Townsend's Solitaire Is 'Glad to Be Alive' With New Single
"Glad to Be Alive" is a song that captures the struggle of keeping it together while everything is falling apart. The recurring theme of "Glad to Be Alive" is resilience.
What does happiness mean? It's a loaded concept that has a fluid definition. When everything around you seems to be falling apart, at what point can you say whether you're happy or not? It's a really tough set of questions that begets more questions. The answer can vary during any stage of life or even vary depending on the time of day in some cases.
There is still a stigma that surrounds the topics of grief and suicidal ideation—and even the definition of happiness, but Bobby Odle is tackling them head-on through his work with Townsend's Solitaire, a Seattle-based chamber folk band.
Odle's songs, largely inspired by various events in his life, are raw and honest. Pulling no punches, Townsend's Solitaire often chooses unfiltered storytelling with little use of metaphor. It's a level of honesty that is refreshing to hear.
Colored largely by the passing of his older brother Chris when he was a child, Oldle uses his platform to make sense of the more recent losses of his childhood best friend Tanner, his uncle, and a romantic relationship. Odle also speaks openly about mental health and the journey of working as an artist in Seattle. Channeling his life experiences through music, Odle has woven a series of songs for the band's first full-length album.
Leading up to the debut album, Townsend's Solitaire unveiled the first single, "Glad to Be Alive," which is also the name of the album set to come out this summer. The album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Olde 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.
"Glad to Be Alive" sets the album tone, and celebrates being alive while life undergoes a series of curveballs. While some of the lyrics are heavy, the composition is whimsical and optimistic, utilizing guitar, piano, cello, violin, flute, and clarinet.
"Glad to Be Alive" is a song that captures the struggle of keeping it together while everything is falling apart. The recurring theme of "Glad to Be Alive" is resilience. As someone who has attempted to figure out how to navigate life in Seattle after trauma, the lyrics, "I've been holding on to hope... Letting myself love what I love most... Even if I'm not happy, I can still be glad to be alive," resonate. It is a reminder to Odle himself (and all of us) to keep going.
I am looking forward to hearing what the rest of Glad to Be Alive has in store.
"Glad to Be Alive" is now available to stream on all major platforms as of April 19th.
The album of the same name, Glad to Be Alive will be available on Spotify and vinyl on June 28th. Additionally, Townsend's Solitaire will be holding an album release party at Woodland Hall in Seattle with local indie-folk artist Ollella.
Celebrating the Feminine Rage and Despair of Hole's 'Live Through This'
No matter its origin or surrounding lore, Hole's most notable album has become synonymous with powering through the chaos of life. For 30 years, Live Through This has been the epitome of feminine rage and despair.
As I ponder the timing of the release of Hole's Live Through This, it seems like a cosmic joke. On April 8th, 1994, the Earth stood still as the news of Kurt Cobain's untimely passing rippled through the Universe. It was an event that rerouted the course of music history, causing a media firestorm that still burns today. Released just four days later, on April 12th, 1994, Live Through This seemed like a direct response to the occurrence, however, it wasn't—contrary to popular belief.
Live Through This is stated to be derived from a line in Gone With the Wind. Standing on top of the ashen wreckage of her plantation, Scarlett O'Hara proclaims, "As God is my witness they're not going to lick me. I'm going to live through this and when it's all over, I'll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat, or kill. As God is my witness, I'll never be hungry again."
O'Hara's words are incendiary—lit by a match of spite. She decrees that she will survive regardless of the obstacles, and thrive afterward by any means necessary. It's a pretty fitting declaration for frontwoman Courtney Love, who clawed her way from tumultuous beginnings to rock superstardom. Whether you love her or hate her, there's no denying Love carved a space for herself in pop culture.
No matter its origin or surrounding lore, Hole's most notable album has become synonymous with powering through the chaos of life. For 30 years, Live Through This has been the epitome of feminine rage and despair. Constantly pilloried, yet constantly emulated, Love was appointed patron saint of pissed-off women worldwide, as she was a mouthpiece for those who often couldn't outwardly express their own anguish—myself included.
Live Through This helped fuel my own "as God as my witness" moment, becoming a more potent influence in my life than ever before. The words always resonated with me but mutated into an anthem of survival and defiance as I embraced the rage that fueled my will to live again. Sometimes spite is that one little push that helps you move forward.
