popwreckoning

Deas Vail plans to release fourth studio album on September 6th with the help of first time producer, Reliant K guitarist and Mono Vs Stereo A&R Matthew Hoopes. The twelve song album sizes up the emotion of love with beautifully poetic and eloquent metaphors; “I don’t know what love is…” admits the opening lines of the album, but it seems to know just the opposite.

See the lyric video for the first single ‘Sixteen’ here: www.deasvail.com

Deas Vail also joins forces with labelmates Fairwell Flight to release a split EP available for digital download on June 7 from Mono Vs Stereo. the band is also set to play 10th annual Bonaroo Music and Arts Festival on June 10 in Manchester, TN alongside The Decemberists, My Morning Jacket, Grace Potter and the Nocturnals, and Arcade Fire.

www.monovsstereo.com

Mad Rad, Das Racist and The Thermals brought the house down at the free Sasquatch Launch Party at the Showbox at the Market last night, where the lineup to the now four-day festival would be announced.

Put on by Livenation and Sasquatch creator Adam Zacks, the launch party was MC’d by Comedian Todd Barry, who kept the crowd entertained between sets with dry wit and some fake teaser headliners.

“If you love me now, you’ll love when I play a set between headliners Elvis Presley and the Beatles, and tickets are only $7!” Barry proclaimed sarcastically to the less-than-attentive crowd. But I guess that’s what you get when you have a free show.

After Mad Rad and Das Racist played their sets, the lineup was announced in a video like previous years, which was played twice over, most likely so people could get a second look because they were freaking out too much over the Flaming Lips.

So far the lineup includes:

Death Cab for Cutie, the Decemberists, Modest Mouse, the Foo Fighters, Robyn, Wilco, Flying Lotus, Bright Eyes, Flogging Molly, Rodrigo Y Gabriela, Das Racist, Sharon Jones & The Dap Kings, Iron & Wine, The Flaming Lips.Black Mountain, Macklemore and Ryan Lewis, the Head and the Heart, Mad Rad, the Moondoggies, Noah & The Whale, Sam Roberts Band, Secret Sisters, Twin Shadow, Wye Oak, Tig Notaro, Smith Westerns, Rival Schools, Foster the People, Alberta Cross, S. Carey, White Denim, Washed Out, Gold Panda, Dan Mangan, Axis of Awesome, The Globes, Cotton Jones, Jaill, Basia Bulat, Other Lives, The Bronx, White Arrows, Pepper Rabbit, Talkdemonic, Rebecca Gates and The Consortium, The Young Evils, Bassnectar, Pink Martini, Cold War Kids, Old 97′s, Ratatat, Wolf Parade, Chromeo, Guided By Voices, Yeasayer, Beach House, Local Natives, Matt & Kim, Deerhunter, Mstrkrft, Trailer Park Boys, Sleigh Bells, Major Lazer, Skrillex, Fitz & The Tantrums, !!!, Archers of Loaf, Against Me!, The Thermals, Best Coast, CSS, Surfer Blood, Jenny & Johnny, Bonobo (DJ Set), City and Colour, Reggie Watts, K-Os, Gayngs, Tim Minchin, The Drums, The Radio Dept., Young the Giant, The Antlers, Sharon Van Etten, Villagers, Stornoway, Aloe Blacc.

Tickets go on sale on Feb. 14th starting at $79.50 per day and $285 for three-day passes.

Go to http://sasquatchfestival.com/ for more information or to purchase tickets.

The Decemberists returned to Kansas City’s Uptown Monday night. The set was filled with wild antics, classic Decemberists songs and even a surprise cover. Colin Meloy had the audience in the palm of his hand – he actually got everyone to sit on the floor and jump in unison, turned the crowd mildly competitive and made a family in the balcony feel the pressures of the spotlight.

Photographer Todd Zimmer was there and shares these photos recapping the amazing show:

The Decemberists packed the Uptown in Kansas City Monday night and as expected, they delivered and fun and exciting set. But no one knew what to expect from the opener. Posters lining the venue listed the mysterious Mountain Man, but instead of some dude in flannel with a beard wielding a guitar, Mountain Man was a trio of three ladies with amazing harmonies. Mountain Man defied expectations, but in a good way.

