Above: Sex Life Performs at Electropolis

If you like beautiful, androgynous women and men in bright leotards, sporting gravity-resistant cubist hair cuts, and laying down funky, retro dance beats then you’d have lost your shit over Electropolis. Local musician and new man at Someday Lounge, Tim John O’Brien, organized the event in an effort to showcase the beating heart of electronic music in Portland, without necessarily calling on any big-hype bands. Instead, he choose bands that represented the gamut of what “electronic music” can mean in Portland. A giant red curtain in front of the stage proper lent an atmosphere of pomp and grandiosity to the event, while also relieving the audience of the familiar, ungraceful sight of band changeovers. As for the performers, there was everything from the ‘man with laptop’ phenomenon (Andron) to the Cameo-esque male-female synth duos (Starlight and Magic). Fabulous Costumes and fabulous-er dance moves were an ongoing theme for the night, and each band had their own distinct, interesting sound. The night’s standout performance was definitely Serious Business. The sound was dialed in and the energy of 100% pure fun that came from those guys was infectious. Props to Someday Lounge for hosting this event, we’re looking forward to Electropolis 2.

Laura Gibson and Ethan Rose’s hotly-anticipated collaborative album is officially out in the world, after long gestation. We first got a taste last summer, when the duo contributed “Sun” to the 2009 PDX Pop Now! compilation. In it, Gibson intones, “Sometimes I melt away / into a puddle of light…” just as her voice does exactly that amidst an airy expanse of tinkling chimes and cumulo-nimbus harp chords, all washed in a gently shimmering reverb. It was a perfect choice to represent the project. Throughout the course of Bridge Carol’s 8 tracks, you may be suddenly overcome by the feeling of being bathed in warm light, lifted up, transported. This is transcendental, out-of-body music.

Composed from leftover, “homeless” vocal fragments Gibson had lying around in old notebooks,  the CD insert tells us that Rose “…took the recorded words and vocalizations from these sessions – cutting them into bits and pieces – rearranging and juxtaposing them against each other to stretch them into new musical poems.”  Poems- It’s an apt word for these compositions. They are most definitely not “songs” in the traditional sense, and are even further removed from the previous work of either artist. Rather, like a poem, they are a kind of centripetal world: artificial, sealed, immaculate. Appropriately enough, Gibson’s “vocalizations” feel more free-verse than lyric. When on “Leaving Believing,” she chants the track’s title over and over, it’s much like Stein’s infamous “rose is a rose,” where the sonorous repetition of words is an end in itself.

Formless, though meticulously constructed, Bridge Carols is remarkable in that it feels both effortless and completely lucid. I must admit to being rather impressed. After all, what is it that separates the beautiful ebb and swell of these songscapes from the vast piles innocuous elevator junk? “Form-free sound-scapes and vocal collage” …it sounds like something you’d play in a yoga studio or massage parlor between whalesong and Enya. Yet, in spite of its genre, Bridge Carols is neither pretentious nor obnoxious. Rather, Gibson and Rose have produced an album that would be not at all inappropriate to hear as you approach the great pearly gates of the afterlife.

contributor: Ed Thanhouser, Feb. 9th, 2010

Rauelsson’s Debutantes EP is your early morning wake up album. It opens somewhere in that space between dreaming and waking, meandering along a gentle arc of gathering intensity. The five song free download was released earlier this month on Hush Records as a teaser to their forthcoming full-length studio album. Sung entirely in Spanish and featuring some of Portland’s preeminent recording talents, Debutantes is thoughtful and elegant. Lead singer Raúl Pastor Medall is relatively new to Portland, and his songs seem like a perfect complement to an otherwise dyed-in-the-wool Portland folk rock. Rauelsson doesn’t try to impress or overpower you. Instead, the band seems more interested in making space for the music to breathe so you can get lost inside it. Fortunately, they’ve got the songs to pull this off.

The album begins with the title track, an entrancing tune focused around Medall’s finger picked guitar and singing. The instruments and harmonies seep in like a lullaby, gradually building around Medall’s voice, although the song never climaxes. It’s this unresolved tension that compels you throughout the course of the album. “Elefantes y Niñas,” a cover of fellow Hush artists Loch Lomond, quickens the pace, if only slightly. Throughout, Medall’s voice is not the most confident or self-assured, but rather than distracting from the music, it adds to it by being genuinely human. It’s not a voice hidden under layers of effects and reverb. It’s hesitant, it wavers, and it falters. But you can touch it, it’s real.

