popwreckoning

As the weekend was nearing its close, I started the penultimate day of Musicfest Northwest – Saturday at Pioneer Courthouse Square with Laura Veirs and the Decemberists. Pioneer Courthouse Square was the only outdoor venue at all of the festival, right in the heart of Portland surrounded by high rise buildings. Even though I parked a good 5 blocks away, the music rang down the streets as I made my way to Pioneer.

People had already filled the midtown square as Laura Veirs took the stage with her low-key alt country folk tunes. Playing songs mostly off her new album July Flame, which went back to her folk roots after the less-than-overwhelming Saltbreakers, the soft harmonies were perfect for the sunny late afternoon we were having.

For the last song, Veirs called out “some friends” to come sing with her during “July Flame.” Those friends included several other Portland musicians, Colin Meloy of the Decemberists being one of them. As the song grew, the stage full of musicians sang out “can I call you mine, can I call you mine?” It was such a lovely display of local musician love, that it made me want to move to Portland right then and there.

But that evening wasn’t even close to over.

After a short break, The Decemberists stepped out as the sun was started to set on Portland. I must tell you that Colin Meloy is one of those characters that you feel so close with after seeing play live. No matter how large the audience, he brings everyone in this big musical lovefest. At one point he mentioned, “This is an attractive city. We’ve been to a lot of cities, and I must say that Portland is looking pretty good…relatively.”

But it got better.

After playing through some old favorites like “16 Military Wives” and “The Infanta,” we got the breezy “Summersong” as Meloy said we’re just coming out of the summer, so it made sense.

“So, after a song about summer, let’s talk about infanticide!” Meloy said.  Only at a Decemberists concert would you hear people cheering about killing infants. After the positively morbid “Rake’s Song,” the band started the riffs for “O Valencia” off The Crane Wife, and the entire crowd lit up in excitement and sang out along with the chorus a resonant “O Valencia!” However, right in the middle of the song, Meloy changed keys for just a minute and softly let out with a giggle, “Dracula’s daughter, Dracula’s daughter, Dracula’s daughter got it bad.” For people who got the reference, it was what Meloy referred to as “the worst song [he] ever wrote” on a live solo album he released several years ago. It got some laughs, but for those of us who did get the reference, it was almost like an inside joke that made us look crazy to the people who didn’t get the jokes.

Not only did the Decemberists play the songs we all know and love in their 90-minute set, but they did play a few new ones as well. That means a new album coming up, so that definitely made me excited.

As the sun was set, and the lovely glow of the Nordstrom’s sign shone upon us all, the Decemberists began their final song – “Sons & Daughters.”

“I know you all know what day it is, and I don’t need to hammer that home any more, but since you’re all here and we can do this, I want everyone to sing this. But not only sing it, but to walk away with it ringing in your head.” And on that evening of the 9^th anniversary of 9/11, Meloy instructed the audience to sing together in resounding unison “here all the bombs fade away.” That song – and their set – ended in such a moving way that I teared up a little bit, and I’m not ashamed to admit that.

Aww, I love The Decemberists.

At that point I’d contemplated trying to get to the Wonder Ballroom to see the Smashing Pumpkins, but thankfully a friend of mine had already tried and she let me know before I left that it was way too crowded for anyone to get in with even half an hour to spare until the show started at 10:15. So I took short break at Powell’s Books since it didn’t close until 11 p.m. before walking – literally right down the street from my car – to the Crystal Ballroom for Akron/Family and Menomena. How I managed to park closer to the Crystal than Pioneer Courthouse Square is beyond me, but it certainly made getting around for the rest of the night incredibly convenient.

I arrived to the Crystal mid-set for Akron/Family, and they were completely not what I expected. I didn’t know what to expect, to be honest, but they were so intense and energetic that I didn’t even need to know any of the songs to rock out and dance. With Afron/Family’s crazy mix of electronica and folk music, they really know how to get a room moving. The songs were long and epic and wildly mesmerizing. I regret not getting there earlier to see the whole set, because the 15 minutes I did see were really awesome. So you should see them if you get the chance to.

But I must say with how many fantastic performances I’d seen over the last four days, the greatest one was to come that evening, with Menomena. Up until then I hadn’t been right up against the stage at the Crystal Ballroom at all. That thing vibrates. Every time a heavy bassline kicked in, the water bottle below Brent Knopf’s keyboard visibly shook.

Having just released their third LP back in July, Mines, Menomena started off their mindblowing – and I’m not being facetious – show with “Tithe,” a thrilling track off the new album. I don’t know what planet the guys of Menomena are from, but they are definitely all on the same otherworldly brain wave, because the music and energy these guys put out is amazing. You have the stark and angry “The Pelican” and the soft and eerie “Evil Bee” off of Friend and Foe, and the heartbreaking “INTIL,” which features mostly Knopf on keyboard and crooning “I never thought I’d lie…sometimes I say too much” over and over again.

Not only are the songs so deeply impactful live, but the musicianship with Menomena is so random that you almost wonder how they came together in the first place. Justin Harris plays bass and baritone sax. In no other band will you get to hear baritone saxophone. And I thought when I heard Friend and Foe for the first time that they used a drum machine. Nope, Danny Seim is just that good.  One thing that I did notice about the new songs was the heavier hand that the guitar took. Menomena even brought in a new member as a lead guitarist to give Mines a rounder sound. And even though the sound has advanced, the band has kept the essence of Menomena, songs that sound completely cohesive and also unique to each member of the band – Knopf’s gentle voice, Harris’ powerful voice, and Seim’s deep and musky voice.

I was so thoroughly impressed that I haven’t really stopped listening to Mines since the show. I was even thinking about skipping out early to see Japandroids at the Doug Fir Lounge that night as well, but after a few of Menomena’s songs I realized I would definitely be staying for the whole thing.

