by Kerensa Wight

These Arms Are Snakes signs to Suicide Squeeze Records, head into studio to work on October release. THREE IMAGINARY GIRLS

Team Gina has been quiet all winter, but Seattle’s synchronized dancing rap duo is gearing up for a full-on blitz this summer, starting with a comfortable opening spot tonight at Chop Suey with the Trucks (ladies from the PacNW) and Northern State (ladies who rap). The band also just completed filming a video for “Rock the Like,” the first single off the group’s upcoming debut full-length, due out on Don’t Stop Believin’ Records in June or July. Sound has yet to get its paws on the album, but we have been assured, by the band’s super fan-cum-publicist Ashley Graham, that the duo will blow our minds with some new tracks and some live favorites. Says Graham,

Finally have recorded versions of “Wife Swapping,” “Boobies,” “Products of the ’80s”… all the goods! And there is a brand new song where they take on the various characters of like 6 or 8 musicals including Gypsy, Oklahoma, Bye Bye Birdie, Annie… it’s totally my favorite.

Graham isn’t the only one excited about the prospects of Team Gina in 2008. The nation’s leading LGBT pub, The Advocate, has named the group as one of five emerging LGBT artists in 2008 and included a fine short profile written by The Stranger’s Kurt B. Reighley. With a circulation of 175,000, The Advocate might have just put Seattle’s most colorful, rapping lesbians on the national music map.

For more on Team Gina, go here.

For more from the Advocate, go here.

Current TV to air documentary on Death Cab for Cutie, Thursday, May 8. SOUND ON THE SOUND

Last Wednesday, Duran Duran brought their Red Carpet Massacre to Seattle’s WaMu Theater. However, the only casualties were sore lungs, exhausted bodies and faces aching from smiles that lasted long after the band left the stage. Duran Duran proved once more that they are masters at their craft, re-inventing themselves in a live spectacle full of power, precision and personality. John Taylor (bass), Nick Rhodes (keyboards), Roger Taylor (drums) and Simon Le Bon (vocals) showed they still have the magic that has been their hallmark over the years, bringing the audience to their feet and treating them to an exhilarating array of classic hits and new material. The WaMu Theater hosted a view to a thrill, and I was fortunate enough to have a ringside seat.

As Le Bon noted at one point in the show, the past year has been full of amazing peaks and some lows for Duran Duran, including the departure of their original guitarist, Andy Taylor. Through it all, the band managed to forge an album, Red Carpet Massacre, which delivers their signature sound infused with a bold, fresh direction. It is Duran Duran re-engineered for a new generation and the concert at WaMu showcased a band ready to take over Planet Earth once more.

At the WaMu Theater Le Bon swiftly took his place at the front of the stage and the air was electrified with a wall of screams from the capacity crowd. Duran has established a world-wide core of passionate fans who have waited a long time to see their icons again. The last Northwest visit was at the Everett Events Center on the 2005 Astronaut Tour, and with the Durans finally back in town, the fans were intent on letting the band know that tonight was well worth the wait.

The set kicked off with “The Valley,” a punchy new song which was a perfect vehicle for Le Bon’s energetic gyrations and slinky moves. Each hip thrust prompted a volley of squeals from the females out there, reminding everyone why Simon Le Bon is the lead singer. But John Taylor was not to be dismissed as he strutted around, tossing out playful looks and charismatic grins along with his bass lines. His tall, lanky frame and smoldering visage was enough to make fans swoon throughout the ’80s, and on stage at the WaMu, it was apparent that some things never change. The interplay between Le Bon and John Taylor was particularly fun to watch, as they exchanged frisky expressions and occasionally joined in on vocals. It was clear they were enjoying themselves as much as the audience, which elevated the whole experience for everyone.

Even though Rhodes was set farther back behind his banks of keyboards, sheer distance did nothing to diffuse the effect on the crowd when he suddenly flashed a sly smile or chimed in on one of Duran’s biggest hits, “The Reflex.” The keyboardist was full of poise and quiet artistry, conducting his arsenal of aural arrangements and bringing every song to life. Rhodes is a consummate professional in everything he does, and it is never more evident than when he is on stage with his bandmates.