At its release, Hole's members included Love, guitarist Eric Erlandson (who also often co-wrote), drummer Patty Schemel, and bassist Kristen Pfaff. Pfaff brought the professionalism needed to craft Hole's new sound. While both albums are often considered part of the "grunge" movement, Hole's debut Pretty on the Inside was an audio diary inspired by noise and punk, and Live Through This is slightly more polished for mainstream appeal, packaging Love's frenzied wails and the band's feverish instrumentals with beauty pageant, doll-inspired, and pastel candy aesthetics.
Semi-autobiographical, Live Through This was mined from Love's experiences with toxic relationships, being vilified by the press, her launch into motherhood, and the insecurities of being with a partner who was a larger-than-life figure. At the time, Love created songs about subjects largely glossed over by her male contemporaries. On the album, Love's genius was able to shine on its own accord, forever branding herself as "The Girl With the Most Cake."
Live Through This opens with the soul-splitting "Violet," an ode to a tumultuous relationship and sexual exploitation. The twenties-inspired video follows the same themes, juxtaposing strippers with young ballerinas, who are both leered at by suited men. "Violet" is a lightning strike as Love screams "Go on, take everything, I want you to.." inviting listeners into her pain. To this day, as I listen to "Violet," I feel a curdle in my stomach when I hear "Might last a day... Mine is forever..." To me, it's a song that captures the emotional scars left behind by a bitter breakup.
"I'm Miss World, watch me break and watch me burn..." The album doesn't ease up as it moves forward to "Miss World," which hides dark lyrics under an upbeat melody and the glitz and glam of pageantry. The song laments trying to uphold beauty standards and engaging in self-destruction. On-screen, Love stands in front of a glittering sign, "Cleanliness is close to Godliness," hinting at the pursuit of perfection.
As Live Through This continues, Love's body is a battleground—whether it be due to motherhood, substance abuse, societal expectations, or sex. "Plump" details Love's experience with pregnancy and post-partum depression. Love's role as a mother is also referenced in "Softer, Softest," and "I Think That I Would Die." The biting "Asking For It" is a song that deals with rape, both in the physical and metaphorical sense.
The most successful song on Live Through This is "Doll Parts," in which Love takes on a more melancholy tone. Known for her biting lyrics and rage, "Doll Parts" takes time to despair over the insecurity of being with someone (that someone being Nirvana frontman Kurt Cobain) that the whole world seemingly desires. Love takes a step down and allows herself to exhibit a longing that isn't quite present in earlier work.
Vulnerable and sharp, Love spills her guts between the notes of Live Through This. For a little while, one of the most famous rock stars ever comes down to Earth. The sad reality of Live Through This is that as women, most of us share the same experiences. Whether it be on a small scare or a large scale, you're under a microscope.
With her private life on display and ripped apart, it's still baffling that Love and Hole were able to power through motherhood, fame, and tragedy to create something that has withstood the test of time. Despite the obstacles thrown Love's way, Live Through This showcases resilience. It says, "I'm still here and I'm not fuckin' leaving."
Because of this album, so many others have made the same declaration.
Hatis Noit Gives a Moving Performance for Her Seattle Debut
Noit, a Japanese-born, London-based vocal performer, is an autodidact who exclusively uses her voice in her work. The performer stands out due to her ability to transform and use her voice as an instrument, layering her vocals to create otherworldly harmonies.
While waiting for Hatis Noit to take the stage, the audience was seated, consoled by light pop music emanating from the speakers. There was a hushed chatter among the audience, many anticipating Noit's arrival. In between songs, I could hear mindless conversations about cushy tech jobs, weekend plans, and Seattle's streak of good weather.
A little past 8:00 p.m., the background music switched off and was replaced by an angelic voice from the back of the sanctuary of the Fremont Abbey. At first, it seemed as if the sound was from the speakers. However, Noit's real and clear, ethereal voice was the one that had taken over—much to the audience's surprise. She stood at the back of the room, adorned in a flowing white Issey Miyake-esque ensemble. As she sang, Noit slowly made her way to the stage, which held a simple setup of two microphones—one connected to a looper.
