Category Archives: Random

PHOTOS: Project Pabst, Day 2 – 09/28/’14

Our pictures from the second and final day of Project Pabst are up now on our Facebook page! A solid send-off to what was a truly fun weekend capping off music festival season: the Thermals brought their own brand of homegrown punk rawk in full swing, Shabazz Palaces cooled the crowd out in the fading summer sun, GZA totally killed it (to put it mildly) with a razor sharp performance of solo and Wu Tang classics – backed by one of the tightest live bands you ever saw – and Modest Mouse took to demolishing the festival grounds at the end of the night (figuratively speaking.) Find the pictures here, or click on the photo below.

Project Pabst // Photo by Yousef Hatlani

Project Pabst // Photo by Yousef Hatlani

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PHOTOS: Project Pabst, Day 1 – 09/27/’14

Project Pabst opened its festival grounds at Zidell Yards yesterday, featuring great sets by headliners Tears For Fears and Built to Spill as well as Violent Femmes, Red Fang, Rocket From the Crypt and much more. The entire Faces on the Radio team (or at least, the members aged over 21) was in attendance, and co-host Yousef Hatlani took pictures of the day’s festivities. Check out on the full album on our Facebook page, or click on the photo below.

Project Pabst // Photo by Yousef Hatlani

Project Pabst // Photo by Yousef Hatlani

PHOTOS: Farewell Laughing Horse Books – 09/26/’14

Crucial All-Ages space and local institution Laughing Horse Books held its final show last night, becoming the next venue of its kind to shut its doors since downtown Portland establishment Backspace closed last November. It was both a celebration and a funeral, making for an unforgettable evening with sets by Said Goner, Mr. Bones, Our First Brains, Love & Caring, Your Rival, Sloths, Robot Boy and Duck. Little Brother, Duck! Faces on the Radio’s own Arya Imig, Jacob Heiteen and Jordan Portlock were also in attendance, while co-host Yousef Hatlani documented the night. Find the full album over on our Facebook, or click on the photo below.

SLOTHS // Photo by Yousef Hatlani

SLOTHS // Photo by Yousef Hatlani

LIVE: How to Dress Well, Neumos, Seattle, WA

By Jacob Gellman

“Two things: it’s so hot in here. And it smells like fucking hot dogs.” Just two songs into his set at Neumos, Tom Krell (a.k.a. How To Dress Well) was feeling the heat. It did smell like fucking hot dogs – a door left ajar on house right was letting a hot dog stand’s odors waft directly into Neumos, filling the Seattle venue with a tear-inducing smoked sausage sensation. “We’ve never taken our shirts off at a show,” Krell regretfully explained, ignoring pleas from audience members to do so anyway.

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Fighting For Hip-Hop In The Whitest City In America – Buzzfeed.com

Our very own Yousef Hatlani contributed his photos of the fateful March 1st show at Portland’s Blue Monk to Arianna Rebolini‘s in-depth article on the Portland Hip Hop scene for Buzzfeed. It is a thorough look at the state of the genre in our city and includes input from several notable figures from our scene, including friend of the show, former guest and Party Damage Records co-founder Casey Jarman. This is required reading for those concerned about where Hip Hop stands in Portland as we speak. Check it out via the link above or the photo below!

Luck-One at the Blue Monk on March 1st, 2014. Photo by Yousef Hatlani.

Luck-One at the Blue Monk on March 1st, 2014. Photo by Yousef Hatlani.

 

Photos: Cage the Elephant at Crystal Ballroom, 05/22/’14

Friend of the show Nilina Mason-Campbell caught Cage the Elephant when they stopped in Portland last week at the Crystal Ballroom. Head over to our Facebook page for the full set of photos, and peep the awesome GIFs she created below!


