Here’s a few recently released records and songs that have caught my ears this rainy month. Click here to listen to my April Spotify playlist.

• Toe Cutter – Thee Oh Sees
• Adore Your Island – Wire
• Husbands – Savages (pictured from their amazing show at Bunk Bar last week)
• Wedding Song – Yeah Yeah Yeahs
• Strawberries 1 + 2 – Thee Oh Sees
• Despair – Yeah Yeah Yeahs
• Eels Slang – Wire
• Ready to Lose  – The Knife
• The Messenger – Johnny Marr (another great show last week)
• All The Time – The Strokes
• Flying to Berlin – Savages
• Without You My Life Would Be Boring – The Knife
• Faded In the Morning – Unknown Mortal Orchestra (great show, too)
• Plastic Cup – Low
• Jubilee Street – Nick Cave & The Bad Seeds
• Strictly Reserved For You – Charles Bradley

Listen Now on Spotify

In last week’s show, what evidence proved that Alt-J is a nerd-rock band? 1) Towels (not beer) laid out neatly for each of them on stage by a dutiful stagehand–clearly this was in their rider contract somewhere; 2) Two glockenspiels on set; 3)  The members enter and leave the stage, one flashing the “Delta” sign (Alt-J is the Mac keyboard shortcut to the symbol  ∆, in itself a nerdy reference to the Greek symbol for change)–and many in the crowd flash the goofy gang-sign back. “Triangles are my favorite shape,” Joe Newman sings,”three points where two lines meet.” His voice ranges from oddly nasal to high falsetto, vocalizing lyrics that are hard to decipher but make reference to eclectic topics like the digits in pi, random French phrases, and broom-shaped dildos. Or something. Much of it is delivered in harmony with keyboardist Gus Unger-Hamilton, an effect that often sounds like monks chanting in a monastery. Drums are tight, more like a marching band, and the guitar work is precise. The overall effect, just like on the album, is that you are witnessing a complex composition, a piece of art that is hard to take apart.

Nevertheless, the young crowd is adoring. They shout back lyrics that they must have read online somewhere. The band’s sudden popularity is evident in this show’s transfer to the sterile Roseland, the sell-out of this larger venue, and the announcement of a show at the larger-yet Crystal Ballroom in August. Ticket prices climb, too–from the $16 I paid for this one to $30 next time around. For a band with a single album. A fine one at that, but maybe they’re shooting for an arena tour the next time around. Hope not. But ever since Arcade Fire won a Grammy for their own arty themed album, The Suburbs, all bets are off.

Alt-J puts on a great show, but from a grumpy perspective it was almost too perfect, an exact replication of their recorded work. The best live shows are a glimpse behind the curtain, a chance to see how a band clicks. My bias is toward performances that are rough around the edges. Alt-J was anything but, and even though it was a chance to see how they could perform such a mix of cut-and-paste elements, it’s still pretty opaque. David Byrne writes that it’s unfair that we ask bands to be good at both recording remarkable music and performing it live, but that’s what makes the great ones stand out. To be sure, many of the songs Alt-J performed were incredible–”Taro” was beautiful, with its stunning slide guitar passages. Also, they performed an acoustic set earlier in the day at Mississippi Studios, which sounds like it was a totally different side of the band, as in the Tiny Desk Concert linked below. Perhaps that’s their Nirvana moment, when the band shows what it can really do when all its tricks are unplugged, and maybe the adoring fanatics are right about these guys after all.

Watch the Alt-J Tiny Desk Concert 

You can stream Yeah Yeah Yeahs’ latest album, Mosquito below with track-by-track commentary from Karen O, Nick Zinner, and Brian Chase. The album comes out April 16 on Interscope.

This significance of the band name has inspired more than a few impassioned conversations among the staff at SLP, and the recent rise of a couple of west coast bands has seemed to tweak other folks as well:

@jessicasuarez: Tougher band name to get past: Wampire or Foxygen?