It would have been as long as Friday night was, with six bands at four different venues. But what’s messed up is that I missed one of the bands that I wanted to see.

See? I’m crazy.

The night started again at the Wonder Ballroom with Male Bonding, the English noise pop trio, with their lo-fi, hook-heavy songs. They were an unexpected find for me, but they were quite fun, and a nice lead-in to Surfer Blood, with a similar vibe. One of the tracks off Male Bonding’s critically acclaimed Nothing Hurts was “Year’s Not Long,” which was a fun live track, with bassist Kevin Hendrick sidestep jiving on stage with his floppy bleach-blonde hair swaying to the beat.

From there, the baby-faced Surfer Blood took the stage for a rousing hour of their upbeat brand of surf-punk songs, including a good number of songs off their debut Astro Coast as well as some new, less familiar songs.

“Portland, where you can always get the best haircut,” front man John Paul Pitts exclaimed to the crowd as they jumped into “Fast Jabroni,” which I’m still unsure of it got its name. It was weird being at a show inside a building while it was still daylight outside, but Surfer Blood managed to get the energy up in the crowded room at 5:30 in the afternoon. My favorite track of their set was the catchy “Twin Peaks” with Pitts’ goofy grooving around the stage. Plus, it really made me want to go rent the whole series of DVD. But once Pitts announced, “this next one’s pretty big on college radio,” and started off the riff to the hugely successful “Swim,” the throngs of young people surrounding me responded appropriately and sang along loudly – “swim, to reach the end!”

I’ll admit that this was the third time I’d seen Surfer Blood that week. The first time was at a Bumbershoot after party in Seattle the weekend before, then actually at Bumbershoot the next day, and this was my favorite performance of the week.

I was completely aware of any sort of stage antics of what was to come with Black Lips coming up, and my expectations were met when I felt spit fall on my head. Bassist Jared Swilley had indeed let out an inaugural spit on the crowd through his golden grill. Yes, I just said grill. I’ll admit that I was expecting more in terms of on-stage antics, but the music spoke for itself, making for an uproarious room. A few people standing behind me actually mentioned how tame it was during Surfer Blood, and people better get crazy during Black Lips, “because this is a punk show!” People certainly did, thrashing around in the mosh pit while Black Lips played the heavy hitters like the “Bad Kids,” which people overwhelmingly requested.

At one point, Cole Alexander said something about wanting some alcohol at 8 p.m. Apparently they start early, but as soon as Alexander made the hypothetical request, some guy in the front row broke out a flask and offered it to the band. Naturally, they gladly accepted. And may I remind you – this was at around 8 p.m.

Shortly after, I managed to make my way to my second venue of the night – Mississippi Studios for a reasonably calmer show. It was Seattle’s own People Eating People – what’s come out of the demise of Nouela Johnston’s old band Mon Frere. I could describe People Eating People as dark, sassy piano pop, and it carried incredibly well in the musician-built Mississippi Studios. Sadly enough, there wasn’t nearly a large enough crowd for how talented Nouela is. And apparently they almost didn’t make it to Portland, as Johnston explained.

“There was a drill at McChord [Air Force Base]…I think it was McChord. It took us four hours to get here!” To clarify – there’s always traffic on I-5 around McChord and Fort Lewis Air Force Bases, not matter what time of day, but when there’s a drill it’s impossible to get through the corridor.

But the scarcely populated room still got to enjoy the undeniably catchy pop songs like the fiery “I Hate All My Friends,” the almost waltzy “On And On,” and my favorite, “Darling.” Not that many had the chance to enjoy People Eating People, which is understandable because Mississippi Studios was by far one of the most out-of-the-way venues on the list of the MFNW venues. But I strongly suggest you seek out their music, because it’s really good.

From there I had to rush to the Hawthorne Theater to catch Morning Teleportation. Well, I rushed to get to Fred Meyer so I could park in their parking lot when walk to the Hawthorne, but anyway. With the band being local, I should have expected it to be as how and crowded as it was, but I had to be pretty shifty with my maneuvering to front area of the stage. These guys’ wacko brand of psychedelic jam band is sometimes other-worldly like the frantic horns and hand claps-driven “Snow frog vs Motor Cobra,” which is a trip to listen to, but even more a trip to see live with a room of adoring local fans. There were at least six people on stage playing various instruments, which could have equaled some muddled cluster of sounds, but it worked in the sweaty Hawthorne Theater at 10 p.m. Isaac Brock recently produced their debut album on his Glacial Pace Recordings, and I really hope the label’s moniker doesn’t attest to the rate at which the album comes out.

I mean, Morning Teleportation employs a Theremin in their music. A THEREMIN. Who does that? Well Morning Teleportation does, as well as a talk box and a whole slew of brass instruments. And with Brock backing them, this band is going to do big things.

I was going to go to the Doug Fir for the Tallest Man on Earth at midnight next, but even getting there 45 minutes early, the line spread all through the parking lot. The Doug Fir is small. And the guy at the door was letting one person in at a time as one person left at a time because it was so packed. So I bagged the Tallest Man on Earth and went to venue into the Friday night downtown nightlife along Burnside for the Builders and the Butchers at Berbati’s Pan. Needless to say, finding parking on a Friday night was horrendous, but I eventually found some in time to get into the tiny bar/venue ten minutes before the band was scheduled to start at 1 a.m. Settling behind an obvious drunk man that brought his own tambourine, I enjoyed the Builders and the Butchers heavy energetic folk rock all the way until 2:30 a.m. This had been their fourth year n a row playing Musicfest Northwest, and they certainly didn’t disappoint.

“If you all stick around with us until 2:30, we’ll make out with all of you!” Lead singer Ryan Sollee shouted to the audience, which was met with a resounding “woooo!”

