Seattleites orbited around Portland on Sunday night at the Doug Fir, and judging by the crowd’s reaction, Portlanders probably wished they stayed here for good.
The Cave Singers headlined and clearly lit a fire that ran up the Doug Fir’s walls.
Lead singer Pete Quirk was dynamic and had a presence on stage that injected fuel into the fire. From his antics onstage (doubling over and foot-stomping with a tambourine in his hand, erratically dancing on stage with a sort of quirk-iness, playing the melodica) to his tribal and soul-infused vocals, Quirk got the crowd dancing from the very start and never let up.
The Cave Singers are heavily influenced by Fleetwood Mac’s music–evidenced by their drum beats, electric guitar, and tambourine–but the band has a distinct sound of its own. Their folky, bluesy rock is accompanied by washboards, shakers, harmonica, rocking drums, and electrifying guitar, and is something you could imagine people dancing to in a Southern church… or in some kind of snake cult.
The band opened the evening with a bang, playing “At the Cut,” the group’s fastest song that features guitarist Derek Fudesco at his finest. Fudesco was electrifying throughout the night and is an adept player. Along with Quirk and talented drummer Marty Lund, the three-piece band plays well together, and has a chemistry that could drive them forward quickly. (They’ve already gained a loyal following since disbanding Pretty Girls Make Graves in 2007.) It’s also evident the three friends enjoy playing together with smiles and laughter throughout the night.
The group’s last song before their encore was “Dancing On Our Graves,” which is the song that has the greatest chance of propelling the band’s popularity. It is tribal and rhythmic and features everything the band brings to the stage. It is the kind of piece that defines bands, especially on that defines The Cave Singers in a live setting. The song had the crowd clapping and foot-stomping instantly and yearning for an encore.
The band closed the night with two acoustic, folk songs (with Lund leaving his drums and playing guitar alongside) and left the crowd smiling and happy.
While The Cave Singers got the attention of the audience with its high energy and rocking sound, The Dutchess and the Duke did it with its quiet, acoustic harmonics and vocals.
The Dutchess and the Duke
There was clearly an excitement in the air as Jesse Lortz and Kimberly Morrison took the stage, and it was evident that many in the audience had heard the duo before. As soon as Lortz began singing the first song, the hub bub reduced instantaneously to a hush. It was the kind of hush that acoustic musicians strive for–people were riveted and didn’t dare make a sound for fear of drowning out the quiet melodies.
The duo have an aura about them onstage that should ensure they will be a folk favorite in the Northwest for as long as they play. Lortz’s pain-soaked, rough voice fits Morrison’s beautiful, floating vocals perfectly, and the chemistry between the two is undeniable. You don’t know who to focus on at any one time, because they both captivate in their own ways. Lortz, who has admitted that many of the lyrics are autobiographical in nature, is hard to look away from at times, his pained voice resounding from a deep place inside. Morrison’s voice is absolutely gorgeous with her female, folk singer sound.
Beyond the staples “Hands” and “Reservoir Park,” “Scorpio” (off the group’s second release Sunset/Sunrise) is emerging as another defining piece. The lyrics rank right up there with “Hands” and the song features the duo’s harmonic chemistry prominently.
In the haunting chorus, Lortz sings: “I feel good, I feel fine, the sky is blue, the sun is shinin’, No need to run, no need to hide, no need to kill myself just to stay alive.”
But beyond the aching lyrics are two friends having a good time, and the two have a humorous side to them that is very personable. At one point, Lortz said, “They’re slipping,” to which Morrison replied, “Well, pull up your pants.”
“No, my legs [off the stool],” Lortz said. “They’re not as long as they look [looking down at the ground]… but they’re beautiful.”
After “Out of Time,” one of the more somber songs from the group, Lortz said, “Hey, let’s play more of a downer this time.” Morrison replied, “More of a downer than that?”
Toward the end of the show, when Lortz realized he didn’t have any more beer, he asked the audience if they could spare a brew. The crowd was quick to oblige, showing the clear connection the band made with the audience.
The group is a bit unpolished (at one point Lortz said, “Well, that was a rough ending”), but it actually adds to their character onstage and doesn’t hurt their performance. They are naturally off-key people, and Northwesterners wouldn’t have it any other way.
The Moondoggies
The Moondoggies opened and wasted no time in delving into their folk and blues rock. The group, led by vocalist/guitarist Kevin Murphy, didn’t mess around, and brought its loudest music to the stage Sunday night. Murphy has a voice that evokes memories of Kurt Cobain (one of the band’s main influences) and had his eyes closed and head down for most of the night while he wailed on the guitar. All four members of the band know what they’re doing and you get the feeling they are just beginning to discover themselves and their capabilities. Their loud, grungy blues rock, coupled with their folk pieces, is the kind of music that can last a long time. “Changing” and “Bogachiel Rain Blues” (off the band’s debut album Don’t Be A Stranger) are formidable live pieces that should serve the quartet well as they move forward. The band is only two years old and still has plenty of time to grow.
Sunday night was a glimpse into three young bands committed to their music, on the cusp of perhaps something great. If they continue to develop at this pace, they won’t have to come to Portland–Portlanders will go to them.
Indie-folk-popster Nick Jaina has a new album, A Bird In The Opera House, out on April 13th and he’ll celebrate with a show at the Doug Fir on April 2nd, but last week he debuted his song “Sleep, Child” on Magnet Magazine.com (available for free download as well).
Soon to be off on the road, Nick starts his tour sticking to the western United States–which is said to have inspired much of the album, but it also features:
Many different guitars, textures, sounds. Songs about the most famous fruit vendor in the world, the most beautiful town in California, the best place to find a hotel in Cincinnati. Also, more songs about girls.
Before he marches on, Nick sat down with Feels Like Home by Into the Woods for a comfortable, crisscross applesauce version of “Maryanne” on his hardwood floor.
Seattle and Portland natives may have their differences, but the one thing most can agree on is they both have a wealth of good, local music.
And if there is anything that can bridge the rivalry between the two Northwestern cities, it’s the music.
There is no better time for Portlanders and Seattleites to unite than on Sunday at the Doug Fir. Three solid, young Seattle-based bands will play, and all are well worth listening to.
