Jerry Cantrell Concludes the 'I Want Blood' Tour in Seattle
One of Seattle's hometown heroes, Jerry Cantrell returned to Seattle for the last stop of his 'I Want Blood' tour.
"It's good to be back..."
He's not usually the most talkative frontman. However, last night, Jerry Cantrell wasn't shy about his enthusiasm to be back in Seattle, the city that spawned his legendary career. An exceptional guitar slinger, accomplished solo artist, and member of one of Seattle's most famous bands, Alice in Chains, there was a lot of love inside the packed Moore Theater for the final stop of Cantrell's I Want Blood tour.
The Moore was a home to some of Cantrell's most memorable performances, the first of which was Alice in Chains's riveting December 1990 set that contained the band's infamous performance of "Love Hate Love." A venue as famous as many of the performers that have graced its stage, no other stage would have served Cantrell better. Both the venue and its star have a larger than life presence on screen, but the Moore in real life, is more intimate than it appears.
The night began with an opening set from Filter, who brought an electric energy to the stage. Filter frontman Richard Patrick urged the audience to get on their feet and expressed excitement about playing for the Seattle audience, which has built a significant reputation due to its place in rock lore.
Throughout their set, Patrick made little quips such as "Tip your bartender!," "I'm an atheist," and made it clear that "Hey Man Nice Shot," was written in 1991, although it wasn't released officially until 1995. The song was a major turning point for Patrick, who was previously a member of Nine Inch Nails.
Filter's current lineup includes Patrick, Jonathan Radtke (guitar, backing vocals), Bobby Miller (bass, backing vocals), and Tosh Peterson (drums). The band was a good fit to accompany Cantrell. Filter is heavy, dark, and was the best possible warm up for Cantrell, whose work is the embodiment of those things.
Filter's set list included:
- "You Walk Away"
- "The Drowning"
- "(Can't You) Trip Like I Do"
- "Obliteration"
- "Jurassitol"
- "Take a Picture"
- "Drug Boy"
- "Welcome to the Fold"
- "Hey Man Nice Shot"
Following what seemed like an eternity, and gracing the stage among the eager anticipation, was Cantrell, in all his rock-and-roll wizard-like glory. I have made numerous attempts to see Cantrell over the years, all of which didn't work out—until now. Luckily, he was worth the years-long wait.
Cantrell was joined by his band which includes Greg Puciato (vocals), Roy Mayorga (drums), Zach Throne (guitar), and Eliot Lorango (bass).
Cantrell opened with "Psychotic Break," from his Degradation Trip album, then quickly veered into Alice in Chains's high energy "Them Bones." Throughout the concert, Cantrell and his band would offer a balanced mix of songs from Cantrell's solo albums (I Want Blood, Boggy Depot, Degradation Trip, and Brighten), and also some fare from Alice in Chains, primarily from Dirt.
Cantrell played the majority of the songs from I Want Blood, with a live debut of "Throw Me a Line." Cantrell seemed slightly nervous about playing the song, but it sounded just fine. The song was met with a positive reception from the audience.
Close to the end of the show, Cantrell continued his tradition of performing a song written by his fallen bandmate, Layne Staley. Last night, Cantrell chose "Hate to Feel," which was followed by the seminal Alice in Chains song, "Would." Given "Would's" origins as a tribute to the late Andrew Wood of Mother Love Bone, it was a perfect way to conclude the main set.
Following rapturous applause and "Jerry" cheers, Cantrell and his band returned to the stage for a quick encore. Cantrell continued with the I Want Blood song "Let It Lie," then sang the title track from Brighten. Cantrell closed out the show with a spirited rendition of his most important song, "Rooster."
It was cathartic to sing along with Cantrell's familiar work, but also witness his I Want Blood songs for the first time. Always professional, but still personable, Cantrell is still at the top of his game nearly 40 years after his music career launched.