It’s hard to say why these names more than any of the other insipid or downright stupid band names out there would stand out, but no doubt it’s intentional. The winking irony is as flaring as Wampire’s waxed mustache. Band names are a first impression that can be a hurdle, such as for Starfucker–there seems to be a rule out there that every Serious Music Critic has to disavow such a crude name first before giving a favorable review. On the other hand, names can be true windows into the soul. If you need more of a clue that someone who would name his band Stone Temple Pilots or Smashing Pumpkins has a streak of douchebaggerie, then by all means lay out large sums to find out for sure.

It may be a coincidence, but bands with cult-name status seem to come in threes: Guided by Voices, My Bloody Valentine, Neutral Milk Hotel, Thin White Rope, Dead Can Dance, Olivia Tremor Control, Camper van Beethoven, and of course, Built to Spill (to name a few). I think Unknown Mortal Orchestra is trying to get in on that, but they’re pretty fresh, and I’m getting over my first impression from the name and early style that they’d be a house band for Portland oligarchs the McMenamin Brothers.

Some of my favorite band names seem to revolve around the preposition “of”. Fountains of Wayne delivers a fitting amount of irony. I always liked Stars of Track and Field, diminished only slightly when I realized they came after the Belle and Sebastian song. My favorite name for a band that I’ve never listened to is Kitchens of Distinction. Nerdy is the theme, I guess. Which should bode well for The Friends of Jodie Foster, but the jury’s still out on that one.

My vote for strongest impression goes to Foetus, but mostly because I have Post-Traumatic Stress disorder from being a youngish teen in a music store and invariably landing on their album Scraping Foetus Off the Wheel. And while I’m being confessional, I must admit I have an irrational fear of the band Swans–not just because of their reputation as being brutally unconcerned with their audiences, but also somehow by their preposition-less name. Stark.

It’s probably controversial to say, but names can also sometimes cross some sort of line. I’ve been flamed before for expressing this, but to me Black Pussy is beyond the pale. I’m sure these local metal boys (and one woman, apparently) think they’re being punk and disorderly, but they present two possibilities: one, they’re unaware of the racial connotations of their name, or two, they don’t care. Either option is unflattering. Good luck with the fans Googling that one. On the other hand, Pussy Riot is one of the best names ever, fully embodying the flying fuck-you to the real oppressive powers-that-be in their own country. Even John Roderick would have to admit that this kind of punk isn’t bullshit.

So how about you? What are your favorite/least favorite band names, and why?

If you’re a fan of the droning, echo-laden song-scapes of Matthew Cooper’s solo project Eluvium, you’ll be happy to know that his sixth self-published release, Nightmare Ending is sheduled to drop on May 14th. The Portland-based musician’s last album was from 2010, but I think the wait may be worth it based on the preview track below. Check it out and prepare for uplift-off…

I’m not sure if Sallie Ford has any siblings, but she’s out to prove she’s no one’s little sister. Not that there should have been any doubt about her toughness. Her 2011 album with The Sound Outside, Dirty Radio, was a gritty slap upside the head, with a signature sound from something like a seedy Prohibition bar. Their newest release, Untamed Beast, is all that and more. The cover features a topless woman sporting the skull of a bull and an ice cream cone (which Apple and other mainstream outlets have deemed too racy to market as is).  Right off the bat, the sound is big and the attitude bigger. “They Told Me” introduces a fat layer of Dick Dale-style surf guitar befitting a Tarantino soundtrack. “Party Kids” and “Bad Boys” lay out the Sallie Ford bravado, but it is only later with “Shivers” that she looses her spine-tingling vocals. Even if the tough aura is belied by her non-stage persona–in interviews, she comes off as likeable but not particularly threatening–her talent is undeniable. The album is truly enjoyable, but it makes me wonder if it would have more depth if it didn’t seem to have something to prove. It isn’t until the last song in the album that a bit of vulnerability is revealed, but in the end, “Roll Around” is just about sex after all. Perhaps after all the positive reception from this album and its supporting tour, there is some reassurance that the band will be taken seriously, and they can push this project even further. I for one am curious and looking forward to whatever comes next.