All bring deep and powerful folk rock and acoustics to the venue. They are thoughtful and high-octane at the same time and should leave Portlanders almost contemplating moving up north after the show… almost.
The Cave Singers headline, but each band is worthy of the spot. The Cave Singers are clearly influenced by 70’s rock, particularly Fleetwood Mac. Their drum patterns are arguably fashioned around the legendary band’s beats while the electric guitar and tambourine follow suit.
Formerly Pretty Girls Make Graves, the band reinvented itself in 2007 and has since produced two solid full-length albums. The band, consisting of Pete Quirk (vocals, guitar, melodica, harmonica), Derek Fudesco (guitar, bass pedals), and Marty Lund (drums, guitar), is high energy and dynamic one moment (“At The Cut”) but tribal and rhythmic the next (“Dancing On Our Graves”). They even mix in floating electronica in the background, in the style of Fleetwood Mac.
The Dutchess and the Duke will play before The Cave Singers. The duo has gained widespread attention in Seattle and the surrounding Northwest. Fairly frequent visitors to the Doug Fir, vocalists and guitarists Jesse Lortz (The Duke) and Kimberly Morrison (The Dutchess) have a clear chemistry that radiates from the stage. Their music is driven by their quiet acoustics and deep and thoughtful lyrics. Only a couple years old, the band has already made an imprint on the local scene. They also have a subtle humor about them when talking on stage that draws the audience in and naturally allows for input. Their most recognized song, “Hands,” is a soulful ode expressing a deep want for a relationship to bloom from stagnancy, but unclear if it will ever happen.
Sun comes up, I’m counting the days I’ve got left
I’m counting the time on my hands, watch the days roll by
When I’m gone
Who will be waiting for me to come home?
Who waits for a ghost to come in from the cold, just to haunt you?
Sometimes girl I’m already gone, I’ve been ready so long
In your heart there’s a different man, and I just ain’t that strong
I can’t win, I can’t lose
And everything I do is wrong
Acoustic and quietly melodic at first, the song bursts into searing electric guitar at the end of the verse, symbolizing the desperation and pain, then quietly fades back to acoustics.
The Moondoggies, led by dynamic vocalist/guitarist Kevin Murphy, will open the night but to designate the four-piece folk rock band as an opening band would be amiss. The band’s musical depth screams of experience–they’ve been playing together since they were teenagers–and they could be the favorite of some in the audience. Of the three bands onstage Sunday, The Moondoggies span the most genres. From quiet folk to grungy, ear-splitting guitar (drawn from one of the band’s main influences Nirvana) to Southern blues to even bluegrass, the band offers an in-depth knowledge of different styles. One of the band’s most accomplished pieces, “Night and Day,” is clearly that… ranging from quiet acoustics to rock and blues–an epic that is nearly eight minutes long. To cap it all off, wailing, painful lyrics drive through the band’s sound.
In “Changing,” Murphy sings, “It’s time I start changing, but where do I begin / I’m burned out again, well I don’t feel like changing” and on “Night and Day,” he continues, “Now I’m running on down the track, and I ain’t lookin’ back / You say love’s a dirty road, follow it and you’ll get cold.”
“The Undertaker” is probably the closest anyone will ever get to honoring Kurt Cobain’s acoustic work; an excerpt wouldn’t do the song’s lyrics justice–it must be heard in full.
Ultimately, the music on Sunday night offers a chance for the audience to spring free from lethargy, and well, dance all over our graves.
Nowadays anyone with a laptop and even a hint of musical inclination can bang out a song and make it available worldwide in the course of an afternoon. Programs like GarageBand make multitrack recording and sophisticated effects processing easily accessible to the least tech-savvy, while a plethora of other variously specialized programs address the needs of more serious artists.
The recent explosion in inexpensive music software has empowered solo, home-recording artists to articulate complex, multi-instrumental visions without the assistance of band mates in ways not previously possible–even to reach global audiences without ever setting foot in a studio or dealing with a record label.
But what about the live show?
After a successful home recording, how can a digitally empowered solo artist take their music to the stage and project a compelling presence in a live context?
Great recordings don’t necessarily translate into crowd-pleasing stage performances without significant adaptation, and most regular concertgoers (at least those interested in technologically tolerant genres) have experienced disappointingly karaoke-like performances from artists who relied too much on pre-recorded backing tracks.
Over the last two years, Portland’s Micah Tamblyn has been experimenting, writing, recording, and meticulously polishing a moody, electro-influenced brand of indytronica under the Dropa moniker. Singlehandedly employing a mix of organic and digital instrumentation, Tamblyn has relied primarily on home computer based technologies to record and compose his musical vision, last october releasing a 13 track album entitled A Well Orchestrated Plan for free online download.
The album’s rich, multi-layered aural texture could be easily mistaken for the concerted effort of a pop-minded ensemble, replete with skittering electronic beats and booming live drums, freely intermingling synth washes and punchy baselines, soaring vocals and catchy guitar riffs, an instrumental diversity belying its genesis in the mind of one individual. After the album’s release, Tamblyn decided it was time to start performing the songs for live audiences and began working to bridge the gap between his home recorded vision and the stage. OMN recently sat down with him to discuss the process.
OMN: You produced A Well Orchestrated Plan totally by yourself right?
MT: Yeah.
OMN: How many tracks on average did each song have?
MT: Well some vary, I’d say from 7 tracks to others maybe like 15 tracks. One thing you hear on the album is a lot of resampling, where I’ll send stuff out and manipulate it and send it back in… filters and stuff like that, then I’ll resample it and make a loop out of it. There’s a lot of parts in the songs where I did that with vocals as well as multiple synth parts. There’s a lot of experimenting with resampling.
OMN: Would you say that a lot of the composition process was just experimenting with the technology itself?
MT: Yeah, yeah, the computer definitely had a big influence on the creative output of the songs themselves. I don’t think any of them would’ve sounded near the way they did if it wasn’t for the computer, wouldn’t sound anywhere near the way it turned out.
OMN: Laptops are so integral to what a lot of people are doing these days, how do you feel about them as performance tools?