For the entirety of the show, Cantrell was well-accompanied by his band. Greg Puciato is a great vocal accomplice, as much of Cantrell's work (both solo and Alice in Chains) utilizes harmonizing. Puciato remains a powerful ingredient in Cantrell's solo tracks but holds his own while covering Layne Staley's vocal contributions. Roy Mayorga is a feverish percussionist, keeping the pace between Cantrell's various high-energy, heavy songs. Zach Throne, next to the "Riff Lord" himself, is an impressive guitarist who brings the energy alongside Cantrell's complex riffs and solos. Lastly, Eliot Lorango's bass ties everything down. Each band member contributes greatly to Cantrell's signature sludgy sound and migrate seamlessly between Cantrell's old and new work.
With another tour in the books, here's to hoping that Cantrell returns to Seattle again soon. As one of the city's prodigal sons, he's always welcome.
The full set list for the night was:
- "Psychotic Break"
- "Them Bones" - Alice in Chains
- "Vilified"
- "Afterglow"
- "Atone"
- "Off the Rails"
- "Siren Song"
- "Held Your Tongue"
- "Down in a Hole" - Alice in Chains
- "Cut You In"
- "My Song"
- "I Want Blood"
- "Man in the Box" - Alice in Chains
- "Had to Know"
- "Angel Eyes"
- "Throw Me a Line" ... Live debut
- "Hate to Feel" - Alice in Chains
- "Would" - Alice in Chains
ENCORE
- "Let It Lie"
- "Brighten"
- "Rooster" - Alice in Chains
FEM du lit's 'Stigmata' Transmutes Stigma Into a Powerful Musical Experience
Up-and-coming French and Congolese artist FEM du lit challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
According to Oxford Languages, stigmata is the plural form of stigma, a mark of disgrace associated with a particular circumstance, quality, or person. It's an all-too-familiar term for those of us who've dealt with shame, especially from Abrahamic religions. However, up-and-coming French and Congolese artist FEM du lit turns stigmata on its head and transmutes it into a body of work that challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
I've always been fascinated by the intersection between religion, sexuality, and shame, so the album title Stigmata called out to me before I even had a full chance to listen. The description alone sold me.
According to FEM du lit's website, Stigmata "juxtaposes religious and occult motifs interwoven throughout the 13-song full-length album."
Described as "deep witchy electro-soul," and music "pour la fin du temps," FEM du lit's music is trippy, thought-provoking, and at times, sexy. The artist behind FEM du li, Francesca Eluhu (who was also the primary writer and producer on the tracks), has channeled their innermost thoughts and experiences into an album that will resonate with listeners. Additionally, I can best describe that Stigmata is a whole vibe, and the ideal nighttime listen.
Stigmata is a bilingual lyrical journey through familial joy, generational trauma, romance, and heartache. The album starts with the wordless "GUITARRARRARRA," which includes some tinkering in the studio over the sound of flowing water. It's the calm before the storm. The music then transtions to "SUCRE,"which translates to "sugar" in English. In the song, FEM du lit laments a long-distance relationship and the longing for connection.
The title track croons over a tune that's reminiscient of old school R&B. "Stigmata" is an ode to queer sex, yet at the same time questions the feelings behind it. Certainly, in the moment, intimacy in its purest form is the closest path to God, yet why is there so much shame in it?
"Stigmata" propels the rest of the album forward, hinting at the unintended consequences of queer romance and identity. However, the sometimes heavy lyrics are intertwined with smooth, jazzy beats interspersed with guitars, saxophones, piano, and sultry percussion. Going back and forth, FEM du lit ponders sex, family relations, domestic violence, and the pressure of capitalism while trying to create. The artist is joined by Da Qween on the sensual slow jam "LILYJAM," and then again on the tense "WITCHCUNT." On "BANKRUPT," FEM du li is accompanied by Obsvdian.
Throughout Stigmata, FEM du lit weaves together the French and English language within their lyrics. Songs such as "EUCHARISTIE/CREEPY CRITTERS," "COLD COLD WORLD," and "SORTILÈGES/SPELLS OF DOUBT" showcase the artist's mastery of bilingual storytelling. It not only heightens the impact of the musician's words, but sounds pleasing as well.
