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Sunday, March 4, 2012

Tonight in Music: Lost Lander, La Sera, MarchFourth & More

Posted by Ned Lannamann on Sun, Mar 4, 2012 at 11:52 AM

(Rontoms, 600 E Burnside) It's easy to find solace in a sunken cavern of vintage furniture, booze, and low lighting. Easier still when local orchestral rock outfit Lost Lander—fresh off a tour and still-awesome debut—score your Sunday night at Rontoms to great, dramatic effect. All for the just-right price of free. WILL ELDER

(Holocene, 1001 SE Morrison) Upon advance listening, La Sera's second album, Sees the Light, evokes the absolute best nuances of '60s girl groups—rollicking, saccharine melodies and captivating vocals—without the careful poses, the matching outfits, and most importantly, the blaring naivetÉ. This is not Katy Goodman's first time around the block, and while her solo project began as hazy pop-punk experimentation, it seems she's found a way to hone in on that classic sweetness without hemming in the rougher edges. For instance, songs like "Break My Heart" or "Please Be My Third Eye" contain seemingly simple, beckoning hooks sung luminously over a guitar whose distorted drive could only be described as reckless; it's a startling juxtaposition at first, but it's not long before everything makes perfect sense. RAQUEL NASSER

(Crystal Ballroom, 1332 W Burnside) Will saxophone-playing stilt-walkers ever get old? Portland's raucous marching band, MarchFourth Marching Band, is getting a little long in the tooth: Today is their ninth birthday blowout party, and they're celebrating with two shows! Even after nearly a decade, no one throws a party like a punk-rock marching band. SARAH MIRK

(Mississippi Studios, 3939 N Mississippi) In the song "Window," Shook Twins fantasize about teleporting to the 1960s, hanging out, and dropping acid. This is ironic because, while they do seem to have mastered time travel, it is evidently in the opposite direction: With their acoustic guitar, banjo, and long golden hair, their appearances suggest that they learned their craft at the knee of Pete Seeger or Woody Guthrie. But Shook Twins are far more than an identical dose of nostalgia. By combining loops, surprising use of a wah-wah pedal, and beatboxing, they make even their most traditional melodies sound innovative. These things are important, but Shook Twins would manage to draw crowds with nothing more than their spine-tingling harmonies, delivered in voices that are nearly indistinguishable. REBECCA WILSON


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