MT: As long as you’re not just playing tracks and you’re using it as a tool or an instrument itself, then it becomes something completely different. For me I have like three different keyboards and a drum set going into it, controlling instruments and effects, my vocals are going into there, and I’m changing around and resampling my vocals so to me it’s like a magnificent instrument but I think it’s no different than having a bunch of effects pedals. The fact that software’s constantly being developed and there’s no limit to what you can do, I find that when you’re dealing with a guitar and a few effects pedals and an amp there’s a lot of possibilities but you’re still limited what you can do with a guitar and some effects pedals and your amp, and you know going to a laptop setup makes it like endless possibilities, you can do anything.
OMN: Once you had a finished work of art and decided you wanted to play that live for people, how did you start the process of transferring what you created individually into something that would be performed by a group?
MT: Well that’s kind of funny, that’s kind of been my major battle with this, deciding how to play it live. I’ve seen a lot of artists get up there and perform with a laptop or a pre-recording. I didn’t wanna do that, be like a one-man band, which you know can be fun but from an audience standpoint people like to see stuff that’s being played. I first just decided just to have a drummer and then I came across two brothers [Nathan and Darren Trtek], one’s a drummer who plays an electronic kit and the other one plays bass and synth, so we worked at that for a while to try sequencing our performance. It’s kind of been interesting to see how a lot of these parts have come to life with them performing it ’cause they put some of their own fill and flavor into it, especially with the drums. The drums have more life and that’s really what I wanted to come across being an electronic musician.
OMN: So you’ve got three guys now, but up to 15 tracks on some songs. How do you re-create those complex songs or begin the process of changing those songs? What kind of difficulties did you run into?
MT: Well we found that some of the songs you can only perform so many tracks. I guess the idea of trying to pick the most solid tracks out of the songs, the essential pieces and focus on those but a lot of the tracks have thick textures of ambiance and other things going on so what we tried doing for performance was having a few tracks sequenced and then playing along with those, playing key instruments, but I think we’re at the point where we’re talking about either adding another person to try playing everything live and not having any sequenced stuff, or using loops and building on that in a live performance, which could be tricky and could also crash on us. The problem of adding a new person is the complexity of having different points of view and attitudes. It’d be easier to keep it a three piece as opposed to moving on to a four piece.
OMN: How do you determine where the compromise point is in terms of what you’re dropping out, what you’re keeping?
MT: There’s a bit of play with, “Ok, let’s try it like this” and if it sounds too empty then we try re-working that.
OMN: You’ve actually created your own instruments to facilitate the live recreation, the microkorg keytar?
MT: I wanted people to see what I was doing performance-wise, wanted to be able to move around and dance so I transformed my microkorg into a keytar by putting a strap on it and attaching a MIDI controller onto that to give myself some extra options.
OMN: Now that you have band backing you up, do you feel like your songwriting style is more restrained, keeping in mind you’re going to have to recreate it in a live context?
MT: I’m trying to keep it more simple, but I don’t wanna put restrictions on what’s possible. If it comes down to it, live might sound a little different than the recordings, but I think what’s more important is having the sound be in the moment and not sound like we’re just replicating a recording.
OMN: What’s more important to you–to produce a song that sounds really awesome to be distributed and listened to or to go and perform for a live audience?
MT: I almost feel like they’re two different mediums.
OMN: So how do you determine where to place the emphasis as an artist?
MT: I think there’s art behind both of them, but it’s not necessarily detrimental either way whether you’re just a recording musician or also a performing musician. There’s a lot of artists making these home studio recordings and distributing them. I think that’s great because not everybody is a performer that’s able to get up on stage and maybe not everybody wants that. I think when you’re performing it, the song definitely does grow with you, but there’s also an art behind something that’s created in the moment. Live is interesting because it’s a living, breathing thing–you have to worry about the reaction of the audience. I’m excited to perform live but it’s also kind of nerve-wracking.
OMN: Are the guys contributing their ideas to it as well?
MT: We’ll see how it goes, I’m not sure where the songwriting’s gonna go at this point, but I’m not gonna say, “No, this is my project.” I started off making this in the direction I wanted to make it but I’m not gonna keep it restricted to that.
Often times at a show you are treated to two, three or even four bands that are alike in genre, yet have major differences in tone, composure and overall style. This is to be expected because it equates to a great show. After all, we come to see the music we like.
Friday night at the Doug Fir was no exception, as Shoeshine Blue opened up for The Devil Makes Three (DM3) frontman Pete Bernhard. Right off the bat you could tell that Shoeshine Blue was one of the most fitting band names here in the region, as they brought a particular blend of gospel-folk-blues-rock that had you pining for the loafer days when all shoes were shiny and you could polish them to a sheen that would either conduct solar electricity or function as a very capable mirror.
The swath of Mississippi Delta blues permeating the music is no mistake, as lead-singer and frontman Michael Apinyakul is a transplant from Missouri, bringing with him the ruddy blues that flourished in his home region. Since landing here in Portland, Apinyakul has slowly gathered the pieces of Shoeshine Blues around him. Originally a solo, lo-fi, basement recording project, the group has grown to include drums, back-up guitar, an upright bass, and two full, angelic voices that add a gospel undertone to Apinyakul’s raspy, M. Ward meets Bob Dylan vocals.
The result of this slow congregation is something mellow yet entrancing, as one could almost see their toes dragging against the current of the massive river that lends its name to the music, songbirds singing in the distance and the heat of a midsummer’s day crushing any notions of work or toil in the coming hours. It was a perfect example of just another band that crosses the boundaries of genre and space, and returns to something tangibly recognizable only as an afterthought.
Funny, that reminds me of someone…
Right. The headliner.
While Shoeshine Blue relied on a large band to create their sound, the same could not be said for Bernhard’s solo project. It seems that, at least for his live shows, Bernhard loves the three-piece band. Complete with a bassist/back-up vocalist and a very capable drummer, this trio put out more sound than one would think possible (if they hadn’t seen a DM3 show before). This preference for the three-piece could be because it works so well for his sound–that mixed genre jambalaya composed of elements of country, folk, bluegrass, roots-rock, rockabilly, indie and true-blood Americana. If you add some meat to it… you got a nice stew going.