"SORTILÈGES/SPELLS OF DOUBT" is the album's closer, following the solemn "DEAD MAMA" and "SOLDIER." Before exiting, FEM du lit pleas for listeners to appreciate the time we have on this earth and repels "spells that plant seeds of doubt"... translated from the French lyrics. Based on the album's entirety, there's nothing left to doubt, as FEM du lit is the real deal.
So far, Francesca Eluhu has garnered comparisons to the likes of Anita Baker, Kadhja Bonet, and even Erykah Badu. However, Eluhu's point-of-view makes them a standout to continue to watch, because Stigmata is certainly a remedy for the soul.
Stigmata is now available to stream on Bandcamp as of February 28th.
Brandi Carlile and Elton John Encourage You to 'Swing for the Fences'
Although there are many forces actively aiming to destroy the spirit of the LGBTQ community, the two performers created an anthem meant to inspire gay youth.
In times like these, we could all use a little more joy in our lives. Luckily, music superstars Brandi Carlile and Elton John have joined forces to debut a song that reminds listeners to "Swing for the Fences."
Although there are many forces actively aiming to destroy the spirit of the LGBTQ community, the two performers created an anthem meant to inspire gay youth. As people who've achieved their wildest dreams, Carlile and John want them to believe that it's still OK to dream and that anything is STILL possible.
According to Carlile, "'Swing For The Fences’ was a little gem I took into the studio with me: I’m a gay woman, Elton’s a gay man and we both have families, and our dreams have come true. I was thinking, wouldn’t it be cool to write an anthem for young gay kids out there that calls them into a bigger, more elegant, more fabulous life. Just like ‘go, go! don’t let anything hold you back!’”
The opening of the song states, "Go on and swing for the fences! Take a shot at the moon! A dandelion that dances takes chances and fancies every little light in the room."
"Swing for the Fences" is pure rock-and-roll. It's loud, contains an impactful message, and is just plain fun. The song was co-written by Grammy-nominated Andrew Watt and Bernie Taupin. Carlile and John were also joined in the studio by Chad Smith (Red Hot Chili Peppers) on percussion, Josh Klingoffer (Pearl Jam, Beck) on keyboard and synthesizer, and Pino Palladino (John Mayer Trio, Tears for Fears) on bass.
The new single was produced by Watt, who has recently worked with acts such as Pearl Jam, the Rolling Stones, and Iggy Pop.
"Swing for the Fences" is now available to stream on all major platforms as of March 5th.
The song will be included on the duo's upcoming album, Who Believes in Angels?, set to release on April 4th. Pre-order the album here.
Brittany Davis's 'Stand Up' Is the Official Anthem of the Seattle Reign
Approached by the team itself, Davis was tasked with creating an anthem ahead of Reign's 2025 season.
"Stand up is what you do after you rise. It's that 'I'm here' energy. It's show up energy, powerhouse energy, champion energy... You can't buy this in a store!"
If anyone in the city of Seattle can create a feel-good anthem, it's self-proclaimed vessel of sound Brittany Davis. With songs such as "I Choose to Live," "Sepricon," and "So Fly," that succeed in uplifting listeners' spirits (and making them dance in the process), Davis is in familiar territory.
Davis's new song "Stand Up" has been designated as the official anthem of the Seattle Reign women's soccer team. Approached by the team itself after a difficult year, Davis was tasked with creating an anthem ahead of Reign's 2025 season with the National Women's Soccer League. As a result, Davis created a song that is an homage to community, triumphing over obstacles, and standing in your power.
Soulful and high energy, "Stand Up" was directly inspired by Andra Day's "Rise Up," which Davis covered in Reign's past season at the jersey retirement of Megan Rapinoe. The anthem also includes backing vocals from members of Reign and the Reign Academy players, in addition to support from The Royal Guard fan organization, Reign City Riot band, and the Sound Wave band.
In celebration of the new anthem, Davis and the Seattle Reign Football Club released a short film documenting Davis' creative process. In the documentary, Davis also discusses her connection to Seattle, how she creates as a blind person, and how the camaraderie of the Reign fanbase inspired her. The film was directed by Jason Bergh, who has previously worked with talents such as Jennifer Lopez, Alicia Keys, Migos, and Michelle Obama.
