Oblé Reed and TeZATalks Get Original With 'Hard Copies'
We know it was a hit from the ringtone flip phones (or smartphones), but we hope "Hard Copies" propels Reed into viral success once again.
Oblé Reed is a talent on the rise and continues to be one to watch. With a distinct visual style, conscious lyrics, and a fervent passion for his city, Reed's ascent in the local music scene and beyond is no surprise. This week, Reed dropped his latest song, "Hard Copies," in collaboration with friend and fellow trailblazing artist TeZATalks (who released the critically acclaimed Black Girl American Horror Story). Produced by fantompower, the release includes a music video directed by Ezra Bantum.
It's "Hard Copies," but Reed is a bonafide original who is cementing himself as part of Seattle's often understated, but rich hip-hop legacy. Following his EP Retrovision, Reed has kickstarted 2025 with a new pair of songs and visuals. Just earlier this month, Reed released the visuals for his song "EN ROUTE," featuring Sol ChYld, and in January, "More Anniversaries." "Hard Copies" looks to be the beginning of a new project set to release soon. Reed has built a reputation for his high-concept, high production values, as his Retrovision and debut album Lindenave! include "full project experiences," which are collections of visual accompaniments to his sound.
As a nod of what's to come, Reed has been building anticipation and hinting that his latest song is only the second in a series. He teased on Instagram, "TRACK 2 of ??🖨️HARD COPIES w/ @tezatalks 3/26."
According to WASH Magazine, TeZATalks and Reed have been friends for some time, but this is the duo's first recorded collaboration. Two of the most exciting acts in Seattle, this was a fateful event. Not unexpectedly, "Hard Copies" is catchy and fun. The song goes hard, and so does its music video.
Ezra Bantum's creative work only elevates the music. Continuing his flair for mixing the retro and the now, the "Hard Copies" video includes Xerox flashes, and corded phones over a plain back background as Reed and TeZATalks rap. Reed continues to showcase his lyrical prowess while TeZATalks becomes a vocal chameleon. Talk about "WHOA."
We know it was a hit from the ringtone flip phones (or smartphones), but we hope "Hard Copies" propels Reed into viral success once again.
"Hard Copies" is now available to stream on all major platforms as of March 25th.
Byland and Abby Gundersen Cover Nirvana's 'Lithium'
Kurt Cobain's rebellious, angsty lyrics have taken on new meaning with Byland's cinematic and whimsical direction. Byland's "Lithium" inspires more introspection and meditation on Cobain's incendiary words.
If anyone can do justice for a Nirvana cover and put a unique spin on one of their songs, it's indie rock artist Byland. There have been numerous Nirvana covers over the past three decades, but it seems fitting that an artist from Washington has reinterpreted a song from what undoubtedly is the state's most famous musical act.
Joined by multi-instrumentalist Abby Gundersen (Phoebe Bridgers, Death Cab for Cutie, Noah Gundersen), performer Alie Byland lends her voice and piano skills to one of Nirvana's most recognizable songs, "Lithium."
Produced by Nathan Yaccino (Soundgarden, Brandi Carlile, Noah Gundersen), the new rendition is a slowed-down, softer version of the punk-influenced song. According to a release, Byland's contribution is an "eerie, spoken word version on piano, replacing the chorus's iconic 'yeahs' with a striking double octave melody."
An unexpected but welcome release, Byland did not discover Nirvana until the age of 30 due to being in a cult. Yaccino had introduced Byland to the song "Lithium," and enchanted by her take, Yaccino was eager to return to the studio. The result is a beautiful hybrid of Washington's musical past and present. It also intertwines with Byland's story as it's a song that likens the allure of religion to a drug. Isn't that how most cults are born and thrive? As someone embroiled in religion and cults myself, I can relate.
Kurt Cobain's rebellious, angsty lyrics have taken on new meaning with Byland's cinematic and whimsical direction. Byland's "Lithium" inspires more introspection and meditation on Cobain's incendiary words. Over a soft piano and the sweet strum of a viola, it's easy to get lost. The words are still impactful, but instead of a punch in the gut, it's more of a low, curdling feeling in the pit of your stomach.
"Sunday morning is every day for all I care... And I'm not scared... Light my candles in a daze... 'Cause I've found God..."
"Lithium" is now available to stream on all major platforms as of March 18th.
Read the review for Byland's Heavy for a While.
Matt Cameron and Shaina Shepherd Unite for 'New Beginning' EP
The 'New Beginning' EP is a musical collaboration where Matt Cameron spreads his creative wings and takes a step from behind the drum kit and on to center stage alongside Shaina Shepherd.
