The Cellar Door

The Cellar Door longs to sing about fantastic things. Since the spring of 2012, their name has been lingering in the background noise of the Seattle music scene, and this particular phrase, “fantastic things,” has quietly followed suit. No one in this aspiring chamber-pop band has known exactly what to make of the idea; it had been written in an early TCD bio with little thought. Still, the longing seems to persist. The urge to sing of grandeur endures without account.
But as these young friends—Sam (21), Honnah (22), Gabe (21), Colin (18), Kristianna (19), and Tennyson (20)—have journeyed through artistic infancy, they have found at least a bit of clarity in what might now be called their adolescence. (Clarity all but entirely owed to the support and the lifting by new friends in the Seattle scene). For example, they have found an odd stability in the swing and curve of Honnah’s piano. They have found safety in the creases of their own unique vocal texture, especially when the married notes take on a pervasive, intense edge. They’ve found mystery in plainness, and deep satisfaction in a brief silence.
These small moments and unspoken feelings do seem to be grounds for the fantastic, and those simple impressions also beckon the best companions. While listening to their songs, you may be joined by nostalgia and expectation—like walking through byzantine corridors of memory with tall windows of clear, hopeful plans on either side. You may feel both young and old and hurt and healed. From what can be gathered in words, the listener will indeed feel that familiar internal tweak by artistic exposure. But this tweak happily rests in what is contradictory, in those paradoxical truths, in the space between notes where meaning is beyond melody or lyric, but can simply be.

Mary Lambert is good at two things; crying and singing. Nowhere is this better reflected than on her debut EP 'letters don't talk' released in July of 2012. Burrowed away with her friends in the woods of Sequim, Washington recording with the production team of Dungeness Records, she spent 2 years finessing the poignant and earnest collection of songs. In 'letters don't talk', Lambert has carved a niche for herself, winding profound lyricism around breathy, haunting melodies.

As a performer, Lambert exemplifies the traditions of a singer/songwriter while melding a background in spoken-word. With the powerful body-image poem "I Know Girls (Body Love)" going viral on youtube, letters firmly established Mary as a formidable unsigned artist. This status was cemented when the lesbian singer-songwriter paired up with the internationally acclaimed hip-hop duo Macklemore and Ryan Lewis to help write and sing their revolutionary single, "Same Love". The track, an honoring of gay marriage, has led Mary to tour nationally with Macklemore and Ryan Lewis, allowed her to reach millions by performing live on The Ellen DeGeneres Show, VH1, and garnered tens of millions of views on YouTube. "Same Love" has reached platinum in Australia, charted #1 in January, and has peaked at #101 on Billboard. It is no wonder that Mary has become one of the most talked about new artists in Seattle.

Mary is a music composition graduate of the prestigious Cornish College of the Arts. Surrounded by talented composers and faculty such as Janice Giteck and the Seattle Symphony's Adam Stern, it was at Cornish that she honed her classical composition skills, wrote quartets, world music and a full symphony piece for the Seattle Philharmonic. Although established as a bright modern composer, Mary's songs are far from the pretension of academia. Her writing is accessible and thoughtful, and her charisma and sense of humor shine on stage, providing a striking juxtaposition for her thought-provoking and sometimes dark lyricism.

Lambert self-released her debut book of poetry, "500 Tips for Fat Girls", and embarked on a Northeastern U.S and Canadian tour. The book is a vulnerable depiction of body image, rape, incest, and homosexuality. Lambert says of the work: " To me, most curvy women end up having to navigate themselves through a frustrating process to find self-love. I think that that navigation to self-love is universal. This book is a collection of poetry exploring that… I believe in the power of vulnerability. When we allow ourselves to be vulnerable, we have the most beautiful opportunity to find human connection, to see humanity in it's greatest light."

Mary Lambert is also revered as an accomplished spoken word artist. She competed in Russell Simmons' "Brave New Voices" International Competition in 2008 (on HBO), and was a co-founder of Seattle's first College Unions Poetry Slam Invitational (CUPSI) collegiate team. Mary Lambert is Seattle's 2011 Grand Poetry Slam Champion and the 2012 Northwest Regional Slam winner.


Wayfarer is an indie-folk group from Seattle, WA, playing "Repurposed Hymns & Spiritual Songs" -- taking lyric sets from old, sometimes forgotten hymns, and writing entirely new music to them: melodies, chords, arrangements. "The River," the band's first release, hit the web and record players on July 22, 2012, followed in November by "The Holly & the Ivy", Wayfarer's first re-write of a classic Christmas carol. "Holly" is paired with their cover of "Time to Get Alone", a wintry love song by the Beach Boys, as well as a live in-studio acoustic rendition of "Holly" recorded for the RELEVANT Magazine Podcast.

Dearborn is made up of Portland natives Natalie, Allie, and Meegan Closner - a family trio that formed when Natalie leveled up from her solo singer/songwriter career. After two nation-wide house tours, an EP called "Pseudo Love," and some YouTube notoriety she received for her song about the boy who worked at Pine State Biscuits; she got wise and asked her younger twin sisters to lend their voices to her cause in June, 2012. Dearborn is the resulting sound of an acoustic folk/pop/soulful trio singing about being young and human. Expect to hear honest words and genetically perfected harmonies

$10 Adv.


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