Project Pabst has come and gone. My first year in and I would say it was a great success. Music was fantastic, Things ran timely (for the most part), the location was great, (next year will be a breeze with the new bridge open) but I do wish they would have provided more cover for retreat from the blazing sun. People were standing in the shadow of others to find some kind of relief. But hey, I guess things could have been worse. There was no shortage of beer, although I heard many grumblings about the lack of selection. I mean you have to remember where we are, and what it’s called Project Pabst. Portland, Oregon is a micro-brew mecca, so I guess the groans makes sense.
Day 1: Musically speaking, the band Priory gave me great pleasure and a great way to kick off the “festival”. I have been on their trail since 2010, and I did a piece with them here on S.S. (read here) and no surprise, they have now signed to Warner.
I was able to give Laura Jean (Against Me!) props for blazing the transgender trail long before Caitlyn Jenner, and the set was amazing and raw as ever. Velevet Teen blew my mind as I was only very recently familiar with them, and Thee Oh Sees were fucking incredible per usual. TV On The Radio, was sheer brilliance, they just keep getting better, and musically more articulate. Back to the other stage, Run The Jewels, pretty much fuckin blew the place apart, and I was instantly won over by the energy of their set. These guys are on a fast track up, and its not a surprise at all.
The whole day was great, including headliner Blondie. She may be a 70 year old woman but Blondie proves that age is just a number, she rolled through her hits like a consumate professional. Heat or not, she is a icon who brings you back in time with songs like “Heart of Glass”, or even the more recent “Maria”. She just has that feel good appeal.
Day 2: the sun was upon us again, and once I was able to accept the fact of the incredible discomfort of the heat. I sought out more shade, drank more water … maybe you could say I was in a bit of a “survival mode”, since I knew I would be there for most of the day. I did arrive a bit late, but I did manage to catch the set of Alvvays, who I have really enjoyed over the last year or so. They weren’t exactly the most entertaining band, but I enjoyed their tight sound.
I quickly ran over to catch the set of Aimee Mann’s new project The Both, and I am glad I did. I forget how good her vocals are and her comfort in front of a audience.
Passion Pit was up next, and frankly I was stoked to hear these guys live again. I just needed some musical energy to refuel my tank, cause the sun was sapping me dry. And when they took the stage, the crowd reacted as if I weren’t the only one.
Buzzcocks were next and I was pretty blown away, by how fuckin tight these punk legends sounded. It was full on, from beginning to end, and the crowd ate it up.
Lastly…. Weezer. I’m a fan, and not one time have I been disappointed. They just have such a fun catalogue of music, and the crowd was more than happy to sing along to all of the songs you either loved or hated, but it was the best way to close out two brutal days of mother nature and her hot flashes.
The festival overall was great, and I can see this continually growing, but I think PBR needs to snatch up some microbrews, so they can offer a deeper selection of beer. Between the heat and the beer, the PNW can be a tough sell, but I hope to make it back next year.
For the seventh installment of this year’s Singles program, Adult Swim is sharing a new track from Peaches with assistance from Nick Zinner of Yeah Yeah Yeahs. “Bodyline,” along with new single “Light In Places” are the first new Peaches releases in some time, and come in advance of this September’s forthcoming full length Rub.
Peaches’ “Bodyline” comes on the heels of releases from D∆WN, Cherry Glazerr, Kitty, Owen Pallett, Yung Lean and Swervedriver in this year’s 19-week long program that runs into October and features forthcoming songs from Slayer, Run The Jewels, Skrillex, Chromatics, Flying Lotus, DOOMSTARKS and Danny Brown & Clams Casino, among others. Stream the new track from Peaches below via Soundcloud or download it from AdultSwim.com/singles now.
Peaches’ Rub is out on September 25th and available for pre-order now via iTunes, Amazon and her site. Her headlining US tour starts on October 1st. All dates & TIX are here: http://bit.ly/1LOipZb
Sept. 7th- Bumbershoot. Seattle, Wa.
Oct. 5th- Roseland Theater. Portland, Ore
Oct. 15th- First Ave. Minneapolis
PROJECT PABST JULY 17th-19th: WEEZER, TV ON THE RADIO, BLONDIE, BUZZCOCKS, PASSION PIT, AGAINST ME! AND MORE!!