Whether or not you're a sports fanatic, "Stand Up" is the song to listen to when you need those big winner vibes.
"Stand Up" is now available to stream on all major platforms as of March 4th. The song will also be played before every Reign game.
Welcome (Back) to The AuralisMag
A site born out of the love of sound and storytelling.
I often think of trying to describe the music that moves me. It’s about as indescribable as an orgasm. It’s this otherworldly experience that leaves your heart racing, and there is an electric sensation on the skin that makes you tingle all over as the sounds from the speakers ripple through the crowd. For a moment, there’s a lightness in the body and you’re one with the Universe. And all your troubles melt away—at least until the artist disappears behind the curtain and the lights go up. Sadly, you're always left chasing that high. How horrid it is to feel left wanting more each time...
The correlations between sex and music are endless, and certainly, I don't think one can exist without the other... They both inspire each other, in an endless symbiotic relationship. Great sex inspires great music and great music can lead to great sex. And even more so, music is better shared with others than alone. Music, especially live, is about the communal experience. For a while, I've found myself in a messy entanglement that I can't seem to get myself out of.
However, music is my safe space and writing is my resistance.
I found it necessary to marry the two as both are constantly under threat.
Last year, I started this site as a way to talk about my favorite artists and what's happening here in Seattle (and the Pacific Northwest as a whole). Unfortunately, I didn't quite take off due to work commitments, personal emergencies, and self-doubt. Luckily, at the start of 2025, I decided to course correct and continue on my writing journey. I made it a mission to openly express my art (primarily in the form of poetry), support other art out in the community, and find people I align with. Something is brewing locally and collectively, and I thought, why not participate?
With a renewed perspective on music, writing, and life as a whole, welcome to The AuralisMag.
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Deep Sea Diver's 'Billboard Heart' Deserves the Love
Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases Deep Sea Diver at their best.
Five years after Impossible Weight, Deep Sea Diver has achieved the seemingly impossible by cementing their status as a musical heavyweight. Their latest album, Billboard Heart, is a breath of fresh air in a time of tension. It’s the perfect accompaniment for a Washington ferry ride (where most of this piece was written). It’s the soundtrack for a spontaneous night out—when life imitates an indie movie. Billboard Heart is a body of work that was created with heart and soul.
Deep Sea Diver has matured since their debut album History Speaks, yet the band's fourth effort (and first release from renowned label Sub Pop) exudes a youthful joy that cuts deep. The record's 11 songs are a mix of radio-friendly pop, pensive synth tunes, and riff-heavy fare that's fit for stadiums. Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases the band at their best.
Following a stint opening for Pearl Jam on their Dark Matter tour, Deep Sea Diver is ready to embark on their own headlining tour in the United States. With their Seattle date already completely sold out, and following a week-long celebration of album release events, the band is basking in their well-deserved success. The band's ascent has been over a decade in the making.
Born of a strained recording process between Los Angeles and Seattle, Dobson and Deep Sea Diver have emerged triumphant with a fresh voice. Billboard Heart was written by lead singer and instrumentalist Jessica Dobson. Dobson is joined by Peter Mansen on drums, Elliot Jackson on guitar and synthesizer, and Garrett Gue on bass. Composers for the album include Dobson, Mansen, Jackson, Yuuki Matthews, Adam Schatz, and California folk artist Madison Cunningham. Additionally, the album was produced by Dobson and Andy D. Park.
The title track leads the record, the audio opening like a sunrise. "Billboard Heart" sets the tone for the rest of the album, as a wistful song about a lost love. "What Do I Know," "Emergency," and "Shovel" are more urgent, although catchy songs. The album slows down with its fourth track, "Tiny Threads," which continues the element of unraveling in a toxic relationship. Later on, "Let Me Go" includes the talents of Madison Cunningham in another heartbreaker of a song. Billboard Heart is an extremely cohesive album, an homage to the relationships strewn about the past.
Dobson's colorful lyricism is the key ingredient that anchors Deep Sea Diver's artistry and distinguishes their music. Dobson has penned lines such as "Don't fan these sympathy flames... I'll give you anything..." (Emergency), "And I think I love you the most when you're unraveling... Always held together by tiny little threads..." (Tiny Threads), "Your confetti of thoughts are lying on the rug..." (Always Waving Goodbye), just to name a few examples of clever wordsmithing.
