Wednesday, October 12, 2016
Listening to the abundant sounds of the Seattle-based funk & soul group, The True Loves, is like walking down a favorite neighborhood street, slapping-five with friends, checking up with clerks in their stores, admiring your own dark sun-glassed face in their windows, ducking under flowerpots and smelling the familiar smells of your most cherished locale. The band is its own block party.
What began in 2014 as a jam session between three of the city’s best - pocket-perfect drummer David McGraw, intoxicating bassist Bryant Moore and otherworldly guitarist Jimmy James - has since blossomed into a global force that now features percussionist Iván Galvez and four horn players: trombonists Jason Cressey and Greg Kramer and saxophonists Gordon Brown and Skerik. Together, the group’s live performances have garnered them much local acclaim and millions of streams on YouTube.
In 2017, the True Loves recorded their debut instrumental LP, Famous Last Words, which received citywide adoration and earned them spots at coveted festivals like Sasquatch, Doe Bay, and Upstream. In 2018, the group released the “Dapper Derp/Kabuki” 45” on WeCoast Records and in 2019 the famed Colemine Records released the “Famous Last Words/Mary Pop Poppins” 45.” And while the band nourishes audiences all over the country - from its start with former singer Grace Love to their current eight-piece lineup - there’s still plenty to go around.
Born out of a basement in Seattle’s Greenwood neighborhood in 2015, High Pulp has been taking Seattle by storm. Obsessive attention to compositional detail and unique song structures characterize the band’s winding music. Effortlessly fusing diverse influences from jazz to funk and hip-hop to punk has lead High Pulp to call it’s music Future Funk Fusion - a melding of the past to create something distinctly cutting edge.
In March of 2017, High Pulp began playing weekly shows at Seattle’s revered jazz club The Royal Room, facilitating the development of deeply engaged in-the-moment conversations between members. As the band grew its ability to express and improvise in the live setting, the buzz grew stronger. Since High Pulp initially broke onto the scene, the band has already played to packed rooms at some of Seattle’s most prominent venues such as Neumos, The Tractor, and The Crocodile, as well as playing festivals such as Upstream, BAMF, and Big Bldg Bash.
In January of 2018, the band entered the ’studio’ (a friend’s cabin on Whidbey Island) with Jason Gray (Polyrhythmics) to record their debut album ‘Bad Juice’. Featuring 8 songs, ‘Bad Juice’ is High Pulp’s manifesto - taking the listener on a series of unexpected turns and all the while inducing subconscious head-bobbing. At its core, this is a band of adversaries - the moment that High Pulp seems to fit into a ‘genre’, it will be immediately shattered.
"Seattle’s fusion big band High Pulp’s debut... answers the new millennium’s post-trip-hop, -indie, -ambient, -drum & bass, etc. contemporary with vinyl sharp grooves, macramé arrangements, and session-level instrumentation" - Earshot Jazz
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