Photographer Todd Zimmer shares these photos from Mountain Man’s opening set:

I want to take a long drive through the mountains listening to the new the Decemberists‘ album The King is Dead: in the springtime, when the glaciers are just starting to melt and it’s not so hot so we can drive with the windows down instead of using the air conditioning, with our hands making waves outside the car windows along to the breeze.

It hit me today as I was walking my dog with my earbuds in listening to “June Hymn,” one of the latter songs on The King is Dead, how much I loved it. I’d heard the song live back when I saw the Decemberists at MusicFest Northwest in Portland September, but I’d forgotten how beautiful it was.

Beautiful. If I had to come up with one word to describe The King is Dead, it would be that. A stark difference from the epic folk opera The Hazards of Love, and closer to the feeling of The Crane Wife, but far simpler. The King is Dead is a collection of truly lovely ballads, heartbreaking laments, and down-home ditties. Even though the band consists of seven regular members, many of the best songs on the album, “January Hymn,” “June Hymn,” and “Dear Avery” feature for the most part front man Colin Meloy’s acoustic guitar and his wonderful harmonies with guest Gillian Welch.

The album starts off with the upbeat “Don’t Carry It All,” which aptly begins with the harmonica, giving us a glaring hint of what’s to come. We continue on with “Calamity Song,” a song that at first listen is catchy and delightful, but with Meloy’s clever song-crafting, you come to realize that it’s about the end of civilization. With phrases like “queen of supply-side bonhomie bone-drab” and “in the year of the chewable Ambien tab,” no wonder Meloy can trick us into singing along gleefully to a song about the end of days. Nearing the end of the album come a couple of sure-hits, “This Is Why We Fight” and “Down By The Water,” the latter of which was released back in November 2010.

There are a few songs on the album that almost remind me of “yo-ho-ho and a bottle of rum,” but not a campy pirate shanty. Probably due to the accordion and fiddle, “Rox in the Box” makes you want to grab a pint and hike up your skirt and do a little jig, figuratively speaking. But the Decemberists’ sound is so very much their own, none of it seems out of place.

Now I don’t like country, but based on everything that the Decemberists employ on this album, you could call it country. Country…folk…rock…whatever it is, I like it. If all country sounded like this, with the subtle mandolin, banjo, not-so-subtle harmonica, and accordion, I’d be a country fan.

Earlier I said I’d like to listen to this album whilst driving through the mountains. I lied. I’d like to listen to it everywhere. It’s a throwback to when music, when life, when everything was simpler. Even to when recording was simpler, seeing that The King Is Dead was actually recorded in a barn outside Portland.

I’d be all for a barn tour. Now that would be the perfect place to listen to it, in a barn laying in a pile of old straw with the sun creeping in through the cracks in the decaying wood walls.

Track Listing:

1. Don’t Carry It All
2. Calamity Song
3. Rise To Me
4. Rox In The Box
5. January Hymn
6. Down By The Water
7. All Arise!
8. June Hymn
9. This Is Why We Fight
10. Dear Avery

Today on Twitter, The Decemberists‘ frontman Colin Meloy announced the title of the group’s upcoming album, The King Is Dead.

The album will be released January 18, 2011.

You can download a free track from the album called “Down By the Water” here.

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.

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.

Portland, Oregon singer/songwriter Nick Jaina is releasing A Bird In The Opera House in April on Hush Records, also home to  Laura Gibson and Loch Lomond. He is an art-folk troubadour who has played in (and busked outside of) clubs across the US and beyond. His new record is a carefully crafted studio album with lush orchestration and amazing melodies. Jaina has west coast tour dates booked for the release of the album with more dates to come.

Sample “Sleep Child,” a lively and upbeat number saturated with hand claps and tribal beats. It rushes forward at a surprising pace, grabbing the attention of listeners and forcing them to move along with his sound.

Nick Jaina – “Sleep Child”

Look for A Bird In The Opera House out April 13th.

