Smells Like Pop

Van Etten wows, War on Drugs channel Springsteen live in Portland

It doesn’t hurt when Bon Iver covers you, The National produce you, SXSW adores you, and hip websites anoint you the latest musical “it” girl.

That being said, Sharon Van Etten – touring on the strength of her latest, Tramp, didn’t disappoint a packed house at The Aladdin. After a solid set from Philadelphia’s The War on Drugs (channeling early Springsteen, and a self-professed love of The Waterboys – who they covered in their encore), Van Etten and her talented supporting cast seemed right at home in the intimate confines of The Aladdin.

Though Van Etten was the clear attraction, a reasonable contingent of folks were also on hand to support the (arguably) equally talented Heather Woods Broderick, who provided flawless harmony vocals, keyboards and guitar. Broderick (affectionately nicknamed “Bro-Derek” by Van Etten during their tour) is a Portlander, and Smells Like Pop has witnessed her talent first hand as a member of Horse Feathers (along with her brother, Peter Broderick).

The band fleshed out the subtle and nuanced dynamics of Tramp – taking an already solid record, and bringing it lovingly to life. Guitarist Doug Keith captured the gothic-twang necessary to make “Give Out” shine, while drummer Zeke Hutchins allowed the power and menace of “Serpents” to be showcased.

With her talent on an upward trajectory, hopefully the young Van Etten won’t get pitchforked over for the next inevitable find.

(photos by William Olson)

Self-titled sophomore effort adds dynamic percussion to its real estate

What’s readily apparent on Bon Iver (the band Bon Iver’s self titled follow up to 2008’s For Emma, Forever Ago) is the increased role of percussion, present on the first track, “Perth”, and its snare drum build to bombastic drum beats, and eventually reverb/distortion heavy guitar. Percussionist Sean Carey spreads his wings, adding depth to the record via a variety of rhythmic tools.

But the reality is that the band is still a stage for Justin Vernon’s vocals – Americana-soul, equal parts Kanye and country. Smells Like Pop was fortunate enough to experience his subtle brilliance live in 2008, when he was the opening act for Phosphorescence at Holocene. “Holocene” is the name of a track on an album that is all geography, at least in regards to track names.

Though “Holocene” may have nothing to do with the Portland club where his made his local live debut (Portland Mercury’s Ezra Ace Caereff has his take on it here, including a nod to the strip club across the street), it is interesting that every other song is clearly a location (“Perth”, “Minnesota, WI”, “Michicant”, “Hinnom, TX”, “Wash.”, etc.). Though it has been nearly four years since the debut, Vernon’s been making music – and touring has clearly been a big part of that.

He’s been busy guesting on Kanye West tracks, contributing to benefit compilations and soundtracks, side projects like Volcano Choir, producing other bands … all of this seems to have fostered a sense of collaboration, which results in a record that builds a group dynamic onto its predecessor’s ambient-by-way-of-a-Wisconsin-hunting-cabin atmospherics.

Though there are clear connections to the debut, various songs subtly introduce more diverse instrumentation (saxophone on “Minnesota, WI”, pedal steel on “Towers”, a horn section on “Beth/Rest”, distorted guitars thoughout); Vernon’s voice takes on different qualities on the album as well, including the unusual harmonies in “Calgary”.

Like the most recent Iron and Wine release (the excellent Kiss Each Other Clean), the music borders on MOR. But in both cases, the song craft and confidence of the lead vocalist helps the record rise above this. If you enjoyed his debut (apparently, many did judging by the universal acclaim of critics and the reception of fans), then it is most likely that Bon Iver will bring that joy back to your ears.

Smells Like: ★★★★★★★★★★

Lot of new music is availble for streaming at the moment, and it’s a nice way to check out some new sounds. Providing you don’t mind the typically low-rez sound quality – do yourself a favor and buy the record if you like what you hear!

First up, GLOSS DROP by BATTLES is streaming now at AOL Music. Frenetic and fun, proggish “math rock” minus the insane, but enjoyable chipmunks on acid vocals by Tyondai Braxton (who has left the band for solo projects) from the last record. And, yes that is Gary Numan on track six!

Deerhunter as a live band can be an incredible experience or maybe merely interesting, but never a waste of time. Go see them when they come to your local musicatorium. For now, you can stream a LIVE DEERHUNTER SHOW at Rhapsody. I actually like the show they recorded at the New York Apple Store, iTunes Live from Soho, a little better and for only $3.99 (x 8 tracks), it’s a great deal.

The NPR Music site is an incredible source for new streaming music. Right now you can find Modest Mouse, the Thermals and more live from Sasquatch, the new self-titled Bon Iver album, Death Cab for Cutie’s Codes and Keys and much, much more (like Badly Drawn Boy live in studio on KCRW)! Just bookmark their site already.

Want more? Sorry, I’m out of time but we’ll share more streaming music as we find it!

Midwest “neo-soul” shines at Portland venue

What’s the difference between folk music and the sounds that Bon Iver produced at Holocene recently? I pondered that as I reveled in the beautiful soundtrack to an introspective life that the band (whose name is a play off of what Francophiles and others know translates to “good winter”) reproduced.

I am not a big fan of the watered-down stuff that passes as folk (the stuff you hear in Starbucks, generally); Justin Vernon’s music captures the human experience as only recording in isolated places – like his father’s Wisconsin hunting cabin – can. But it is music also informed by modern anxieties. Vernon himself refers to his music as “neo-soul”.

So, it was no surprise to learn mid-set that Vernon has a punk-pop band called Michael Jordan, as well. Hearing the edge of Bon Iver’s music emphasized in their live set reminded me of when I saw Iron & Wine in town, and witnessed Sam Beam and Co. growl, and not ironically cover New Order. It’s the stuff of early Dylan, where traditional sounds were often the shell of a more disturbing sonic narrative.

But it’s the heartache in Vernon’s voice which is the difference (which, especially live, reminded of a cross between Jeff Buckley’s falsetto and the aforementioned Beam’s raspy world-weariness). Bon Iver found new dynamics in its already subtle fledgling debut For Emma, Forever Ago. When Vernon asked the Holocene crowd to sing along to the refrain from “The Wolves (Act I and II)“, nervous looks abounded. The song ended up becoming a magic moment that somehow produced harmony from a group often more concerned with appearing to be coolly indifferent.

Though For Emma is not a perfect album, it is an early front runner for my record of the year. In these troubled times, this album reflects my hope that a talented guy from the Midwest might bring a good winter.