“Palideces” slows things down again. It’s atmospheric and reverent, and you feel like you’ve stumbled into an early morning mass. The lush harmonies are set against a backdrop of minimally played organ, and the sound of a rewinding tape creeps in from time to time. This version is a remix of “Palidez,” which will appear on the full-length album, and it seems to take more chances than the other songs on the EP.  “Palideces” feels like it’s been stripped of its backbone—there’s no typical finger picked guitar acting as the song’s adhesive. It’s a nice choice. It gives the album spaciousness and lets you linger in the song.

Rather than as a stand-alone record, Debutantes feels much more like a prelude to a larger work, which it is. More importantly, Debutantes feels like a celebration. Even in its quietest and most introspective moments, the music is joyful. Debutantes teases you: It ends just as it starts to really get going, and it leaves you wanting more. Like its title suggests, Debutantes is an announcement of a band coming into its own. Rauelsson has invested a lot artistically in their EP. If that’s any indication of things to come, then I think we also have good reason to celebrate.

Myspace

contributor: Ed Thanhouser, Feb. 7th, 2010

Brian Rozendal is one of those singer-songwriters I’ve had the pleasure of watching grow, expand and flourish during his time on the Portland folk scene. A regular at local open-mics, I remember clearly my first impression of the slightly bookish, amicable guy who would take the stage and start howling over his guitar about pain, loss and epiphany. Since that time, he’s recorded an impressively lush full-length record, and now fronts a large band of musicians, including pedal steel, upright bass and more. That many great musicians are so willing to lend a hand to Brian’s songs speaks plainly to their merit. They are catchy, well composed, and have plenty of emotional depth. Appropriately, the group produces a sonic size proportionate to its physical one: big, full arrangements, dripping with honeyed slide notes, full of crescendo and bombast.

It was almost comical, then, when the group crammed themselves into the tiny rear-corner of the Roadside Attraction that serves as a “stage.” Huge PA speakers nearly hid the performers from view, as each member tried to etch out whatever elbow room might be available without compromising bar traffic too much. Anyone who has seen a show at the Roadside will know that there’s a certain charm to it’s cramped, casual take on live music. Those who have played the venue with a band, such as myself, will remember learning to skillfully dodge incoming bartenders hauling kegs right through the middle of your stage plot just when you’re really “getting into it.” We’ll chalk it up to “charm.” On this particular night, however, the crowd happened to be mostly comprised of a birthday party, which stumbled into the bar collectively wearing shiny hats and other festive attire during the middle of a fairly somber, emotional number. The band took it fairly well and in stride. Everyone had a good laugh, but after much deliberation (aka beer), I concluded, ultimately, that it was not necessarily the best venue, timing, or audience for Rozendal’s music. Thankfully, that wasn”t enough to stop his songs from shining anyhow.

Myspace

Contributor: Goldenring

MBilly, project of singer-songwriter Will Helfrich, has a shiny new, hotly-anticipated album about to drop- Mister Nobody Baby. On first listen, it reminds me of something I’ve heard before, in a good way. It’s appropriate, since most folk music (excepting, perhaps, the “freak” folk variety) is supposed to remind us of something in theme and arrangement. MBilly has a raw quality to his voice and songs that are easy to relate to. What is it about them that’s so friendly, so comfortable, so inviting? Let’s take it piece by piece. Take, for example, the song “Weight of Gravity.” It’s the kind of gentle, sweet song you want to have in the background when you’re having a great moment with friends. It’s not all kodak moments for MNB, however. In contrast, “Future Mother” stands out with a somewhat brutal, but romantic theme. It’s the kind of song that refuses to be in the background, your ears will be glued to every minute. I should say also that it’s really refreshing to have someone successfully break away from folk music’s obsession with the common 4/4 time signature. By the same token, “Lost Bride” has an interesting piano part that makes the song earn its play time. It’s the song that feels most in touch with another generation… you want to walk into a dusty saloon and play it on an old upright. Likewise, the thudding, steady rhythm of closer, “Go To Man,” feels both comfortable and experimental at the same time, and ends up one of the album’s more memorable tracks. My pick for the album’s standout, however, is definitely “Drawn To You.” There’s something about lyrics like, “I’ll rough you up buddy if you fuck with me,”  the “tough-guy” attitude in complete contrast to the easy going instrumentation and his gently cracking voice. I love that. It makes me want to call up Will and ask him if he’ll write more lyrics like that. I’d say, “Thank you for combining soft melodies with lines about fights.”

