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Jay Inslee for Governor and Senator Maria Cantwell ft. The Lonely Forest with Aqueduct + Yuni in Taxco + Telekinesis (solo)
November 2, 2012 8:00 pm
October 17, 2012
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925 E. Pike St., Seattle, WA, 98122, United States

WA State Democrats and Neumos Present: Jay Inslee for Governor and Senator Maria Cantwell feat. The Lonely Forest with Aqueduct + Yuni in Taxco + Telekinesis (solo)
Toby Crittenden from the Washington Bus as your emcee
Friday November 2nd, 2012
Doors 8pm
All Ages, Bar w/ ID
Jay Inslee Website
Maria Cantwell Website
The Lonely Forest Website
Aqueduct Website
Yuni in Taxco Website
Telekinesis Website

This event comes with just four days to go before the last ballots will be cast on Election Day. The GOTV Bus Tour, with Maria Cantwell and Jay Inslee, is traveling to cities all across Washington, to remind people to vote in this important election, and to fire up the thousands of volunteers who will make the calls and knock on the doors leading up to Election Day. Bringing the bus to Neumos has become a pre-Election Day tradition, and this year will be no different.

The Lonely Forest

Set between ancient forest and the forest-green waters of Puget Sound at the very edge of the continental US, Anacortes, Washington, population 17,000 sees a lot come and go. Ferries docked here delivers thousands of itinerant hippies, millionaires, and sightseers to farms and mansions dotting the remote San Juan Islands while Navy bombers and helicopters based nearby perform ear-splitting flyovers. Through all the coming and going, the local DIY community remains remarkably consistent and strong; an expression of defiant, end-of-the-line creativity. From that community come The Lonely Forest, a rock band of four Anacortes natives with no intention of leaving.

From the outset The Lonely Forest —singer/guitarist/keyboardist John Van Deusen, guitarist Tony Ruland, drummer Braydn Krueger, and bassist Eric Sturgeon— has been about inclusion. In 2005, a raucous garage session inspired the guys (Braydn, Tony, and Eric) to join forces with Van Deusen’s piano-pop. The newly formed entity, now called The Lonely Forest, played their first show while two band members were still in high school (the other two having recently graduated). Since that show, The Lonely Forest have racked up miles; steadily becoming heroes of the Northwest all-ages scene through relentless gigging around the region. From their first show at the Department of Safety, center of Anacortes’ all-ages DIY scene, to their high-profile appearance at Bumbershoot 2009, a sold-out concert at the Showbox in Seattle last fall and a coveted spot on 2010’s Sasquatch Festival, the accolades for The Lonely Forest have grown along with their fanbase.

As grows their fanbase, The Lonely Forest ‘s music is continually expanding and evolving. At its core, the music features Van Deusen’s soaring vocals and keyboard melodies wrapped tightly around Ruland’s expansive guitar anchored by a heavy yet nimble rhythm section. The contrast of brilliant pop songs featuring lyrics about spiritual longing wedded to an almost prog-rock sensibility appeals to broad swath of listeners, from wide-eyed teenagers to jaded scenesters. As always, inclusion is important to these guys!

The Lonely Forest will continue their steady climb to prominence from modest Northwest roots with the March 22nd release of their new album, Arrows, for Chris Walla’s label imprint, Trans Records. Walla, guitarist and producer for Grammy-nominated rock band Death Cab for Cutie, made The Lonely Forest his first signing when he launched Trans with the support of Death Cab for Cutie’s major label home, Atlantic Records. Trans and The Lonely Forest will be released through ILG, Warner Music Group’s Independent Label Group. In addition to his role as label head, Walla produced and mixed Arrows at Sound City studio in Los Angeles, Tiny Telephone in San Francisco and his own, Portland-based studio, Alberta Court. He also mixed three tracks – “Be Everything,” “Turn Off This Song” and “Live There.” The rest of the album was mixed by John Goodmanson (Girls, Nada Surf, Owl City).


David Terry’s love of the pop hook has only gotten stronger with time. Unlike I Sold Gold’s huge, blown-out drum sounds and blip-pop synths, Or Give Me Death finds Terry broadening his tonal horizons to encompass mariachi horns, Gershwin-esque strings, looped and layered vocals, and grand piano. Oh and there’s also quite a lot more electric guitar. Terry has grown as an artist since 2005’s I Sold Gold, and Or Give Me Death is his most melodically complex and lyrically mature release to date.

Aqueduct was founded in Tulsa’s dusty plains as the solo project of pop aficionado David Terry. He relocated to Seattle in 2003, and a mere 12 hours after Terry’s arrival in Seattle, Aqueduct was opening for Modest Mouse at The Showbox.

Industry folks and new fans alike throughout the Pacific Northwest raved about the nimble cleverness of Aqueduct’s heartbreaking lyricism and unstoppable piano-laden hooks. Copies of the band’s 2003 self-released, Power Ballads, recorded by Trent Bell at Bell Labs (Flaming Lips, Starlight Mints) were circulated, along with CDRs of new material, to the delight of many new ears – including those at Barsuk.

After months of culling and polishing new and pre-existing material with the help of producer Matt Pence, Aqueduct completed their second full-length, I Sold Gold, along with an EP, Pistols at Dawn.

Or Give Me Death is a Futurist classic rock record, a snapshot of the oldies stations of tomorrow. Combining the breadth of the FM dial ( i.e. Brian Wilson vocal melodies, the flute solo from California Dreamin’, Chicago horns, the magic of ELO, NWA beats, and Heart guitars) with new ideas and a progressive production ethos, Terry has crafted a treasure chest of an album, where sturdy rock songs wrap around shimmering, beautiful arrangements like a trusty old blanket. It’s familiar and warm. It’s big and cozy. It’s a lot to listen to.
This isn’t a concept record, but there’s an undercurrent throughout to which we can all relate. There’s a familiarity to this record, and there’s hope and faith in the human condition shimmering under the loneliness and misanthropy. David Terry is a post-modern soul singer, telling you with his piano-bar do-wop that he knows how you feel: it sucks, but it will be all right in the end.
Barsuk is proud to have released these documents of infectious bedroom pop-perfection, and while Or Give Me Death takes Aqueduct somewhat out of the bedroom, we still think it’s pretty darn perfect pop.



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