Global Seepej Records and NadaMucho.com began within a year of each other in the mid 90s, but it wasn't until 2003 that the two independent organizations crossed paths.

Nada High Potentate Matt Ashworth received the debut At the Spine album, The Curriculum is Never Neutral, at his basement office in Kent, Washington and quickly invited the band to play New Music Monday, a weekly showcase for emerging local bands.

Within months, Ashworth and ATS front man and Global Seepej head Mike Toschi formed an informal partnership based on their shared love of music and community.

After discussing the idea for a few years, Ashworth caught Toschi on the phone drinking enough free beer to agree to put out the compilation. Songs from the Seattle Underground is the first recorded manifestation of that partnership.

Guitar, bass, and drums. Nada Mucho's debut showcase at the venerable Blue Moon (located on the western fringes of Seattle's University District) promises you the best of that simple formula on Saturday, September 22nd... a menage a trois of local power trios, each one a headlining band in their own right - with NO COVER CHARGE.

Mos Generator, celebrating the September 25th release of their latest album for Small Stone Records, Songs For Future Gods.

Madraso, gearing up to tear the Tractor Taven to shreds for Seattle Weekly's Reverb Festival.

Iceage Cobra, fresh from their jaw-dropping Bumbershoot performance and returning triumphantly to the venue they first played two years ago, almost to the day.

Matt Brown asked a representative from each band a series of hard hitting and ultimately worthless questions, interspersing their responses with some song requests from a few of their fans. Enjoy...

2007 NadaMucho.com Bumbershoot Preview

Unless you're a recent transplant from parts unknown, the details of Seattle's annual three-day music and arts festival should be second nature by now. For the uninitiated, Nada Mucho is here to help.

Bumbershoot goes like this.

• Weeks before the actual event, the schedule is released.
• Seattleites scan the listings and moan about the lack of "Must See" bands. (Full disclosure: we do this too.) This year, many of them probably also bitched about how long the lines will be for the Seaweed reunion show in the SkyChurch.
• After the schedule is released, hipsters attend the Capitol Hill Block Party and lament why Bumbershoot couldn't be more like it.
• Then, as the summer coughs and sputters to a close, we remember the age-old tradition of attending one more blowout before retreating to our holes, hobbit-like, to endure the cold, dark autumn.

Bumbershoot is that blowout.

If Robbie Fulks had been lucky, he would have been born forty years earlier. That way he could have enjoyed the hey-day of honky-tonk artists like Johnny Paycheck, Hank Williams, and George Jones. Unfortunately, a child of the '70s, he was forced to cut his teeth on Conway Twitty, Ronnie Milsap, and the rest of the mass-produced Nashville pap. It was hardly a fair bargain, but he's since come to terms with his lackluster luck, releasing a late 2005 album that combines his childhood memories with the best of his record collection.

Born in Pennsylvania but raised in Virginia and North Carolina, Fulks' future was probably always one of a fringe country star. Given a banjo at seven and adept at the fiddle by eleven, by the time Fulks dropped out of Columbia on a scholarship he had decided that guitar was the way to go. Following the girl who was carrying his child, he headed to Chicago, where he found work as a paralegal, proofreader, actor, and, fortunately, a teacher of folk music at the Old Town School of Folk Music (a place worth a second mention; check it out online at http://www.oldtownschool.org/).