TRMW Archives

* FYI, this stuff is old. The current TRMW is here.

November 20, 2005

~:P

Secos e Molhados

Have I got your attention yet?

Stumbled on this crazy video (see above) via the Table’s Turned* podcast, who in turn found it via the awesome WFMU blog. The band is called Secos e Molhados (Brazilian for “Dry & Wet Goods”; yes!) and… wow. Watch it, bug out, then read this. Really interesting, trippy bit of Brazilian music history there. Also, Os Mutantes back Gilberto Gil on Brazilian TV.

* Table’s Turned is a really cool podcast licensing group set up by my friend Marcus. Bands, labels, and DJs would do well to check them out.

~:P ~:P ~:P ~:P ~:P ~:P ~:P ~:P

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November 15, 2005

Ethan Rose (mp3)

Ethan Rose

Ethan Rose is a friend of mine from college, who also happens to be a very talented musician. When I say “from college”, I don’t mean we were actually friends then – but I wanted to be. I met Ethan after stumbling into his senior recital (he was a music major; I was a minor), which took place in the beautiful Ewok village style chapel at Lewis and Clark College. The music was a mix of Mu-Ziq style melodic IDM, modern classical composition (one part paired strings with sequencer), plus an inexplicable and totally awesome dub jam. These were all things I was very into at that time. I remember running up to Ethan afterwards and basically asking him to be my friend. It didn’t work: Ethan was distracted loading out his gear, we didn’t run into each other for at least a year after that.

Portland being as small as it is, our paths eventually crossed again. Ethan’s band Adelaide started playing shows at Berbati’s, and we finally became friends. It’s been cool to see his talents gradually seep out into the world, both with Adelaide, who’ve gotten some decent local love and gone on 2 successful tours, and with his lesser known solo stuff. (I should add that I worked press for Adelaide’s tours.)

Where Adelaide is mellow post rocky vibes, Ethan solo is a fucking gorgeous mix of musique conrete and ambient styles. Ethan treats pianos and samples to create a swirling mass of unidentifiable yet distinctly organic sound. His debut full length album, Ceiling Songs, was released earlier this month on the excellent experimental label Locust Music. The album consists of three tracks. The first is 15 minutes long; the second 20; the third 5. These parts flow together as one, filtering in and out of one another as abstract melodies gradually emerge from white noise and fuzz.

Locust has released music by people like Glen Kotche (who also plays in Wilco), Josephine Foster, Matmos, and Keith Fullerton Whitman, and their records are pretty consistently reviewed in magazines like The Wire and Arthur. Hopefully this means that Ethan’s stuff might start to be appreciated by a larger audience. I sure hope so; it’s some of my favorite music to come out this year.

Here’s the third track off Ceiling Songs:

Ethan Rose - Ceiling Song 2

PS: The cover art for this album was stitched together by my dear friend Kat Mannock. It’s a family affair.

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November 8, 2005

PDX Indie Hype Alert!

Woah. I just got interviewed for this article on the Portland Music Scene (TM) that will soon be running in Canada’s national newspaper, The Globe and Mail. What’s more, this article will run on the frikking COVER of this Saturday’s issue, and be seen by millions of Canadian eyes across the land of Maple. This follows on the recent AP article about the P.M.S. (giggle), and last Sunday’s food article in the NYT Magazine. Portland, there are eyes on you.

The writer, Alexandra Gill, is putting together this piece as a sidebar to an article about how Montreal was the hyped music place last year, and how PDX could be next. She says she doesn’t think that will happen because Portland has had this reputation for a long time now, so it’s old news. She also thinks Portland has a more robust local music economy than Montreal, and would fair better if such hype were to occur here. (Speaking of which, I have no idea how Montreal is dealing with things like giant front page of the Sunday Arts section New York Times articles, would be curious to learn, and will def be checking out the main article this runs with.)

Mainly she wanted to talk with me about the PDX Pop Now! festival, and get my general take on things. I gave her the basics of how the festival started, scene happenings of the last couple years (weirdest/coolest thing ever = explaining the Blackbird to the biggest newspaper in Canada), etc. As for the general take: I still think, as I thought when I moved here, that Portland is special because it is small enough to have community and connectedness, but has the cultural vitality of a much larger place. And, as I told her, “I LIKE TREES.”

It’s always cool to hear an informed outside opinion on something you’re too close to see clearly, which Portland music has become for me. It’s like a pat on the back, and given her insights re: Montreal, a reassurance. Portland: we might blow up, but we ain’t gon’ pop.

Curious sidenote: Whilst googling the link for that AP story, I noticed a somewhat disturbing evolution in the headlines attached to it. First I got, “Portland becomes city of indie musicians”, then, “Indie rockers find a haven in youthful Portland”, then, “Portland scene lets musicians enjoy ‘extended adolescence’”, THEN, “Portland a city of ‘extended adolescence’ for indie musicians”. Um… ouch?