Compared to his recent solo album, Straight Line, which featured a full band and some accompanying artists, the stripped down nature of the material exposed Bernhard as the country music lyricist and rockabilly picker that he really is. The material was mostly off Straight Line, and comprised a deep, introspective look hemmed with a old-time twang, a country stomp and the roots-rock sensibilities that permeate all of the music he writes.
And the end-product?
“Some of ‘em are a little bit country and some of ‘em rock’n’roll.”
This observation was spot on. From the hoppy, dance-floor friendly tracks “Satisfied” and “Mr. Mudd and Mr. Gold,” to the country witticisms present in the rolling tunes “Orphan” and “Mint Condiion,” Bernhard was able to consistently spin through genres and styles without ever straying far from his down-home-rock roots. And to telling effect, as the dance-floor was littered with do-se-do-ing couples, wildly flailing solo artists, and the occasional, albeit brief, appearance of a line dance.
You could instantly tell that Bernhard enjoys what he does as his stage presence was one of calm relaxation and air of cordiality that was positively infectious. This type of repose is one of the most indicative elements of a talented performer, and Bernhard is no exception. With a jovial banter and a couple of wide grins, he spun through an efficient night with style and country grace, leaving the crowd bubbling contentedly.
If you missed the show, don’t kick yourself. Bernhard will be returning as the frontman for the group that has brought him fame, The Devil Makes Three, March 27 at the Wonder Ballroom.
The Doug Fir welcomed Keiran Hebden, better known as Four Tet, with open arms last night and the crowd was not disappointed. They weren’t surprised either–the evening proved to be a safe bet, hedging on the reputation Four Tet has forged for himself in his first few albums, notably Pauseand Rounds.
Everything was as it should have been: loud, knee-shaking beats that still made you dance even as pangs of near exhaustion were threatening to take over. On his new album, There Is Love In You, Hebden hasn’t done anything that he hasn’t already done on previous albums except maybe now he’s penned friendlier tunes that do not induce an epileptic fit so much as lull you into gentle, repetitive head nods. The show was a bit dull if only because you weren’t really hearing anything new. In fact, the highlight of the show came when he finally caved and played an older song, “As Serious As Your Life” from Rounds.
While the show was loud and exciting because it was, well, so loud and exciting, it still didn’t reflect much of an evolution from where he first started out. Nevertheless, Hebden proved that he had a few glitches still kicking around the switchboard and, whether you like it or not, he made you dance.
A mere three months after Fanfarlo said hello to Portland for the first time in November, they returned to the Doug Fir on Tuesday evening for an encore.
Identical to their last show, they took the stage as a threesome on a mandolin, acoustic guitar and pitter-patter drums to tenderly take Portland into their warm, dark embrace.
Two more materialized from the shadows and all five harmonized with echoey energy, chanting “It’s all I believe in” on “I’m A Pilot.”
Although the UK youngins have just one album to their name, 2009’s Reservoir, Fanfarlo makes timeless music easily mistaken for Beirut. And that’s okay, because there truly aren’t that many bands that can capture classic on their first try. Fanfarlo is immediately vintage and charming, yet essentially relevant–a sound that will span the decades like a Pink Martini.
With a few new songs on display, a tinkering xylophone, a gorgeously aching violin, and the synchronized plucking of taut strings across an array of instruments, Fanfarlo made Portland lose themselves in a fantastical dream. Childlike reveries of soaring through bulbous clouds or delicate sunbeams breaking through a foggy bog rushed through our collective consciousness on dreamily romantic and fatally poppy tunes like “Luna” and “Harold T. Wilkins, or How To Wait For A Very Long Time.”
Gracefully mixed in with the organic horns and lethargic bass were resounding synth samples, wispy distortion, and the electric guitar on a new song, “Waiting In The Wings.” An a cappella opening to “The Walls Are Coming Down” built into an epic bugling horn and drums thumping in time with heartbeats.
As an encore, Fanfarlo introduced their B-side “Comets” to this side of the Atlantic with whistling joie de vivre and said goodnight with the moodily upbeat “Fire Escape.”
April Smith and the Great Picture Show was a bit lounge singer and part country with her poppy, bluesy tunes and cutesy, seductive hip shimmering swagger on cuts like “Can’t Say No” and “Colors.” Consistent clap-claps from her backing boys dressed in hip 20’s fedoras and vests while rocking a stand-up base, electric piano and an accordion, the Great Picture Show was suited for back porch BBQs infused with a little rock’n'roll as she floated a soulful “Whole Lotta Love” into her closing number.
Trips one and two were stupendous, but they say the third time’s a charm.
Critically acclaimed electronic artists Kieran Hebden, better known asFour Tet, and Nathan Fake will hit the Doug Fir Lounge on Thursday, February 25th for what is sure to be a dance worthy evening in East Portland.
Nathan Fake, a young house artist out of Britain, will open for Four Tet who is on tour in support of his newest album, There Is Love In You, released January 25th on Domino Records.
The album is the first album in more than four years from the Four Tet camp, and it has been well received in the world of electronic music. Four Tet has been setting standards and moving the electronic genre forward since his debut album, Dialogue, in 1999.
There Is Love In You is a very melodic, and at times dark release, and shows similar characteristics to his previous works. Where There Is… seems to depart is the sheer weight of the tracks. Two thousand one’s astounding Pause is filled with seemingly light electronic songs that can be played at any party, while There Is… is not such an album. It needs some time to build and be appreciated.
If you’re in the Portland and you like dance music, post-rock or even just indie rock, Four Tet and Nathan Fake will surely deliver.
The show is 21+ and tickets are still available for $14. The doors open at 8 PM, show starts at 9 PM.
Famous for jam-packing his schedule to the breaking point with shows and guest appearances, The Devil Makes Three frontman Pete Bernhard is taking a break from his recent tour and guest spot on IFC’s Dinner With The Band by… going on a solo tour? Yes, you heard that right. This Friday at the Doug Fir Lounge, Bernhard will be showing off his solo side with songs off his most recent LP, Straight Line.
Apparently, the devil makes one.
