Smells Like Pop

“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”.

Here are my ten favorite albums (I found this year more memorable for artists who toured, than albums released – but here it goes):

• Field Music – Plumb: Like The Shins, their past is their closest competition for these XTC-inspired UK popsters. Not a weak track in a prog-rock masterpiece.
• Grizzly Bear – Shields: Though you can hear the influences of Jeff Buckley, Radiohead – the record never sounds derivative. Great songs and musicianship.
• Tame Impala – Lonerism: Though not as good as their debut, this record still fills a void left by other bands that Dave Fridmann produces.
• David Byrne/St. Vincent – Love this Giant: She brought out the young man in him; he matured the sometimes too-precious young lady in her. Add horns – sonic fun!
• Beach House – Bloom: For those of us who could not get enough of Teen Dream.
• Dirty Projectors – Swing Lo, Magellan: Not as novelty-filled as Bitte Orca, but every bit as adventurous.
• Richard Hawley – Standing at the Sky’s Edge: Not terribly different from his last couple of records, but still the master of his genre; ennui-tinged crooning from the depths of despair, the seat of a motorcycle.
• Sharon Van Etten – Tramp: This seems like a classic already, partially because it’s been out so long, partially because of solid songcraft.
• The Shins – Port of Morrow: They’re the losers to the competition in their genre – their past catalog…that being said, more solid pop songcraft, with more nods to the 70’s (Steely Dan, Jackson Browne, Wings).
• Frank Ocean – channel Orange: Hands down the best soul/r & b record of the year, will get me by until the next Raphael Saadiq album. Gotta love anything Andre 3000 guests on, for that matter.

Honorable mentions:

Menomena – Moms, Bat for Lashes – The Haunted Man, Brian Jonestown Massacre – Aufheben, Black Moth Super Rainbow – Cobra Juicy, The Tallest Man on Earth – There’s No Leaving Now, Purity Ring – , Swans – The Seer

“Friends in Brooklyn”

Albums that I think benefit  a bit too much from hipster cred:

• Scott Walker – love the guy, but this record needs more of him punching meat or something, methinks…
• Liars – record good, live show terrible…
• Lower Dens – umm, ok….
• The Walkmen – I thought that, like the product with their name, they went by the wayside…guess there will always be a home for them across the East River, when they’re called the Walkers…
• Ty Segall – I mean, Magnet magazine has three of his records in their top 10…wow!?
• Sleigh Bells – should be spelled “Slay”…
• Japandroids – robots, in their current incarnation, are really quite boring and predictable…

LIVE SHOWS:

• Grizzly Bear (October 4^th, Keller Auditorium)– someone called them the best band of their generation, might agree – great light show, to boot…
• Glen Campbell – (though I saw him at Hollywood Bowl, he did play Arlene Schnitzer – same night I saw Bruce Springsteen) – show me another septuagenarian that can still do what he does – plus, Dawes opened with guests singing songs that Campbell performed on in his heyday as a studio gun-for-hire (Beach Boys lead vocals provided by Courtney Taylor-Taylor)
• All Things Bruce – (November 27^th, Mississippi Studios) – as a precursor to the Boss’ show, local musicians came together to cover him in celebration of local author Peter Ames Carlin’s bio; so many great moments, none better than Corin Tucker’s take on “Because the Night”, or Storm Large’s “Born to Run” with full band (including Steve Berlin – Los Lobos, producer extraordinaire – playing the part of Clarence Clemons). Super fun!
• David Byrne/St. Vincent – (June 15^th, Arlene Schnitzer Hall) – never had the money to see the Talking Heads when they did tour, so this was my substitute…and it was brilliant, as the two talents complemented each other so well.
• M. Ward – (September 20^th, The Aladdin) – arguably the sweetest guitar player alive returned home (to his expectant wife, in audience) to make sonic wizardry look effortless.
• Brian Jonestown Massacre (May 19^th, Wonder Ballroom) – though notorious for legendary naughtiness, Mr. Newcombe and company showed off why so many consider him, and them, to be borderline legends.
• Dirty Projectors (July 25^th, Crystal Ballroom) –Dave Longstreth seemed determined to return the energy he borrowed from Portland when he began the DP’s while crashing with his brother, a Reed College student – an amazing show which included, supposedly, the only 3^rd encore of their tour
• Destroyer (June 4^th, The Aladdin) – Dan Bejar played all the “hits”, seemingly drawing from all over his now burgeoning catalog from just one of his bands.
• First Aid Kit (April 12^th, Wonder Ballroom) – The Swedish sister act created some vocal magic for an incredibly enthusiastic crowd, it’s third visit in a year to a place they seem to consider a home away from home.
• Jeff Mangum (April 8^th,, Crystal Ballroom) – The reclusive frontman for legendary Neutral Milk Hotel turned on the charm, as well as the tunes, as – armed only with his guitar on the expansive Crystal stage – he zoomed through one fan favorite after another, eventually accompanied by members of Elf Power on a handful of songs that showcased his talent for complex arrangements
• Sharon Van Etten/War on Drugs (March 23^rd,, Aladdin Theater) – A great double-bill (something which seems to be rarer and rarer), Van Etten followed up a solid set from Philadelphia’s War on Drugs with a dynamic set of her own, her powerful voice and haunting lyrics framed perfectly by a talented band which included Portland’s Heather Broderick (Horsefeathers).