Smells like ★★★★★★★

“Symphonic pop” wows sold out PDX show

When Kishi Bashi launched into the first of his two covers (teasing that it was a song he “wrote” as a member of a Sinead O’Connor cover band in the 80’s), the only thing keeping the song (which actually ended up being a song made famous by another Irish singer, Enya’s new-age “classic” “Orinocco Flow”) from being too campy was his straight face and, eventually, his sheer musicianship.

Such was a night at the sold-out show at Holocene; devoted and enthusiastic fans packed into a performance space which (as SLP has noted in the past) can too often live up to its name (hollow-scene), pretentiousness and standoffishness leading to feigned indifference. But this would not be the case this evening, as Kaoru “K” Ishibashi wowed the crowd with his phenomenal violin playing, masterful work on effects pedals and – ultimately – his utilization of the best instrument on the stage…an amazing singing voice.

The nearly two-hour set (impressive for an artist with only one full-length album – 2012’s excellent 151a – under his belt) showcased the quirky, symphonic pop that an artist who has developed his “chops” by touring with Of Montreal and Regina Spektor might be expected to create.

Joined by opening act Tall Tall Trees (a fellow NYC “one-man-band”, but utilizing the banjo instead of a violin) and multi-instrumentalist/vocalist Elizabeth Ziman (of Brooklyn’s Elizabeth and the Catapult), Kishi Bashi became a full-fledged band, with all members contributing vocals, recreating the sophisticated harmonies and melodies of his songs with amazing expertise.

The audience’s familiarity became clearer and clearer as the night went on, as the crowd frequently joined in the singing, especially when the band performed “Bright Whites”, the Shins-y tune made somewhat famous by its use in a Microsoft commercial (at least three KB tunes have been used in commercials – sharing the ability to create catchy commercial jingles with Of Montreal’s Kevin Barnes). So it was particularly interesting when the artist shared his story about almost being “forced” (due to demand) to create a proper song (“Philosophize In It Chemicalize With It”) for the 30 second jingle that took Japan by storm for yet another commercial. The song was brilliant, by the way.

Before ending the night with the stellar “Manchester”, KB made a more than subtle nod to the adoring PDX crowd – and also reinforced THIS writer’s suspicions of the influence of James Mercer – by playing an amazing cover of The Shins’ “Kissing the Lipless”…a tune he claimed he wanted to cover at SXSW last year, until he saw the imposing view of Mr. Mercer looking down on him from a video screen, playing at a stage across from him.

I don’t believe that Kishi Bashi would have anything to fear from his musical “Big Brother”.

The Deer Tracks leave their mark in Portland

Part way into their set, The Deer Tracks reminded me of what a pushover I am for music from their (self-declared) small country of Sweden.

As the combination of musical proficiency, drama (both sonically, as well as visually) and variety of instrumentation drew the audience (yours truly included) in, other admirable Swedish artists came to mind: the eclecticism of Karin Dreijer Andersson (Fever Ray, The Knife), the bombast and epic-ness of MEW, and the crisp percussiveness of Jose Gonzalez’ Junip.

After solid sets from Like a Villain (described by one person as “Alabama Shakes meets Tuneyards”), and Billygoats (catchy, adventurous  electronic/folk/pop), The Deer Tracks – the brainchild/project of vocalist/multi-instrumentalists Elin Lindfors and David Lehnberg – expertly performed music from their brief, but sonically wide-ranging, catalog, it became clear that these were earnest musicians with a vision. Considering that Portland’s Mississippi Studios would be the inaugural performance in a 30 show tour that will take them around North America (with stops in Toronto and Montreal, aside from Midwest, East Coast, and SXSW), it’s clear that they have the big picture.

