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Track Listing:

1. Coming Down- Noise Junkie

2. Goddamnit Sweetheart- Nick Duncan

3. Alabaster Lullaby- Prozac Mtn Boys

4. New Age- About Sprout

5. Black Pebbles- Bluebird

6. Charles Bronson’s Johnson- Caparza

THE WINNERS:

Best Silver Platter: Rooftops A Forest of Polarity
Best Up Close and Personal: Dirty Bird Cabaret
Best Heavier Than Heaven: Dog Shredder
Best Booty Shakin’ Music: Yogoman Burning Band
Best Twilight Zone Soundtrack: Pan Pan
Best Highway Americana: The Librarians
Best Moniker: The Ghost and the Grace
Best Axes of Folk: Biagio Biondolillo
Best Spinner: Yogoman
Best Rhyme and Beats: The Productionists
Best Newby: Pan Pan
Best Rock ‘N’ Roll Explosion: Sugar Sugar Sugar
Best Pop Will Rock Itself: The Love Lights
Best Skin in What’s Up!: Femme Uke
What’s Up! Appreciation Award: Bucketz
What’s Up! Lifetime Achievement Award: Robert Sarazin Blake
What’s Up! Lifetime Achievement Award: Gunther Frank (RIP)

Poops was the host and he started the night off proper by singing a country song about drinking at the 3B, and accompanied by Sarah on the guitar. After a few awards were presented, we were introduced to the Dirty Bird Cabaret, who danced in between bands.

The first musical act of the night was Femme Uke. Promoting their new EP In the Key of G-spot, Laine and Ashley took the stage armed with two ukuleles and a ton of hilarious songs, these ladies were a pleasure to watch. In my opinion they saved the best song for last, “Big Fatty.” This was the only song they harmonized on and a clever bridge showed that this was the best structured song of their short performance.

Next up was Pan Pan. A large buzz has been circulating about this group, and I was excited to hear them. Layers of sound with fabulous structure and dynamics showed me that Sarah Jerns is much more than an artist; she’s a genius composer. Even though Sarah writes all the parts, don’t discount her band, they’re incredibly tight and professional.

To this point there had not been a rock band. The crowd was ready for something heavy. Dog Shredder had just won the “Heavier than Heaven” award and got on stage to prove it. Guitar player Josh Holland’s stage presence was like if Iggy Pop strapped on a guitar. The overall sound is mind numbing and hypnotic. They can go from beautiful stripped down melodies to brutal unabashed metal in the drop of a dime. The rest of the band is very talented as well drummer Noah Burns lost a stick in the middle of a song and never missed a beat.

We’ve had funny music, intelligent music, face melting rock, and with Acorn Project, the fourth group to play, we finally had some dance music. These guys have been around the scene for a long time and had a great 2009 promoting their new album We’ll be Fine. The first song they played was an epic new wave song. Showing their versatility they dropped into a straight ahead funk set. These guys are one of Bellingham’s best jam bands a strong tenor on vocals and great guitar tones might even turn out the most devout metal-heads.

With all the awards given out there was only one thing left to do, party hard to the sounds of The All Nighters. Introduced by Brent Cole as “One of Bellingham’s best bands,” they played and we loved it. Halfway through their set Andy Piper joined them onstage and sang a Charlie Feathers cover. Andy killed it and the crowd went nuts. The Wild Buffalo was a time bomb, Poops lit the fuse, excitement grew, and ‘The All Nighters’ provided the explosion.

Sugar Sugar Sugar brought their infectious music and spirit to the stage.

The What’s Up! Awards weekend started out at the Underground Coffeehouse, kicked off by the Bellingham Free Choir and Council of Lions. I got to the show a little late and found the BFC singing there were around eight members along with the audience singing along. The band had the lyrics for the songs projected up the screen so everyone could participate if they wanted. It was pretty cool, really, ‘cuz folks really got into singing and being part of the band. Alex from Cumulus was the leader, singing through a small megaphone and orchestrating the music.