While DM3 makes foot-stomping, hyper-active indie-folk-Americana, Bernhard’s solo project takes a slightly different approach. With a mellower, fuller tone, mostly attributed to the aforementioned addition of drums, Bernhard has created something that retains the spunk and bravado of DM3 while changing the material enough to keep it interesting.
Listen to “Fix It Up” while you read.
I had a chance to talk with Pete a week ago. Here’s what he had to say:
How are you? Your website said something about swine flu.
Yeah. The last tour was definitely pretty rough. It was actually a great tour in terms of people coming out to the shows and everything. But we got really sick, it was a huge drag. We were sick from San Fransisco to New York or something. We were traveling with six people and everybody got sick at different times and we didn’t even get better till half way through the tour. It was a pretty rough run, we had a lot of great shows, but we didn’t feel like we did our best.
Is it as bad as everybody says it is?
Yeah, it was pretty bad man. It was pretty bad. The reason I said swine flu is because our guitar player definitely had the swine flu and thought he was over it before we left. I guess he was wrong. [Laughs]
Did you have to call any shows off?
We only missed one show, and we did a tour of the whole country. Only cancelled one, it was in South Dakota.
Are you feeling better now?
Oh yeah, definitely. Feel much better now. Glad that it’s over with and hopefully it doesn’t come back.
Good to hear. Let’s start off with a word game. When I say the word “food,” what comes to mind?
Right now, what comes to mind is that we are going to New York City tomorrow to be on a show called Dinner With The Band. It’s a cooking show where you play music on the show, and then the guy whose show it is cooks you some really good food. So we’ve been talking a lot about food recently because we’re supposed to be talking to him about that sort of stuff.
Booze?
These days it would probably be beer. Good beer. I’m all about the heavy ones, some kind of dark beer, maybe Guinness.
Women?
That’s a dangerous question.
Politicians?
Don’t like them.
The Superbowl?
I don’t care. [Laughs]
So tell me how you got into music.
I first got into music through my family: my dad, my brother, my uncle, actually my aunt too. There’s a lot of music in my family. My dad played guitar, and my brother went for guitar and music, and my aunt was a folk singer. My dad bought me my first guitar when I was like 12-13 years old. He encouraged me to take drum lessons too when I was young. Definitely my family that introduced me to music.
So you play other instruments?
I can play a little bit of drums, not very well. I can play the piano, sort of the same deal. I learned the music theory that I know on the piano so I can do a little bit of songwriting stuff on the piano. But I can’t read music in any sort of… I can’t do it fast enough. [Laughs] Yeah I can play a couple different things, a little bit of bass, but mostly I’m guitar, harmonica and a little bit of piano.
What inspired you to become a musician?
Again, I would have to say it was my family. Because most of the people that I looked up to were musicians or artists in the family, so it seemed like the natural thing to do. I always wanted to be like them and they played, and I wanted to do what they did. I got into different things, outside of my family, afterwards, but they were my first inspiration.
How did you get your start?
I started playing by myself when I was pretty young. I played a lot of open mikes. I was 18 or 19 years old, [so] I played anywhere that anyone would let me, a lot of free shows, a lot by myself. That’s kind of how I found my way as far as performing.
What’s your favorite thing to do outside of music?
There’s a lot of stuff I like to do. I really like to travel. It’s sort of a perfect marriage with playing music, ’cause I get to play music and travel at the same time. I’m from Vermont. I like the outdoors. I like to be out in nature. I like to see live music. I like to do some art, poster-making, painting, stuff like that. That’s what I tend to do when I’m not doing music is work on art type stuff and travel around to see my friends. Yeah, [laughs] I like to travel.
How do you find the time to tour solo and with DM3?
I’m really kind of asking myself that question. [Laughs] You know, I don’t have any idea. I think that I have the tendency to overdo it. But, I just kinda try to get it all in. I love playin’, I feel like there’s just not enough time in the day, or the year. So I try to do as much as I can. But right now I am a little overwhelmed. It’s like “Wow, goin’ north, coming back down, goin’ to tour solo, then a tour with the Devil Makes Three…” But after that I’m going to Vermont to take some time off for the summer. When we have time off, we have a lot of time off, so I try to keep focused on that.
Are you working on anything new with DM3?
We have some new songs, definitely, that we’re working on. We don’t really have a record necessarily, but we’re on our way towards one.
Tell me about your solo project. How did that start?
I’ve always played songs that didn’t quite fit with the Devil Make Three. DM3 is pretty versatile as a group, but we don’t have drums and that’s a big part of it. We don’t really want drums, because that’s what makes our band what it is. Adding drums to DM3 would kinda take away more than it adds.
There are some songs that I’ve written that called out for drums, and they were a different style of music as well. I always wanted to record them, cause I think they’re really good songs, but I didn’t really want to force them into the mold of DM3 and have them not work quite right. There are a lot of songs that I really like and have played or a while, and some of them are brand new as well, and they lend themselves to the energy level of a traditional band. Some of ‘em are a little bit country and some of ‘em rock’n'roll.
Who are you playing with on your solo tour?
I’m playing with a couple of guys that I know from California, a guy named Max Hart is playing bass and singing, and my buddy Jason Chase is playing drums. So it will be like a three-piece, bass drums and guitar.
Would you say that most of the material you write is made for a three-piece band?
This material is actually made for kind of a bigger band, but it’s hard to travel with the size of bands that are on the record. So, three-piece is good, makes a good traveling group. Real easy, especially with the DM3, it’s easier when you don’t have drums, one of the reasons that we don’t have them. Eventually with this group I’d like to expand to four people, five people, we’ll see.
Your work with DM3 and your solo project is difficult to fit into one or two genres, so how would you describe it?
I’m a fan of all different sorts of music, I’m not a real big believer in genres, you know, good music is just good music. I just try and create the music that I love. So it is hard to describe. I love blues, I love old rock’n’roll, I love American music in general. I would say that there’s something in there for everybody. [Laughs]
One of the best parts of DM3 is the punk-y stage presence and soul of your shows, does this carry over into the solo work?
I think so. You’d have to come to the show, you tell me. [Laughs] I try and bring a lot of energy to DM3 and I think especially in this day and age when really, your live show has to be something special. Record sales aren’t what they used to be. You gotta be good live.
