Three Imaginary Girls - Grant Olsen

The Moondoggies and Magic Mtn at the Tractor Tavern

Imaginary Shrie — Tue, 19 Jan 2010 02:34:10 +0000

16 Jan 2010

Magic Mtn, the newest project from Arthur & Yu frontman Grant Olsen, had their first ever show last night at the Tractor Tavern. Basically just Olsen with a backing band of the Moondoggies, Magic Mtn sounded a great deal like Arthur & Yu. That 60's dreamy pop vibe was there, the lilting lyrics tripping along at an easy gate. Olsen's vocals were softened down to a pleasant lo-fi hush and the easy swagger of his songs and stage presence resembled so much of his previous project. His style is ethereal, meandering pop a little bit outside of it's time. It's pleasant, woodsy and at it's best when a lazy guitar jam creeps in and draws it all out.

Don't Be A Stranger has been a new favorite album of mine for the past year or so. Their sound hearkens back to what feels familiar to me: the outdoors, dusty roads and the beer-soaked nights of the country. It feels like the southern classic rock that was to become the soundtrack of my childhood, and to which my love of music has it's very base. They were fortunate enough to open for Sera Cahoone two nights in a row last week, and I was fortunate enough to be in attendance at the Saturday show.

Allman Brothers-esque "Black Shoe" was the first song of their set, after lead singer Kevin Murphy played three songs alone without the full band. They played through the songs from their only album, Don't Be A Stranger, including the soaring "Ol' Blackbird", the rollicking piano tune "Save My Soul" and the old-time country jangle of "Long Time Coming" (in which Kevin Murphy directly channels Neil Young I swear). Grant Olsen joined them onstage for "Old Hound", which was sung in beautiful heartfelt harmony. TheMoondoggies sound like all the great parts of music from the deep south, honest and dirt-clodded, raucous and haunting.

The Tractor Tavern seemed like the quintessential place for a band like the Moondoggies to play. It's rustic, roomy enough to pack in a small crowd but reasonable enough you don't feel disconnected from the bands onstage, dusty and a seemingly appropriate place for a saloon-style pick-up rock show to go down. Their live show wasn't necessarily a disappointment but it lacked a little "oomph" and down-home fun. Unfortunately, the lack of enthusiasm by the large crowd almost made it impossibly to hear much if you were in the back half of the standing area. They aren't a band for a large venue in my opinion, but with the high level of inconsiderate ambient noise, it sure felt like a large venue.

Looking back I know the venue wasn't the issue, nor was the band. When you have a big draw like Sera Cahoone, you get a lot of date night couples out to see the brilliant alt-country femme crooner. What you DON'T get is lifestyle show-goers who listen to the bands and pay attention, presumably what they paid their $15 for at the door. I didn't stay for Sera Cahoone. I had had enough of the tipsy loud broads beside me and the screaming athletic-looking gaggle of gals behind me. Fortunately, the Moondoggies were just enough country and just enough twang to get me through another chilly northwestern week of winter.

Point Juncture WA, The Pica Beats and more at Chop Suey

Chelsea Werner — Wed, 17 Jun 2009 15:31:24 +0000

13 Jun 2009

ptjuncturewaNFTN2009.jpg

Next, Black Whales played a derivative set accompanied by an epilepsy-inducing light show. Song by song, Black Whales delivered tunes that wore their influences on their sleeve. The extra toms and cymbals next to the full drum set seemed superfluous, as the main drummer was the best part. The band seemed to flounder for a distinct sound, something that would make a listener say, “hey, isn’t this Black Whales?” Rather than ask if it’s The Stones.

The Pica Beats, a band whose sound leaves a gentle wake behind it, followed them. Often compared to The Decemberists, The Pica Beats have a majesty all their own. First, Barrett doesn’t sing like he’s got a mouth full of “r’s”. Second, his lyrics are not as narrative driven as Maloy’s. Also, The Pica Beat’s are more rooted in a mystical, otherworldly quality, brought on by the use of sitar.

I first saw The Pica Beats at Healthy Times Fun Club. I was immediately impressed by how good they sounded in a basement space. Colin English’s drums were clean and Adam McCollom’s keyboards were clearly audible over them. Alice Sandahl’s mic wasn’t loud enough, but Ryan Barrett’s vocals and Garret Kelly’s bass-playing antics made up for it. I bought their album, Beating Back the Claws of Cold, immediately.

The floor at Chop Suey got crowded and the band’s enthusiasm was infectious. Their set was comprised of enriched, energetic versions of their songs. The intensity of the show was so amped-up that Kelly broke a bass string, smacking away on “Hope, was not a Smith family Tradition.”

Back on stage with fresh strings, The Pica Beats played “Summer Cutting Kale,” a mellow tune whose hues shift in technicolor with the notes played on the melodica. Live, this slow-starter was consumed by an instrumental fervor that rose fast, the percussion crashing, the bass romping, and by the end the entire band was yelling.

They ended on the hard-hitting “Territoire,” a song whose impact lay in the contrast of sparse verses and an intense chorus. The drums thrust their weight in and continued to accelerate till the song’s end. The band stopped playing and their voices rang out in slightly out of key, and completely endearing harmonies.

The broken bass string led to the unexpected performance of “Work in Progress,” played solo by the brainchild behind The Pica Beats, Ryan Barrett. The song was a hopeful sign of a future release that does them justice. The band has a new lineup since the recording of their second album, out last year on Hardly Art. With the addition of Alice Sandahl’s vocals they are showing their full and mighty potential.

Point Juncture, WA had a tough act to follow. After the revelry created by The Pica Beats, Point Juncture, WA’s dreamy 90’s inspired rock felt complacent. Lead singer Amanda Spring had her drum set in the center of the stage and the guitarist, Wilson Vediner, alternately strummed and banged on the drums to fill in beats.

Theirs was a display of talent and teamwork. The songs were well crafted, but their melodious groove sometimes got stuck in a rut. The exception to this was “Viking Mission to Mars” off their new album Heart To Elk. The trumpet, played by the keyboardist, gave this song a climax that the others were lacking.

The moral of this on again, off again night of bands? Go see the Pica Beats as soon as you can.

The lineup at Chop Suey on Saturday night was uneven. It started strong with Grant Olsen’s project away from Arthur and Yu. The country twang of his songs was subsumed by The Moondoggies harmonies ringing out behind Olsen’s slow, almost spoken, singing. The songs were tight and the bass hooks kept even their simplest songs interesting. This didn’t sound like a side project.

Next, Black Whales played a derivative set accompanied by an epilepsy-inducing light show. Song by song, Black Whales delivered tunes that wore their influences on their sleeve. The extra toms and cymbals next to the full drum set seemed superfluous, as the main drummer was the best part. The band seemed to flounder for a distinct sound, something that would make a listener say, “hey, isn’t this Black Whales?” Rather than ask if it’s The Stones.

Noise For The Needy choice for Saturday: Point Juncture, WA at Chop Suey

Chelsea Werner — Sat, 13 Jun 2009 05:24:48 +0000

All parts Oregon, Point Juncture, WA is going to rock you. Slowly. In their collectively cradled arms. And when they do, you should look at the calluses on their hands and be thankful that someone out there is working hard to provide for you. They released Heart To Elk in February 2009 on Mt. Fuji Records.