Each member of this band has so many talents that you don’t realize when any one of them switches instruments. At one point Brandon Hafer and Ray Rude had both sat at a drum kit and tag teamed this awesome drum sequence during the epic “Golden and Green.” However, my favorite was during “Vampire Lake,” where Sollee cleverly preempted it.

“This next song is about vampires. And we realize that vampires have gotten really trendy lately, but these are more like True Blood vampires rather than Twilight vampires, if you get the reference.”

I got the reference.

And after that, myself and the large number of inebriated people filling Berbati’s Pan sang along to songs about Barcelona, the Devil, and of course vampires until 2:30 a.m.

Phew.

Being the completely crazy person that I am, I took the 150-mile drive to Portland two days after Bumbershoot ended for the tenth annual Musicfest Northwest. I still hadn’t caught up with the 10 or so hours of missed sleep and I was yet to lose some more. But hey, I’m young. I can still do that sort of thing.

Why did I decide to drive down on Wednesday? Panda Bear was playing at the Crystal Ballroom that night. That’s why.

It had been just over a year since I saw Animal Collective live for the first time, and I was in need of some of their genius. Apparently a lot of other people felt the exact same way, because that place with its bouncy walking-on-a-cloud floor filled up fast.

With the Crystal Ballroom already smelling of cannabis and man sweat, Noah Lennox, a.k.a. Panda Bear took the stage at just after 10 p.m. With nothing but a Fender Stratocaster, his big table of electronic gadgets, and a screen projecting trippy visuals throughout his set, Panda Bear was mesmerizing. I say mesmerizing because he’s not what you could call “entertaining” in the usual sense of the word. Hundreds of people swayed in unison to his heavy psychedelic beats, causing the floor to almost vibrate from the collective movement.

Panda Bear played several new songs off his upcoming album Tomboy, which currently doesn’t have an actual release date, but he says “near the end of 2010.” Well it’s nearing the end of 2010, and we still don’t know when we’ll get to hear the whole record. That fact also made this gig even sweeter, because we did get to hear these new rhythmic journeys into Lennox’s mind, as well as some of the sample-heavy (but absolutely fantastic) Person Pitch.

It’s daunting to think about a follow-up to such a great album as Person Pitch, but Lennox took Tomboy as a chance for a departure from the sampling, and to focus more on heavy rhythm and guitar. And in a live situation, that certainly makes for a more interesting show, as Lennox’s performance was more organic than if he has been strictly pressing buttons the whole time.

Plus, the use of more traditional instrumentation paired with the sometimes psychotically captivating song crafting of Animal Collective helped differentiate Lennox’s solo stuff from the band.

Panda Bear started off the show with “Drone,” a song that literally shook the crowd into attention, as if we weren’t attentive enough already. The loud and often startling back and forth tones paired with Panda Bear’s – for the lack of a better term – droning voice flooded the room with sound and vibration. In the Crystal Ballroom, you don’t just hear the music; you actually feel it. From there he transitioned right into “Tomboy,” the first single off the upcoming album, which was further enriched from the recorded version to include Lennox’s random shrieks of  Lennox also had a beautiful drawn-out version of “Daily Routine” that built so much anticipation that I could see the people around me mouthing the words to the song even before he sang them. “Slow Motion” was one of the stand out new tracks, with its addicting bass line, one that you’d almost hear in a modern hip-hop song.

After the just-under-an-hour set Panda Bear quietly exited the stage, almost as if he was completely unaware of the awesome show he’d just put on. And the throngs of people slowly filed out of the doorway and down the two flights of stairs outside. That was by far the only way to start off another 5 nights of great music all throughout Portland.

This was going to be a long weekend.

We all love a good Columbia River backdrop or acres and acres of open field at our music festivals, but what makes MusicFest Northwest different than most festivals is that it takes places within the city – at all the Portland venues you know and love. It’s not just a celebration of music but also a celebration of Portland in general.

In just under two weeks’ time, Portland’s Pulitzer-Prize-winning alt-weekly newspaper Willamette Week will be hosting its 10th annual MusicFest Northwest, which has grown to be the third-largest indoor music festival in the country.

At no other festival else can you park for free in suburbia, take a light rail downtown, then pick up an orange Tang doughnut (yes, I said Tang), and walk a block down at 1 a.m. to catch The Builders and the Butchers at Berbati’s Pan.

Voodoo Doughnuts and Berbati’s Pan are very conveniently placed literally 125 away from each other. Just a tip.

Because of this indoor, inner city set-up, you won’t have to empty your bank account for festival food, or use smelly port-a-potties. But I’d never expect anything different coming from Portland, with the casual, low-key vibe that I love about it so much.

Here’s what I’m planning on doing, but trust me – with the MAX light rail running at full capacity over the 5-day festival, you’ll have the opportunity to see so much more, whether it be a 21+ show, or an all-ages (AA) show.