Mansen's frenzied percussion, Jackson and Dobson's guitars and synth work round out Gue's steady bass riffs. Not unlike its previous work, Deep Sea Diver plays with polish.
Not surprisingly, Billboard Heart contains no skips. A musical journey from start to finish, the record culminates in a melancholy, yet inviting "Happiness Is Not a Given." Dobson's lyrics leave a space for more with "I'll be the door you can open up into the arms of an ocean."
It's evident that Deep Sea Diver prioritizes quality over quantity, but hopefully the wait between albums won't feel too long, if the band plans to move forward. Overall, Billboard Heart in its entirety feels like some sort of long goodbye, but hopefully, it's not an actual goodbye.
Billboard Heart is now available on all major streaming platforms.
The record was released on February 28th and is now available on vinyl.
Deep Sea Diver is set to tour in the United States beginning March 30th. For tour dates, visit the band's website.
Townsend's Solitaire Debuts New Album 'Glad to Be Alive'
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, 'Glad to Be Alive' does precisely that.
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, Glad to Be Alive does precisely that. Following a series of losses, Seattle-based classically trained musician Bobby Odle took the time to document the emotional journey during his transformative 27th year. Following the events, Odle wore his heart on his sleeve and transmuted that grief into a powerful series of songs. Combined with Odle's storytelling, Glad to Be Alive is a path to healing and a piece that aims to destigmatize the conversations around grief and mental health.
For Glad to Be Alive, Odle joined forces with fellow classically trained musicians (Kirill Polyanskiy on violin, Emma McGuire on flute, Steven Higbee on clarinet, Nathan Moore on cello, and Elle Castelli on piano, with Odle on guitar and vocals) to bring forth a unique sound dubbed as "chamber folk." Glad to Be Alive is preceded by two EPs: 2023's Knitting Needles and 2022's When We Were Far Away.
As mentioned in the write-up about Glad to Be Alive's first single of the same name, "the album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Odle also takes an unfiltered approach to the rest of the musical process, as Glad to Be Alive was produced, engineered, and recorded live to two-inch 16-track tape and mixed to half-inch, two-track tape, which means that all band members were present at all times in studio."
According to Townsend's Solitaire's bio, Odle cites influences such as The Tallest Man on Earth, Adrianne Lenker, Bright Eyes, and Sufjan Stevens.
Glad to Be Alive is a direct look into Odle's life as he sings candidly about the past year's events and his pivotal relationships. Although The album was ignited by several tragedies, at its core, there is still some optimism for the journey that lies ahead.
The album opens with "Dear Old Friend," a tribute to Odle's childhood best friend Tanner (who passed away by suicide). The album transitions to "Keluarga," a song about suicidal ideation where Odle is honest about his efforts to stay alive. Later, there are audio letters to Odle's sister in "To You, From Bali," and an homage to his deceased brother Chris in "Little Brothers." The album also includes love songs such as "Raining In June pt. I" and "Raining in June pt. II."
One of the highlights of the album is "Glad to Be Alive," the album's title track. In the song, Odle ponders the meaning of happiness and grapples with trying to keep going while everything seems to be collapsing around him. The track to casual listeners may seem upbeat, but upon a closer listener, it takes on a heavier meaning.
The album concludes with "In the Morning," a call to action that urges listeners (and himself) to "Stay calm, be kind, please take your time." It's a song that encourages listeners to keep going as there's so much out there to live for. Odle is right.
As of June 28th, Glad to Be Alive is now available on Spotify and vinyl. Townsend's Solitaire is also currently on tour. For upcoming show dates, visit townsendssolitaire.com/shows.
Waiting for Pearl Jam: The Band Shines Bright With 'Dark Matter'
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait.
According to a child-friendly definition of dark matter, it's "that invisible glue that keeps stars, dust, and gas together in a galaxy. This mysterious substance makes up the majority of a galaxy's mass and forms the foundation of our Universe's structure."