The Fremont Abbey is home to many minimalist, acoustic-dominant performances—an ideal location for Noit's first performance in Seattle. Between songs, Noit stated how she was in awe of the beauty of the city and its nature (particularly its proximity to the ocean), and was also thrilled about Seattle's great weather, which was timely for her brief visit.
According to her biography, "The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root represents the spirit world, therefore Hatis Noit is what connects the two."
Noit, a Japanese-born, London-based vocal performer, is an autodidact who exclusively uses her voice in her work. The performer stands out because of her ability to transform and use her voice as an instrument, layering her vocals to create otherworldly harmonies. By her admission, Noit prefers not to use computers—opting primarily to craft her sounds live. Additionally, Noit takes inspiration from numerous avenues: "Gagaku—Japanese classical music—and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists."
Noit's collaborations include Matmos, Kevin Richard Martin, Masayoshi Fujita, the London Contemporary Orchestra, and David Lynch for the Manchester International Festival. She has also made appearances at Milan Fashion Week. Additionally, Noit's vocals can be heard in a teaser trailer for the FX series Shogun.
After releasing her debut album, Aura, to much critical acclaim, Noit embarked on her debut tour in North America following a stint in Germany and Belgium. So far, Noit has visited cities such as Portland, San Francisco, New York City, and Los Angeles. Noit's first-ever appearance in Seattle was well-received, culminating in a standing ovation after her performance.
During her set, Noit performed various songs from Aura such as the title track, "Jomon," "Angelus Novus," "Thor," and others.
Throughout the set, almost super-human, Noit alternated between operatic vocals, birdsong, chanting, and classical Japanese music influences. There were no accompaniments, even for the percussive bits, which were created on the mics as well. Noit's range is impeccable, demonstrating her astute dedication to her craft. Through her voice, Noit was able to transport listeners to another dimension. Haunting, yet beautiful, Noit's art is the kind that needs to be experienced live. She exhibits the rare talent where her vocals are superior in person to any recordings.
Later on, in a moving performance, Noit performed her song, "Inori," which translates to "prayer." Although Noit refrains from using pre-recorded sounds, an exception was made for this song. As the room was bathed in a soft blue light, Noit played the sounds of the waves from the ocean near Fukushima, home of a catastrophic nuclear disaster that occurred in 2011. The song was created in 2017 after Noit participated in a memorial ceremony for Fukushima's evacuation zone. The performance evoked a sense of nostalgia and also melancholy. According to Noit, "Any sound has a memory of a time."
Along with the waves, was the cacophony of seagulls, construction, and the low hum of traffic. While she sang, once again, Noit roamed the room, gliding like an apparition among the eery blue glow. For a few minutes, the listeners in the sanctuary were transported to the hollowed ground that Noit gracefully paid homage to.
Noit closed out her set with "Sir Etok," (translating to "Where the land ends") inspired by her birthplace in Hokkaido, Japan. Considered one of the most beautiful places in the country, and home to some of the last untouched swaths of wilderness, Shiretoko serves as Noit's muse. Before the song, Noit described feeling lost following her move to London. "Shiretoko" was a way to reconnect to her roots. It was an emotional close to an outstanding set.
Noit's next U.S.-based performance for the Aura tour will be on April 5th at the Mission Creek Festival in Iowa City, Iowa.
Noit's debut album, Aura, is now available via Erased Tapes.
For more information on Hatis, visit hatisnoit.com.
Byland's 'Heavy For a While' Lays Down Its Burdens Through Song
Heavy For a While is the latest effort from Seattle-based duo Alie Renee and her partner Jake (the name Byland is derived from the couple's surname). Described as "cinematic indie rock," Byland's atmospheric music is colored by the vulnerability of its lyrics, laying down burdens through song.
As if releasing the weight of the world from her shoulders, Alie Byland exhales at the opening of Heavy For a While, which also opens with a track of the same name. The sigh is a culmination of years of frustration, despair, and the crippling burden of isolation. In fact, on the cover, Alie is arched forward—a physical manifestation of the 10 of Wands card—barefoot, and her hair loose. Her fingers are grazing the floor. Her pose is one of exhaustion almost, looking toward the viewer as if to say, "I've had it."