Next up was Council of Lions who had a surprisingly large crowd for the Underground Coffeehouse. Most everyone was standing up, right in front of the stage to absorb everything that is the Council. The band played a great set of PJ Harvey-esque sounds, but more raw and inspired and got the already interactive audience dancing and having a good time.

With the Underground Coffeehouse show over, it was time to head upstairs to the Viking Union for the main course of the night. There was a line at the door, which would prove to be a large portion of the evening’s audience. Sugar Sugar Sugar opened up and proved they are Bellingham’s sexiest band. It’s not just that the band looks sexy, but they play sexy a sexified rock ‘n’ roll that pulls from the 60s, 70s and better part of the 80s.

Next up was Rooftops, who are simply an amazing band. To call them math rock would be to only tell part of the story they’re beautiful and dynamic with some of the sweetest sounds around. Tonight’s show was typical Rooftops fantastic.

Yogoman Burning Band was third throwing the indie crowd for a little loop. But, as they played, the audience got more and more into Yogoman and their groove.

Idiot Pilot closed out the show and proved why their one of the best, if not THE, best band in town. Louder than I’ve ever heard them before the band went through their the “greatest hits,” songs the crowd knew by heart. Near the end of the show, lead singer Michael Harris jumped on the speakers, thrilling the crowd but terrifying the staff as two securities guys grabbed hold of the speakers to make sure they and Michael didn’t fall down.

It was a great night for all ages in Bellingham.

Photos by Hollie Huthman, Paul Turpin, and Paul Israel.

It’s difficult to give anything but positive feedback for this group when you can tell they are having fun. And when their intent is to gift us with some Christmas favorites, saying thanks is a great response. But the truth is that it’s a horrible record. All but two songs on the entire EP are hack jobs. The guitar is rhythmically off all the time. The Keyboards suffer the same. The Bass is closer to the beat and comes up with some good lines, but is so buried in the mix, you really have to fight to hear it. The drums are understated and muddy. The lead male vocals, when not pushed, can be emotive and fresh. But the majority of the time they are pushed, losing both tone and pitch control. The strongest part of the band is clearly the female vocals, smooth, on pitch, and pleasing to listen to.

Another local band, the Trutones was featured on the track “Feliz Navidad”. The solid horn section added by this band brought the song up to a completely different level. “Baby Its Cold Outside” was another song that rose above the rest of the recording. The female vocals were pleasing and sweet, making the off pitch male vocals almost tolerable.

The mix is muddy with large variances from song to song. Some time researching recording techniques would help in the future. On the plus side, the CD Packaging is awesome, like a folded recycled paper cup.

Some mentoring or coaching from more seasoned players could really benefit this band. And when they are ready to record again, some assistance from a recording engineer would help them break out of the inexperienced band category. Till then it’s great they are having fun.

Self-Released
myspace.com/vintagerhymesandvalentines

Apparently Land Salmon is the first in a series of comps which will spotlight particular music communities in the Northwest; our spotlight includes Family Sweater, Nick Duncan, A Cozy Kitchen, Drew, Hunting Hat, Chelsey Weber-Smith, Marymorgan Ruth Vegdahl-Crowell, Summer, Bluebird, Butte and compilation curator Echo Bark, who in the spirit of greatness is distributing the album for FREE. All you need to do is Google LAND SALMON ECHO BARK, click, and ask for a copy. Do it now and relish the greatness that is our own back yard.

Self-Released
myspace.com/landsalmonechobark

It starts off classic folksy but halfway through there’s some added synth and it switches to a more electronica sound. From track 5 on, it builds up into a huge climax of clashing instruments and screaming. The ties that held everything together seem to come apart by the end of the album.

The only vice I found with this is the recording. With my stereo speakers, it sounded a bit warped. But it really is a good listen.

Self-Released
myspace.com/punkinpatty

The best songs are “Nooksack Warrior” and “Set Her on Fire.” On the latter, Stu, former front man of Piano Mover, takes the helm on vocals screaming with a range that few could muster. Although it’s more stripped down than the rest of the E.P. he captivates your ear. Heavy triplet’s speed picked on the guitars coupled with Grant’s blistering work of the double kick pedal makes this track a head banger. “Nooksack Warrior” the final track of the disc is the sum of all their talents. Smoking guitar riffs, power harmonies during the chorus, and screams that sear your ear show why Bellingham has noticed this inferno of metal.