You seem to have no fear in asking, discussing, confronting hard questions in your lyrics. Where does this come from?
You know I don’t have any idea. But, I was reading recently this thing by George Orwell, this little book called Why We Write, which is about being a writer in general. And he was saying that it’s kind of your duty as a writer to be able to do that. That’s what makes it interesting to read. I guess in my case it translates into the songs. I’ve always sort of wanted to write about things that people understand and can relate to but also were a little bit afraid to talk about. I’ve been like that since the very beginning. I think it’s a good way to reach people.
Would you consider yourself an analyst or commentator on American culture?
Yeah, aren’t we all? Definitely. I think about that a lot. I personally want to express my opinions in a song, poem or whatever it ends up being.
What’s inspiring you right now?
Lately, like musically, I’ve been listening to a lot of old gospel. Definitely inspiring me. But really anytime I see a great show I get inspired, any time I see any art that I’m really impressed by, I keep writing and try to get better. But lately I’ve been listening to Leon Russell and some Willie Nelson and a lot of old gospel.
How long are you going to be doing this solo project?
This tour is the whole west coast, so it’ll be 10-15 dates long. As far as being a solo thing, I think I’ll probably be doing it forever. It depends on how busy I am with DM3, obviously that takes priority. And we are really busy, so we’ll see. I have time, so when the DM3 isn’t up and running and I’m not doing anything else, might as well write and keep recording. I’ll keep doing it as long as I can. It’s definitely a really fun kind of… different hat to put on. Like painting in a different medium or something like that.
What comes next?
I guess the next thing on the horizon probably, I mean these tours are obviously are coming up, but then I’d love to record another record for DM3 and then I’d love to record another record solo.
Three words for Straight Line?
It’s personal. It’s a personal record to me, but it’s also sort of a political record, like you said, I like to write songs that have that feeling to ‘em. That kind of speak to things that are happening. So I’d say it’s a personal record, a political record, and it’s the first record that I’ve ever done where I had the full traditional band. I don’t know how you can put that into one word. [Pauses] I’m pretty proud of that record.
Any words for the readers?
I guess, I’d love to see people out at the show, and I’d like to thank everybody for all of their support over the years. We’ve been doing this for a while now and Portland has been a great place for us from the very beginning, so thanks.
And one word for yourself.
Busy. [Laughs] Very busy. That’s more than one word. Rushed.
It has not been easy for Deelay Ceelay to go into hibernation this winter. People keep knocking and inviting the drumming duo to join their festival lineup, benefits, and gigs–offers too good to turn down.
But they’ve put their foot down! Saturday, February 20th at the Doug Fir with Dat’r and Fake Drugs will be Deelay Ceelay’s last gig before they go into the studio to concoct some new psychedelic creations. And for this last shebang, Chris Lael Larson and Delaney Kelly have added some extra oomph and art to their rhythmically infectious jams and mood-making visuals.
Saturday’s show will not only feature frenzied dancers on the floor but on stage as well. Delaney Kelly told on OMN this week:
“We’ve also decided this would be a great opportunity to experiment further with our live performance before we return to the studio and involve some of our friends who have often inspired us to play music. Dance has often played an integral role in our video–as we’ve featured local choreographers Noelle Stiles and Tahni Holt in some of our work. We’ve been talking about integrating live dance into our performances for sometime. We’ve asked Noelle, Tahni, Kathleen Koegh, and Melissa Pomeroy to work on a short piece for one of our songs.”
Also joining the guys “for a song or two” will be some sax from longtime friend Reed Wallsmith (Blue Cranes). “Deelay Ceelay has always been about doing things a bit differently,” continued Kelly. “We really want to continue in that direction and create new experiences no matter how slight or subtle they may be.”
Opening the night are Fake Drugs, a coalition of members from Pyramiddd (Starfucker) and Guidance Counselor. Singer/maniac Keil Corcoran who fiddles with all three bands says Fake Drugs is “an excuse for me to escape my cage and act the fool,” and announced that the band is “done mixing a 7 inch single that will be released on the new label we’re starting with Starfucker/Guidance Counselor on 4/20.” In the meantime, check out their demo of “Hover” below or some other new tunes on their MySpace.
Wires connected to machines linked to humans, Dat’r will pilot an electronic craft huddled behind the inventions that control their stage. With masses of devices for vocal repetition and beat looping, keys and computers, Dat’r is dance technology taken to the extreme–a perpetual attempt to expand sound or simply express the amusement of experimentation.
This week Deelay Ceelay gave away their guest list spots to fans on their email list. Subscribe now for future passes, announcements or free music–like their EP Thank You. And check out the OMN interview with the other drummer, Chris Lael Larson.
Brendan Benson put a smile on Portland’s face with as much ease and speed as he’d cruise the Lapalco Boulevard in Louisiana.
With driving pop rock, Benson pushed a button that exists inside all of us–one that released our natural rock endorphin making us bop to the simplest, most enjoyable elements of rock.
Benson led front and center relying heavily on his bounciest, poppiest tunes from 2002’s Lapalco. Opening with “Folk Singer” and rolling into “Good To Me,” he continued cranking out audience favorites like “You’re Quiet” and “Tiny Spark.”
His solo work is much sunnier and twee than The Raconteurs alt garage rock, singing songs about love lost and gained–whether that love be women or cars.
Benson allowed his backing guitarist to run through the solos and add soft keys between his own snappy, powerful chords while the blasting backbone of drums and bass kept the gig charging.
Featuring tunes that spanned his solo career, Benson was dulcet and country soaked at times but more often plainly rocking like on “Spit It Out” and a peppier, heavier “Alternative To Love.” A small reprieve with his acoustic guitar allowed some slower, softer songs but it didn’t last as “Metarie” became electric with help from his band. New tracks from 2009’s My Old, Familiar Friend like “Gonowhere,” “A Whole Lot Better,” and “Garbage Day” (by shouted request from the crowd) blended nicely with his earlier repertoire.