Right off the bat, it's obvious that Heavy For a While will be well, heavy. It's the kind of album that's an ideal soundtrack for a solo trip when you've got a lot on your mind. Deeply resonant, the album will speak to its jaded audience who is searching for a sense of "normalcy" after a series of unprecedented events.
Heavy For a While is the latest effort from Seattle-based duo Alie Renee and her partner Jake (the name Byland is derived from the couple's surname). Described as "cinematic indie rock," Byland's atmospheric music is colored by the vulnerability of its lyrics, laying down burdens through song. Alie is the frontwoman, the vocalist, and the primary instrumentalist, while Jake engineers and co-writes. Heavy For a While is preceded by Gray and Desert Days.
Comprised of 10 tracks, Heavy For a While is a work that embarks on a mission to spill the inner content of Byland's soul. Largely inspired by the couple's experiences during COVID lockdown and a return to New Mexico for about two years, the album ponders home and a sense of belonging—wherever it may be. The album was completed in Seattle, under the production of Nathan Yaccino (Pearl Jam, Brandi Carlisle, Tanya Tucker). Additionally, the couple penned the songs independently before perfecting the final product.
Following the opener, Byland meanders into a string of contemplative songs such as "Lean In" and "Settle My Mind," which delves into the home of someone struggling with anxiety and depression. Later, Byland discusses a friend frozen in time in "Two Circles." The existential "Temporary Everything" is dreamy, yet straightforward with its lyrics, "Everything's existential... monumental... The end of the fucking world...I'm feeling jaded..."
One of the most powerful songs on the album is "Darts," a vibrant ode to how dreams don't always reflect reality. Accented by string instruments and piano, "Darts" is a loaded entry before the lighter "Monstera," which continues with a similar theme, as Byland reflects on a childhood best friend. Next, perhaps the most cinematic fare on Heavy For a While is "Like Flies." The song starts low and breezy before reaching its symphonic chorus. Emotional and complex, "Like Flies" is a climactic song that showcases the best of Byland's composing and songwriting abilities. "Postcards" once again leans into the past, this time remembering those long gone. Heartbreaking, "Postcards" laments, "I have a hard time letting go..."
Heavy For a While concludes with the understated piano track "End Scene." Lighter than the previous songs, "End Scene" is a fitting closer. In the song, Byland ponders a life that's blurred by the demands of performance. Is there a difference between being in the audience and being on stage? What happens when the curtain falls? The questions unanswered linger long after the final note is played and the music fades away.
Overall, Heavy For a While is fueled by wistfulness for simpler times, existential dread, and navigating a society that occasionally shuns authenticity. A reflection of the times, the album is a testament to Byland's maturity. Heavy For a While is incredibly raw, and being raw is one of the first steps toward healing and letting go of the past.
Heavy For a While is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 29th and is also now available.
Gossip's 'Real Power' Is a Return to Form
After a 12-year hiatus, Gossip has emerged with a new album, Real Power. Unexpected but welcome, Real Power celebrates the return of the musical trio and its signature sound of soulful vocals and dance-friendly beats.
There is power in absence, and undeniably the band Gossip was missed. Known for its work that combines the sounds of pop, punk, and disco, Gossip has made its mark as a queer feminist powerhouse since its founding in 1999. The band is currently comprised of vocalist Beth Ditto, guitarist Nathan Howdeshell, and drummer Hannah Blilie.
Following the release of its 2006 album Standing in the Way of Control, Gossip found mainstream success, especially in Europe. Since then, the Portland-based band has made numerous chart appearances, toured internationally, and released additional albums such as 2009's Music for Men. However, the momentum stalled as the group separated to focus on independent projects for a few years. The band's last album was 2012's A Joyful Noise.
After a 12-year hiatus, Gossip has emerged with a new album, Real Power. Unexpected but welcome, Real Power celebrates the return of the trio and its signature sound of Ditto's soulful vocals and dance-friendly beats, produced by the renowned Rick Rubin (who also produced Music for Men).
Kicking off with the high-energy anthem "Act of God," Real Power is a powerful reintroduction to Gossip. Reminiscent of '60s girl group songs, "Act of God" sets the tone with high-octane lyrics. Real Power revels in the beauty of being alive and encourages existing in a time when there is so much opposition from the government and society as a whole. Real Power packs a punch and manages to be more relevant than during the time of its writing.