  Cage-the-Elephant-strut Cage-the-Elephant-crowd-surf Cage-the-Elephant-clapping

 

LIVE: Drive-By Truckers, Roseland Theater, Portland, OR

By Hollister Dixon

If I’m honest with myself, I can admit that Drive-By Truckers isn’t a band that I should like. Its just a fact of my own tastes: a lot of Southern rock bands, where those roots go deep, just don’t work for me a lot of the time. It’s a slight musical prejudice I’ve grown to live with. Alright? Alright. Now that that’s out of the way: I love everything about the Athens, GA band. I love Mike Cooley’s deadpan voice, and Patterson Hood’s raspy falsettos. I love their all-on guitar assaults (see: ” Where the Devil Don’t Stay”) and their gentle meditations (see: “Daddy Needs A Drink”). I love their flawless storytelling, and their ability to keep even their most balls-out ambitious (read: long) albums wholly interesting. What’s more, I love that even their weaker albums are wonderful and arresting at their worst. And somehow, ten albums and 18 years in, DBT still have a better batting average than most bands.

I got the opportunity to see Patterson Hood at the tail end of a vacation-based residence at the Doug Fir Lounge at the beginning of the year, and it reminded me of how despicable it was that I’d never actually seen the band. Hood, as an immensely talented songwriter, is powerful enough to wrap an entire crowd around his finger, and I was more than a little excited to see what the full band can do.

But first up was Shovels & Rope, a husband and wife duo from Charleston, SC (as they made a point of mentioning no less than three times). At first, I wasn’t terribly interested in the band, who sounded – initially – to be a terrible attempt at a Dolly Parton/Carter Family pastiche, with no payoff. Michael Trent, the duo’s guitarist/drummer, sat astride a drumkit made up of a bass drum and a singular snare on his left, and two cymbals about five feet to his right. This came off as incredibly gimmicky and unnecessary… and it’s possible that it is, but watching him reach out to graze the hi-hat with the tip of a drumstick, I was reminded of why another cymbal gimmick exists: that of John Stanier of Battles, who does it to prevent reliance on those pieces of his kit. And so, with that in mind, I watched as the two (the other being Cary Ann Hearst, with a big mane of curly blonde hair, enough to really pull off the Parton vibes) traded guitar/drum duties, sometimes abandoning drums altogether, perpetually playing while facing each other, at the very front of the stage. At first, the crowd seemed to be on my side of things, with a lot of people who didn’t quite know what to think, but as time went on, the crowd fell in love with the two. I was seated in the balcony for this performance, so I got to watch as couples began spontaneously slow-dancing together in the middle of the crowd – something I’ve absolutely never seen at a show before. By the end of things, the word “pastiche” didn’t fit anymore, and it was clear that they were channeling those old country acts in the best way imaginable. Shovels & Rope were keeping it alive, and hats off to them.

And so came Drive-By Truckers. Watching their set, I was reminded of how little I really know about the band’s catalog, as I’ve spent most of my time focused on only two of their albums (The Dirty South, completely unrepresented here, and Brighter Than Creation’s Dark, which was represented in the form of “3 Dimes Down”), and how I desperately want to get more familiar. The love for DBT was immense in the packed crowd, and you could hear people hollering left and right for song requests (the loudest of which being about 30 feet from me, who was adamant about hearing the beautiful, reserved “Sands of Iwo Jima”, one of the best cuts from The Dirty South). But, no matter what song was played, the crowd went insane every time Mike Cooley and Patterson Hood started to strum a song – including all seven of the songs from their two-month-old English Oceans.

Looking at the setlist from the last time the band was in town, two years ago, it strikes me that (other than the new songs), the setlist is very similar. This is by no means a criticism, and in fact makes the love in the room all the better. I’m not sure if the Roseland was sold-out, but it was still very packed, and it was packed with people who were just as excited this week to hear the band play “Box of Spiders” and “Zip City” and “Hell No, I Ain’t Happy” as they likely were the last time the band stopped by. These days, a lot of people look down on bands who don’t vary their live sets enough, and who spend too much time “playing the new stuff” (yes, this is a criticism I’ve heard multiple times). But, getting to be in a crowd with people who don’t care what gets played, only that it gets played, is incredibly special. Really, it’s something that doesn’t quite happen enough these days.