UPDATE: Here’s the article.

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November 7, 2005

The Puffy Chair = Rad Movie

My friends Yona and Christina recently attended the Bend Film Festival, where they met this guy named Mark Duplass, who makes movies with his brother. The Duplass Brothers have done a couple really funny shorts and one movie. The movie is called The Puffy Chair, and last night Yona screened it for us on Javan’s big ass projector screen.

The movie follows Josh, played by Mark himself as your uncomfortably familiar 20s indie-rock guy who’s band just broke up, who’s now calling himself a “booking agent” whilst scoring the occasional gig for friends’ bands. I won’t go too big into the plot (these reviews do) but it’s basically Josh, his girlfriend Emily, and his brother Rhett on a sort of misguided road trip mission involving the titular chair (i love the word “titular”), some really funny “Curb Your Enthusiasm” situations, and major, major relationship trauma.

This movie has some seriously amazing acting in it, is really funny, smart, and deep. And it totally nails some things about my age group that I’ve never really seen on screen. For one thing, I’ve never seen a booking agent portrayed in the movies, let alone convincingly, with the anxious mix of “yeah, i’m living the dream / oh shit, what the fuck am i doing” it has here. And the characters speak and relate like people I know. “Dude” is used like dudes actually use it – as in A LOT, with Eskimo-for-snow levels of gradation and meaning. Josh calls his freaking girlfriend dude, which is really annoying and totally something I’ve done. Josh’s brother, Rhett, captures perfectly the kind of post-raver, post-hippie, psuedo-stoner, vaguely New Age mentality that we all know so well. When things get touchy feely he’s the one saying “do you guys feel this?”, swirling his hands towards invisible vibes, eyes open wide. He’s the spiritual party bro, taking videos of lizards and vibing hard. I know that guy. I am that guy (and other guys).

So yes, those are some pretty superficial reasons to get into a movie, and there’s way more to it than that. Definitely see this movie if you can. Maybe it’s on Netflix, I don’t know.

Yes, The Puffy Chair = Rad Movie.

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November 4, 2005

WWMD?

I got an email from Momus today. I’m trying to send him a CD and he gave me his address and was real nice about it. For those unfamiliar, Momus is Nick Currie, a guy who wrote some weird pop albums in the mid-80s (I only know Tender Pervert; “Lucky Like St. Sebastian” is an amazing song) and has continued to record music till the present day. Along the way he started blogging and writing (writing about blogging even!) thereby gradually tranforming himself from musician to kind of all-around immersive hipster intellectual blog reporter.

I’m kind of fascinated by this guy, how he’s managed to make a living based on his interests and just who he is (well, that and his obvious skill at expressing said things in writing). My luck then that someone just posted this interview piece entitled “How to Live like Nick Currie”. One the most interesting parts for me is this:

Q: Would there ever be a self-help book: How to Live like Nick Currie?

A: I guess that’s always been my fantasy. I think anyone who is self-advertising, self-mediating, self-promoting, that’s one of the first thing you’re taught as a musician: to think of yourself as a product.

Ok, so that’s a little icky on some levels – self as product advertised by self – but some of it appeals to me. It kind of plays into this idea of living your life based on what interests you, becoming this kind of touchstone for interesting and creative things, which hopefully helps you feed your face. I think that’s kind of my ideal at this point – which might explain why I put my name and face on my frikkin business card. Whether I’m aware of and/or comfortable with the ramifications of that move is something I’m still trying to figure out. Seems like Momus would be, and that seems like a good thing.

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November 2, 2005

Unreleased Alan Singley Jamz! (mp3)

Alan Singley

Last week my friend Alan sent me a few mp3s off his new album, which the id3 tags tell me will be called Lovingkindness. Alan’s currently 10 tracks deep into the recording of this thing, which will come out early next year on the budding Slow January label.

For those who have not witnessed the genius of Singley, he makes rough and jangley indie folk stuff with a deep and whimsical sense of humor, and lots of light. One point of comparison would be Jonathan Richman, but it’s ultimately hard to pin Alan down to any one reference point, which is saying something these days.

Alan’s last album Audiobicyclette was mostly mellow and slightly trippy, a distinctly Portland mix of bikes, porches, rain, parties, and the occasional bout of deep brooding angst. It’s really good.

From these two mp3s, it seems like Alan is moving towards a more garagey, rough pop sound. I liked the old stuff, but I like this just as much. It reminds me of Steve Miller Band (a rare and good thing), old Beck, and other things too shadowy to recall.

If all goes well I will be helping get the word out about this record to magazines and such. I really hope that happens, because these mp3s are great and Alan is a crazy talent. Ok, here’s the frikkin’ mp3s!

Alan Singley + PANTS MACHINE - Short Sleeve Stumblah
Alan Singley + PANTS MACHINE - Bruises

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Blast from the present!