The next song in the lineup, the title track, is a disco-themed song that was penned in response to the events in 2020. As the majority of the United States was on lockdown due to the COVID pandemic, and protests broke out due to the death of George Floyd, Ditto's lyrics are defiant and signify a desire to go against the system. During its release in 2024, Real Power is a crucial album as protests continue to erupt, and various authorities attempt to strip away the rights of the marginalized, particularly the LGBTQ+ community.
As Real Power moves forward, the songs become more personal. An overarching theme of Real Power is that of strained and broken relationships. As evidenced by the passage of time, the band uses the album to lament a string of losses as well as celebrate love itself. Songs such as the poppy "Don't Be Afraid," "Crazy Again," stand out track "Turn the Card Slowly," "Tell Me Something," and "Peace and Quiet" all point to the impact of love and its human collateral. However, the album provides more nightclub fare such as "Give It Up for Love," which is an ode to love that blooms once again.
Real Power closes with "Peace and Quiet," which contemplates the freedom of being alone but ponders on the struggle that comes with transitioning out of a relationship. The song is a complete foil to the album's opener and leaves the listener contemplative, possibly desiring more.
Overall, Real Power is a solid return for Gossip. An ideal soundtrack for the warmer months, Real Power doesn't stray too far from the band's roots. For seasoned fans, that may be a good thing.
Real Power is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 22nd and is also now available.
Steve Roach Celebrates 40 Years of 'Structures From Silence'
Celebrating 40 years of his groundbreaking album 'Structures From Silence,' renowned synthesis Steve Roach kicked off his tour of the same name on Friday evening at one of Seattle's most notable landmarks.
Not much can bring the residents of the largely secular city of Seattle to church on a Friday evening. However, Seattle First Baptist Church's sanctuary was packed on March 15th for an immersive experience that can be described as an exaltation of the marriage of sound, light, and architecture. If the city's residents can be counted on to congregate for anything, it's always due to the power of music.
Reflections, a curated experience crafted by Bob Maynard and Brandon Shotwell, partners "legends of new age and ambient music with cinematic visuals, uniting sound, light, and sacred architecture for a uniquely visceral experience."
Reflections unites old-school spaces with new age sounds to create a religious experience for audiophiles. Due to the meditative nature of ambient music, it is often experienced privately, with minimal environmental stimulation. However, Reflections allows listeners to enjoy its fare in a communal setting that transforms the music into an audio and visual spectacle, yet one that still manages to be reflective.
Since its inception in 2023, Reflections has traveled to a multitude of esteemed venues in New York, Chicago, Los Angeles, Denver, and Portland. The series has also showcased composers such as Suzanne Ciani, Suso Sáiz, Ben Neil, and most recently, Tuscon-based Steve Roach.
Celebrating 40 years of his groundbreaking album Structures From Silence, the renowned synthesist kicked off his tour of the same name on Friday evening at one of Seattle's most notable landmarks.
Structures From Silence, released in 1984, was a genre-defining work in the ambient and electronic space. The album still resonates with listeners today due to its atmospheric melodies and understated, yet magnificent soundscapes interlaced with Roach's "breathing chords." A combination of analog synthesizers, acoustic instruments, and more, Structures From Silence marked Roach's departure from his German electronic music roots.
The meat of the album lies within its three long-form tracks, the opener being "Suspensions in Reflection," followed by "Quiet Friend," and a closer with the title track. Since 1984, there have been reissues of the work, the most recent of which dropped in February.
Since its debut, Structures From Silence has been a go-to for relaxation, contemplation, and meditation. Not unexpectedly, the album is the ideal soundtrack for a healing journey.
The Seattle First Baptist Church, completed in 1912, stands tall in the First Hill neighborhood, which boasts an eclectic mix of modern Pacific Northwest architecture and the Seattle of yore with its cookie-cutter highrise apartments and increasingly disappearing signature structures.
The English gothic church, one of the last of its kind, is known for its intricate, colorful stained-glass windows, and a spire that looms above its surrounding buildings. A gathering space for one of the earliest congregations in Seattle, the church is home to regular Sunday services in addition to countless live music events.
The setting could not have been more of a match for Roach's otherworldly sounds. Inspired largely by Earth's majestic landscapes, Structures From Silence pays homage to "creation," from the conjurings of nature to manmade manifestations. For over two hours, Roach performed from the pulpit, transporting the eventgoers to the astral plane through his instruments.