Joined on stage by two percussionists (an electronic drummer, as well as a drummer on a standard kit), Lindfors’ soaring, ethereal vocals and Lehnberg’s impassioned keyboards were placed front and center – providing a fleshed-out sound that truly transformed the performance space. The two jumped between their various instruments (Lindfors joked with me afterwords about the sheer volume of musical gear she had to navigate between the artists performing that night) – but managed quite expertly.

The band shared with me their origins in the north of Sweden (their bio alluding to recording in remote cabins), with an implied – yet humble – sense of pride in what has become a very diverse music scene in their country, one which is getting recognition in the States as well. I was able to share with them that I  (once asked) was not only familiar with The Tallest Man on Earth, but that I had seen two of his performances in the last couple of years. Along with the aforementioned artists, I’ve also had the privilege of seeing Little Dragon, a band that inhabits a similar musical climate of what might be called “organic electronica”.

Yes, SLP could stand for “Swedes Like Portland”.

The Deer Tracks’ latest, The Archer Trilogy, Part III, is now available in the US, and demonstrates a band that is still harnessing its raw power and dramatic sound and intensity, but finding plenty of catchy rhythms and hooky tunes along the way.

Famous rodents predicting a short winter, lots of shows

As the days get longer (especially in the Pacific Northwest), the music community is starting to provide lots of choices in the near future for some great live entertainment. Sasquatch Festival tickets went on sale today, signaling that many of the bands slated to play there in late May might swing through smaller venues on the West Coast, starting tonight.

Wake Owl – February 8^th (Bunk Bar). This small and intimate show with the band comprised of a Portlander and a fellow from Montreal will serve as a nice warm-up for their Sasquatch gig. If you appreciate edgy folk (influenced by hip-hop sensibilities….sounds like my thing, actually) you should check it out.

Mark Kozelek – February 9^th (Aladdin Theater). The SF based-man who might be responsible (for better or worse) for the “slo-core” genre visits our working-class town to (presumably) play tunes from his vast catalog of Red House Painters and Sun Kil Moon music.

John Wesley Harding – February 13^th (Aladdin Theater). This benefit show is already sold out, but if you can find a way, try to get in. Lots of locals will be helping the well-traveled Harding showcase his unique brand of folky troubadorism, and showmanship – all to help the Children’s Cancer Association.

Ruby Suns – February 15^th (Doug Fir). This New Zealand based (though supposedly Scandinavian transplanted) artist is sure to satisfy the electronic-world-pop fans with melodies and sounds galore.

Deer Tracks/Magic Wands – Tuesday, February 19^th (Mississippi Studios). Here’s a chance to really get your “folktronica” groove on, with some folks who’ve got it down.

Camper Van Beethoven – Saturday, February 23^rd (Mississippi Studios). Here’s where David Lowery (Cracker) and others started – and you can check them out in a tiny place.

Kishi Bashi/Shogu Tokumaru – Sunday, February 24^th (Holocene). KB, Japanese by way of Georgia has already established himself as a musical/commercial force to reckon with (having toured/played with Of Montreal, among others). The expert violinist, and multi-instrumentalist, will team up with opener Tokumaru – unharnessed Japanese pop whirlwind. You may not get a chance to see either of these two in as intimate venue ever again.

Toro Y Moi, Sinkane – Thursday, February 28^th (Wonder Ballroom). Another rare treat of a double-bill, two studio wizards meld electronics, catchy beats and hook-laden songcraft to expert effect.

Richard Buckner – Friday, March 8^th (Doug Fir). Troubadour, gifted songwriter plays (with fellow roots musicians the Maldives), in support his 2011 gem, Our Blood.

Foxygen – Sunday, March 24^th (Holocene). Delight in the heartfelt paisley pop of these 21st Century Ambassadors of Peace and Magic (per press release). Begin spring break on a musical high!

