Portland band Hurtbird is releasing their sophomore album on Friday, February 29th at The Woods.
Vocalist, sampler, and writer Ryan Hayes has a lot to say about the new project, Nature Vs. City, life in Portland, and the freedom of music.
What does this record represent to you?
The record represents a love for the creative process! It’s a tribute to throwing the rules out the window and doing exactly what you want to do!
The title, Nature Vs. City, is ripe with implications.
When picking a title for the album I wanted to find a phrase that summed up the lyrics as a whole and I felt like Nature vs. City did that. As an individual I have always juggled with the idea of living in the woods vs. living in the city. Over time I began to realize that most of the things I write about usually fall into this same struggle, the idea of the natural life vs. city life. I guess that’s why I chose Portland; it’s the best of both of my weird little worlds!
The lyrics are philosophical-political, with a good deal of whimsy. What’s your storytelling intention?
The intention is to present clues the listener can choose to relate with once they truly investigate the words and what they mean to them. For example, the chorus for Dirt, “one by one we dug in the dirt” was something I was singing to myself at home while working in the garden, but by the end of the song it turned into a story about time capsules.
In junior high I found a tape case full of tapes and other items and believed it to be a time capsule. I began making my own time capsules, reading about time capsules, and even started hunting for other hidden time capsules. So with that chorus I feel like people can relate to the idea of dirt, whether they dig in their garden, bury time capsules, or even just simply make a connection with the idea of digging.
As a poet in school I constantly got creatively criticized for being too abstract and not letting my audience know exactly what was going on. With music I feel like I can present things in an abstract manner yet still deliver a message to those who are willing to take the time to relate.
Are you trying to reach a certain audience?
Although I have no specific audience in mind while writing music, I am trying to reach people that take the time to listen and relate to the music.
Tell us about your use of samples.
I have always been a big fan of movies and the feelings a movie can evoke. When I was a kid I was completely blown away by the fact that I could watch a movie like The Shining and afterwards be left in a mental state that I rarely, if ever can re-create. Samples seem to have that same effect; especially once you combine them with music!
Watch them at the Aladdin:
Are you bike commuters? (In reference to the track “I like my bike” on Nature Vs. City.)
We all love riding our bikes! Our drummer and bass player both race road bikes and cycle cross. The song’s chorus “I like my bike, it’s fast” was actually written by Ritchie Young from Loch Lomond, he wrote it with our drummer for a punk band they were both in about 13 years ago. I loved the song so much that I used it in our tribute to the bicycle!
Who is Hurtbird? Tell us about your history, band members, instruments, and generally, how you roll as a group.
(We are)…
Ryan Hayes: Vocals, Samples
Michael Young: Keyboards, Singing
Brian Gumpert: Drums, backing vocals
Joel Holly: Bass Guitar, Keyboards, backing vocals
Trevino Brings Plenty: Guitar, backing vocals
Rob Oberdorfer: Guitar, Keyboards
We have all been friends for a very long time; we started the band based on an idea that Brian and I came up with while attending college in Tuscan. Brian and I knew almost no one and definitely did not know anyone to play music with so we made a hip-hop album. Brian made all the music with a Yamaha keyboard and a drum kit; we both spent our breaks between classes cranking out lyrics and would meet up at the end of the day and record vocal tracks.
At the time Ritchie was playing with some friends of ours in a couple different Indie rock bands here in Portland. After listening to the music he was playing we had an idea that involved mixing the two genres. To make a long story short we called Ritchie, told him about the idea, moved to Portland, and wrote and recorded our first record.
Ritchie eventually moved on with his own project Loch Lomond so we enlisted the voices of his younger brothers. Chantelle Hylton helped us with booking a few shows early on, which helped us break onto the scene and from there we recorded a split 12” record with Loch Lomond, and this week we release our new full length, Nature vs. City!
What does Portland mean to you?
I love this city with all of my heart! Being close to camping and hiking is something I grew up with and can still take full advantage of around Portland! I also love how bike friendly the city is! Portland is a work of art; the freedom to be yourself and pursue your dreams is undeniably awesome!
And besides pursuing your dreams, what do you do for fun?
I love to ride my bike, camp, and go to Blazer games! But most of all I really enjoy spending time with my friends and my lovely lady friend!
Awesome. So, what can folks expect at your release gig on Friday at The Woods?