Wednesday, September 8^th:

Act: Panda Bear
Time: 10 p.m.
Location: Comcast and opbmusic stage at the Crystal Ballroom

Ever since seeing Animal Collective play live over a year ago, I’ve been holding out for another chance to see any of the guys in a live capacity. To coincide with the release of his highly awaited album Tomboy, Noah “Panda Bear” Lennox will be gracing Portland with his mesmerizing presence on the first night of the festival at the Crystal Ballroom (which has floors with a bit of bounce in them). AA

Thursday, September 9^th:

Act: Ra Ra Riot
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

In the past, Ra Ra Riot has opened for such amazing acts as Editors, Art Brut, and Tokyo Police Club, but now as part of their headlining tour for their new album The Orchard, Ra Ra Riot will be taking the stage at the Wonder Ballroom. I’m intrigued to see their unique brand of baroque pop live. Plus if you have time afterward, circle the block to get some pizza at Sparky’s or if you feel more adventurous, Ethiopian at Queen of Sheba.  AA

Act: Ted Leo and the Pharmacists
Time: 9 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

For something with a bit more attitude, you can head back over to the bouncy floors of the Crystal Ballroom for Ted Leo and the Pharmacists. You’re sure to have a good time with these old school punks, and you’ll still have enough energy to go for the rest of the night afterwards. Heck, walk a few blocks down Burnside and you can still browse around Powell’s Books until 11 p.m. AA

Act: The Thermals
Time: 10:30 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom
Local darlings The Thermals will have literally released their fifth album two days before when it comes time for their show at the Crystal Ballroom. They’ve been working with Chris Walla again on Personal Life, so I’m anxious to hear what these pioneers of Portland rock of the ‘00s have put together with Mr. Walla. AA

Act: Major Lazer
Time: 11 p.m.
Location: The Roseland Theater

For the most part, I probably won’t be heading to the Roseland too much just because there are so many great bands playing everyone, and it’s already hard to choose. But I’m going to make it a priority to see Major Lazer’s reggae/hip-hop hybrid. You’ll be sure that you won’t see any other act like them at the festival, and as far as I know, there won’t be another chance to see them in the northwest for a while. AA

Act: Justin Townes Earles
Times: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Four blocks away, you’ll find yourself back at Berbati’s Pan (and maybe after another round of Voodoo Doughnuts) for the considerably less hyphy Justin Townes Earle. It’ll be the nice way to end the night after burning all your energy at the last show. Maybe you could get a drink and relax to Earle’s mandolin-laden country folk. Earle’s blend of deep-south vintage country is so far from today’s mainstream country that you almost expect someone to be playing a water jug and a washboard.  21+

Friday, September 10^th:

Act: Surfer Blood
Time: 5:30 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

As the start of a ridiculously full two-month tour, Surfer Blood will get to bring their beachy indie rock to the Wonder Ballroom. A friend of mine put their song “Swim” on a mix tape for me earlier this year, and ever since I saw Pitchfork give the song spot number 37 on the lost of the 100 Best Songs of 2009, I’ve been wanting to see them play live. Now you have that chance too.  AA

Act: Black Lips
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

When going through the list of bands playing at this year’s festival, I immediately put Black Lips on my “list to see,” because of their extensive history, guitarist Cole Alexander’s work with Deerhunter’s Bradford Cox, as well as what I’ve heard of their chaotic stage antics (including nudity, fireworks, band members kissing, and vomiting). AA

Act: Sara Jackson-Holman
Time: 8 p.m.
Location: Ash St. Saloon

Mixing classically-influenced piano, soft and longing strings, and winsome vocals, Portland native Sara Jackson-Holman falls into the ever-growing “melancholy piano songstress” genre, but her smoky voice and strange bent harmonies make her worth seeing. Within a couple blocks of the saloon you could also hit up Esan Thai or Kells Irish Pub for dinner if you like. 21+

Act: People Eating People
Time: 9 p.m.
Location: Mississippi Studios

After the disbanding of her band Mon Frere in 2007, Seattle native Nouela Johnston decided to record some of her own stuff under the moniker People Eating People. Her powerful piano pop will be perfect for one of my favorite venues ever – Mississippi Studios, which was built for musicians, by musicians. It’s located in a residential neighborhood and you can literally park in front of someone’s house. The floor is small, but the wraparound balcony provides just as good a view. 21+

Act: Morning Teleportation
Time: 10 p.m.
Location: Hawthorne Theater

I saw Morning Teleportation in June, and they had the most inexplicably enjoyable set that it’s impossible to explain. Psychedelic, rootsy jam-band, electro-indie rock is one way I could describe it. If you’re still confused, I recommend that you make time to go see them at the Hawthorne Theater. Lead vocalist Tiger uses a Talk Box. That’s worth it enough just to see that. AA

Act: Okkervil River
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I’m not sure whether or not Roky Erickson will be gracing the stage with Okkervil River in this instance, since they just released True Love Cast Out All Evil with Erickson, but either way, the critically acclaimed Austin band is surely not one to miss. AA

Act: The Tallest Man On Earth
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Performing at the most comfortable venue I’ve ever been to, The Tallest Man On Earth will be bringing his bluesy brand of acoustic folk to the Doug Fir. When I first heard Kristian Matsson’s music, I didn’t realize that he was Swedish for awhile, until I eventually got how clever Matsson’s moniker is (people of Scandinavia are predominantly over 6 feet tall). 21+

Saturday, September 11^th:

Act: The Builders and the Butchers
Time: 1 a.m. (yes I just said 1 a.m.)
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Seeing the instruments that the Builders and the Butchers play, you wouldn’t expect to essentially rock out at one of their shows, but they defy all stereotypes and bring massive amounts of energy to their acoustic guitars, mandolins, and banjos. Seeing that the Builders and the Butchers are from Portland, I’m expecting this particular show to be crazy awesome. Having seen then 2 short months ago, I can back up that claim. 21+

Act: Laura Veirs
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

Laura Veirs will be the first of a few shows that you should absolutely check out on the main stage at Pioneer Courthouse Square. The neo-folk songstress returned to her roots with July Flame this year, her 6^th studio album, putting out hauntingly beautiful songs full of odd instrumentation and Veirs understated vocals. AA

Act: The Decemberists
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

I’ll just be sticking around at Pioneer Courthouse Square for The Decemberists after Laura Veirs, because it will surely be one of the best shows of the weekend. Even when they aren’t playing for hometown crowd, The Decemberists are awesome live, but in this instance I can only imagine. The last time I saw them, it was on the Hazards of Love tour, so this time we’ll get to hear songs from all throughout their catalogue. AA