Whether metaphorical or literal, the definition lends itself to the legacy of a Seattle band that has reached stratospheric heights following a series of phenomena that can be truly described as the stars aligning in its favor. 33 years later, Pearl Jam is still standing, their music fueled by brotherhood, lived experiences, and legions of devoted fans. With a new album, Pearl Jam shows no signs of slowing down and returns with a record that celebrates music and life itself.
On a personal level, Pearl Jam is a band that has become the invisible glue that makes up my life. It's no exaggeration when I say that Pearl Jam's music helped me through some traumatic events, allowed me to meet some dear friends, and prompted my adventures in live music.
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait. Guided by producer and self-proclaimed Pearl Jam superfan Andrew Watt (who has livened the work of Eddie Vedder, Rolling Stones, and Ozzy Osborne), Dark Matter finds joy in the abandonment of playing and exists as the band's most collaborative effort to date. With Watt's production as the foundation of the album, the band embraces a new direction while also making callbacks to earlier work.
As a relatively new resident of Seattle, it has been exciting to see the album rollout occur for the city's hometown heroes. I attended a listening party at Easy Street Records this past weekend in addition to the one-night theatrical experience. Both experiences, while very different, still conjured the same result. There was a plethora of excitement and a wave of praise for Dark Matter.
Prior to the album's release, Pearl Jam shared three singles. The title track was the first and for good reason. "Dark Matter" packs a punch through Matt Cameron's ferocious drum-playing and its angsty vocals. Eddie Vedder is back in peak form as the band's lead vocalist. While "Dark Matter" is a great song to set the stage, "Running" and "Wreckage" are also relatively upbeat songs that were positive nods for what was to come.
Dark Matter opens with "Scared of Fear," a frustrated, yet melancholy song about a struggling relationship. "We used to laugh, we used to sing... We used to dance, we were our own scene." It's a catchy gateway to the rest of the album and hints at the band's maturity, both in the artistic and physical sense.
"Scared of Fear" then transitions into the equally frustrated "React, Respond," which appears to be a culmination of the last four years of social and political events in the US. No strangers to activism and speaking out against political leadership, "React, Respond" takes Pearl Jam back to its roots, more specifically to the Vs. era. On the surface, the song is a call to action to unite for a greater cause. "When what you get is what you don't want... Don't react, respond."
Described as a "guitar-heavy" record, Dark Matter is heavier than some of Pearl Jam's previous albums. Mike McCready's explosive solos are peppered throughout as well as Stone Gossard's memorable riffs. More than ever, the pair plays off of each other well. As far as guitarists go, on Dark Matter, McCready is a barrage of fireworks, while Gossard's work is like a steady crash of waves—both very different types of playing, but still amazing sights to behold. Additionally, Jeff Ament's bass line grounds the music.
My personal two favorite songs on Dark Matter are side by side: "Upper Hand" and "Waiting for Stevie."
"Upper Hand" is a supersonic journey led by Gossard's mesmerizing composition. Another wistful song, "Upper Hand," longs for simpler times. With an ambient beginning, the song morphs into a psychedelic, Pink Floyd-esque sound. The song will be a favorite during live shows and is one I can't wait to hear.
Meanwhile, "Waiting for Stevie" is euphoric, and exemplifies the healing power of live music. A tearjerker (at least to me), "Waiting for Stevie" is a song that has been decades in the making. Emotional and uplifting, the song will likely find itself among other powerhouses such as "Alive" and "Given to Fly." Concluding with an electric solo by Mike McCready, "Waiting for Stevie" represents over 33 years of what makes Pearl Jam special.
Other songs such as "Won't Tell," "Something Special," "Got to Give," and "Setting Sun" help round out the record.
In numerology, 12 represents completion and creative power. As Pearl Jam's 12th album, Dark Matter is indeed a powerful addition to the band's body of work. At this point, Pearl Jam has already reached for the stars, so now it's time to see what lies beyond that. Dark Matter is emblematic of the band's expansion. Luckily, there's more than enough space to explore.
Dark Matter is now available on all major streaming platforms.
The record was released on April 19th and is now available on vinyl.
