

Good lord, last night's MarchFourth Marching Band release show for Rise Up looks like the greatest event ever. Just look at the kid, stopped dead in his tracks, he'll be talking about this show in therapy a decade from now.
Since we have no way of publishing that poor kid's nightmares—yet—we have to rely on these fantastic photos from Candice Harbour. Enjoy.

The past few years have been a whirlwind for the Gossip—UK tabloid obsession, paling around with Rick Rubin, an odd-looking Beth Ditto doll—but one thing missing for the band has been a local show in their adopted hometown. Since the Gossip's Wonder Ballroom performance was their first Portland show in support of Music For Men, we sent the very kind Candice Harbour out to photograph the show. Enjoy.

Evidently this ridiculous—yet oddly poetic—image came from the liner notes of Skynyrd's First and... Last (later reissued as Skynyrd's First: The Complete Muscle Shoals Album). I had to ask an expert (Thanks Matt!) about the photo's origins since I own zero Skynyrd albums, but now that I have seen how beautiful their artwork is, I just might come around on the band.
Link: Waxin' & Milkin'
Yesterday afternoon, Blitzen Trapper's manager (@TRMW) tweeted this pic of the band at kid's show Yo Gabba Gabba:
Which is pretty awesome. They could even be the house band. Marty especially looks like he fits in.I believe the pic comes courtesy of Ingrid Renan* (@camcam12). Anyway, I can't wait to see the finished episode.
In other rad-Blitzen-Trapper-image news, here's a totally awesome poster created by Methane Studios for their Atlanta show at the Earl.
BT play two homecoming shows at the Doug Fir on October 23 & 24.
*UPDATE: Ingrid is actually Blitzen Trapper's co-manager these days.

Thanks to the poor play of Santonio Holmes, my fantasy football team (The Dillon Panthers, "Clear Eyes, Full Hearts, Can't Lose") was defeated in a head-to-head match against a team managed by Mercury freelancer, Hannah Carlen. The punishment for my inept fantasy football skills? A night with the Juggalos.
Actually, it wasn't so bad. The music was horrific, but that night made for some of the greatest/scariest people watching I have ever experienced. But while I pat myself on the back for my faux Juggaloness, Matt O'Brien is the true hero here. The local photographer went deep into the clown's mouth and risked death by Faygo—or stabbing—by setting up a photobooth outside of the Roseland during the Insane Clown Posse set. The results are both hilarious and oddly hypnotic, photo after glorious photo of Portland's thriving Juggalo scene.

No, she didn't play "Fade Into You," but that didn't stop former Mazzy Star frontwoman—and "Sometimes Always" Jesus & Mary Chain collaborator—Hope Sandoval from wooing the Doug Fir crowd last night. Our Minh Tran was there to take some snaps and get wooed.

CocoRosie has always been a visual band, but I don't remember them being as visually outlandish as in these Minh Tran photos from last night's Aladdin show. Their vivid stage show resembles the carnival aspects of modern day Of Montreal, although that woman's makeup might be considered to be a bit Juggalo-esque.

Nurses' CD release show at Holocene last night was probably sold out—if it was not, it at least felt sold out—and featured the trio performing a special set beneath a large screen of projected video and images. The band wore their best sleeveless white hoodies and were joined by 2/3 of Explode into Colors for a lengthy jam session.
Minh Tran, our photographer extraordinaire, was there to battle the low lighting and capture the members of Nurses—cloaked in a wash of projected video images—while they were on stage.

Sometimes, it would be nice if musicians would just stick to the music and leave the rest to the professionals. Clothing lines, perfumes, and memoirs really don’t figure into my qualifiers on what makes a good music career. However, in recent years, there’s been an incredible outpouring of artistic collaborations wherein artists are beginning to jump the borders between visual art, music, writing and other creative endeavors.
Such is the situation with the recently released book, The Art of Touring. Here, we see a case where only a pack of seasoned musicians could have successfully created such a project. Edited by Sara Jaffe of Erase Errata and Mia Clarke of the late great Electrelane (I know it says "indefinite hiatus," but I get the feeling these ladies are gone for good), the book is a collection of art, photos, and writing on what the life is really like behind the wheel of a touring vehicle.
This lovely package comes complete with a DVD of live footage, tour diaries, and video art from Andy Moor, Mecca Normal, Erase Errata, The Jeffrey Lewis Band, Electrelane, Neptune and more.
I haven’t gotten a chance to see a physical copy but the the photo samples and writing snippets that were available look stunning. For added cool points, the book is being published by Yeti, run by Mike McGonigal, and a portion of the profits will be going to Musicians' Emergency Fund, a terrific non-profit committed to helping musicians through hard times and emergencies (sorry, running out of pizza in the middle of practice does not qualify as an emergency).
In conjunction with the release of The Art of Touring, there will be group photo exhibition on August 6th at the Fontanelle Gallery (205 SW. Pine), plus a reading/performance on August 22nd that will feature Jaffe, Tara Jane O'Neil, and Julianna Bright of the Golden Bears.

