As the saying goes: What a long strange trip it’s been!
As we’ve described elsewhere, the path to last weekend’s events was far from straight. Sometimes it feels like we’re just a bunch of kids saying “Let’s put on a show!” but reality includes a whole bunch of complications like having to pay people, tracking lots of moving parts, and figuring out how to keep everyone on on the same page… or at least in the same book. But all of the effort paid off last weekend, and once again, it’s the music that pulls us through. That and the people who make it.
Friday 13 June — Seaprog Presents
This stellar event at the Substation kicked off with Kitsune. Coming into this night, they were surely the least known of all our artists, but it’s safe to say they acquitted themselves well, presenting a double-sided set of songs on the themes of Mars (angular, abrasive rock) and Venus (somewhat gentler but still angular rock). Lead singer Lyam White brought the theatricality with his fox mask and dramatic vocalizations, while the band backed him with unpredictable music full of odd meters and unexpected chords.
Julie Slick has graced our stages before as a member of both Troot and EchoTest, but this is her first appearance as a solo performer — well, almost solo, as she invited Rachael Beaver up to sing a bit. Utilizing an impressive bank of electronic devices, she combined impressive technique with an accessible melodic sensibility. She also managed the trick of using backing tracks of her EchoTest bandmates and keeping it interesting as a live performance. She offers proof that a musician doesn’t have to jump around on stage to engage an audience. Rachael’s vocals were superb, powerful and soulful, a perfect match for the music.
As a celebration of their new release, This Dark Earth, Moon Letters started off their set with a live rendition of the entire album in sequence, even the acoustic instrumental “Lonely Moon.” As good as the album is, the audience was treated to an intense and energetic set that really brought it to life. Then they launched into some favorites from their two earlier albums.
With a style that blends the classic sounds of 70s progressive rock and modern elements, Moon Letters is a band that can be enjoyed by people who think they don’t like progressive rock. They play seriously complex music and make it entertaining, with an endearingly honest DIY showmanship. They finished to a rousing ovation. They’re leaving on a European tour shortly, and this performance demonstrates that they’re ready to wow audiences on any continent.
Saturday 14 June — Cascadence 2025
June 14 was an incredibly active day around the country, full of tension and protest, so Bill Horist’s guitar wizardry was a welcome start to the evening.
From a room overlooking Elliott Bay, he turned his guitar into a tool to create abstract sounds, full of fascinating overtones and sonic textures. Utilizing such devices as forceps, singing bowls, a small cymbal, a screwdriver, wine corks, table knives, and metal rods, along with an eBow, a hand-held fan, and mallets, he produced a seamless half hour of spontaneously meditative sound. The audience sat in silence, rapt at his artistry, almost seeming to hold their collective breath for the entire set.
Kathy Moore calls her music “prog-punk,” and that label captures something of the complexity and power she brings to the stage. Her Super Power band included Julie Slick on bass (only four strings this time!), Jessica Lurie on saxophone, and Luca Cartner on drums, and they navigated Moore’s music perfectly. From moments so quiet as to be almost inaudible to powerful rock anthems, this was a set to be remembered. It was astounding how respectful the audience was during the quiet parts, completely focused on the almost-whispered words and gentle chords.
As we’ve mentioned in the past, Gong hasn’t performed in Seattle for well over 20 years, and the current incarnation of the band has never been here before. Given the fantastic weather, the welcoming audience, and the cozy venue, it’s safe to say we made a good impression on them. It’s also safe to say that they made a good impression on us. With a tight set of songs spanning the band’s history and a spectacular visual show from Steven Kennedy-Williams, this was an event that no one will soon forget.
This version of Gong has a sound that’s more reliant on guitars than has generally been the case, but Fabio Golfetti’s glissando guitar filled the role normally played by synthesizers, with echoing swoops and sweeps that transported the music into outer space. Dave Sturt’s fretless bass kept things anchored, and Cheb Nettles was a monster on the drums. Kavus Torabi’s guitar and vocals are the new focus of the band, and Ian East provides the alternate melodic interest with his saxophones. Their rendition of “Master Builder” was stunning, with the famous riff put through many rhythmic permutations that built up from near-silence to jaw-dropping intensity.
Thank you, thank you, thank you!
Events like this don’t organize themselves, and it takes much more than just a Central Committee to make them happen. We always try to acknowledge all of the help we get, and we want everyone to know how much we appreciate it.
First of all, we need to thank the artists who participated. We know that modest festivals like ours can’t pay your bills on their own, and it takes a lot of effort before you even arrive at the venue. Presenting your talents and your art in a welcoming setting is what we aim to do.
We need to recognize our audience and supporters, many of whom have been with us since the beginning. Your trust in us to bring you something you’ll enjoy is what makes it possible to do these crazy things. So whether you just discovered us or were there in 2013, thanks from the bottom of our hearts!
On a more recent and practical level, we’d like to call out the staff and management of the Substation for welcoming our motley crowd into your venue. Sid Genette and his cohorts at Water Sines Studios deserve more gratitude than we can express for providing such an amazing setting on Saturday night, and doing it in such a short time frame. DB Wood helped out immensely with technical setup, and we also need to thank everyone who stepped up to lend us microphones, stands, and other gear. Steve Kennedy-Williams came on board at the last minute to give us some trippy visuals that enhanced the effect of Gong’s music.
And finally, we’d like to thank Shunpike, our fiscal sponsor, without whom we probably wouldn’t even be able to exist. James and Jo and their colleagues have been super helpful with our fluctuating needs throughout the planning of the events.