Roger Taylor was an essential part of the Duran sound throughout the set, supplying precise, confident rhythms and furious beats which kept the energy level high. Even when he was not visible behind his drum kit, his presence was always felt. When Roger was eventually brought out center stage along with the other members for a unique techno-reworking of several classic hits, a portion of the show called the Electro Set, it was clear that he had his own significant following in the audience, expressed by an avalanche of wild exultation.

Dom Brown has been filling in on guitar since Andy Taylor’s departure, and while many fans may miss the third Taylor, it won’t be because Duran Duran’s guitar work is lacking. Brown completes the Duran equation perfectly, complementing Rhodes’ synths with a sharp, electric edge while interacting with John and Le Bon to make every moment worth catching. Each band member added their own distinct flavor to the Duran Duran recipe, and together, the resulting dish was a feast for the fans.

The night was launched with three songs from Red Carpet Massacre. The new songs brim with rich, textured melodies and thoughtful lyrics, as in the first single, “Falling Down.” Tunes like “Skin Divers” and “Nite Runner” boast a bold, groove-inspired feel, providing great forums for Le Bon’s versatile vocals. These songs translated well in the live show, and the audience responded favorably to the new material. However, when the familiar opening notes of “Hungry Like the Wolf” were played, the audience exploded in rapturous approval. This is what people had come for.

After that first favorite, it was if the floodgates had been thrown open and one classic hit followed another: “Planet Earth,” “Come Undone,” “Save A Prayer,” “View To A Kill…” Each thunderous crowd response seemed to top the next in a long, continuous roar. The set moved fluidly between spirited dance floor anthems like “Wild Boys” and slower, melodic ballads like “Ordinary World,” creating a two-hour musical journey through Duran Duran’s storied career. Le Bon’s voice never faltered, bringing a fresh vitality and emotional gravity to the lyrics, making each note resonate. He also took great strides with inviting audience participation. The crowd was happy to oblige. Hits like “Notorious,” “Girls On Film” and the closing encore, “Rio,” are songs born for singing along. At several points Le Bon simply held the microphone out and the fans picked up the choruses without missing a beat.

Duran Duran rocked the WaMu. Every detail seemed designed to make the most of the evening, and the weary smiles on faces as people reluctantly left the venue confirmed the success of Duran’s efforts. The band’s live shows have always been a particular strength for them. It’s reassuring to know that, while Duran Duran continue to stretch their musical wings and re-invent themselves yet again, the connection to their fans remains as strong and unchanged as ever.

[Ed. note: The author of this post is Andy Golub, a man whose devotion to Duran Duran is so great that he has earned the name Durandy. We do not say this to invalidate his enthusiastic review, but to inform you that there is a lot more where this came from here. If you’re into that sort of thing. Thanks Andy!]

PHOTO: Duran Duran, courtesy of DuranDuranSpace

Fleet Foxes add dates to upcoming national tour. PITCHFORK

Tuesday night Grand Archives appeared before a national audience on CBS’s Late Late Show with Craig Ferguson and did a fine job. The first true exposure of the band to Americans with bunny ears (on their TVs, people!), the performance was a perfect pitch for the band. The pop quintet chose to play “The Setting Sun” from its debut self-titled full-length, released earlier this year on Sub Pop. The song isn’t the strongest of the bunch, but it is perhaps the best for showcasing both the band’s harmonic sensibilities and its ability to create a wall of cacophony. Grand Archives is not a band that revels in drama (unlike front man Mat Brooke’s former group Band of Horses). Rather, this is a band that prefers to sink its teeth into a single emotion, preferring to split time between melancholic beauty and celebratory bombast. Check out the look on Brooke’s face at the 2 minute 50 second mark when he proclaims, “Ba-da-bum-ba-ba-da!” That, folks, is what feelin’ it looks like.

Thanks to JP’s Blog for posting this first.