Joining us from Portland, don’t miss band members Willo Sertain, Lucas Warford, & Greg Allison play their original 22nd Century Folk Songs.

From their recent Al’s Den residency – “Three For Silver represents a curious hybrid of acoustic music. The twin melodies of Willo Sertain’s vocals and Greg Allison’s violin glide atop the chugging polyrhythms of Lucas Warford’s homemade bass instruments. They combine the gritty aesthetic of Tom Waits and a love of world folk traditions with a modern songwriting sense. They take what they like where-so-ever they may find it, to create a sound that is both original and familiar.”

Join us for a rare appearance of the djangly old school sounds of The Dickel Brothers . It’ll be a full night of sweet and rowdy 20’s & 30’s old-time string band music!

Help kick off 2015 and Loch Lamond’s tour with the Vaselines from the cozy confines of our fine lodge.

Ritchie Young, whose played solo at the Sou’wester, returns with a full band.

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From Chemikal Underground

“A music collective from Portland, Oregon, Loch Lomond began life in 2003 as the solo project of Ritchie Young. Admittedly, most solo projects don’t involve a carousel of contributions from upwards of 30 musicians, but that’s an indication of just how amorphous Loch Lomond’s line-up was until 2007 (when their second album, Paper The Walls, was released). Having coalesced into a more settled, six-piece incarnation, Loch Lomond finished recording ‘Little Me Will Start A Storm’ back in 2008 before the material was temporarily shelved due to mixing issues and the small matter of a sell-out US tour with fellow Portlanders ‘The Decemberists’.

Armed with the heightened profile gained by the Danny MacAskill piece (the band met Chemikal Underground while in Edinburgh promoting the film for Red Bull), Loch Lomond are now set to release ‘Little Me Will Start A Storm’ in the UK, Europe and the Far East. Augmented by two additional tracks not present on the original US version (‘Tic’ and ‘Made of Ink’), ‘Little Me Will Start A Storm’ was a beguilingly subtle piece of work, showcasing not only the writing talents of predominantly Ritchie Young, but the assured arrangements of a tremendously gifted group of musicians.

The album was followed nearly six months later in March 2012 by the ‘White Dresses EP’, showcasing a slightly darker, more sombre side to the band, the EP would be the precursor for their next album proper ‘Dresses’ which was released in April of 2013.

‘Dresses’, and it’s a spectacular, moving piece of work. Employing piano, cello, flugelhorn, vibraphone, dulcimer, banjo, belle plates and, perhaps most affectingly of all, some dazzling choral arrangements,‘Dresses’ can be remarkably understated for an album flushed with so many orchestral characteristics.

Loch Lomond recently completed an extensive European tour and plans are afoot for some European summer festivals and dates. Keep an eye out for them as if you are lucky enough to catch them live then you will not be disappointed!”

SUB POP U.S.A.: The Subterranean Pop Music Anthology, 1980–1988, by Bruce Pavitt

We’re thrilled to host a stop of Bruce Pavitt’s book tour. After an introduction to the book, we will have an opportunity for a Q&A, and then the thrill of a dance party dj’d by none other than K Records Founder, Calvin Johnson.

A night not to be missed!.

About the book.

“For over thirty years, Bruce Pavitt has been at the vanguard of popular culture, artistic trends, and ideas within the communities of the innovative alternative. The insight into this period of rock history could only have been delivered by Bruce, given the unique nature of his experience, vision, and voice.”—Kim Thayil, Soundgarden

“Sub Pop is the best index there is of American local independent scenes…imaginative and the writing is snappy and descriptive”—New Musical Express (NME), 1981

“We need diverse, regionalized, localized approaches to all forms of art, music, and politics…the most intense music, the most original ideas are coming out of scenes you don’t even know exist. Tomorrow’s pop is being realized today on small decentralized record labels that are interested in taking risks, not making money.”—Sub Pop #1, 1980

Bruce will read a bit from the book, then he and I will talk
about the fanzine and underground music from the ‘80s. A
Q&A session will ensue; before and after I’ll spin
some 45s from the era of the Subterranean Pop fanzine
(1980 – ’83). Perhaps people will dance. Could be a time.

http://www.bazillionpoints.com/shop/sub-pop-u-s-a-the-subterraneanan-pop-music-anthology-1980-1988-by-bruce-pavitt/

http://krecs.com/uncategorized/sub-pop-u-s-a/

Larry Yes has spread the message of love since the 90’s and his unique stylings continue to sooth and inspire.

Michael Hurley’s influence stretches from the 60’s and never ceases to enlighten.

Nate Lumbard’s humble talent supports his fellow musicians and as it shines through.

We’re thrilled for a night of sweet reunions….

look for grenada chocolate company treats!.

http://larryyes.bandcamp.com/

http://www.snockonews.net/

Adam Selzer will be reading his short story entitled “Art Garfunkel’s Old People” while accompanied by live musical score from musicians Peter Broderick, Cory Gray, Raul Pastor Medal, and John Askew.

The anti-heroes of Selzer’s work often seek escape from the desperation of both their external and internal landscapes via the open roads of the West, seedy small town bars, and the arms of temporary lovers who offer fleeting salvation.  And yet in each of these journeys, despite the protagonists’ attempts to ignore old wounds, insecurities, familial trauma, and long histories of bad choices, they are eventually forced to confront the magnitude of their own yearnings and loneliness.

Combining boundless creative imagination with a deep reverence for American folk, blues and country music, Marisa Anderson’s guitar playing is fluid, emotional, dexterous and original. National Public Radio says Anderson’s playing  “exposes and hides the mysteries of American music”. Pitchfork calls her recent record, ‘Mercury’, ”Brilliant” and Wire Magazine says, “Her sound has strength in restless variety…Anderson’s playing is heartfelt and utterly American, free from grandstanding and steeped in respect for the old tradition.”