Act: The Globes
Time: 9 p.m.
Location: Backspace

Playing at one of best coffee houses in Portland, Seattle’s own The Globes will be bringing their experimential ambient indie rock to the tiny venue. I saw them play a show in Seattle back in November with Telekinesis and The Lonely Forest, and with how much they downplay the energy, The Globes put on a great show. Think My Bloody Valentine with harder riffs and a rainy-day ready wall of sound. AA

Act: The Head and the Heart
Time: 9 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Bluesy folk with soft harmonies and bubbly beats permeate through Seattle’s own The Head and the Heart’s music, and it should be quite delightful to see them in Berbati’s Pan’s small room. Plus if you haven’t had dinner yet, you can get yourself some Greek cuisine while you’re there. 21+

Act: The Smashing Pumpkins
Time: 10:15 p.m.
Location: MusicFest Northwest and KUFO stage at The Wonder Ballroom

I honestly had no idea that the Smashing Pumpkins were playing until about five days ago, and I’m surprised that they’re playing The Wonder Ballroom, because it’s not that big. So if you want to get in at all, I suggest getting there relatively early, even if you have a wristband, because this will undoubtedly be one of the most attended shows of the festival. I can’t remember the last time they toured, so I’m pumped. AA

Act: Suckers
Time: 11 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

What’s funny is that right after playing up against each other at separate venues at MusicFest Northwest, Suckers will be going on a month-long national tour with Menomena. Employing Talking Heads-esque multi-layered vocals with the passion of former tourmates Local Natives, Suckers will definitely fill the small room with fervor. 21+

Act: Menomena
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I have to be honest, I haven’t listened to Menomena’s new record yet, but Friend And Foe was one of my favorite records of 2007, and it’ll be interesting to see how the band’s eerie experimental indie rock will play out to their hometown crowd. Also, the band members always shuffle around who sings and who plays certain instruments, so that always makes for a more intriguing show. AA

Act: Champagne Champagne
Time: 11 p.m.
Location: Jimmy Mak’s

Seattle hip-hop favorites Champagne Champagne mixes traditional hip-hop with peppier electro-pop, and I love it. Again, I’ll reiterate my normal dislike for hip-hop, but when locals sing and rap about Molly Ringwald, I’m sold. But again, I’ll have a hard time deciding which show to hit up at 11 p.m. 21+

Act: The Dodos
Time: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Even though The Dodos are probably best known for having two of their songs in two separate television commercials, their albums are rich with offbeat instrumentation like toy piano and pulsating drums. And you can’t deny that if a band has their songs on television, the songs are undeniably catchy. 21+

Act: Japandroids
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Having two guys on stage, you wouldn’t expect them to create the sound that Japandroids manage, but the raw and fuzzy guitars will be a great way to end out the penultimate night of the festival. And while you’re there, definitely check out the restaurant upstairs. Also there’s free parking around the corner, so that’s another plus. 21+

Sunday, September 12^th:

Act: The Walkmen
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

It seems like it’s been way longer than 2 years since The Walkmen put out new music, but this performance will be two days before their new album Lisbon is released, so I’m happy. One of only a select few shows on the last day of the festival, The Walkmen’s drowsy surf rock should carry well through the outdoor amphitheater. AA

Act: The National
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

After having seen The National play at the Columbia River Gorge back in May, I was anxious to see them again. Although I think The National is one of those bands that you may or may not like live. Lead singer Matt Berninger has an oddly intense stage presence, but the energy might turn some people off. If you haven’t seen them play live though, I strongly recommend giving them a shot, because they sound fantastic live. AA

However long this preview is, it’s still just a taste of what’s coming to the tenth annual MusicFest Northwest. I mean, I’m going to try to see all these bands, but who knows how full the venues will get or how quick the public transportation will run that weekend? To see the full lineup or purchase tickets, go to http://www.musicfestnw.com. General admission wristbands are still available for purchase that will guarantee entry to all club shows and all shows at Pioneer Square (however you must choose to see either The Decemberists or The National with this ticket). All show wristbands are also still available, which guarantees you entry to all shows, no exceptions. If you don’t wish to purchase a wristband, you can buy tickets at the individual venues the night of the show.

It’s no secret that I love We Are Scientists. Possibly a little bit too much. I love them so much that when I saw that they were playing in Seattle and Portland within the span of three days, how could I not go? Heck, if I had a passport I would have taken the trek over the border to Vancouver, BC in between the two shows. Sadly, I didn’t have one, but by double dose of WAS is pretty good for one week, I think.

Monday the 26^th started with the 3-ish hour drive south from where I live to Portland. From there I met up with some friends at Music Millennium on East Burnside in Portland, where We Are Scientists played a short in-store consisting of “Nice Guys” and “Pittsburgh” off their new disc Barbara, as well as a couple more. Check at the end of this post for some videos of the two in-stores I hit in Seattle and Portland. That night WAS played at the Doug Fir Lounge with Rewards (a.k.a. Aaron Pfenning of iPod-commercial-famed Chairlift). This being my first 21+ show, it was quite different than anything I’d ever experienced. First of all, the venue at the Doug Fir is downstairs from the restaurant, which is attached to a hotel. And the venue had air conditioning and cushy seats against the wall. So this was by far the most comfortable I’d ever been at a show before.

After the hour of waiting and watching the various circles of people get more and more inebriated, Rewards (I’m still not sure how to pronounce Pfenning) took the stage at just after 9 p.m. The floor was virtually empty at that point, so I was free to roam around to take pictures. Rewards is what I could call experimental seductive synth pop, if that makes any sense. The heavy bassline that you could feel reverberating through your whole body, Aaron’s understated swagger and deep whispery vocals almost reminded me of INXS’ “Need You Tonight,” except not cheesy. Also unlike the music the 80s, Rewards’ sound had a much more minimal approach to instrumentation, similar to The xx. Aaron definitely left some of the commercial-friendly aspects of Chairlift behind when pursuing his own – almost spooky, but sexy – solo stuff.