Kind of a slight delay, but here are a few more photos from the incredibly fun (and sweltering) PDX Pop Now! weekend, with a sweaty finale featuring Menomena. Kudos to Anna Ottum for all of the great pics.
Now I return to the freezer from which I came.

Or rather, pictures of Laura Gibson and Nice Nice. Laura Gibson cooled everyone down from another hot day of music with her charming folk songs, which happened to fit well with the festival theme—can we keep singing "this is not the end" please? Nice Nice were feverishly improvising on spot (my way of avoiding the "jam band" handle they've received) and, albeit some technical difficulties, kept on... jamming. Damn.
Unfortunately, I don't have pictures of the shirtless ponytailed dude that was tripping out and dancing during Nice Nice (and scaring everyone around him) but if anyone has a photo to help me relive the moment, I'd definitely appreciate it. See you at Day Three.

Since stoners need music too, Snoop Dogg and the "Blazed and Confused" tour puffed through town last weekend, and our photographer Minh Tran was there to capture it all (despite the contact high). In case you are curious, Snoop wore a sweatsuit outfit and a ring that is easily worth more than my soul.

Since we all need to get our shirtless dude quota out of the way early this week, here are great some snaps—taken by Benji Bilheimer—from a sweltering house party this weekend that featured electro-popster Jeffery Jerusalem and the Starfucker boys. It's claustrophobic, sweaty, and absolutely chaotic... we're just sad that no one invited us.
Tons more pictures can be found here.




Text by Ned Lannamann | Photos by Minh Tran
Now THAT'S what I call a show.
David Byrne filled the Arlene Schnitzer Concert Hall on Tuesday night for a show that celebrated his various collaborations over the years with producer/oblique strategist Brian Eno—who himself was nowhere in the building, but didn't need to be. Byrne has worked with Eno so many times that the concert functioned as a nearly complete overview of Byrne's career, whether it be the landmark albums with Talking Heads, or My Life With the Bush of Ghosts, or their newest collaboration, last year's surprisingly good Everything That Happens Will Happen Today.

When the long flowing locks of Jay Reatard came through town—along with the Thee Oh Sees, a band that knows the importance of a proper haircut—we dispatched Minh Tran to capture it all on film.
According to him, "Thee Oh Sees kinda stole the show."
Well there ya go.

Before I talk Bat for Lashes, I'd like to address the gentleman in the crowd who screamed, between songs, "you are really good at music" to frontwoman Natasha Khan. Thank you, sir. Your loud comment was far better than any yelped song request, the obligatory "whooooo," or whatever people yell at artists while on stage. It was sincere, absolutely stupid, and sort of the concert equivalent of this. Seriously, thank you.

As for Khan and her revamped Bat for Lashes crew (Ben Christophers, Charlotte Hatherley, Sarah Jones), they were quite spectacular. On a dark stage awash with tinsel (it looked exactly like the backdrop of the Enchantment Under The Sea dance), Khan and company performed nearly her entire catalog, leaning heavily on her slower, piano-based, material. Sharing a keyboard bench alongside Hatherley (just like Archie and Edith), Khan seemed relaxed, if not a bit timid, as she belted out songs in a voice so refined and crisp it initially sounded like she was supported by backing tracks (she wasn't). A pair of encores later, the band closed up with Two Suns' most upbeat moment, the disco-pop of single, "Daniel."
Now to just kill time before that Wonder Ballroom show...
All photos by the excellent Minh Tran.
More after the jump.

The home stretch! It's the last full day of SXSW, and since yesterday was abbreviated, I feel fully rested and raring to go. On the way downtown I talk to one of the guys who organized last night's show on the pedestrian bridge. There's going to be another one tonight, he tells me, with Tyvek, US Girls, Psychedelic Horseshit, and hopefully AIDS Wolf, although he doesn't want me to spread it around. I get kind of excited about it all, before remembering that I'm not really into any of those bands, although US Girls sounds pretty fun and I keep hearing good things about Tyvek. We bat around the Kanye rumor (he's playing tonight at the Fader Fort) and I overhear him tell some other people that Kanye may be at the pedestrian bridge, which is a total lie. This is word-of-mouth marketing in effect, folks.
Anyway, I am on my way to Waterloo Park for an outdoor show with a jam-packed lineup. By the time I get there, the thing is well under way, and crowds of people are enjoying the out-of-doors, cramming in one more day of music. People around me are starting to look a little burnt out but I feel fantastic. I just miss Vetiver but soon enough Cursive starts up.