A note on the cover of “I Want You To Want Me”: Why? That song is pretty tired. I can see it being of use live and fans probably love it but I am of the opinion that if you’re capable of writing quality songs (which Helfrich is), then stick to that unless there is a super good reason to do a cover (like a brilliant arrangement that everyone needs to hear). I also admit to wondering if the live show would seem too familiar. We have to admit that Portland is full to the brim with folk-song-writing boys like Helfrich, armed with pretty voices. Among this stiff competition, will MBilly rise above the rest? I think he just might. At any rate I’ll be keeping a close eye on these fellows and what they do. Though I haven’t seen the band play live yet, I’m curious enough to head out to their next gig, and I guarantee that after a good listen to Mister Nobody Baby, you’ll probably feel the same.

MBilly Myspace

contributor: Ed Thanhouser, Feb. 2nd, 2010

Live photo by: Chris Burdick

Battle of the Bands was something I never experienced in high school. For whatever reason, my school just didn’t do one. Over the years I’ve wrestled with the idea of whether this was something I should be thankful or resentful for, and still wasn’t sure. As such, I had mixed feeling about going to my first ever, put on by a student-run organization, Music In the Schools, at Backspace last Friday. One thing that became abundantly clear as the night progressed: this isn’t just any bunch of high school kids playing their favorite Staind cover. These kids had chops…crazy chops! I didn’t see a single mediocre player throughout the course of the night… that is, I mean if you don’t count Wampire (j/kLOLZ!!!1!). But seriously, with great, all-original compositions to boot, several of these groups would put a lot of full-grown local bands to shame. I was even a little shamed myself to be painfully aware that I was nowhere near this organized, or well practiced, in my own high school band.

I was really impressed by the mature melodic sensibilities of The Swifts, who although visibly nervous, pulled through their set with the kind of spastic, lovable energy that was immediately endearing. Musically, I was blown away by Stimulus Package, whose raw riffage and perfect drum chops were the most impressive of the night. The Backyard Blues Boys wore matching suits and sunglasses… shticky, I know, but forgivable, as they pulled off the musical part of the act impeccably and with style. As the evening wore on however, the crowd began to thin without even waiting for the results. Why? Weren’t they dying to know the winning band? How could they leave just at the moment of deliberation, the moment of truth?! Maybe it was Wampire (zing!)… or maybe, just maybe, we all learned a little something that night. Maybe it’s not about who “wins” or who “loses.” …I know I sure can’t tell you, cause I left before the judges announced the result… but maybe it’s about heart <3. And in that category, well, shucks… I guess all these bands are winners!

contributor: Shep Mayo, Jan. 27th, 2010

Live photo by: Chris Burdick

Frankly, I’m having a difficult time describing the music that AU (pronounced “ey-you”) makes….It’s interesting, dynamic, cacophonous and surprisingly danceable. Multi-instrumentalist Luke Wyland impressively wrestles with a keyboard, synth, lap steel and a melodica simultaneously, while Dana Valatka, who is more than a drummer, but a highly skilled percussionist and musician, provides subtle and skillful rhythmic undertones and complimentary order to the frantic orchestrations of AU. Far from front and center, Wyland’s haunting tenor weaves back and forth through the unsteady tapestry of noise, tying together the competing and conflicting melodic and rhythmic elements to create one of the most unique and compelling shows I’ve ever been to. I’m not seeking to describe AU as some sort of “concept” or experiment, but one can’t help but be impressed with the complexity of their show, especially considering that there are only two people on stage. More than just impressive, though, the music is beautiful and fun, blending a variety of styles and influences creating a romping and raucous sound collage. The only disappointment of the set was its brevity- the duo played  only four songs: Ida Walked Away, RR vs. D, an as-yet-untitled new song, and Summerheat. The show was free and all ages, a rare thing for a venue like Holocene. It was put on by the people behind this year’s “inaugural” Portland Folk Festival. Wow and Flutter and AU were the openers, Akron/Family headlined. Despite the annoyance of a roped off bar and constantly having to tell 12 year olds, “no, you cannot have a cigarette,” it was a great night and a great show, and I think that AU was without question the highlight.

