Tag Archives: Music

Up Fanno Creek with a Paddle – A Band on Its Way

3 Feb

Fanno Creek

One of the definitions of the word monument is “something venerated for its enduring significance.” It is also the title of Portland Indie-Rock staple Fanno Creek’s new album, and one listen to the band’s music proves the definition apt. A beloved sing-along band in the city of roses, Fanno Creek is ready to spread its arms and fly over the musical waves of all 50 states and beyond … and maybe soon become a monument. While I am admittedly overwhelmingly kind on the Music Court, I reserve the 50-state praise for the bands I feel are ready to spread rapidly, and this trio consisting of Quinn Mulligan, Evan Hailstone, Dane Brist is more than ready.

Bands that depend on harmonies need to maintain a closeness that other bands may get away with lacking. Fellow Northwestern harmony-kings Fleet Foxes formed by way of two long-time friends. Fanno Creek shares a similar tale. Evan Hailstone and Quinn Mulligan knew each other in diapers and started making music together in their mid-teens. In college, the duo expanded to include drummer Dane Brist, and after several incarnations formed Fanno Creek in 2009. Since then, the band has toured the local circuit, forming a loyal following of music lovers who know good tunes when they hear them. With Monuments, it is time that the word spread.

“On My Way” is a quintessential example of why I cannot stop listening to Fanno Creek. The song starts with an infectious harmony pasted over a pounding singular drum. The vocals are intricate. The incipient harmony leads into a pure layered vocal over a gospel clap, an element slightly unconventional to Indie/folk music but quite refreshing and unique. Brist’s drum is not far behind, and it crashes into a culmination of symphonic sounds and this majesty diapason of harmonies and electronics. It is a wave of sound. It’s just really damn impressive!

“Trilithon” is my second favorite track on the album, and while ostensibly it expresses similar qualities to “On My Way,” the reverberating drum and swooning harmonies (and soft vocal howls) almost sound Beach Boys-esque, and this adds a whole new element to the music.

So … you know what to do; spread the word of Fanno Creek to all of your friends!

Check out the rest of the album at Fanno Creek’s Bandcamp. You can follow the band on its Facebook and Twitter.

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Best Performance at the Grammys 2014

27 Jan

Grammys-2014

While I’ve made my thoughts about the Grammy Awards clear before, I did happen to catch most of the show last night while I did some work, and, unlike in year’s past, the show actually sustained my attention and did not make me apoplectic. The big winners of the night were Daft Punk, Lorde, and Macklemore + Ryan Lewis, and I was perfectly fine with those artists cleaning house. Why? Musical aptitude. Simply, they are all talented, and I am a sucker for when musicians with actual talent are provided with awards – unfortunately, this is not usually the case. But enough about the awards. While the Grammys is an awards show (it is right there in the name), we all know that people tune in to see the eclectic pairings of music superstars perform to a crowd of awkward Taylor Swift, old Yoko Ono shoulder dances, robots, and Sir Paul. And while I was a bit angry that the Grammys did not have a performance tribute to Lou Reed – one of the most important musical figures in the rock era – most of the performances were on target. Of all the unique performances of the night, my choice for best moment may surprise some of you.

Was I the only one who though Metallica and Lang Lang absolutely killed it? “One” is a pretty sick song, and it does feature  one of the greatest breakdowns in metal history. The addition of Lang Lang’s frenetic concert piano added an odd and appealing element to the piece, and the solo exchange was on target and such a pleasure to listen to. Perhaps the performance was my favorite just because it was so darn heavy. The award show (which ended late) had been dragging on a bit, and Metallica woke every viewer (and audience member) up with this performance.

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Ryan Martin is NOT a Hard Man to Love

20 Jan

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Ryan Martin is a musician’s musician. Originally from Los Gatos, California, Martin, a soulful singer-songwriter, moved to New York City and since the move has done everything possible to keep climbing the mountain to reach the musical zenith. Music is often viewed from the rose-colored glasses of the listener. We don’t realize how assiduous and indefatigable musicians need to be to get by in the industry. To succeed – well – it often seems impossible.

But when you have the ability you just know that you must stick at it and do what is necessary to drive yourself forward. It is the one instance of artistic intransigence that is essential. Martin has worked as, “a former pipe salesman, doorman at a tourist bar on Bleecker Street, mover of furniture, bar-back at a debauched Chelsea bar, campaigner for impoverished children, and cash register operator at Trader Joe’s” (Facebook page). He has slept on couches and in his car … until he had to sell it. All of this led up to his debut release – For All the Beautiful Losers – and the tireless effort put into getting to this point seems well worth it.

The album features a dozen delectable tracks that feature sincere depth, wayworn lyrics, and Martin’s gravelly, southern soul vocal. The music plays with several elements – combining the sultry sound of summery country with deep soul and eclectic piano. It is euphoniously complex. I enjoy music that hits you at all different angles, and Martin’s tunes do that.

“Hard Man to Love” lays down a concise rhythm over an effervescent keyboard. The track moves like an Amos Lee piece, slow but sure. The pre-verse guitar riffs are keen. The vocal is tight. There is some swooning country. There is a taste of sweet harmonica. The song is just so rich. And, if you hadn’t had enough, Martin employs a falsetto and strings to end the piece. Very impressive.