Tour Dates:
Apr 02 – Doug Fir (CD Release Show!) / Portland, Or.
Apr 07 – Sam Bonds / Eugene, Or.
Apr 08 – Sophia’s / Davis, Ca.
Apr 09 – Cafe Deva / Modesto, Ca.
Apr 10 – Partisan / Merced, Ca.
Apr 11 – Crepe Place / Santa Cruz, Ca.
Apr 12 – Elbo Room / San Francisco
Apr 13 – Cafe Flo / Chico, Ca.
Apr 14 – Echo Curio / Los Angeles
Apr 15 – Pappy & Harriet’s / Joshua Tree, Ca.
Apr 16 – Lestat’s / San Diego
Apr 17 – Mia’s / Flagstaff, Az.
Apr 19 – The Patio / Torrey, Ut.
Apr 20 - State Room / Salt Lake City
Apr 21 – Velour / Provo, Ut.
Apr 22 (early show) – The Modern / Boise
Apr 22 (late show) – Linen Building / Boise
Apr 23 – Red Room / Kennewick, Wa.
Apr 24 -  Great Pacific / Pendleton, Or.

Nick Jaina: website | myspace

Photo by Melani Brown

The year 2009 turned me into an Animal Collective fan in more ways than one. Very early on in the year, I came upon Merriweather Post Pavilion (MPP) after reading about it on one of my favorite blogs, Hipster Runoff. I didn’t listen to it very much after downloading it, mainly because I didn’t “get it.” I didn’t understand Animal Collective at the time. But in May, I caught the second half of Animal Collective’s set at the Sasquatch Music Festival at the Columbia River as I waited for the Decemberists to start, and they mesmerized me. I still didn’t quite understand what it was, but I just knew that I liked it.

After that, I listened to MPP a lot over the summer. And a lot this fall. And Strawberry Jam a lot. And Feels a lot. And Campfire Songs a lot.  So when I heard earlier this fall that Noah “Panda Bear” Lennox,  Davey “Avey Tare” Portner, and Brian “Geologist” Weitz were releasing a new EP to follow-up their January masterpiece, I jumped out of my sneakers.

Fall Be Kind met my highest expectations. Once I got it, I plugged my earbuds in and just listened to it, basking in the all-encompassing sound that Animal Collective banked on with MPP. But what was different with Fall Be Kind was how it dropped the sometimes-frantic energy that made MPP such a good dance album as well as a great album to groove to. Fall Be Kind felt exactly like the cozier, eerier b-sides that they left off of MPP. Fitting for the title, I felt like was literally listening to fall – dark, heavy, peaceful, and at times, dewy.

The EP opened up on the swirling energy of “Graze,” a 5:22-long epic that moves like a carnival ride – the excited anticipation to the long and anxiety-building straightaway to the smile-inducing loops and twists. Animal Collective even used some wicked pan flute to up the fairytale feel. “What Would I Want? Sky,” a track that samples the Grateful Dead’s “Unbroken Chain,” also stays with the bright vibe that “Graze” kicked the EP off with. It isn’t quite as frenetic as the first, but this Fall Be Kind EP moves swiftly from one song to the next. That’s also something that sets this EP apart from MPP – Portner and Lennox’s contrasting vocals and how they harmonize wonderfully. Even with the haunting third track, “Bleeding,” Lennox’s voice is the driving force over the simple and ghostly bass line. The undertones never change, and Lennox’s voice never really changes all that much either. “Bleeding” felt even more like a cut from Lennox’s solo album Person Pitch than an Animal Collective song.

If I had to pick a low-point to the album, but only if I absolutely had to, it would be “On A Highway.”  It didn’t bring as many new sounds to Animal Collective’s repertoire and the repetition that “Bleeding” did so well didn’t quite work as effectively on “On A Highway.” But either way, it’s still awesome, just not quite as awesome as the other songs on the album. The last track on the album, “I Think I Can,” brought this EP full circle – finishing on the twirling xylophone and the overlapping singing by Lennox and Portner. Like a great conclusion to an essay, “I Think I Can” refers back to the introduction to the album. But without being a repeat of “Graze,” “I Think I Can” felt like the zig zag that fit in on top of the big block in Tetris – like it wasn’t originally meant to fit there, but it does anyway.

Since these were tracks compiled together as cuts from MPP, previously recorded BBC tracks and tour favorites, they obviously weren’t crafted together as a cohesive album to begin with, but they still are amazingly cohesive.

I know I’m gushing, but thankfully, I “get” Animal Collective now. If you don’t get them yet, I insist that you listen to them in backwards chronological order, starting with Fall Be Kind and Merriweather Post Pavilion. You’ll get it, and you’ll thank yourself for that.

Track Listing:
01. Graze
02. What Would I Want? Sky
03. Bleed”
04. On a Highway
05. I Think I Can

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