With how anxious as I was to see We Are Scientists, I really enjoyed Rewards. He played into the small crowd, acting quite casual on stage. About halfway through his set, he shed this Tommy Bahama lounge shirt, telling everyone that it was Keith’s (Murray) shirt. “I’m never wearing this thing again,” he said. In fact, this was the first time I’d seen in a long time that the openers and the headliners were so buddy-buddy. The last song of Rewards’ set called “Two Cardinals,” he brought all of We Are Scientists out on stage – Keith playing the drums, Chris playing bass, and WAS’s drummer Danny Allen (formerly of Youth Group) on a red Gibson SG. The stage was so full of love you couldn’t help but smile at Keith’s raucous and exuberant drumming. Since Rewards doesn’t actually have any albums or EPs out, I strongly recommend you go check out his MySpace page at Myspace.com/aaronpfenning, seeing that it’s the only place you can check his music out. Unless of course you see him on tour with WAS. Which I recommend even more.

At 10:15, the floor had filled up a bit, and people still clutched the beers they’d previously purchased. Keith Murray, Chris Cain, and Danny Allen came out on stage to very talkative crowd. Seriously, there were multiple exchanges between the guys and the audience. But that’s part of what I love about WAS so much – they’re chatty. Chattiness mixed with wittiness adds up to some hilarious banter. If my memory serves me correctly, they started with “Rules Don’t Stop,” the short and equally as catchy first single off Barbara. I was too excited to keep track of the set list completely, but thankfully my friend Adrian has a ridiculously good memory. So I know what songs they played, just not in what order. There was a mix of old songs like “This Scene is Dead” and “Inaction” and new ones like “Pittsburgh” and “Ambition.” I was disappointed not to hear “It’s A Hit” off With Love And Squalor, their phenomenal major label debut, but as Chris promised me in an interview back in May, we got a wicked version of “Chick Lit.” At one point someone in the front of the crowd demanded a bass solo, because Keith had some awesome guitar solos already. But before giving into the crowd’s demands, Chris gave this unbelievable explanation for what he was about to do. He said that most people who do bass solos care too much about tone, so he was going to play a “real” bass solo. And apparently according to Cain, a real bass solo doesn’t need to be plugged it. So he unplugged and rocked out like a 16-year-old boy playing air guitar to Lynyrd Skynyrd. Writhing around the floor with ridiculous facial expressions and all. And Murray stood there, staring at Chris in awe. Naturally, we all did as well.

There wasn’t much of an encore. Or maybe there was, but there just wasn’t a break between the main set and the encore. They played “The Great Escape,” “After Hours,” and I think it was “Cash Cow.” Or “Callbacks.” This confusion could have been avoided if they’d written down their set list. Thanks, guys.

After this show, I remembered how much I love this band. It had been over two years since I saw them live in Seattle for the first time, and after two days of nervous stomach, I could not have been more pleased. WAS is so full of energy and cheeky happiness that it’s impossible to not have fun. And chilling outside the Doug Fir after the show, it was so pleasant to finally talk to them in person. After chatting with Danny for a good ten minutes about touring in podunk towns and how it differs from Australia, I formally introduced myself to Chris.

“I’m Abby. I actually talked to you on the phone a couple months ago, for PopWreckoning?”

“Oh, you’re that Abby? Well thank you for your personal and professional interest in our band,” he said.

And then my friends and I threatened Chris and told him that they had to play “Lethal Enforcer” in Seattle, because it’s such a good tune – seriously, it’s like someone spoon-feeding awesome directly into your ears. There were hugs all around and we went along on our way because the owners of the Doug Fir told us that we couldn’t sit in the parking lot anymore seeing that it was about 2 a.m.

I took the next day to drive home and recover so I’d be ready for another day of We Are Scientists in Seattle, at the same venue I’d seen them play at two years ago at Neumo’s.

Wednesday night already started out great because I found free parking, so nothing could really ruin my night. Thankfully, nothing did.

That night WAS played an acoustic in-store at Sonic Boom Records on Capitol Hill before their show at Neumo’s, and from when I saw, because I was late, they played “After Hours,” “Jack and Ginger,” and “Rules Don’t Stop,” all while sitting criss-cross on the makeshift wooden stage. Before playing “Jack and Ginger,” Keith told everyone, “We’re playing a much more stripped down set at Neumo’s tonight,” because he’s just that sarcastic.

Just like Monday’s show at the Doug Fir, it took forever for Neumo’s to fill up. I didn’t have to stand up at the front from the beginning to get my spot. I had time to sit up in the bar. It was like a whole new world, because I’d never been upstairs in Neumo’s before. And I also had time to go talk to Keith who was peddling t-shirts and vinyls at the merch table and pick up a new copy of With Love And Squalor for Adrian who was sitting outside because she was not quite 21 yet, and she’d worn out her copy. Keith looked at me perplexed, “Wore it out? What did she do, rub it in grit?”

Aaron Pfenning took the stage, pre-empting his performance with, “my hologram band from Vancouver got held up at immigration.” This time he didn’t sport the Tommy Bahama shirt, but a slightly more dressed up ensemble, matched with his Marty McFly Nike high-tops. Again Rewards rocked it, at one point taking a step down in the crowd, tugging the mic cord behind him and meandering around the scarcely populated room.

