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Jen knows that I’m a complete and total sucker for the Pacific Northwest–the trees, the rain, the waterfalls, the salmon, the oysters, the mushrooms (chanterelles or magic), the Subarus, the microbrews, the bikes, the un-ironic use of puffy vests, the fact that everybody recycles. It is where my heart lives, even though my body lives near my beloved writing partner’s epic clothes closet and archive-worthy library (okay, set of bookshelves) in Los Angeles.
And so it is no wonder that Grand Hallway, a rising Seattle band recommended to us last week by the brilliant and amazing Goh Nakamura, immediately fell into the warm, velvety folds of my heart (say what you will—my heart has folds and they are velvety)–absolute love at first listen.
Like my heart, Grand Hallway might best be defined by it’s many, many, many audio layers—which range from tempestuous to tame, earthy to unhinged, vocal to instrumental, tactile and ethereal. It is a unified community of sounds, in that fabulous way that so defines one of this decade’s breakout heroes Broken Social Scene, and up-and-comers Local Natives (formerly known as Cavil At Rest). Perhaps, not so different from life in Seattle, the music is about the art of surrender as a robust action–to the elements, to the rain, to the moment, to love, to life itself. There’s nothing one-note about that.