Myspace

contributor: Ed Thanhouser, January 25, 2010

Le Petit Mort, “the little death,” otherwise known as the orgasm, is now also a self-released album from raspy troubadour, Leonard Mynx. Ecstasy and death have always been intimately acquainted, and Mynx skillfully intertwines these two themes during the course of 8 tracks plucked from the sessions for his upcoming LP, Son of the Famous So-and-So. Mynx has always been something of an enigmatic presence in Portland music. On first listen, his songs, though masterfully executed, often appear to be simply shiny, well-constructed pop and folk tunes. In short, pleasant but innocuous. Listen a second time, however, and you start to detect a seething, crumbling despair bubbling over the sides of each track. Mynx’s deadpan flat delivery wants to whisper each word in your ear like a 2 am crack dealer, appearing just over one shoulder, hurriedly offering a fix. And true to the simile, once you start catching those nearly-swallowed lyrics, you’re as hooked as any crackhead. “Miss You,” a haunting duet with Catherine Odell, nearly brings me to tears every time when Mynx sighs, “…I would just run again/but lately my legs aren’t working so well/and I feel like hell/can’t you tell/that I’ve grown old… and I regret the things I didn’t do/’cause I miss you.” By the same token, “Jamaican Song,” with it’s jaunty, upbeat bassline and sunny melody, tells the tale of a man helplessly watching his lover sink into alienated depression. Misery, lonesomeness, broken-down blues and plain old sadness- these are Mynx’s bread and butter, and even in a mere 8 tracks, we have here a veritable feast.

Musically, Mynx is a considerable talent, and one hell of a guitar player. His band and guests are likewise gifted. It’s something of a pity, then, that musically, Mynx’s composition on Le Petit Mort tends to be more backdrop than centerpiece. Mynx’s musical influences are sometimes so plainly visible that they often feel like he’s simply replaced the lyrics of a classic with his own. To illustrate, try singing “I rolled into Nazareth, I was feelin’ bout a half-past dead…” over the opening lines of “Sing Radio.” Mynx’s track may be a beautiful song with fine lyrics, but the resemblance to The Band’s hit is uncanny. Likewise, “Bones,” with its fabulously drunken horn section, feels something like a trussed up Tom Waits cover… replete with carny characters and villains like “Mustache Pete” and “The Chairman.” But perhaps the most obvious example is “Song With No Name,” which you might actually mistake for a Dylan track someday with your iPod on shuffle. So is all this a bad thing? Hardly. For all it’s obvious references, Le Petit Mort ends up feeling comfortable and familiar rather than plagiarized or stale. It helps that the record is recorded beautifully. The time Mynx has spent at Type Foundry with renowned producer/musician Adam Selzer has been well spent indeed. Especially when compared to his last release, 2008’s Vesper, it’s clear that Mynx’s songwriting has come a long way in a short time. And if these songs are an indication of what Son of the Famous So-and-So will sound like, we can expect some truly great things from Leonard Mynx.

Myspace

contributor: Brian Rozendal, January 24th, 2009

Rauelsson

Earlier this month, Rauelsson released a five-song EP on Hush Records as a teaser to their full album coming out next month. This past Wednesday they played at the Ella Street Social Club, opening for local folky favorites Shoeshine Blue. Despite the rather sparse attendance and intermittent sound system issues, Rauelsson played their hearts out. Relaxed and confident, they played with conviction. This was even despite the distraction of one rather loud patron who was apparently on a first date. He was the exception rather than the rule, thankfully. Despite singing entirely in Spanish, Rauelsson seemed to win over everyone else in the crowd immediately, and managed to hold their complete attention for the remainder of the set.

Rauelsson is a fairly large group, and consists of mostly acoustic instruments: two guitars, violin, double bass, electric piano, and drums. Although they all barely fit on the Ella Street’s small stage, they never crowded each other musically. Rather, they managed a beautiful cohesion, allowing appropriate space for each instrument. It’s always a pleasure to watch musicians who know exactly when, as well as when not to play. Opening with “Debutantes,” the first and title track from their new EP, Rauelsson gently rolled out a quiet yet mesmerizing tune that slowly builds and unfurls, melodically and instrumentally. In many ways, the band’s set was a study of restraint and understatement, allowing subtle dynamic changes the room they need to have a real impact on the listener. Singer/songwriter Raul Pastor Medal’s voice is well suited to such songs. It may not be the strongest, most self-assured voice, but the fine-tuned, carefully wrought compositions and tight harmonies of the group bring all the right pieces into focus. Rauelsson is not out to blow you away with vocal acrobatics or shredding guitar solos. No, Rauelsson’s songs will gently resonate in your ears, and without realizing it, you will probably catch yourself singing them absent-mindedly for days.

Rauelsson Myspace
Shoeshine Blue Myspace