Yesterday I finally hit the wall. All the music, parties, booze, and sun caught up with me, and between not sleeping and blogging, along with writing a feature for next week's paper, I had to hit the brakes early in the evening. But I was able to get a lot of work done on the story, which was absolutely necessary. But there isn't a lot to report, and I took even fewer pictures. I missed out on shows from Dananananaykroyd, All the Saints, White Denim, Camera Obscura, Devo, Okkervil River, and a rumored 2 am show on the Lamar Pedestrian Bridge that was to feature the likes of Vivian Girls and Shaky Hands.
Bummer. Still, at SXSW, you have to pick your battles.
I spend the entire afternoon on the far east side, bouncing between the Levi's/Fader Fort and Ms. Bea's Backyard BBQ. There couldn't be two more different venues. The Fader Fort is a huge corporate monstrosity, with logos posted everywhere, designed and landscaped to oblivion. Ms. Bea's, however, is a shack with a dusty parking lot, a shitty PA, and kids crammed every which way.
I don't remember where or when this happened yesterday, but it was on my camera. It's just one of the many things that are a blur in these continuing SXSW adventures. I couldn't tell you what it sounded like, or why the girl on the right is playing garbage, or why the girl on the left is playing a large triangular bass. (Is that an oud? Is that a thing?)
Yesterday was relatively restrained compared to the frantic, overeager marathon of Wednesday; I paced myself better and got more into a comfortable groove, despite a very late start—yesterday's blog posts took an incredibly long time to get live because of this dribble of a hotel internet connection and the number of pictures. I'll try not to be so longwinded today, and since I saw fewer bands, there will be fewer pictures. (You may start seeing diminishing returns on these blog posts. By the end of Saturday I may be reduced to a burbling wreck, my posts just consisting of: "BleeaaaUUUURGG MUSIC!!!"
I should mention that I have been specifically asked not to blog about tacos. Perhaps because it is a distraction from the music? Perhaps people are tired of the gimmick? (It is what we folks in Journalistland call a "hook," and this exact same hook has been replicated on some other local music blogs that you might find yourself reading.) So, as I continue on a wrap-up of yesterday, the question remains: Will I follow this request? Will I stick to talking about music, and keep things professional by leaving tacos out of it altogether? Read on and find out, gentle reader!
(Don't start here! Start here!)

.... And after.
After our disappointing Mexican food adventure, I get a text that the Van Pelt are about to play. I completely missed this band the first time around, but here they are, playing at Waves, a frattish, spring-breaky island themed bar with fake palm trees and iguanas on the wall. The Van Pelt does not fit in here, but they play a set to happy diehards. The lead singer reminds me of Ted Leo (my second association of the day) but then someone informs me that he is Ted Leo's brother. Ah, so that explains it.

Before the deluge...
Yesterday was an insanely busy, crazy day at SXSW, the first day of four and I tried to cram in as much as I possibly could, in the form of music, booze, and tacos. Things came up strong on the music front, but booze was relatively restrained (except for the Jager-Red Bull incident, about which more later) and tacos were near non-existent. I had one taco yesterday. One! Shameful. But perhaps you're more interested in hearing about the music.

Last night saw the final show of M. Ward's three night run at the Aladdin Theater. Liza Lubell was there for Sunday's show, and was kind enough to share her photos with us. Capturing M. (which stands for Matt, or "Montgomery," as Monday night opening band Tu Fawning joked) at these shows was no small feat, since the stage lights were dimmed to a level somewhere between "romantic" and "blackout drunk." So maybe M. was feeling a little shy, but it was very effective for capturing the mood, as was the stage backdrop of stars moving through a night sky as framed through a window.

I attended Monday's show, during which Ward moved through a series of songs from throughout his catalog, with a big portion of material coming from 2006's Post-War. Ward's sultry voice notwithstanding, perhaps the highlight of the set was his solo instrumental guitar centerpiece, an improvisational rag that incorporated bluegrass and flamenco. Ward gave the audience two brief encores, playing all the way up to Aladdin's curfew of 11:00 pm. He played a number of excellent covers, including a wistfully extended take of Don Gibson's "Oh, Lonesome Me" (made famous on Neil Young's After the Gold Rush), Buddy Holly's "Rave On" (which might be the strongest track from Ward's new Hold Time album), Chuck Berry's "Roll Over Beethoven" (rightfully reclaiming the song from its usurpers, ELO), and John Fahey's "Bean Vine Blues, No. 2." Ward shifted from guitar to upright piano, and the band was unsurprisingly excellent, with Norfolk & Western's Adam Selzer on bass and guitar, Mike Coykendall on acoustic guitar and bass, Nathan Jr. on keys and guitar, and Scott MacPherson on drums. Paul Brainard came out to play pedal steel for a few songs, and Rachel Blumberg sang and shook tambourine on a tune.


Late Friday night, this was the text message I received from a friend:
Raphael Saadiq OMG!
Even more interesting than my 40-year-old friend using the term "OMG," was the fact that Friday's Raphael Saadiq show was a pretty special event. Anyone I knew who made it to the Wonder that night, spent the weekend raving about the bumping vintage soul of Saadiq. Even our Minh Tran, who took these excellent snaps, called the show "killer," and he doesn't use that term lightly...