As soon as the lights dimmed in the sanctuary, Roach immediately launched into his performance, needing no further words to introduce the experience. In a rare sight, there were barely any phones present to film the affair, as many of the listeners took the time to basque in the soundwaves emanating from the stage. Similar to the way churchgoers bow their heads down in prayer, the audience had allowed themselves to close their eyes, bow their heads, and even lean back to enjoy the two-hour presentation. For a little, time was suspended. Unlike most live events, there was time to bask in silence... as intended. There were no breaks for words or platitudes to the audience. The audio affair went on uninterrupted, keeping the congregation in quiet anticipation for the remainder of the night.
The implementation of visuals from Pacific Northwest artist and Björk collaborator Sean Hellfritsch tied the architecture and Roach's sounds. Hellfritsch's delicate, floating lights were a great accent to the event. The visuals followed the rhythm of nature, at times simulating the flow of water, a sunrise over the desert, or a quiet ride through space. Never flashy, never overwhelming (much like Roach's work), the accompanying elements created a truly unique and meditative experience.
Towards the end of the set, the music gently faded out, calmly luring the listeners back to reality. Instead of an ostentatious finale, Roach opted for something mimicking that of the sun setting on the horizon. It's a beautiful sight that slowly lingers (and that you can't take your eyes off of) until the darkness envelopes the sky. Following the conclusion of his performance, Roach was met with a rousing ovation. Although there had been absolute quiet during the performance, a lively celebration erupted as a nod to the composer's impact and artistry.
Roach's next performance on the Structures From Silence tour will be on April 6th in San Francisco. For more events, visit ageoreflections.com/calendar.
The 40th anniversary edition of Structures From Silence is available here.
For more information on Roach, visit steveroach.com.
Revisiting Soundgarden's 'Superunknown'
March 8th, 2024 marks the 30th anniversary of what's considered Soundgarden's breakout album, Superunknown. For me, Superunknown was one of the gateway albums to my love affair with rock music.
March 8th, 2024 marks the 30th anniversary of what's considered Soundgarden's breakout album, Superunknown. For me, Superunknown was one of the gateway albums to my love affair with rock music. I don't remember exactly how I found it, but I recall seeing "Black Hole Sun" in my YouTube recommendations back in 2009 (?) as a junior in high school. Although I don't remember the exact year, I do know that I had some downtime during my Drafting class and was dilly-dallying online, watching '90s music videos. At that point, I'd found a lot of music through my mother (a true Gen X-er), but I can say that Soundgarden was one of my first independent discoveries.
Once I saw the brightly saturated colors of the suburban cult and the deliciously demonic visuals that accompanied Chris Cornell's low, slow snake charmer voice, I was hooked. "Black Hole Sun" is something I can only describe as the audio equivalent of taking mushrooms on a 110-degree summer day in Southern California... or maybe the sound conjuring of Salvador Dali's The Persistence of Memory. It's a trip that starts blissful and bright then descends into an apocalyptic frenzy where you can't help but wonder if the end is nigh.
15 years have gone by, and it's been a very long time since I've listened to Superunknown all the way through. When it comes to Soundgarden, Screaming Life is my go-to. However, I recently decided to revisit the well-known Superunknown once more.
Following the massive 1992 Lollapalooza tour supporting the release of Badmotorfinger, Soundgarden started crafting their album in the hopes of exploring new sounds. Arduously recorded in 1993 at Seattle's Bad Animal Studios with the steadfast guidance of Michael Beinhorn, Soundgarden drifted away from its early punk influences and created a 70-minute behemoth that's powered by complex arrangements and the combined lyrical and composing prowess of bandmates Chris Cornell, Kim Thayil, Ben Shepherd, and Matt Cameron.
Marking its fourth studio album with Superunknown, Soundgarden pushed the boundaries of its musical horizons. Already a band for nearly a decade during the album's release, Soundgarden's ascent to rock superstardom was a steadier one than that of their hometown peers. Following the heavy and raging in-your-face tunes of Badmotorfinger, Superunknown emerged more polished and tinged with despair and psychedelia—which was a winning recipe that led to the band's most recognized work. Superunknown was also more radio-friendly and "palatable" for heavy MTV airplay than the band's earlier works, which were considered to be metal. With the increase in exposure, Soundgarden's journey on the snake mutated into an anaconda that wound itself tightly around the music industry and fans around the world. After 30 years, we're all still feeling the squeeze.
