The Melodic Tree’s Weekly Playlist

1. Saint Kilda Sunrise – Dannika

2. Losing Touch (Nyc) – thanks for coming

3. Big Plans – Really Big Pinecone

4. Remember – Jodi

5. Skin Gets Hot – Fraternal Twin

6. Sports Bar – Mathew Lee Cothran

7. Have I Always Looked This Way? – Bulldog Eyes

8. Ugly Moon – Little Kid

9. Destroyer – Lala Lala

10. Sunburn – Dehd

11. Never Lonely – Space Mountain

12. With U – Knifeplay

13. Angel of mine – Justus Proffit

14. pollinate me – wished bone

15. Warm – PYNKIE

16. Something Sweet – Shy Boys

17. World As Weird – Dan English

18. Tru – P.H.F.

19. When the Sun Goes – Emily Yacina

20. I’m Not Scared – Tomberlin

Showbox Theater saved temporarily through city council vote

It was reported in July that the beloved Showbox Theater in Seattle was planned to be demolished to construct a luxury tower of apartments that would be a whooping 44-stories tall. However, earlier this week, the Seattle City Council voted the historic venue protection temporarily as the Seattle Times reported. The Council had passed a city ordinance to expand the Pike Place Market Historic District so that it will also cover where the 79 year-old venue is for the next 10 months.

Artists like Ben Gibbard, Sleater-Kinney, Mike McCready, Duff McKagan, Macklemore, Fleet Foxes, Run the Jewels, and others rallied together in support of saving the venue and also signed a public letter supporting preserving the Showbox.

The city is also planning more long-term solutions to keep the Showbox running and three local preservation groups, led by Historic Seattle, filed for landmark status for the venue last week as well.

Mount Eerie announces live album titled (after)

Phil Elverum has announced a live album for Mount Eerie titled (after). It will come out September 21st via P.W. Elverum & Sun. The album was recorded at the 2017 Le Guess Who? Festival at a church in the Netherlands. It has songs from A Crow Looked at Me and Now Only. Listen to his performance of Crow’s “Soria Moria” below.

In a statement that came with the album announcement, Elverum thinks back on when he wrote A Crow Looked at Me after the death of his wife Geneviève Castrée. “While making the songs that would be released as A Crow Looked at Me, I wasn’t thinking at all about sharing them with other people, family or strangers. Nobody,” he says. Elverum also recounts what it was like to perform the songs live. “It wasn’t easy,” he says. “The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night.”

Elverum then went on to talk about how important the Le Guess Who? performance recording was. “Does it bring anything new to the songs to hear them in this way? My hope is: yes,” he says. “You can hear the breath in the room. You can feel the simultaneous intimacy and immensity…. This is a recording of these ultra-intimate songs living in the real world among people, and of peoples’ wide eyed accepting silence, and clapping.” Find Phil Elverum’s full statement, the (after) tracklist below and cover art above.

(after):

01 Real Death
02 Seaweed
03 Ravens
04 When I Take Out the Garbage at Night
05 Emptiness pt. 2
06 Soria Moria
07 Crow
08 Distortion
09 Now Only
10 Crow pt. 2
11 (remarks)
12 Tintin in Tibet

Mount Eerie’s Phil Elverum:

While making the songs that would be released as A Crow Looked at Me, I wasn’t thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of “pride” about the work. It was a strange realization. These songs, and the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties. What does it mean to write things like this down? What would it mean to record it? What would it mean to share it with strangers? Where is the line of propriety? What is anyone supposed to do?

At every step I was uncertain if it was OK to be doing what I was doing. My hunch was almost always that it was wrong. Don’t write it, don’t record it, don’t sing it in front of people, don’t repeat it. But also I was surprised to discover that my internal response to this hesitation was almost always to double down and go deeper in; to write more nakedly, to go on another tour, etc. In the year that came after releasing A Crow Looked at Me I toured a lot. The United States, Canada, Europe, Australia, New Zealand, Japan. It wasn’t easy. The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night. On top of that, I had to tour with my daughter (and a nanny) so my mind was stretched between 2 big difficulties. But fortunately, with the help of so many understanding and helpful agents, bookers, organizers, I was lucky to get to perform these songs in very well suited and beautiful rooms, nice theaters and churches, to kind and supportive listeners. The concerts ended up being something beyond strange, macabre, gawk-shows. I don’t know what they were exactly. Just strangers gathered in beautiful rooms to pay close attention to one person’s difficult details, and to open up together, quietly. They have been the most powerful shows of my life, no question.

Even so, every time it was clear that the audiences shared the same apprehensions that I had. After the first song, every time, there was a palpable hanging question in the air: “Should we clap?” It’s a good question. What is this? Is it entertainment? What is applause for? What kind of ritual is this? Many close friends have still not listened to the records or come to a concert. What, beyond pain, is embodied here? I don’t know exactly what my job is, traveling around and delivering these feelings. The concerts in 2017 and 2018 have been unusual, unexplainable, and great.

The best one was at Le Guess Who? festival in Utrecht, Netherlands on November 10th, 2017. Nobody was supposed to be recording these shows but fortunately someone didn’t get that message and this beautiful recording of that show has surfaced.

So now I’m plunged back into the apprehensions, now pushed into new territory. What would it mean to release a live album of these songs that maybe shouldn’t have been written in the first place, let alone recorded or performed? Is it OK? Does it bring anything new to the songs to hear them in this way? My hope is: yes. You can hear the breath in the room. You can feel the simultaneous intimacy and immensity. Foregrounded by the hyper-bare instrumentation (minimal acoustic guitar), the words burn brighter even than on the albums, more legible. This is a recording of these ultra-intimate songs living in the real world among people, and of peoples’ wide eyed accepting silence, and clapping.

Briana Marela, Young Lovers, Sonoda, Déjà Blue at Shirro’s in photos

Pussy Riot’s Nadya Tolokonnikova announces new book Read & Rio

Nadya Tolokonnikova, from Pussy Riot, has announced a new book called Read & Riot, set to come out October 9th via HarperCollins. The listing for the book details it as a “guerilla guide to radical protest and joyful political resistance” and goes into Tolokonnikova’s arrests and interactions with the Russian government as an activist and artist. She also has shared an advance excerpt from the book, which is a first-person account about the time she’s spent in Russian jails. Read the full excerpt below.

Ryan Hemsworth announces new album, shares song with Joji

Ryan Hemsworth has announced a new album called Elsewhere, and it is set to be out September 21st through Secret Songs/eOne. In anticipation of the new album, Hemsworth shared the single “Think About U,” featuring Joji, which came with an animated video directed by techgod. Check it out below. “The track comes after Hemsworth’s latest release, the NewAgeMuzik-featuring track “Four Seasons,” which is set to be on the new album.

Mount Kimbie announce new DJ-Kicks mix

Mount Kimbie have announced they will be the next in line to do the DJ-Kicks mix series. The duo, Aka Dominic Maker and Kai Campos have created the next mix and it will arrive September 28th through !K7. The mix was inspired by Mount Kimbie’s stint of shows with producer Actress, and it includes “plenty of the tracks” that were played on the tour making it into the mix.

There is also an unreleased track, “Southgate,” which was made exclusively for the mix and was “initially influenced by Stanislav Tolkachev and Alexis Perala,” who are also included in the mix. Take a listen to that below.