Returning to the stage for a four song encore, Benson covered Graham Nash’s “Better Days” on acoustic guitar before sing-songing the splendid “What I’m Looking For” and closing with the thumping, stomping march of “Feel Like Taking You Home”–pure pleasure for those seeking a sincere performance.
Brendan Benson said it best–watching Frank Fairfield was “like a time warp.” The 23-year-old LA native belonged beneath the shady porches of the Appalachians rather than the über-hip hewn logs of the Doug Fir. As the rooster crowed, the cat meowed, and the hen clucked, Fairfield yelped himself and eerily chuckled into the evening oblivious of the audience.
Was he demented or divine? He was an actor amazingly capable of recreating a bygone, Depression-era sound and style. From his woolen, pleated slacks to his pomaded hair part, Fairfield definitely lives and feels this bluesy folk and plays it skillfully.
Possessed by ghosts of past with his kooky drawl and detached mannerisms, Fairfield fiddled emotively then picked and flicked his banjo strings with rapid abandon. A stagnant body connected to spirited limbs was just enough to captivate and hush concert-goers as soon they entered the subterranean lair to watch a memoir write itself live on stage. Alone Fairfield was just enough to transfix, but add a couple other buskers and he’d burn the barn down.
Watch Frank Fairfield’s video for “Nine Pound Hammer”:
Walking into the Doug Fir last Thursday, it was hard not to notice the drunken atmosphere already soggy with cheap beer and spilled red wine. Call it an omen, if you will, or call it good tidings. Either way, those who showed up early were prepping themselves for a wild night.
They were on to something.
First off was The Gourds co-frontman Kevin ‘Shinyribs’ Russell’s self-titled solo project. It was here that we got to see the true personality of Shinyribs. Singing in his folksy, poetry-laden yodel, telling jokes and stories that had the whole room rolling, and busting dance moves that would have made Jacko jealous, Russell demonstrated just “how it’s done” in Americana. His songs sounded like fresh-cut grass in the summer, warm domestic beer, and at times, a forlorn sadness that can only be cured by sweet potatoes. While the set was on the short side, it was no doubt to give extra time to The Gourds, and it was a great look into one of the quintessential southern-folk-rock musicians of our time. This brief glimpse, however, was enough to shed some light into how the following band could play just about anything.
The lineup of this dynamic group is full of talent and enough grit to sand a rock wall. The aforementioned Russel (vocals, mandolin, bass, guitar) and co-frontman Jimmy Smith (vocals, bass, guitar, harmonica, sound effects) formed a solid core of personality and folk-style. Behind them was Claude Bernard (accordion, keyboard, guitar, vocals), Max Johnston (fiddle, mandolin, guitar, lap steel, banjo, vocals) and Keith Langford (drums, vocals) who together created a background sound that could have easily stood alone as a good show. But that’s not how The Gourds roll.
With a “swirling flow,” as Russell puts it, and a kinetically charged vibrancy, this band puts on a live show that is hard to beat. This kind of presence reminded me of a Phish show, where you don’t know what you’re in for till they are playing it. Suddenly, you realize that you’ve never really heard them before, despite having listened to their studio recordings. That’s when it hits you and without warning; you’re hooked for life.
Perhaps the most telling example of The Gourds is the array of genres that they were able to squeeze into their set. From groovy folk-funk, arm-swingin’ jams and up-tempo roots rocks to cathartic ballads and slow, drawn out laments, they spanned the entire spectrum of folk, rock and Americana. Combine this with the extensive array of instruments on stage and the way that everyone on stage (aside from Langford) switched instruments around after virtually every song, and you were left with the understanding that given thirty minutes, a case of beer and a pack of cigarettes, this band could learn and play just about any song ever made.
And yes, there were chants of “Freebird.”
If you missed the show, and haven’t seen The Gourds before, consider yourself informed. This is one of the essential shows to see in a lifetime if only to see Shinyribs do his cover of TLC’s “Don’t Go Chasing Waterfalls,” or Jimmy Smith wail something crazy, or just to see a little accordion action. The best part is, considering their dedicated fan-base and ever-growing arsenal of material to play, they are only going to get better. As someone in the crowd was fond of screaming: “Hooooooooo doggies!”
There’s a reason why Wild Beasts have gained such a following in Europe since forming in 2004.
They play solid shows.
The band uses its live performances to add considerably to its music.
On Saturday night at the Doug Fir, it wasn’t any different. The band’s lead singer, Hayden Thorpe, has a kind of voice that transports you back to the 70’s and 80’s–more specifically, he kind of sounds like David Bowie. But Thorpe also has the job as head falsetto so he is able to hit high-pitched, poppy notes.
When Wild Beasts take the stage, each member has a clear, defined job. Even on the band’s MySpace page, the band lists Thorpe, Tom Fleming, and Chris “Bert” Talbot as the falsetto, tenor, and baritone respectively. The band clearly has an understanding of music that translates to the stage as well.
Their music is actually better heard live than recorded, which, in terms of the music’s quality, is a fairly rare thing. You haven’t heard Wild Beasts until you’ve heard them live.
The band members made sure to pay their respects to the flooded dance floor on Saturday night, continually thanking Portland for supporting the group. Fleming hinted at the possibility of the group playing again in Portland in another year, although he said it wasn’t a sure thing. But it was clear the band enjoyed their stay, every now and again mentioning landmarks they had been to in the city. Fleming also announced the band would be playing in Seattle the next night, which drew some grumbles from the Portland crowd.
Realizing his err, Fleming noted, “Well, that’s why I play music and don’t do stand-up.”
Fleming was solid as a tenor and the band’s spacey riffs seemed to draw on the style of Coldplay. The galloping “Brave Bulging Buoyant Clairvoyants” was a song that should serve the band well as it continues its first North American tour. Infused with energy, the song draws comparisons to Franz Ferdinand in style, and the breakdowns in the song are extremely catchy as guitars wail out in unison above horseshoe clops and accompanying vocals in the background.
Wild Beasts played three songs for their encore, culminating in “The Devil’s Crayon,” a bit of 80’s nostalgia that would have any Brit-pop fan dreaming of the time when pop was king.
