We’ve started our fires in the forest and soon we will bring them to the cities with our second full-length album titled, Brand New Blood, to be released on Sarathan Records. Your first chance to buy the album will be when we release it for digital release on Tuesday, December 8th, and then you can go out and buy it in stores on Tuesday, January 19th…..
Not long ago, a group of genuinely backwoods dudes from the country moved to Seattle and began playing shows that burned with primal intensity and soared with pop sensibility. They called themselves Feral Children—a wholly appropriate name for a bunch of wild boys from rural Maple Valley, WA—and were ready to stake their claim in Seattle’s celebrated music scene. And when they arrived, they adamantly let it be known they would not be playing any of the following: “fucking California pop”; “classic rock covers”; or “shitty indie pop.”
Instead, Feral Children would be making their music—music from the Pacific Northwest. When they released their 2007 debut LP, Second to the Last Frontier, bassist Jim Cotton proudly stated: “It actually sounds like the first Northwest record that I’ve heard in 10 years.”
And it didn’t take long for them to catch the ear of KEXP FM and the local press, who jumped all over this debut with rare and unanimous praise: “will undoubtedly be heralded as one of 2007’s best” (The Stranger), “the future is now for the Feral Children” (John Richards, KEXP), and even “Perfect, absolutely perfect” (Seattle Sound Magazine).
In a city known for “hey-no-worries” politeness, there are countless interviews in which local indie rockers come off like glad-handing chimps toward their peers, often hiding their real opinions under a veil of niceness. The boys in Feral Children, however, have been ready to separate themselves from the pack and to claw their way to the top if need be, and they don’t seem to care who gets scarred along the way; “Yeah, we live in Seattle, but only because we have to.” In fact, they would prefer the soggier and stranger outskirts of town.
Luckily, they haven’t had to claw too hard to get attention; they’ve perked the ears of many on the strength of their music and the visceral ferocity of their live shows. And if Brand New Blood is any inkling, they’re set to garner even more acclaim, well beyond the hemline of the Cascade Mountain range they call home.
Like their last album, Brand New Blood contains music that evokes Feral Children’s home territory—sprawling, chilly, vast, strange, and, at times, violently stormy.
Comparisons have been made to another great Northwest concern, Modest Mouse, and that comparison is not without merit. But after listening to Brand New Blood, it’s obvious Feral Children share more in common with Modest Mouse philosophically than musically. The fact that they are from Maple Valley, WA, and not the big shitty of Seattle, has cemented their outsider status and shapes every lick of music they play. They also share that band’s mournfulness for nature—as natives of the Washington hills, these Feral Kiddies have watched Mother Earth raped time and again by greedy developers. They don’t approve of excessive wealth and would likely have no idea what to do with the wads of cash this album stands to earn them. To some, their perspective may be askew—but they are proud of it and don’t feel like conforming to anyone’s standards. Why should they? They’re from the real Washington State, so fuck you.
Take a listen to the album’s centerpiece, the colossal “Conveyer”, in which the band’s wonderfully wonky perspective of society is on full display. “This world is like a video game controlled by lonely boys with attention deficit disorder,” sings Jeff Keenan in a huffy manner that suggests total exasperation with everyday life. The song eventually erupts into full-throttle Arcade Fire-like pounding with Keenan frothing and barking the lyrics: “The milk calls the coffee black/ and Mother Nature’s getting so fat!”
Scott Colburn produced this album, and his ability to push a band into the stratosphere is all over Brand New Blood. This sucker is all about atmosphere; specifically, the Pacific Northwest woods featured in Twin Peaks or Twilight. In fact, the band doesn’t sound like they are playing in a studio at all. The cold blankets of synthesizer (“Kid Origami”), the tooth-clattering percussion that sounds like the breaking of bones (“Castrato”), the volatile guitars (“Enchanted Parkway”)—this album feels as if it were recorded along the banks of the Green River Gorge at 3 a.m. in the middle of January.