Self-Released
myspace.com/shesonfiretonight

This 11-track record is primarily comprised of classic bluegrass and traditional cover songs. The three original songs show a solid footing in bluegrass while adding their own northwest flavor. The mix of the acoustic instruments and vocals makes for a pleasing album to listen to. Andy Friedlander on guitar has solid rhythm and melody impact on the recording. Ted O’Connell on Mandolin and Harmonica finds just the right spaces to inject some kick, while staying true to the songs. Ted’s vocals are smooth and sound seasoned with experience. With the absence of a percussion section, Keith Fredrikson on bass really drives the songs and gives them movement.

One of the most striking instruments on the recording is the Banjo, played by Larry Sult. The percussive twang and pointed notes of the banjo have depth and character. Arielle Luckmann on the Fiddle adds that swing and melody that makes you want to jump out of your chair and dance along. Her vocals are featured on a good portion of the songs and have a genuine feel to them. There were a few times that she moved out of chest voice, into head voice. That range of her voice seemed to have some un-tapped talent that could add more complexity to her vocals.

The album was recorded at Orange Avenue Studio in Burlington, with final mastering done by the guys down at Binary. The recording quality is excellent with both a warm and clear mix.

Overall the album acted like a glass of sweet tea on a hot day, soothing, relaxing and pleasant.

Self-Released
myspace.com/prozacmtnboys

The opening track features great acoustic guitar solos, but on the whole is cluttered and drags on a bit too long. The deep tones of the djembe swallow the drum parts and detracts from the guitar and bass at times. Track two makes up for the first song, kicking off with a foot-stomping banjo part that reminds me of Modest Mouse’s “Satin in a Coffin” without the cryptic lyrics and shouts. There are solid vocal harmonies interwoven throughout giving this track some pop potential. Track three takes a different direction, sounding more like Elvis Costello or Franz Ferdinand. It’s danceable. It’s catchy. It’s fun. Track four has smooth acoustic guitar with sporadic slide guitar and random noises thrown in. This song is as cluttered as track one, but in a different way that fits overall. The piano and bass parts are strong but not overpowering, with deeper vocals. Sludgy distorted guitars and driving drums lead this song while the overdubbed vocals repeat; “We’re having a good time now.” Indeed we are.

This CD ends with my favorite of the six demos. With a drum machine and Pavement/Stephen Malkmus-style guitar and vocal parts, Drew muses, “Life is a dream, life is a bitch. It sucks when you’re poor, it sucks when you’re rich.” I would say this is pessimistic, but the chorus is, “Don’t call me negative.” So, I won’t. But I will say with a full band, Noise Junkie would be an entertaining live show.

Self-Released
myspace.com/drew253music

The EP starts out with the track “Fathers and Daughters,” with a grungy guitar classic rock riff over quick and driving drums. A solid rhythm guitar and tight bass is set off by the vocalist’s country twang that continues throughout the CD. “Hear Me Tonight” is a song about making ends meet during a rough time. The simple harmonica parts are a pleasant addition to the guitar/drum/bass combo. Track three, “Skeletons”, is a slower and emotive acoustic song with crunchy and distorted guitar solos, organ and controlled drums. It is a sound similar to Rocky Votolato a la Makers. The vocalist has a true sense of melody without being too pretty and the backing female vocals add depth.

The EP ends with “Rise On,” a song seemingly written for Country Music Television (CMT) audiences everywhere. I could visualize the video as I listened to the song: it begins with a slow pan of a “poor man’s town” during the guitar instrumental intro, landing on the singer sitting on a tractor, porch, or motorcycle. He is staring into the camera and singing about how “they’re shutting down another factory.” Eventually, the song picks up and the rest of the band joins in, likely playing in the middle of what was once a bustling main street. All in all, not my favorite song on the EP, but I guess my truck still runs and my dog still sits shotgun so I’ve got nothing to complain about.

Self-Released
myspace.com/lowcountrythieves