Mercer reclaims pop’s throne with Port of Morrow

It’s been a long time coming, but with the latest album from The Shins, Port of Morrow – the “band’s” fourth long player, it becomes abundantly clear that James Mercer is a master songwriter – and the one in charge.

Who knows why it’s been five years since Wincing the Night Away - a solid, if not underappreciated album – after which Sir Elton John dubbed Mercer the most talented songwriter.

The fact is that, for true pop music lovers, it was worth the wait.

Mercer has currently created a musical kingdom (a part of Portlandia?) from which to explore his sonic adventures; Port of Morrow (an actual location in Portland) allowed him to bring in members of the original band (court jester Marty Crandall guests on keyboards, Dave Hernandez provides bass and guitar work) along with Pacific Northwest icons (Janet Weiss provides some solid drumming on the standout single, “Simple Song”, and a handful of other tunes).

Perhaps it is because of this mix of the old and the new that the record occasionally pays homage to some of the great sounds to be found on the band’s debut (Oh, Inverted World) on tracks like “September”…while still exploring Mercer’s fascination with country-bar balladry (“40 Mark Strasse”) and his continued inspiration via 60’s pop (“Bait and Switch”).

Even with the different players, and the sonic shifts, the album is one of the band’s most cohesive. Mercer’s combination of hooks you think you’ve heard before, along with lyrics that run the gamut from clever playfulness to melancholy memory, remind the informed listener that it is possible to have solid songcraft for an entire album.

Perhaps Mercer knows that absence makes the heart grow fonder, and that in The Shin’s five year hiatus, there really haven’t been any serious challengers to his throne.

Great live music dies, while studio zombies like Lana Del Rey “live”

My friends – please excuse me while I shake my cane – but I was listening to the radio this Sunday morning, when the deejay (a younger fellow) reminded me about the sad news that The Woods (perhaps Portland’s most unique – and likely best – music venue) is no more…

The intimate space played host to a slew of artists off the promotional and hype-driven radar. The deejay echoed as much, and talked about a particularly memorable show delivered by a shy musician from Colorado.

Smells Like Pop was able to enjoy the venue, as well – one of our more memorable shows was watching our friend, and London’s musical gem, Alessi’s Ark perform her magic there. It didn’t hurt that the venue was run by Ritchie Young of Portland band Loch Lomond. His sincerity and welcoming attitude helped make The Woods a special place. The fact that it was a former funeral home, with its unique atmosphere, and haunted sound, only added to its mystique.

But it is no more.

Perhaps with a sense of irony, the same radio station seconds later advertised a visit for a live performance from Lana Del Rey. Only time will tell if she has any staying power (or talent) – but she seems to represent everything that The Woods was not…ostentatiousness (the rumors of “enhanced” lips), hype (if you haven’t already heard about her, crawl out from under that rock!), wealth (her father is apparently a dot.com billionaire), studio-wizardry (Damon Albarn – Gorillaz, etc. – is rumored to be working with her), glamour (her name was “inspired” by hanging out in Miami with friends) – a symbolic nod to our culture’s severe ADD, as much was made from her SNL appearance after all of ONE decent song to her credit.

The same local radio station will be hosting a live session from The Shins’ James Mercer – who at least has a few albums under his belt.

The Shins (with a new lineup) also have an album (Port of Morrow) due out in March (so do the Magnetic Fields, Love at the Bottom of the Sea ); Field Music has a new album (Plumb) due out in early February, the Dirty Projectors have a new one due in spring, and Outkast has something coming out this year.

In the meantime, you might find me listening to music in the woods (you know, with real trees, plants, and stuff).