The legion of hyphen-wielding indie rock critics will likely be compelled to draw parallels between Brand New Blood to Lonesome Crowded West. But that would be a lazy comparison based on little more than geography. A deeper listen will reveal that while there are philosophical similarities, Feral Children are on to a whole other trip musically, one that feeds off of isolation and loneliness, the ghosts of their working-class pasts and the awkwardness of trying to fit in to Seattle’s hyper self-aware music scene. Desolate as it may sound, though, it’s obvious they are happy to have each other for company. Fucked up individuals they may be, but they seem to understand each other and speak fluently through their music. Feral Children are proud to stand together as a pack: defiant, dysfunctional, and outsiders to the core
Decoder Ring’s “They Blind The Stars, And The Wild Team” has been nominated for “Record of the Year” at the 2009 FBi and Time Out Sydney Music, Arts & Culture Awards. If you love the record, VOTE NOW!!!
Also, This record was at #4 on Itunes Alternative Album Charts recently
Jaye and I were at this show
I just posted the Interview by Scott Davis that appeared in the 5th issue of Ong Ong Magazine
I’m still trying to figure out what “Noncommercial Records Recording Studio” means. Does it mean I record non-commercial records? that ain’t true. Do I work for Noncommecial Records? I’ve never heard of them and why haven’t I received a paycheck?
FOR IMMEDIATE RELEASE
Scott Colburn Receives 2009 Seattle Award
U.S. Commerce Association’s Award Plaque Honors the Achievement
WASHINGTON D.C., June 8, 2009 — Scott Colburn has been selected for the 2009 Seattle Award in the Noncommercial Records Recording Studio category by the U.S. Commerce Association (USCA).
The USCA “Best of Local Business” Award Program recognizes outstanding local businesses throughout the country. Each year, the USCA identifies companies that they believe have achieved exceptional marketing success in their local community and business category. These are local companies that enhance the positive image of small business through service to their customers and community.
Various sources of information were gathered and analyzed to choose the winners in each category. The 2009 USCA Award Program focused on quality, not quantity. Winners are determined based on the information gathered both internally by the USCA and data provided by third parties.
About U.S. Commerce Association (USCA)
U.S. Commerce Association (USCA) is a Washington D.C. based organization funded by local businesses operating in towns, large and small, across America. The purpose of USCA is to promote local business through public relations, marketing and advertising.
The USCA was established to recognize the best of local businesses in their community. Our organization works exclusively with local business owners, trade groups, professional associations, chambers of commerce and other business advertising and marketing groups. Our mission is to be an advocate for small and medium size businesses and business entrepreneurs across America.
SOURCE: U.S. Commerce Association
WHAT: A Quadraphonic Sound Spectacular featuring live music in a quadraphonic setting and playback of quadraphonic recordings from the 70’s. More info below
WHERE: The Josephine, 608 NW 65th St. Seattle, WA, 8pm – 11pm
WHEN: Wednesday September 9th, 2009 (999)
WHY: Why Not? This show will be over by 11pm for those lucky bastards who actually have jobs!
Taking advantage of this system will be:
Special Ops – doing their brand of psychedelic Black Sabbath tunes;
This Blinding Light – the closest thing to Spaceman Three this side of the stars.
Wizard Prison – a multimedia, throbbing mass of ambient beat magic.
I’m promising some sort of surround experience from these bands, but if that weren’t enough, in between bands will be playback of excerpts of quadraphonic records, including:
Seastones – This is a side project of Grateful Dead keyboardist Ned Lagin and Phil Lesh. But it sounds like Throbbing Gristle. Greatest electronic record of all time. Hear Grace Slick and David Crosby singing through harmonizers that is reminiscent of the Residents. This recording is transferred from an SQ encoded vinyl disc.
Pink Floyd – Dark Side of the Moon – This is a classic record that also was released in quad. Recently it was issued on DVD-A but that is NOT the original quad mix. This came from the quad reel to reel tape release.
Flaming Lips – Zaireeka – This project was a 4 CD box in which 4 stereo systems were needed to play it back correctly. No 2 CD played play the same speed, so the charm of this set is that you get different results each time. I took the time to load all of the tracks in the computer, line them up and rechannel it for quad. You get a similar experience to the original intent without the hilarity.
The night will follow this schedule roughly. By roughly I mean, these things could start before or after the appointed time. So if you don’t want to miss something, come early and stay late.
8pm – Seastones playback
8:30pm – Special Ops
9pm – Pink Floyd playback
9:30pm – This Blinding Light
10pm – Flaming Lips playback
10:30pm – Wizard Prison
11pm – go home
An Article about my solo music project does a good job of covering the music, but also releases more info about my producer roles.
Click on the image above to go to the article published.
click here for the uncut interview