Superunknown opens with the punchy "Let Me Drown," which continues the theme of Soundgarden's references to religious visuals, ones of which were previously peppered throughout the Badmotorfinger era (most notably with "Jesus Christ Pose"). Fueled with frustration, "Stretch the bones over my skin... Stretch the skin over my hand... I'm going to the Holy Land" is a hell of an intro.
Following "Let Me Drown," Superunknown veers into a moody epic that experiments with hard riffs, powerhouse percussion, and Cornell's hypnotic vocals. Cornell, Thayil, Cameron, and Shepherd all make major contributions, switching on songwriting (and sometimes singing) duties and utilizing other instruments such as keyboards, viola, and even spoons.
The first song leads into the anthemic "My Wave," before going to the melancholy "Fell on Black Days," which slowly ponders the impending doom that exists in the universe.
As the album trudges on, Soundgarden's lyrics point to disillusionment with society through songs like "Mailman" and "Head Down." The title track, "Superunknown," is a bit more optimistic and esoteric in its urge to listeners to change their perspectives on life. A lot of our existence is indeed unknown, but it's up to us to make the most of it... At least that was my interpretation of the lyrics. "If it isn't making sense... Yea, it doesn't make it lies..."
Near the halfway point, Shepherd's catchy "Head Down" transitions into the trippy wasteland of "Black Hole Sun." After that, Superunknown rocks on with "Spoonman," "Limo Wreck," "The Day I Tried to Live," and "Fresh Tendrils." Throughout the album, Soundgarden presents songs that tackle depression, frustration, isolation, and conformity. With many nods to water in the lyrics, the music flows during the 15 tracks, sometimes like a gentle stream, and others like an angry waterfall.
My favorite song on the entire album is "4th of July," which is a sludgy tune that signals the coming rapture alluded to in the album's earlier songs. "4th of July" is dark and sinister, painting a picture of a Biblical occurrence akin to that in the book of Revelation. As I mentioned "Black Hole Sun" is a mushroom trip, "4th of July" is a trip gone completely awry. Luckily the dreary song is followed by the mellow Indian-inspired "Half," (another Shepherd-dominant track) which marks a comedown back to reality.
Superunknown closes with the contemplative "Like Suicide," which drew inspiration from Cornell's experience of finding a dying robin by his window. The song eulogizes the robin, which can be seen as a metaphor for how we all fly through life and tend to crash into things, and for the fleeting nature of life and how we all continue to soar... until that time comes to an end. Superunknown then fades, leaving listeners with something to ponder.
One of the defining albums of the '90s, Superunknown has withstood time and continues to resonate with younger music fans like myself, as well as those who were with Soundgarden in its Seattle infancy. Although Soundgarden wasn't seeking mainstream success, the band stayed true to themselves and put craft above all else, which led to an album that changed music history.
Brittany Davis's 'Image Issues' Is An Auditory Odyssey of Trials and Triumph
Recorded over a few years, Image Issues is an auditory odyssey of the mind of Davis, serving as a “sonic film” that includes perceptions and recollections with Davis’ innermost thoughts spread throughout.
I had barely been in Seattle eight hours when I saw Brittany Davis performing at the Rabbit Box for the first time. Earlier that day, I had completely uprooted my life, leaving behind my home at an abusive commune and a toxic partner. My mind was in a haze, as I struggled to process that I wasn’t in Los Angeles anymore and that I had made a massive decision that had changed the trajectory of my life. During that time, I felt as if I had jumped off a plane without a parachute and had hopes I’d land gracefully on my feet.
After seeing a post on Instagram, I decided to head over to the Rabbit Box by Pike Place Market since it was within walking distance of where I was staying. The venue was mellow that night and a bit more intimate than I was comfortable with in my confused state. I was accidentally late to the show, with Davis wrapping up their set. While Davis sang, I hung out by the bar, enjoying my first celebratory drink in my new city. At the end of the set, Davis spoke with a conviction on par with a seasoned evangelical. The last song of the night was oddly fitting to the circumstances, “I Choose to Live,” which can be found on Davis’s EP of the same name. Following the performance, I had more of a sense of calm in where my new life was going.