A whole lotta fun of course! We will be offering a sonic, drum-heavy wall of sound, which I think we could all use a bit of in the Portland music mix. We will also be premiering a video projection I have been working on over the last month. It is made up of found footage shot in and around Portland Oregon between the 20’s and 60”s!
That sounds cool! Will we be able to buy your album at the show? If not, when and where is it available?
You will be able to purchase the album at the show! You can also purchase the album on our website and iTunes.
Portland is the right size for so many things. The city is large enough that there is no shortage of great restaurants to explore. It’s small enough that downtown is rarely more than a twenty-minute drive away. It’s large enough to have an international airport, but small enough that the average family can afford to live comfortably within the city limits.
Tony Furtado on slide guitar
For musicians, Portland is small enough to feel like home and an escape from the hustle and bustle of the road, but large enough to have a booming music scene of its own. As a result, the city is lucky enough to have artists like Tony Furtado make Portland their home. I spoke to Furtado by phone while he took a break from browsing books at Powell’s, which he assured me is a great store but not the sole reason he lives in Portland.
“I do spend a lot of time on the road, but it’s nice to come home here,” says Furtado. “For years I would tour through here and every time I would get close to Portland, I felt like I was coming home–there’s something in that.”
Furtado spends about half of the year on the road performing, but coming back to Portland doesn’t mean that the music stops. “The music scene here is killer. There’s a great art scene here, too. You’ve got a lot of musicians and artists living here partly because it’s affordable and then that’s kind of built into the scene that’s budding right now and a lot of people are recognizing that. I recognize that and I feel really comfortable here because of it.”
The pace and environment of Portland seem to agree with Furtado as well. “You can actually ride your bicycle here. When I lived in LA–I lived down there for a couple of years–two weeks into living down there, I got hit by a car on my bicycle. It’s the polar opposite of living up here. Down there, you’ve got millions of people living in that one small area. You’ve got tons of musicians, tons of artists–tons of people just vying for the same thing and on top of so much creativity you’ve got desperation to be heard or to be seen. Up here, it’s more just people doing their thing, getting along fine. You don’t have the same intensity, but you’ve definitely got a lot of good creativity and camaraderie.”
…every time I would get close to Portland, I felt like I was coming home…
Tony Furtado, Damain Erskine, and Drew Shoals. Photo courtesy of Cortney Erskine
It was that creativity and camaraderie that led to the formation of Furtado’s touring band a couple of years ago. It drew from local talent that included Damian Erskine on bass and Drew Shoals on drums–a combination of that any group would be lucky to have.
“I met Damian because I was part of something called the Everyone Orchestra,” explains Furtado, “and Damian was the bass player. I thought, ‘Wow, this guy is really good.’ Then, it was shortly after that that my girlfriend, Stephanie Schneiderman, hired him to play with her for a little bit. We were both thinking, ‘Wow, this guy is great.’ So, I decided to hire him too.”
Soon after, Damian suggested that Drew Shoals join the group on drums. “Right off the bat, he was good and the more he played with people around town, toured, and was on the road with me for a few months, he sharpened up so fast and became the guy to call. That was such a cool find. There’s a lot of guys around here like that.”
As the band spent time on the road together, Furtado’s music was influenced by what Damian and Drew (both of whom are often found in cutting-edge jazz situations) brought to the table, and they, in turn, were influenced by his music.
“You can’t help that,” says Furtado. “If you’re playing with someone for months or years on end, it’s going to have an impact. It’s going to shape the way you approach arranging a song. If it doesn’t shape the way you write it, it will definitely shape the way you arrange it.”
Currently, Furtado is in the middle of a concert series at The Woods in Portland, where he’s found an opportunity to explore more of Portland’s treasure trove of talented musicians. Instead of doing a solo act or keeping a consistent band together for the series, as he would have to do on the road, Furtado has put together a showcase of sorts where he gets to feature and perform with a number of his favorite artists around town.
Each week of the three-week series, he brings a new set of musicians and a new batch of songs to the venue. “If I can keep it consistently different from week-to-week, it makes it so that people know that it’ll be a different show each time. It keeps it really interesting and fun,” explains Furtado. In the past couple of weeks, he joked that he’s felt like Ed Sullivan hosting a variety show, bringing up so many acts to perform.