Along with Rewards, WAS had a second opener, Seattle vintage rockers Black Whales. They weren’t nearly as intriguing as Rewards, but equally as catchy and more energetic, taking melodic cues from The Kinks and Bob Dylan. It was hook-y tambourine-laden guitar rock. Stuff that you and you parents could enjoy. I quite liked “Books of Tape,” with its ultra danceable beat and non-stop catchiness, from verse to bridge to chorus.

The title track off their EP Origins, released on Mt. Fuji records, was also a nice little ditty. Head on over to Black Whales’ MySpace for more information about their music and where to purchase their EP.

At this point Neumo’s had not quite maximum capacity – surely nothing like an all-ages show. WAS came out on stage to the excited crowd and started right in to “Nice Guys,” after Chris proclaimed to the audience “Welcome to Seattle.” A couple seconds later Keith replied, “Are you talking to me and Danny?” He wasn’t, Keith.

Again, the guys’ banter never gets old. Keith and Chris should seriously moonlight as stand-up comedians. After a couple oldies but goodies (the set list was virtually the same as Portland’s show), we got to rock out to “I Don’t Bite,” one of my favorite tracks off Barbara. It’s the heaviest song on the album, and employs Keith’s strong vocals (which I’m glad they brought back into the forefront for Barbara. It’s the one thing that I think Brain Thrust Mastery was sadly lacking.)

I may have been the only one standing right up front singing along to every song, at least the correct lyrics. Just like Adrian told me, I know We Are Scientists’ music so well that I can tell which song is coming next by how Keith tunes his guitar. And as soon as Keith started tuning his Telecaster for “Nobody Move, Nobody Get Hurt,” I knew it was would get the room moving. And it surely did. I mean, how can you not dance and sing along to  “My body is your body, if you wanna use my body, go for it yeah!” It’s infectious. In fact, that’s how I can describe them – We Are Scientists is infectious, but in the best possible way. “It’s A Hit” wasn’t on the set list again, but thankfully Adrian was outside keeping track of all the songs in order, because I forgot my notebook to write it down (thanks, my friend). Actually as soon as the band was about to start “Rules Don’t Stop,” Keith started laughing flailing wildly on stage. He looked absolutely crazy, but it turned out that he was waving at Adrian standing outside in the back because a security guard had opened the door to let some of the hot air out.

During the encore, Chris started to explain to the audience that they’d be having a special guest come out for one of the songs.

“Eddie Vedder!” someone shouted from the audience.

Oh, Seattle.

“No, it’s not Eddie Vedder,” Chris replied sharply.

Aaron Pfenning came out to play the haunting “Two Cardinals” with them, Keith on drums, Chris on bass and Danny on lead guitar just like Portland.

It was such a special night. I honestly apologize for the length of this post, because I’m sure you’re probably getting tired of reading at this point. That’s why I’ve posted videos and pretty pictures to look at. But with it having been two years since I saw We Are Scientists, my favorite band in the whole wide world, I felt like I had to capture every detail. Because that’s really what we’re doing – telling stories. To make you feel like you’re there.

I’m just incredibly thankful that I had the chance to be there for both shows, because not only is We Are Scientists a great live band with sidesplitting banter and loving stage presence, but they’re also awfully lovely guys. If you get the chance to see them on the rest of this tour, don’t hesitate to approach Keith, Chris or Danny and tell them how awesome they are.

Seattle Set List:
1. Nice Guys
2. This Scene is Dead
3. Inaction
4. I Don’t Bite
5. Impatience
6. Let’s See It
7. Nobody Move, Nobody Get Hurt
8. Rules Don’t Stop
9. Chick Lit
10. Pittsburgh
11. Ambition
12. Break It Up
13. Dinosaurs
14. Great Escape
15. Jack & Ginger
16. Two Cardinals (w/ Rewards)
17. After Hours

Here’s a couple videos from the in-stores.

Check out even more photos from the shows HERE and HERE.

The beginning of June means a few things here in Seattle: Sasquatch! is over and summer is here (despite the overcast skies of late), the Seattle International Film Festival is in full swing, and of course, the announcement of line ups for four of the Pacific Northwest’s biggest music festivals of the year! Here are the details about the most anticipated events of the summer and how you can get in on the action.

Capitol Hill Block Party : July 23^rd-July 25^th (Various Venues on Capitol Hill, Seattle, WA)
CHBP has added a THIRD day to their  14^th year of this infamous festival, making this a great way to kick off your summer with a dose of great indie music. With 60 bands on three stages over the three day weekend, three day passes are just $60 – but don’t wait, as they are already over half sold out! It’s a great price for one heck of a party. Bands include MGMT, Yeasayer, The Dead Weather, and over 55 more. Come dance and party with some of the coolest folks in town while meandering one of Seattle’s greatest neighborhoods full of the best bars, eateries, and culture in the Emerald City.

Bumbershoot: September 4^th – September 6^th (Seattle Center)
Bumbershoot has been Seattle’s biggest music festival for the past 40 years, and this year is no exception. Ringing in with seven stages and over 75 bands performing over Labor Day weekend at Seattle Center and packed with booths, cultural events, live comedy, and more to help you celebrate the holiday the right way. New this year are the “Bumbershoot Standard Ticket” and “Bumbershoot Economy Ticket” differentiations. For the low price of $66 you can purchase your Economy Ticket, which allows access to all 6 stages but does NOT include access to the Main Stage. For $120, you get a three day ticket with guaranteed Main Stage access. This is a feature that Bumberfans have been asking for for the past few years and has now been granted. Headlining this year are Bob Dylan, Neko Case, The Decemberists,  Weezer, Hole, Rise Against, Mary J. Blige, J. Cole, and a special unannounced guest (I’m personally voting Arcade Fire or We Were Promised Jetpacks ). Pick up your tickets now for this incredibly fun event and mark that weekend off on your calendars because this is an event you won’t want to miss.

