Things happen. Schedule is subject to change.
United in their common desire to experiment in new musical territories, Seattle-based quartet Chemical Clock have established themselves as a fresh, distinct voice among a legion of inspired and energetic young musicians to emerge from the Northwest in recent years. The band’s indefinable avant-electro-acoustic sound is a patchwork that combines the members’ jazz backgrounds with such diverse elements as hip-hop, prog-rock, and contemporary classical music.
Fraktal Phantom is a Seattle area trio presenting a hard-hitting flavor of psychedelic rock. Drummer Jack Gold-Molina and bassist Cary Kindberg are also in the band Spectral Waves.
Human Ottoman is a power trio like no other power trio you’ve heard before!
The band consists of Susan Lucia (drums), Julian Kosanovic (cello), and Grayson Fiske (vibraphone). After meeting in Oregon as music school misfits, they joined forces, quickly creating a repertoire of raucous, rhythmically dynamic music which combined their enthusiasm for music of all cultures with classical backgrounds and modern genre-mashing-jazz sensibilities, characterized most of all by their unique instrumentation. Their first album, aptly named Power Baby, was independently released in 2014, and received an Independent Music Award in the "Instrumental" category. Their second full length record, Farang, was released in August, 2015. Since then, they have been actively ear-pillaging up and down the West Coast. From brain-crashing cello solos and atomic vibraphone drops to drum solos that scholars are still struggling to understand, Human Ottoman is bringing polyrhythmic rock to the masses.
Coming together from the Seattle Eastside, the Snoqualmie Valley, and Spokane, Ibex formed in Bellingham, WA in 2013. Members Carly Gilliland, Darin McQuestin, Shiloh Smythe, and Loren White had been making music together in various permutations since they were teenagers, but began writing and performing regularly while in college.
Drawing influence from jazz to classical to indigenous music from around the globe, Ibex works from a heavy foundation of prog-rock. They share a mutual admiration for pioneers like King Crimson, Soft Machine, and Yes, as well as many other more recent artists from both the underground and pop music.
Oakland’s Jack o’ the Clock “conjures up stirring visions of a hybrid American history, part fact, part poetry, part visionary hallucination…” (Ed Pinsent, Sound Projector, UK). The quintet has been developing its subtle, acoustic avant-rock on stage and in the studio for nearly a decade, and has released five critically-acclaimed original albums as well as an EP of radically-reinvented cover songs. Fred Frith describes them as “one of the most original and compelling groups I know playing some amazing compositions that seem to tread effortlessly between Van Dyke Parks and folk music from an as yet unidentified culture, while making all the things you've always thought of as difficult sound as effortless and natural as breathing.”
Moon Letters is a new progressive rock band from Seattle featuring Michael Trew (Autumn Electric), Kelly Mynes (Panther Attack!, Bone Cave Ballet), Mike Murphy (Cumberland Big Band, Bill Green Quartet), John Smith (Chaos and the Cosmos), and Dave Webb (Wah Wah Exit Wound, Spacebag).
After cracking the lunar syntax, these faithful brethren harnessed a superfluity of hot licks, haunting melodies, and hypnotic rhythms. Upon cohering, they produced a concept album to be presented at length in 2017. Lyrically and emotionally, this first song cycle is offered to be taken at face value or to be held up, before moonlight, to reveal the naked truths within. Good students of hermeneutics might just find eudaemonia within these cryptic minstrelizations. Those with deep knowledge of all things Crimson, Yes, and (early) Genesis, might even find a hook or two to hang their hats on.
Our satellite-obsessed musicians humbly hope that these invocations reflect a resoluteness toward life and love. With desire to face that which is needed to overwhelm and overflow the fear and hate so prevalent today, we are at your service.
After many permutations of the lineup over the years, OMNI has recently reconvened in its most focused and modern interpretation of the band: a trio. With wide ranging instrumentation that includes Warr guitar, percussion, and analog synths as well as the standard guitar, bass, and drums, the band creates a lot of sound with just three humans. A love of music from influences such as King Crimson, Peter Gabriel, and Brian Eno all the way to Boards of Canada, Killing Joke, Faith No More, and Death Grips/Hella inform the sound. The goal has always been to bring in visceral emotion in balance with competence of musicianship.
The Seattle band Paraesthesia was born out of the solo recordings of Robert Svilpa. Wishing a band to present his new music, he brought together Paul Harrington, John Hernandez, and Graham Usherwood, all of whom are experienced players in a wide range of styles, and formed a group which fuses elements of many styles into a satisfying mix that has been garnering them positive reviews from around the world.
Pinto Wagonfire is a newer Seattle band with its individual roots spanning over three decades of writing and performance. Joseph, Dave, and Tom last performed together in the mid-90's band Chalkline Dogs. With the recent addition of drummer Will Bagby (from So-Cal jazz-rock group Rullian, among others) the spark for making music together was reignited. Purely an instrumental outfit at this time, their brand of Progressive hard rock is riff centric, and slightly cosmic, foraging the spirit of their past collectives with new, energetic creativity, and a collective love of Progressive music.
Points North is a Bay Area power trio comprised of three experienced session players with a mind-boggling array of credits to their names. When they get together for their own music, they play an engaging flavor of rock that balances technical prowess with melodic hooks and influences from progressive rock, classic rock, and melodic hard rock.
With The Machine That We Built, Seaprog continues a tradition of including one select band devoted to covering important music of the past. In this case, it’s instrumental interpretations of the music of Jimi Hendrix, with an emphasis on some of the lesser known gems in the guitarist’s catalog. Bassist Ryan Berg was inspired by Gil Evans’ classic jazz arrangements of Hendrix tunes to view the psychedelic classics through a jazz lens. The group’s debut at the Royal Room in early 2017 convinced all involved that it was indeed a good idea.
Seaprog is run by musicians, for musicians. There is no intent to make a profit. And probably not a chance, either.