And, after that performance, I can see myself being one of the people chanting “Cooley! Cooley! Cooley!” in between songs, the next time they come around. This is a band that has built something great, and they deserve that fanaticism.

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Interview: Nils Frahm at Mississippi Studios

We couldn’t have been happier for the opportunity to sit down with the amazing Nils Frahm prior to his show at Mississippi Studios last night in support of his thrilling latest effort, Spacesa dynamic, immersive live album that cherry picks some of his best performances over the course of the last two years. Our very own Yousef Hatlani sat down with the internationally acclaimed German musician, composer and producer and covered the creative process (a particular favorite subject of his,) his favorite composers and music from a myriad of genres, his artistic growth and even his love of Fred Meyer. Stream this special feature (the very first of its kind for this podcast) above, or download it right here – and don’t forget to check out Yousef’s complete set of photos on our Facebook site.

Nils Frahm in the Mississippi Studios green room, March 19th, 2014. Photo by Yousef Hatlani.

Nils Frahm in the Mississippi Studios green room, March 19th, 2014.
Photo credit: Yousef Hatlani.

“I think the first rock band I appreciated, when I was 16 or 17, was Kid A when it came out…I was impressed by [Radiohead] from the first time I listened to that record—because it sounded raw and kind of different, but also really solid and really powerful and beautiful at the same time. Before that, I was going for productions which were more glossy sounding…and then when Radiohead came out, I was intrigued by the edgy, more distorted sounds and interesting, colored tones. That was definitely a turning point.”

Nils Frahm at Mississippi Studios, 03/19/'14 Photo by Yousef Hatlani.

Nils Frahm at Mississippi Studios, 03/19/’14
Photo credit: Yousef Hatlani.

“I think me making music wasn’t about a certain record. It was more about trying to find material I could express myself creatively which was not photography and not painting—these were the other things I wanted to do first. But I was playing piano since very early; I started when I was 4 or 5 to just fiddle on the piano a little bit. I think the turning point was when I stopped Classical lessons, when I was 13, and started playing in a band with my classmates.”

Nils Frahm at Mississippi Studios, 03/19/'14. Photo by Yousef Hatlani

Nils Frahm at Mississippi Studios, 03/19/’14.
Photo credit: Yousef Hatlani

“I’ve always liked Fred Meyers! (laughs) I don’t know why. It’s just a great, convenient supermarket. They have everything…they have my favorite cheap iron pans. I’m always stocked up on gear from Fred Meyers.”

Nils Frahm is currently touring the United States with Douglas Dare through March. Spaces is available via Erased Tapes now.

Apartment Story 7: Adam Brock 4

We couldn’t be more excited to share the Adam Brock 4‘s Apartment Story with you all! This might be our most favorite one yet. It is certainly our most unique session so far; instead of recording in our studios like we usually do, we ventured out and set up shop in a stairwell next door – the perfect venue for carrying the group’s beautiful harmonies to the heavens. Be sure to check out the complete playlist below!

LIVE: Pop 1280, The Know, Portland, OR

Pop 1280Pop 1280 // Photo credit: Cory Butcher

By Cory Butcher

Sacred Bones’ art-noise-punk act Pop. 1280 played an intense show at The Know on a stormy Portland night. The wind wasn’t the only thing howling on Alberta street that evening, as the band played a loud, cacophonous set, blending elements of punk, no-wave, and dissonance into a maelstrom of strangely melodic noise. The band switched from a guitar and synth setup to dual synths, depending on the song, and vocalist Chris Bug’s throaty growl was reminiscent of Big Black-era Steve Albini. Near the end of their set, they played “Do the Anglerfish,” and trust me, if I had known how to do it, I would have. By the time they had finished the show, my ears were ringing, I wasn’t sure what I’d just seen, but I knew I wanted to see it again.

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