Through these live sets, the four-piece band has a chance to hit it big internationally. The band has already developed a strong following in the U.K., and this tour touches upon a slew of cities in America and continues into Europe. If they play like they did at the Doug Fir, they could make it big. Numerous people leaving the show Saturday night said they were “very impressed” and were “completely surprised” by the show.
Portland is only the second city the band has visited in the United States, and the boys haven’t been heard much outside of Europe, so they have an opportunity to completely surprise the nation with their music and performances.
Michiganders know a thing or two about infectious rock’n'roll and Brendan Benson deals it right alongside today’s best. Probably best known these days for his role as the sweet to Jack White’s sour in The Raconteurs, Benson is truly a gem on his own… although being backed by three badass musicians never hurts.
Standing on his own two and touring in support of My Old, Familiar Friend, Benson brings a new album that combines his early rock with his later pop and skillful songwriting to produce something substantially American with a pop sensibility in the keys like summer sun kisses and instantly bopping, singalong lyrics.
But this boy is not just cute. Benson’s rock flows and pounds with just as much raw, albeit polished, energy as White’s various incarnations. With a penchant for pure, grinding guitars and shamelessly catchy love songs, Benson is classic and modern at the same time.
For anyone who was alive and cognizant during the late 80’s and 90’s, you’re probably familiar with the show Seinfeld. And if you were even a casual watcher of the show, you’re probably familiar with Julia Louis-Dreyfus’ famous line: “It’s hard being a standup comic – sometimes they don’t laugh!”
You may be asking yourself what this has to do with music. Well, the same notion applies for all entertainment. While Jerry Seinfeld is undoubtedly a very funny guy, sometimes they just don’t laugh. And while Leslie and the Badgers, and Quiet Life, are undoubtedly very talented bands with great material, sometimes they just don’t show up. Chalk it up to a limping economy, or that it was two days after the Super Bowl, or just the fact that it was a cold and gloomy day outside. Anyway you put it, the attendance was not up to par in comparison to the talent of these two bands.
Despite the skeleton crew manning the floor of the spacious Doug Fir Lounge, Quiet Life got right up on stage and did what they do best: blast hard folk-rock into the stratosphere. Maybe it was the extra space for echoes to collect, but this four-piece band showed a much rawer, electric side that wasn’t present on their promos or previously recorded studio material. At times the music sounded so much like hard rock, complete with wailing guitars and thumping bass/drum combos, that if they weren’t all wearing plaid shirts you would forget what show you were at. The lead singer, Sean Spellman, had an energy that distinctly reminded me of The Shaky Hands. Indeed, Spellman appears to be the Nick Delffs of folk-rock.
The best part of their performance though, was that they rarely played as if they were performing for an audience. Rather, it seemed like a rollicking late-night, barnyard jam session in the heat of summer. This comfortable nature carried over into the music, as minor mistakes were glazed over, even so much as to appear like typical elements of the show. In between songs, this laid-back personality was displayed even more prominently, as they cracked jokes and smiled, despite the obvious disappointment with the thin crowd.
This won’t be the first, or last, time you will hear this, but it must be said that Quiet Life is truly a band to look out for. With a L.A. canyon rock sound tempered by streaking guitar riffs and solos, blues-y harmonica fills, thunderous drums and catchy bass-lines, this band is poised to bring canyon rock back into prominence.
Next up was the charming Leslie Stevens, playing a solo song on the guitar. Stevens had a friendly and upbeat attitude, throwing around “y’all” with a casual attitude that bordered on downright homey. While it was clear that the sparse room affected her as well, along with her band, you wouldn’t know that from the music. After her voice had finished sweetly resonating, the other members of the band joined her on stage and proceeded to create a sound that was truly emblematic of their Americana roots.
Their stage presence was slightly muted at times, but their folk-country grace made up for it completely. And while their songs were primarily about living in and around Los Angeles, the down-home mentality and emotional aptitude was easy to relate to and apply to your own life. Ultimately, the songs seemed like an attempt to reach out into the world, rather than an attempt to comment on it, and thereby draw the listener deeply into the music while emotionally connecting you to the subject matter. This extroverted orientation is perhaps the most telling characteristic of this rising folk-pop band and, aside from the stellar musicianship, is what is most likely to propel them further, most likely to more densely packed venues.
The aforementioned musicianship was what has unequivocally determined this band to truly be a band on the rise. Bassist Ben Redell provided solid yet jaunty bass lines, as well as energy that at times provided the spark to certain songs. The drumming, provided by Travis Popichak, switched between light and heavy as a perfect complement to the sliding lead guitar, played by Glenn Oyabe. Last, but not least, was the very capably played violin of Charlene Huang. The strings were tastefully added, much like the use of trumpet by the pop-rock band Cake, in a way that didn’t over-do it, but was certainly not underwhelming.
The band overall played like a good team. Everyone understood their roles and played them to perfection, allowing Stevens to star in her mellow, nonchalant manner. No one pushed too hard and everyone carried their weight, resulting in a solid performance.
Stevens mentioned several times that she and her band love to come to Portland and really look forward to performing here. She casually mentioned a Spring or Summer tour date stopping by. If this show was any indication, I doubt the room will be half-full again.
Just keep in mind Leslie, sometimes they don’t laugh.
Indie-folk-popster 
Listen to 
OMN: So how do you determine where to place the emphasis as an artist?
The 
A mere three months after 
Critically acclaimed electronic artists Kieran Hebden, better known as 
It has not been easy for 
Was he demented or divine? He was an actor amazingly capable of recreating a bygone, Depression-era sound and style. From his woolen, pleated slacks to his pomaded hair part, Fairfield definitely lives and feels this bluesy folk and plays it skillfully.
Walking into the 
The Gourds is the array of genres that they were able to squeeze into their set. From groovy folk-funk, arm-swingin’ jams and up-tempo roots rocks to cathartic ballads and slow, drawn out laments, they spanned the entire spectrum of folk, rock and Americana. Combine this with the extensive array of instruments on stage and the way that everyone on stage (aside from Langford) switched instruments around after virtually every song, and you were left with the understanding that given thirty minutes, a case of beer and a pack of cigarettes, this band could learn and play just about any song ever made.
There’s a reason why 
Michiganders know a thing or two about infectious rock’n'roll and 
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