Music Fest North West: September 9^th-September 12^th (Portland, OR)
Taking over downtown Portland, MFNW is Portland’s biggest indie music festival. Taking place the weekend after Bumbershoot, the party keeps going with another 150+ bands in 19 venues across Rose City. With different ticket options starting at $16 for single show tickets to $175 for VIP wristbands, there are varying levels of entrance for the festival. Headlining this year are The Decemberists and The National, as well as performances by Ra Ra Riot, The Thermals, Baroness, and many, many more amazing bands. This is definitely a festival to check out if you have a chance or if you want to continue the party that is Bumbershoot!  Stumptown has some amazing culture and with the addition of the historic Pioneer Square stage, this is a great opportunity to check out all of the great art, music, and sights of Portland.

Decibel Festival: September 23^rd – September 26^th (Capitol Hill, Seattle, WA)
Decibel Festival is a four day festival of some of the world’s best dance, trance, hip hop, dub, electronic artists across the world. Along with live shows comes panels, forums, and workshops to help celebrate the diversity of technology in music. With over 400 acts, this promises to be one of the best electronic music festivals in the US this year. Announced so far are 35 artists with more announced each day. Most anticipated are Starkey, Gold Panda, Truckasauras, and Beats Antique. More details to come on the 6^th year of the festival. Tickets available 6/15 for $157 for all four days and are all inclusive. Check out this awesome chance at getting a better look at these genres and music in general from a technical standpoint at one of the last chances to celebrate summer in Seattle.

PopWreckoning.com is pleased to present an exclusive premiere of folk musician Nick Jaina‘s new video for “Days in My Room” off his new record A Bird in the Opera House.

The Portland artist is having a CD release show this week and then heading out on tour. Check Nick Jaina’s MySpace for full dates.

by Jason Quigley

With the digital age well under way, electronica has found its niche in the world of musical culture and has won most of our hearts. Vast majorities of albums released now have electronic elements , such as processed sounds, programmed beats, electronic backgrounds that make the songs that we hear just a little more palatable than they would be otherwise. When it comes to records like the roots, the leaves by Portland, OR based cars & trains, the addition of electronic elements is not only required but expected, and pairs itself perfectly with the rambling lyrics and instrumental accompaniment.

Solo artist Tom Filepp is a multi-instrumentalist who mixes traditional elements such as glockenspiel, banjo, acoustic guitar with electronic elements such as synth, some mild feedback, and a great deal of preprogrammed thunderous drum beats. This yields a delightfully melancholy mix of organic and inorganic sounds that are perfectly morose and straightforward. With folk vibes, these urban lullabies provide dark landscapes for the almost brooding handpicked lyrics that are precise and exact, and paired together, make one heck of an album.

The ten track album is a perfect winter release, reminiscent of rainy Pacific Northwest mornings, complete with the subtle reminders of our own mortality and the effect we will have, or absence thereof, on our planet during our short stay here. Filepp does focus on our eventual expiration, but also touches base with our humanity, our mortality, the very essence of being alive, mixed with a carefully orchestrated sense of belonging to something bigger than us, even if we are nothing. Also, a track about how a desk job can lead to our eventual demise- something all of us with a typical day job can relate to (see “drop ceilings and day planners), means there is a little something for everyone on the roots, the leaves. Favorite tracks include “intimidated by silence,” “dead telephone” and “asleep on a train.”

This amazing album makes me long for even more cars & trains, but this wonderful masterpiece of instrumental electronica is an impressive album and is sure not to disappoint. Take a listen this Tuesday, January 26.

Track Listing:
1. i know someone who can’t recognize
2. asleep on a train
3. the birds in your chest
4. the roots
5. the roots
6. the sun always sets
7. drop ceilings and day planners
8. the leaves
9. some lonesome street corner
10. dead telephone

Written by Annastasia Gallaher

Kill Rock Stars artist Panther is giving their final roar. They’re calling it quits and their last show is in their hometown of Portland, OR.

The show is Dec. 20 at Rontom’s and is free to the public as a thanks for all the support beginning when Panther was just a small solo project for Charlie Salas-Humara.

During their time as a band, Panther released three albums and toured the world supporting bands such as Gossip and RATATAT.

Rumors are that the members already have new musical endeavors and you can bet we’ll keep you posted as we hear them.

Panther: website | myspace | @ berbati’s pan

I first saw Nurses play at PDX Pop Now! While they played a great set to a packed and enthusiastic crowd, Rotture isn’t the best venue to see or hear a band. The acoustics in the Doug Fir, on the other hand, make it a great place to hear Nurses’ shambling indie rock. And they sounded great, especially the harmonies. The vocals were clear and sharp in all their quirky splendor. Nurses are just three guys, with Aaron Chapman on lead vocals and guitar, James Mitchell on drums, John Bowers on keyboards and electronics. The songs sound like the band pieced together catchy fragments – vocal warm-ups, rhythms, and tinkling piano – to create a casually psychedelic music that feels both imaginative and intimate.

The table of electronics set out in the middle of the stage explains why I couldn’t quite identify all the noises I heard on the album. Throughout the show, Bowers twiddled nobs, tinkled on keyboards and added the occasional vocal harmony. The biggest surprise was that the whistles on “Caterpillar Playground” were actually played on a keyboard. Like on the album, “Manatarms” lurched forward with the layered vocals and a percussive piano, while “Technicolor” shimmered over almost ambient taps and gurgles. Every song sounded playful and deceptively loose and off the cuff, while it was clear from the precision of their playing that the band was a tight and cohesive unit. Although the album is fantastic, I really enjoyed seeing the band pull together all desperate pieces into rich texture-filled songs.

Nurses: website | myspace

Photo by Josh Lovseth