(We are very fortunate to have two wonderful talents reporting on the 2024 edition of NCS-sponsored Northwest Terror Fest — writer Gonzo and photographer John Malley. Together they have made it possible for those who weren’t there to get a sense of the experience, and to remind those of us who were there how great it was. Here’s their report on the first day. Reports on the next two days will follow in the two days ahead.)
Few cities in the US have a relationship with music quite like Seattle does.
Beneath the city’s foreboding skies, seemingly every decade since the early 1900s carries the weight of some musical movement it spawned, and the net it casts is as wide as it is diverse.
Musicians of all backgrounds and ethnicities, playing every type of music imaginable – from jazz and folk to alternative rock and death metal – have left an enduring, tireless mark on the Emerald City, and in so many instances, the ripples that start there would be felt throughout the rest of the world.
Beyond just the music, though, the city has historically been a sanctuary for artists so often met with resentment, rejection, and outright hostility everywhere else. Cities like Seattle are where creative people come to galvanize their thoughts into action while waving a middle finger at the status quo.
When you consider all this, it only makes sense that Seattle is still proudly carrying on this legacy. And to me, no music festival is more emblematic of all this than Northwest Terror Fest.
I’m sure as hell not one to observe many traditions – at least, not in the “widely accepted by the people” sense – but the yearly tradition of coming to this festival and word-vomiting my experience into the void is one I’m more than glad to uphold.
Buckle up, my friends – it’s about to get fucking weird. Continue reading »