“I start off and do a short set myself and then I have my first featured guest come on and do a few of their songs and I’ll back them up. So, last night, the first one was Stephanie [Schneiderman]. That was her night to do a little micro-set. And then I had this duo called Come Gather Round Us that lives here, which is Catherine Feeny and her husband Sebastian, and they did a song, which was wonderful. I had Scott Law popping up here and there. Second set, we had Scott doing a couple of his songs. Garrett Brennan came up and did a couple of his songs. Come Gather Round Us did a couple more of theirs and I did a few things, you know, just kind of mixing it up. I think that’s what the concept is going to be–just have this thing were I can feature different artists and do my own songs, try new stuff, and have some instrumentalists sit in here and there.”
When asked why he chose this structure for the concerts, Furtado explains that “this is mainly to excite me about music again. Doing this for a living for 20 years now, it can get easy to get into doldrums. Last night was just so much fun–I even tried a new song. I’ve been at home writing songs for my next album. It’s more a thing just to meet other musicians, play with other musicians, and be inspired by listening to other folks. And, to try some new songs. Who knows, maybe a new direction will come from that, but it’s mainly for inspiration.”
Sculptures by Tony Furtado
Recently, Furtado has also been finding that inspiration from sculpture–an art form that he had studied in college but left behind when he went on the road as a musician. When he moved to Portland, the itch to sculpt returned.
“I got a sack of clay and started messing around with it. I did that in my basement and eventually got a studio–it’s just been an absolute joy,” says Furtado. “I think it really does help to feed the song-writing creativity. They both kind of feed each other.”
At The Woods, the two art forms have come together–audiences can listen to the performance as well as admire some of Furtado’s sculptures which will be on display at the venue. He’s also hoping to display the works on a new website soon.
In the coming months, Furtado will return to the road again after developing some new material and working on the next CD, but he hopes that more Portland performances will be on the books as well. In the mean time, don’t miss his last show at The Woods during this series: February 2nd, 8 PM, $6 cover charge.
Mr. and Mrs. Robinson had just finished a 16-hour drive up I-5 from LA to home, yet they still invited a sold out, 130-strong crowd to join them in their comfy, morbid living room at The Woods.
The bones and brains behind full bands Viva Voce and Blue Giant, Anita and Kevin Robinson wrote these songs, so they can play them however they like… and right now, they like playing them as a duo–intimate and simply elegant.
Sticking to his acoustic guitar, Kevin kept it steady, while Anita was emotive–charming and calming, wailing and screaming on her electric and slide guitars. Hairs stood on end as she evoked whams and wails reminiscent of Hendrix’s rendition of “The Star-Spangled Banner.” Kevin beamed adoringly in his wife’s direction flashing childish smiles, but, not to be outdone, he played with some looping of his own emitting acoustic sonar and ground control static with his electronic pedals.
Delicate and tender, Anita wobbled the strings on her slide guitar producing moody howls that were meant for summer campfires beneath a full moon. With hushed composure and a powdery vocal pitch, she fluctuated effortlessly from matron to rock goddess and back.
Kevin felt right at home bantering with the silent, perhaps awed, crowd about “taking donations to lynch and kill Pat Robertson” and his first time onstage–a church gig where he was to sing “Jesus Loves You” to the stomp-stomp-clap of “We Will Rock You” until his partner ran from the stage after declaring, “Dance before the Lord!”
The Robinsons told the same tales of loss, love, regret, and redemption that they’ve made known with Viva Voce and Blue Giant, but in a raw, folk manner with a warm embrace.
Amongst the red glow of the funeral parlor with candles flickering, Y La Bamba crowded six members on the bijou stage to produce something akin to Beirut sans horns–beautifully melodious, harmonious and untroubled. Slender and tattooed, lead singer Luz Elena was soft and spiritual, yet commanded with her tranquil vocal style punctuated by yips and moans, warbles and drones.
Mallets marched over muted drums to fill the small space as Eric Schrepel’s accordion built on the tapping “Fast in San Francisco.” Y La Bamba revealed a new song “Forest Fire” that was flavored with savory Depression-era, Mississippi gospel and bluegrass.
Y La Bamba was sad and poppy, nasally at times, but spectacularly sophisticated and gracious.
Some musical counterparts–Chris Gaines comes to mind–will make you cringe. But Viva Voce’s alter ego, The Robinsons, is sure to please.
The Robinsons have yet to produce an album, so sampling their music is about as challenging as putting sense to the need for Chris Gaines. But, what could be better than when a local garage-psych, indie band creates a more intimate version of their former self?