Low – Friday, April 5^th (Mississippi Studios). Legendary Duluth, Minnesota band plays tiny venue. This could be a real treat.

Johnny Marr – Tuesday, April 16^th (Aladdin Theater). Arguably one of the most accomplished guitar players of the modern era (founding member of The Smiths, recorded with Talking Heads, and Portland’s Modest Mouse, among many others), SLP admits to ignorance regarding Marr’s own “solo” output – he will soon release his solo album, “The Messenger”.

*This Brit is an honorary Portlander through-and-through, however: aside from his work recording with MM in Southeast PDX, and as a member/producer of The Cribs (who relocated from Marr’s Manchester home to Portland), Marr was also nearly a member of Manchester City’s futbol club (got that, Soccer City USA?). Lastly, he appeared on an episode of season 2 of Portlandia…trying to reclaim his bicycle.

Bat For Lashes – Wednesday April 17^th, (Wonder Ballroom). Smells Like Pop had the privilege of seeing the gifted young Brit Natasha Khan at the Doug Fir; she has more than enough talent, and now three full albums worth of materials, to wow a crowd at the Wonder.

Unknown Mortal Orchestra , Wampire– Friday, April 5^th (Aladdin Theater). Touring on the heals of their well received debut, and now their solid sophomore effort, II, these Portlanders (by way of New Zealand) will try to show that they are more than studio wizards, channeling everything from the quirky pop of the Plastic Ono Band to the sloppy-funk of Shuggie Otis.

There are plenty of artists (Tame Impala  @ Crystal Ballroom, etc.) who have already announced pre-Sasquatch gigs – but some of these are big venue shows that SLP isn’t terribly excited about. We’ll keep you posted if we here anything else, or change our minds.

Who is Pete Krebs? Really? Rather than repeating a summary of the seminal musician’s career, I’ll repost my somewhat recent article here.

Suffice it to say that Krebs is a foundational member of the Portland music scene, having arrived precisely at the time that the music world was just beginning to notice the local talent’s potential. While his band Hazel never took off at the national level for whatever reasons, Krebs made and continues to make a very influential contribution here. He has been in a bunch of bands, sure, but he also has encouraged other musicians in their efforts. He has played innumerable cabarets and play-alongs, and has provided lessons for many aspiring musicians. He has worked diligently–his January blog post lists at least five weekly and bi-weekly gigs that he’s been keeping up–and he was scheduled for a show tonight as I write this at the Edgefield. But now he is facing a medical crisis. I didn’t know this, but apparently he had Hodgkin’s lymphoma in his 20′s, which has been in remission. However, he has just learned that he now has a rare form of melanoma that may be uncurable. He is scheduled for surgery on Monday to see if it can be isolated.

In the meanwhile, the financial impact is already hitting. Like an unfortunate majority of self-employed musicians and artists, he does not have health insurance, and the bills are mounting. Even a mortgage payment was in doubt, forcing his family to put his house up for sale. His many fans have put together a quick fund-raiser, which looks like it has surpassed its short-term goal. But I’m sure that’s just the beginning; they’ll know more about the prospects after Monday. In the meanwhile, check out the page set up on his behalf.

The site now says that donations will be tax deductible, through the Jeremy Wilson Foundation. For those unfamiliar with this program, it is named after another of Portland’s legendary musicians, lead for the great band The Dharma Bums. Jeremy Wilson suffered a series of medical emergencies after discovering a congenital heart defect. He started the foundation in honor of those who helped him out in his time of need; the program now provides support for musicians who face similar crises. Readers who decide against giving money to the specific fund above would be wise to consider a general donation to the Foundation. Anyone who supports music should know the odds against any individual artist making enough money to survive in this field, leaving aside all discussion of the impact of illicit downloads and paltry payments from streaming services. Whatever anyone’s thoughts on the subject, we should agree that health care is a basic need for the artists that we care enough about to do crazy things like write about them for an online magazine (for example). Please consider a donation as well.