Right off the bat, I admired Davis’s extraordinary ability to capture a room and the immense display of vulnerability laid out on the stage. Davis has a proclivity to not only sing about trauma and adversity but rise above it. Additionally, I noticed that Davis’s unique musical perspective offers an overall message that uplifts the listeners, no matter how they identify or where they come from.
On March 1st, Davis released their debut album Image Issues through Seattle-based Loosegroove Records, which was co-founded by Stone Gossard (Pearl Jam, BRAD, Mother Love Bone) and Regan Hagar (BRAD, Satchel, Malfunkshun). Loosegroove currently boasts an eclectic, yet exciting group of talents which also includes up-and-comer Zoser, Jonny Polonsky, Mason Jennings, U.K.-based bands Tigercub, and James and the Cold Gun, as well as Painted Shield of which Davis, Gossard, and Jennings are a part of alongside Matt Chamberlain and Jeff Fielder.
Image Issues was written, composed, engineered, and performed entirely by Davis and co-produced by Josh Evans (Pearl Jam, Soundgarden, Brandi Carlile). Mentored and championed by Gossard, Davis has let loose on a record unlike anything else available right now… and it certainly does call for a celebration of Davis’s accomplishment.
This past weekend, Loosegroove put on a three-part showcase and celebration of Davis’s work, alongside some other artists on the label. Once again, Davis played an intimate set at the Rabbit Box, which was preceded by a record release party at West Seattle’s storied Easy Street Records. The next day, Loosegroove took residence in the historic Paramount theater for a revue—allowing a stage that’s well-deserved for Davis to exhibit to a larger audience.
Recorded over a few years, Image Issues is an auditory odyssey of the mind of Davis, serving as a “sonic film” that includes perceptions and recollections with Davis’s innermost thoughts spread throughout. It’s an extraordinarily raw portrait of the artist and their existence in a series of songs that traverse genre and are intertwined with spoken word segments entitled “Treadmill Memories.” Through 26 tracks, Davis, to put it plainly, lays their shit on the table and shows us life as a Black, blind, and non-binary musician navigating a world rife with racism, ableism, and fatphobia. One of the main driving forces of Image Issues is that Davis encourages the listener to experience movies and sound as they do.
Davis, for about an hour, takes listeners on a journey of humble beginnings in Kansas City to grappling with cycles of abuse, family incarceration, losing their father, struggling with bodily image, confusing relationship dynamics, and dealing with new success as an artist. Shattering the confines of genre and form, Image Issues launches with a spoken word intro and takes off with tunes that are comprised of house, ‘90s R&B, ‘70s disco and soul, hip hop, and gospel, among others.
Though Davis’s Inner Saboteur lingers throughout the tracks, Davis also teeters between meditations on grief and loss, and lots of frustration, yet is also affirming to themselves and listeners. Toward the end of the record with the song “Soft As the Sand,” Davis takes a step off the cyclical treadmill and moves toward inner peace and self-acceptance. Image Issues, at its core, is a huge middle finger to the box that many Black creatives are so often placed. It shrugs off social expectations and the limits of creative expression. It is a love letter not only to the other “big, broke, Black, and blind bitches,” but to Davis themself.
Some of Image Issues’ standout tracks are the atmospheric “Through the Motions,” the melancholy ode to Davis’s father “Daddy’s Gerl,” the intense “Follow My Lead,” the uplifting anthem “So Fly,” and the crowd-pleasing track “Sepricon.”
Davis’s words were poignant and moved me as a fat (half) Black woman who has been moving past trauma, taking on my image issues, and consistently navigating spaces where I am almost always one of the few, and at times, the only of my kind. At times, Davis’s words were even quite sobering and difficult to digest, but crucial while I work to get off the metaphorical treadmill of my own and continue towards a journey of self-acceptance and healing from abuse and how I sometimes fear how society perceives me.
Following the release of Image Issues and the Loosegroove Revue, I am hopeful to see that Davis’s “sonic film” will reach more people who really could benefit from hearing it. Those incendiary words just might be what they need.
Image Issues is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 1st and is also now available.