“Little Tramp” is just as complex as “Hard Man to Love.” Martin interweaves horns and guitar effortlessly, but still maintains this country-esque feel – almost like a Jay Nash piece. The music is just so enjoyable to listen to. You want to put the piece on repeat. Heck, there is even a little Springsteen in this ditty. Well done!

Track Martin’s work on his Facebook or Twitter. Check out the album on Bandcamp.

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Headphones, Poplar Trees, and Adam Brock

13 Jan

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In the liner notes of his summer 2013 EP, Adam Brock writes “Everyone finds solace in song, regardless of age and circumstance. I hope this music serves that purpose for some.” Keen statement from the young musician from Oregon. Brock, a multi-instrumentalist with a sensational ear for melody, is the best kept secret in the Pacific Northwest. Heck, he may be the best kept secret along the entire Western coastline. With a whispery vocal that he skillfully layers to the euphonious instruments that he plays, Brock is the sweetest sound in Indie that you are not listening to … but will be soon.

I know I lay down a lot of praise on this blog, but I know when I should particularly highlight an artist. Brock is that artist. He is also humble and unassuming, which is a major plus in my eyes. This is a dude who not only knows music but also puts time and effort into perfecting the intricacies of his tunes. His small selection of music from last year was quite impressive, and it is all available on his Bandcamp for free, so I totally suggest checking it out.

“Poplar Trees” is from his 3-track release in January of last year. The first 30 seconds are a bit deceiving because Brock immediately provides this mystical vocal track that sounds like other Pacific Northwest bands like Fleet Foxes. This, of course, is not a bad thing, for I am a bigger fan of folk harmonies than most, but it is not Brock’s predominant sound. The consequent electric percussion and keys is more of Brock’s scene, and oh my does he sound like a young Death Cab for Cutie, does he not? The early 2000s Indie Pop bleeds from the song. Then, the bottom falls out of it and the song is carried by a halcyon picked guitar and Brock’s sweet voice. It is as the ultimate blend, and it is done masterfully.

“Headphones,” released in June, also maintains that Ben Gibbard sound (almost a minimalistic Postal Service). There is also some Bright Eyes and the Shins thrown in for good measure. Brock knows what he is doing. In this piece he even adds a Velvet Underground-like string section (cello, viola, violin). Honestly (and why would I lie), Brock’s music is excellent. He displays ability far beyond his years. There is only one question I can ask: why is he not touring the U.S.? Let’s make Adam Brock more known.

Check out his Facebook and Website.

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Mason Jennings has “Always Been” Using His Voice

10 Jan

Mason Jennings

 

The first song I ever heard from Mason Jennings was “Ballad of Paul and Sheila” off of Jennings’ fourth album Use Your Voice released in 2004. The incipient picked chord progression piqued my interest and Jennings’ commanding and delicate croon hooked me. It was only a bit later that I learned that the song was dedicated to Minnesota senator Paul Wellstone and his wife Sheila who died in a plane crash in 2002 (Wellstone was a strong advocate for peace and social advocacy and was the only senator facing reelection to vote against the Iraq war) – I was 14 and not that up on politics at the time! The simplicity of the memorial lyric stuck me to the music of Mason Jennings for good, and 10 years later Jennings is still creating exceptional acoustic music and flying under the radar when he should most definitely be soaring among the most renowned folk artists today.

Aside from “Ballad of Paul and Sheila” my favorite Jennings song is “Jackson Square,” which is perhaps Jennings finest moment as a sad raconteur. The song is one of the finest examples of a lyrical story. You can check out the lyrics by following that link, and I also urge you to listen to the song.

I tell you all of this because Ritter released Always Been back in November of 2013, and for me it was his best release since In The Ever, which he released back in 2008. Always Been put him in double digits for albums with original content (not including The Flood), and is demonstrative of an artist who just continues to create multifarious content that still harbors the impressive emotional appeal, as if each song is a track created just for the listener. Good artists are able to create this feeling for a few songs, but great artists like Mason Jennings do this consistently, and Jennings has done it since the late 90s. Hence why I am always shocked that more listeners are not aware of his aptitude.

Jennings was born in the Aloha state but moved with his family to Pittsburgh at an early age (quite the unfortunate move if you ask me). He learned to play the guitar, dropped out of High School, and toured the U.S. gathering stories and experiences that he would use to script his first foray into music. After settling in Minnesota to produce music, Jennings started to churn out album after album of songs rife with political activism, first-person narratives, and emotional tributes. While narrowing in on his identity, his music became tighter. Now, nearing 20 years as an artist, Jennings is masterful. His effervescent songs can liven up any room and his minimalistic singer/songwriter pieces carry an innocence and ardor that affects listeners.

Always Been is most similar to Bone Clouds, Jennings most potent release. The song are riveting and each one has a distinct Jennings flavor that captures the attention of the listener. Jennings has been working on an expanded, fuller sound that is recognizable with this release. While he still is able to garner the solo drawn, his other tracks maintain a jauntiness that complements his storyteller vocal. A great example of this is “Wilderness.”

“Dreaming” is a more traditional Ritter track, although it is almost like a folk lullaby. Plus, tell me the falsetto “dreaming” in the second chorus isn’t just sweet. It’s impressive. The short piece is stripped down in this live recording (a little different than the studio version). Ultimately, although I hate the word, it is a nice song.

Check out the full album on Mason Jennings’ website and check him out on tour.

Tour Dates

 

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