The first time I saw Matt Cameron and Shaina Shepherd live, not mincing words, it was the collaboration I never knew I needed. It was the white picket fence marriage of musical badassery as Cameron's sucker punch to the face drumming and Shepherd's paint-peeling vocals completely ransacked the Moore theater and ultimately, my peace of mind. Is it appropriate to use the term "shook" in this instance? I don't think any sort of recording device could have done the moment justice. Luckily, it's burned in my brain for the foreseeable future.
Over a year later, and following a rare live performance as Nudedragons (a band comprised of Shepherd, Cameron, and the other surviving members of Soundgarden, Kim Thayil and Ben Shepherd), the duo have officially united for an album. The new release is being distributed by Cameron's Keep It Trippy Records, the label he co-founded with the late Taylor Hawkins (Foo Fighters).
The album's cover is bold, as Cameron and Shepherd's familiar silhouettes are placed over a plain gray and white striped background. The duo stands tall, ready to showcase what we all already know, that they're incredible at what they do. Cameron is not only an exceptional drummer, but a talented multi-instrumentalist and vocalist. Shepherd, one of the most well-known performers in Seattle, is recognized for her gospel and rock-influenced sound, as well as her activism in the city's arts scene.
The New Beginning EP is a musical collaboration where Cameron spreads his creative wings and takes a step from behind the drum kit and on to center stage alongside Shepherd. New Beginning was co-produced by Nate Yaccino and written entirely by Cameron. All the while, Cameron is still on drums, in addition to guitar and bass for several songs. He even lends backing vocals. Shepherd takes Cameron's lyrics to the next level with her powerful, energetic voice.
Additionally, the song "Next Time" features Krist Novoselic on bass, and Alain Johannes joins Cameron on guitar on "The Moment I Found You," which is the album's first track.
"The Moment I Found You" launches with Cameron's signature thunderclap drumming, which blends well with Shepherd's voice. The EP's five songs continue with a similar energy, maximizing its nearly 17-minute runtime. On "Next Time," Cameron duets with Shepherd in the upbeat love song. Cameron's voice can also be heard on the album's title track, which closes out the release.
New Beginning is an optimistic record that looks toward the future, and celebrates love and community. Cameron's writing points to being ready to take on the world, as long as the right person (or people) are at his side.
The New Beginning EP is now available on all major platforms as of March 14th. The vinyl will be released soon.
Dark Chisme Debuts New Single 'Lost in the Night'
Over a year after the release of their debut album, Dark Chisme returns with the first track from their upcoming effort, 'Lost in the Night.'
Dark Chisme is on a roll. Following their successful self-titled debut album, the duo has been making (dark) waves and inspiring late-night dance moves across the country. The band was also a recent grant honoree at this year's Sonic Guild Celebration, and has been regularly touring the United States, with an upcoming appearance slated at Boise, Idaho's Treefort Music Fest.
The band includes Chicago-raised, Seattle-based DJ and producer Christine Gutierrez on vocals and synth and the elusive "E" on bass and synth.
Following a busy schedule, Dark Chisme is finally back in the studio and previewing what's to come. Today, the band debuted their latest single, "Lost in the Night," the first release from the in-progress album of the same name.
Atmospheric and nostalgic, "Lost in the Night" conjures the feeling of an eighties crime thriller, with a night on the town in Miami. It's a perfect midnight club track that's bound to make you dance and reminisce at the same time. Guiterrez's mesmerizing vocals capture any listener's attention. "Lost in the Night" is an exciting intro to the duo's new album and shows the band's growth from their debut. While Dark Chisme continues to push boundaries, they still plan to stick to their original influences, but with more of a twist.
In an Instagram post, Dark Chisme stated that their upcoming album will "continue with a Darkwave sound, but also lean into darker, club-focused rhythms, finding more influences in EBM, Techno, and Freestyle. ALWAYS with Latin influences."'
The wait is on for Lost in the Night.
"Lost in the Night" is now available to stream on Bandcamp as of March 14th. The song will also be released on Spotify this weekend.
The Alchemy of Mad Season's 'Above'
30 years after its initial release, Mad Season's 'Above' exemplifies what it means to follow the higher calling of an artist.
Music, in itself, is a transcendental medium. In its purest form, it can provide an otherworldly experience that exorcises emotions, and lays down a path for healing. It also brings people together from all walks of life. Not everyone recognizes this power, but those who do, understand the higher calling of being an artist. Nineties Seattle was a breeding ground for creative alchemy, but one of the finest examples was Mad Season's singular album, Above.
30 years later, Above has retained its status as one of Seattle's most important musical contributions. Released in 1995, the album represented a tonal shift that would define the rest of the decade. At the decade's midpoint, the grunge luster was wearing off and many of the bands' music was becoming more defiant, apprehensive of fame, capitalism, and their effects. Out of the chaos, Mad Season arose.