On the Viva Voce website, Kevin Robinson describes this side project as such: “…myself and Anita. When we came off our last tour we started taking shows as The Robinsons. Shows that wouldn’t be appropriate for Viva Voce to bring the hammer of sound too. Smaller more intimate shows that allow us to play the breadth of our catalog in a more personal manner.”
You can find this intimate showcase this Saturday, January 16th at The Woods. Y La Bamba will open the show at 9:00 pm.
Pianist and songwriter Bryan Free played to a rapt Mississippi Studios audience December 16th. The crowd gathered around the ground level, lamp-lit piano to hear Free play his new album, OK, start-to-finish. It was a performance that perfectly captured the intimate vibe of this latest work, which was recorded solo and live in the lobby of the office space where he works.
Free joked his way through the set, poking fun at his often melancholy songs. It was personal in a way that so few concerts are. His proximity to the crowd, and his playful, frank, and self-deprecating humor, gave the set a VH1 Storytellers feel.
His newest batch of material has a sense of longing and loss, the feel of a letter written to a distant love that you know you’ll never send. Free spoke about the experience of sorting through a deceased friend’s belongings, a life cut short in 2001, on “My Secret Life.” He mused over title track “OK”, a song about cutting his long-grown locks and the accompanying sense of changing an identity and worldview. He even revealed his love for Neil Gaiman’s Sandman, a series which influenced the song “Mirror.” For a glimpse of this emotive and personal performance listen to standout track “The End”
Bryan Free’s performance was as technically impressive as it was touching. His piano playing perfectly compliments his voice, and on occasion overshadows it. ”Gold Road Mines” was moving both for its affecting vocal work and the kind of sophisticated piano playing that you don’t expect from a pop song. He even quoted Chopin’s “Raindrop” Prelude on closing number “When I Wake Up.”
Free opened for the equally impressive Y La Bamba. Fronted by songwriter and guitarist Luz Elena, the band captivated, mixing the neo-folk of Devendra Banhart with three-part Fleet Foxes harmony. Elena strummed classical guitar, occasionally singing in Spanish, backed by Gypsy percussion, accordion, and Portland’s own Ben Meyercord.
The set echoed the somber folk of Andrew Bird, Regina Spektor, and DeVotchKa . There was something sweet, yet unsettling, about hearing a strong, throaty female voice backed by falsetto male vocals. But the band showed guts too, playing a song that they’d heard for the first time during sound check. Y La Bamba is a band to keep your eye on this year, so be sure to check out their upcoming show at The Woods with The Robinsons (Viva Voce’s alter ego) Saturday January 16th.
Singer/songwriter Jerry Joseph of The Jackmormons and Little Women fame will be playing a rare solo show at The Woods in the Westmorland neighborhood of Portland on December 12.
This evening’s show promises to be special as the great story-teller and world traveler presents a very different performance when it is just Jerry and his guitar. Look forward to songs from Cherry, Jerry’s solo album recorded in Portland, Oregon.
The Woods’ says this about the world-class artist: “Cherry’s stripped down vocal and guitar recordings are the pinnacle of a successful career that has included musical collaborations with Vic Chesnutt, Pete Droge and Dave Schools (Widespread Panic, J. Mascis and the Fog), as well as producers such as Terry Manning (Led Zeppelin) and John Keane (R.E.M., 10,000 Maniacs). Joseph has also shared the stage with the likes of Neil Young, The Flaming Lips, DJ Logic, Curt Kirkwood and David Lindley.”
The Beautiful Train Wrecks playing The Great NW Music Tour
After nearly a year of bouncing from the studio to touring the Northwest, The Beautiful Train Wrecks have released their debut LP, Rainy Day Parade. Yes, as the title suggests, they are a Portland group, albeit transplants from Kansas, Washington, Arizona, Texas, and Maine.
The musical influences of this trans-American band glow in this first self release, proving once again that Portland is a music town where talented musicians drift to from all parts of the country.
The recording was engineered by bass player Rick Hedges via his collection of vintage and modern recording gear he amassed “thanks to the modern miracle of eBay,” according to Rick who also has a collection of lap and pedal steel guitars.
Originally aiming to play traditional country music in the vein of Hank Williams, Earnest Tubb, and George Jones, The Beautiful Train Wrecks picked up a couple of lead players and face-planted right into a warm blackberry alternative country pie. Cascade blackberry that is.
