“radio.fm” is a sonic hot breath on the back of your neck.
Lavender Country, the first known gay country band formed in 1972, has found a new audience, and founder Patrick Haggerty has a certain way of describing them: “I call them the pink-haired, anarcho, fuck-you crowd. Now you know who I’m talking about, right? And listen, they are my comrades.”
Violence and abuse are “very broad, but deeply personal” to Sankey, who finds a kind of exorcism in using “violent music” to address the nightmarish realities of these issues. “Saturn Devours The Sun” was penned three years ago, and Sankey admits she’s ready to move on.
Sir Babygirl likes to confront pop culture’s erasure of queer people. She laments queer-baiting in pop music, which often hints at queerness but rarely makes it explicit. Instead of queer-baiting, she aims to be queer-serving.
I recently had the chance to interview Seattle R&B Tomboy Princess, Falon Sierra, about her latest neo-Soul-Alternative-Electronic EP “Damaged by System,” released to all platforms October 2019. Read on to see what she had to say about her songwriting heroes, self-love, and the current state of art in Seattle.
With Fantasmagoría, the fruit of Tacoma-based rapper Guayaba’s theater of horror is ripe for the picking.
A filmmaker as well as a musician, Danny Denial’s music often ventures into the cinematic. With Danny’s vitriolic growl and sternum-shaking bass, his latest single, “White tears fake queers.” would fit right in on David Lynch’s goth-grunge Lost Highway soundtrack.
Sadeeq Ali hasn’t been in the game long but has definitely came through to show the boys and girls that us queers can’t be ignored in this realm of Hip-Hop.
The narrative in “Positive” by The Disposable Heroes of Hiphoprisy shows that, even as early as 1992, hip-hop was on the forefront of educating the public and dealing with the prejudices surrounding HIV and AIDS.
Tom Goss uses the new video for “La Bufadora”, a song from his upcoming Territories album, as the perfect metaphor for emotional landmines and a relationship that can take a drastic turn for the worse in an instant.
Everything Like It’s the Last Time tenderly takes back a survivor’s agency, giving the artist, and the audience, permission to feel what was too painful before, and to exist in the way we so badly want to as queer and trans survivors. Because of Astronaut9’s generous narrative, when you listen to this project, you also are heard.
Copyslut flaunts the theatrical charm of a glam band, but that doesn’t mean they’re all flash and no substance. They make bold music about sex work, queer love, and mixed-race identity. I got to interview lead singer Chatz and lead guitarist Ray about their influences, the story of their band name, and how a karaoke performance of Queen’s “I Want to Break Free” started it all.