My best memory of Layne was when we were making the "Above" album."He was in the studio lounge reading Kahlil Gibran's "The Prophet." I had read it a few years earlier, so we started talking about what it meant to be an artist and have a spiritual message. I don't need to get into the specifics of the conversation, but suffice it to say that Layne Staley felt as though he was on a spiritual mission through his music. Not a rock mission, a spiritual mission. And I think that is evident in his words and in the timbre of his voice. When you hear it, you know it. He was an authentic artist in a time of imposters. - Barrett Martin
Mad Season's original lineup included guitarist Mike McCready (Pearl Jam), percussionist Barrett Martin (Screaming Trees), vocalist Layne Staley (Alice in Chains), and bassist John Baker Saunders (Walkabouts). McCready and Saunders met at a rehab facility in Minnesota, then recruited Martin upon their return to Seattle. Lastly, Staley was brought on board not only to round out the group but because the other members thought it would be a space to encourage his sobriety.
Originally named the Gacy Bunch, the group renamed themselves Mad Season, which was derived from an English term for when hallucinogenic mushrooms reach full bloom.
It seems that Above was created in a whirlwind. Recorded in about two weeks following only a handful of shows, Above was a rainbow among the storm brewing in Seattle, when lightning in a bottle phenomena were happening regularly. As quickly as Mad Season appeared, they were gone, but it was a sight to behold while the band did exist, and left a beautiful residue in its wake. It's a testament to what happens when community joins together in pursuit of something greater.
Going in, I knew that listening to Above was not going to be an easy experience. While I love the album, it became synonymous with a difficult breakup—a breakup with a person who struggles with addiction, at that. Any time I listen to Mad Season, I am forced to reckon with the repressed emotions that accompany loving someone I wanted to save from themselves.
The album opens with "Wake Up," a harrowing plea. The first line, "Wake Up," is an immediate call to action. With minimal instrumentals in its first minutes, Staley's voice barrels out of the sound system, which feels eerie as he sings the poignant lyrics "For ten long years... The leaves to rake us... Slow suicide's no way to go..."
The beauty of Mad Season is that the band allowed Staley full creative license to just... be. "Wake Up" allows Staley's vocal power to shine. McCready, Martin, and Saunders take their time playing, following Stayley's lead. "River of Deceit" equally as powerful as "Wake Up," allows Staley to showcase his songwriting skills.
My pain is self-chosen
At least so the prophet says
I could either burn
Or cut off my pride and buy some time
McCready's frenzied shredding builds up as Staley reaches a crescendo. Known for his explosive solos, McCready is completely unhinged throughout Above, but in the best of ways.
The band is joined by Mark Lanegan (Screaming Trees) in "I'm Above" and "Long Gone Day." Lanegan and Staley's harmonizing is hypnotic. Lanegan's smooth whiskey baritone voice always evokes a sense of nostalgia. I've even heard his voice described as the perfect companion for a long, winding road trip, as wherever you need to go, Lanegan's voice "will get you there."
"November Hotel" is a magnificent jam session that is the epitome of creative serendipity. Without lyrics, the song is merely an explosion of each musician at their best. It's a manifestation of years worth of frustration, a musical exorcism. It's joy and anger all rolled into seven minutes of whiplash. Like an airplane, McCready's riffs take off, soaring above Martin's percussion. One of the unsung musicians of the Seattle scene, Martin is a spectacle as he unleashes (he also plays cello, marimba, and other percussion on the album). Saunders is also underrated, as his heavy bass line is like a pulse.
The album ends gently with "Alone," following the fire storm that is "November Hotel." Simple and understated, "Alone" seems meditative, but not cynical. It's a comedown from the musical high.
In an interview with the Seattle Channel's Art Zone, McCready speaks on the formation of Mad Season and his naivety in trying to help his bandmates achieve sobriety. Speaking from experience, you can try to do everything in your power to help someone, but in the end, they have to decide to change. It's a bittersweet revelation, but Above inspired many individuals to make that big decision.
Layne Staley achieved his mission.
In terms of spirituality, when someone becomes a vessel for change or spreading a message, they are not always perfect. In fact, their humanity is what endears them to the masses. Mad Season's Above was a one-time occurrence, but it continues to deliver its message 30 years later. Luckily, McCready and Martin are still spreading the message in their own ways. Staley, Saunders, and Lanegan are no longer with us, but their music remains. The immortality of Above lies within the bravery and vulnerability of its members. The path of an artist is the road less traveled by, but Above shows us that we aren't really alone. There are other voices out there that can take us down the crossroads.
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.