The Beautiful Train Wrecks have put a few traditional country tunes on Rainy Day Parade such as the bluegrassy “Country Boy” and the way-cowboy “Portland.” On the fun, traditional country and steel guitar infused tune “Portland” The Train Wrecks sing out “Portland, Oregon/Jesus is gonna make it his home”.
There is a definite Midwestness to this record along the lines of Son Volt and Old 97s, yet it is clearly a Cascade Country record as it is truly of a place, like good country music should be. The last track “Fargo” is not about the Dakota town nobody visits, it’s about the singer’s Portland home on N. Fargo Street off Union Ave.
The two lead instruments, guitar and keys each with their own distinct timbre, give a different richness as you move through the record. The Texas-born and Kansas raised piano/keyboard player Joe Root brings his country and Irish dance music background to the band on the song “Highway 101.” Mainer and lead guitar player Travis Magrane, one half of new-roots duo Magrane Hill, show off their music school training with kick @$$ guitar licks, both on the new record and at live shows.
Band leader Lucas Alberg is the Kansas guy, and there is Midwest alternative country influence all over both his and Magrane’s guitar parts. The guitar tone at the beginning of “Uncle Ralph” will give you the goosies. It’s clear drummer Paul DeMichele has put time in studying with pros such as the brilliant and hilarious Doug Smith of Pink Martini and Ry Cooder’s drummer Don Worth.
A little traditional country here, a little alternative country, Americana and roots rock there, this eleven song recording is a great sample of the broad strokes that the country music genre paints and is a catchy bag of harmony and melody driven tunes.
In the two years since Loch Lomond released their first proper band album, Paper The Walls, this lovely chamber folk outfit have made that slow steady climb up the hill toward international renown. Much of it has been on the strength of their sharp and often dramatic live performances that swing from small fragile moments that hinge on the interplay of a finger-picked acoustic guitar and singer/songwriter Ritchie Young’s falsetto to clattering, shuddering crescendos that resemble woozy sea shanties. The quintet have taken their live show around the U.S. with startling frequency, including last year’s month-long jaunt as openers for The Decemberists.
This spirit is captured most immediately on the band’s latest release, the five-song EP entitled Night Bats. It starts with the most indie pop recording Loch Lomond has done to date before falling into another dreamy sway. Along the way, they make time to add some muscle to an older song and cover a vintage ’60s-era Bee Gees classic, finishing it all off with a rousing and haunting closing track that will linger in your synapses well after it has stopped playing.
Oregon Music News caught up with Young after an afternoon recording session at OPB and before the band geared up for their CD release show at his new club The Woods.
Why did you decided to just release an EP at this time rather than a full-length album?
Well we have a full-length that we recorded this last year. It’s called Little Me Will Start A Storm and it’s going to come out in spring of 2010. We had this window of time to come into the studio and record and mix and master in 20 days. It was really great to do something where we didn’t micro analyze every part of it and second-guess everything. In the end, we decided to kind of remix a few of the songs with Tucker Martine. And it has been since August 2007 since we released anything on disc, so we did this EP. I like it a lot. I think our full-length is a little more experimental than anything we’ve put out before. The EP is the cross between the old Loch Lomond recordings and our new material.
The first two songs on Night Bats – “Ghost Of An Earthworm” and the title track – have a fable like quality to them. What was the inspiration behind these two?
When I was 14, I saw an episode of Ripley’s Believe It or Not and in it was an Indian peasant who in his backyard saw these giant glowing earthworms. About six months ago, I had this really vivid dream that I was one of those worms but that I had swallowed a skeleton and could walk around. “Night Bats” is essentially a love song about a person I was dating. She was very much a day person and I was very much a night person, so there was this real love/hate relationship in the way we looked at the world. It showed me that you can be not right for someone but still care about them very much. So, I put that in a fable setting, and wrote a not vague metaphor for that situation.
You also re-recorded an older song, “Spine”, for the record. What prompted you to revisit this one?
I recorded the original recording five years ago, with just me and another person. But the way we had been doing it live and it had life and energy and we’re going to start playing it again this year. It’s a fun song. And we were really tired of ending out set with that song, “Tic”. We had being doing it for so many years, that we felt we needed a crescendo at the end of the set. So we decided to retool that song and give it life again.
How about the Bee Gees cover on the album, “Holiday”?
That song was chosen for us by a friend of ours, John Brophy, who is just a huge fan of music; he runs Baby Ketten Karaoke. He was putting together a compilation and he said, “I really want you guys to do this song by The Bee Gees.” At first I said, “No, that’s not right for us” But listening to it, I realized that in a weird way that recording was an influence on the band that we’re not even aware of. It sounds so much like what I hope Loch Lomond sounds like to people.
It feels like, with this new material especially, you are really putting the focus on the vocals and pushing that forward in the songs. Was this on purpose or am I just imagining things?
Yeah, on this new record and the EP, the vocals driving force them. For about a year, we have been really focusing on the vocals for live performances. Before, a lot of the focus has been on the instrumentation of the band. I think that we want to keep that a huge part of what we’re doing but have the vocals be the most present thing. And it’s just really fun to sing with people that love singing. You know The Flash Choir? Watching them, you can tell everyone involved just loves singing. Watching them perform is such a huge rush. Even when I’m sick onstage with the flu and having a fever, or I have a toothache, when I’m singing it just kills all of that. Of course, when you’re done singing, it all comes back…
Loch Lomond went on tour with The Decemberists not too long ago. What was that experience like?
It was amazing. They were total professionals and really sweet to us. No rock star attitude at all. It was a fantastic experience. For me, I get really excited and overwhelmed that we play a show where there was 200 people there. Then we were playing to 2,000 to 4,000 people a night for almost a month. It was really an eye opener.
You also opened up a venue in Portland, The Woods. How did that get started?
At the end of The Decemberists tour, I was talking with my roommate Vivian Lyon about it. She’s a lawyer, but didn’t want to work for anyone and I was getting tired of looking for work after touring. It was a lot of planning and somehow it fell into line. I really didn’t think it was going to happen. We couldn’t get loans to start it up, but the economy fell to the point that it allowed some people with an idea to just run with it. It’s been like going to school for opening a business. I’ve learned a lot and I have so much more to learn, but it’s been fun.
Portlanders love Halloween. With all the creativity abounding around town, October 31st brings not only the most creatively dressed out on the town, but music lovers as well. Combining live music with crazy costumes will certainly make for some unique memories (as well as photo ops). My picks for the most rockin’ haunts:
STARFUCKER at the Wonder Ballroom. With a name like Starfucker, it was only a matter of time for them to either break up or choose something a little more marquee-friendly for their moniker. Luckily for us, they chose the latter. This will be the band’s final show as Starfucker (as well as the last show in Portland for a while, as they’ll be entering the studio very soon) before becoming known as PYRAMID. To mark this festive occasion, expect the band–known for their love of dressing up–to bust out some very special attire. The members will also judge a costume contest to win “lots of cool shit.” Expect everyone to be too drunk to care by then.
AIRBORNE TOXIC EVENT at the Roseland.Their big radio hit is called “Sometime Around Midnight.” If that isn’t a perfect Halloween theme song, I don’t know what is.
Eric Stern of VA
VAGABOND OPERA at the Woods.Yes, it’s deep in Sellwood, but Portland’s newest music venue is worth the drive. It’s housed in an old mortuary, a perfect setting for a Halloween seance. According to the press release, “The night will feature a stunning interactive altar installation dedicated to honoring the dead, an apothecary and museum of weird objects, a divination table and an ancient fire ritual in honor of Baba Yaga, the Slavic Witch!” I have no idea what that means, but I’m guessing this will bring out some of our fair city’s more, er, interesting folk.
Although it still retains a bit of the funeral home vibe from its previous incarnation (as, well, a funeral home), The Woods is a surprisingly welcoming place to see a show. Sitting rooms provide a place to hide away from the action, well-worn vintage furniture is scattered about and there’s an excellent patio area for smoking and socializing. Consistently solid booking makes the trek to Sellwood worthwhile. –bm
Portland band Hurtbird is releasing their sophomore album on Friday, February 29th at The Woods.
Mr. and Mrs. Robinson had just finished a 16-hour drive up I-5 from LA to home, yet they still invited a sold out, 130-strong crowd to join them in their comfy, morbid living room at The Woods.
Amongst the red glow of the funeral parlor with candles flickering, 
Singer/songwriter 
STARFUCKER at the Wonder Ballroom. With a name like 
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