Pabst Brewing Company and Superfly are proud to announce the lineup for 2015’s Project Pabst. The innovative celebration of Pabst and the city of Portland, OR, featuring a main festival and night shows The Spits, The Sonics, Tacocat!, The Coathangars, The Mummies, Shannon and The Clams and more) comprised of music, entertainment, food and drink, will take place July 18 and 19. The same restored Zidell Yards that hosted the incomparable first year will host the festival’s two stages on its 10 acres in the heart of the South Waterfront District. Blondie, Weezer, Passion Pit, TV On The Radio, The Both (ft. Aimee Mann and Ted Leo), and Against Me! are among the many artists who will perform this year.
In one year, Project Pabst singlehandedly raised the bar for live music in Portland. Now an annual gathering, this year’s lineup will solidify Project Pabst as the premier festival in the region, with unmatched creative programming. The Oregonian said of the inaugural event, “As debut days go, Project Pabst’s Portland reveal stuck the landing.“ In the festival’s second year, the lineup features legendary acts like Blondie, seminal UK-punks The Buzzcocks, and powerhouse hip-hop duo Run The Jewels, as well as Terry Six and King Louie Bankston of beloved Portland outfit, The Exploding Hearts.
Fans must be over 21 to attend. The late-night show component of the festival will take place July 17 and 18 with the full late-night lineup and venue information coming soon. One dollar from every ticket will go to help the Jeremy Wilson Foundation, dedicated to providing financial assistance in times of medical crisis and to improving the overall well-being of individual musicians and their families.
“We were pleasantly blown away by the way Project Pabst was embraced by not just the city of Portland, but by our loyal PBR consumers and music fans across the country,” says Pabst Brewing Company’s CMO Dan McHugh. “We are excited for year two of Project Pabst. From the very beginning, we wanted it to be more than just a music festival; we wanted it to be a PBR experience. We look forward to sharing that with even more people this year.”
The Superfly and Pabst Brewing company collaboration continues this year creating the ideal multi-faceted festival experience Portland deserves. Superfly’s history of designing groundbreaking properties such as Bonnaroo and Outside Lands, cultivating them into becoming incomparable global phenomena, coincides perfectly with Pabst’s remarkable vision as the largest American-owned brewer established in 1844. The Oregonian said of last year’s partnership, “In their collaborative debut, Pabst and promoter Superfly put together an almost unbelievably smooth festival weekend.”
“We are so excited to build upon last year’s tremendous success,“ said Superfly’s Richard Goodstone. “The team put together an amazing line up and will have lots of surprises for year two.”
The unique strengths of these two companies using the backdrop of the beautiful waterfront in one of the greatest musical cities in the country is certain to make for another unforgettable weekend. This year’s music programming will again represent a wide range of genres, with major national headliners performing alongside exceptional emerging talent, making the event a substantial celebration of the established and the cutting edge. Local acts will also be featured prominently as the festival will represent Portland’s vibrant cultural community. The Portland flavor will also be seen in the festival’s concessions, featuring foods from local eateries. With a seemingly endless selection of music and activities, Project Pabst is certain to provide a singular festival experience that will also serve as a beacon as it shines a light on the wonders of the Portland community.
Painted Palms’ second full-length album, Horizons, exudes a sense of confidence and purpose that is only present when two creators share a singular focus and absolute trust in each other’s talents.
On Horizons, emotional states are suspended between light and dark, driven by the tension of efficient song structures. This week the band shares the synth-laden “Tracers,” melding ’60s psych pop with heavy-footed ’80s drum machines.
Though vocalist Chris Prudhomme and producer Reese Donohue chose to collaborate on their second full-length by sending song ideas back and forth over e-mail, just as they did when crafting their 2014 debut Forever, Horizons marks the first time the duo has expanded their sound beyond the bedroom by stepping into the studio.
Mixed by former DFA house engineer Eric Broucek (LCD Soundsystem, Classixx), Horizons engages with a diverse sonic palette on each track: ’60s psych-pop, ’80s synths, hypnotic vibes of the kind induced by Bjork and early ’90s Creation Records bands, and the trunk-rattling minimalism of Southern hip-hop.
Horizons is a meditation on achieving balance in a place where things are always changing, and there are no real ends. As a result, Painted Palms refines and executes their best work to date.
Icelandic romantic Axel Flóvent has released his new EP Forest Fires, a back-to-roots stunner that distils the true essence of modern songwriting. Likely to draw comparisons to Fleet Foxes, Bon Iver, Guillemots and fellow countryman Ásgeir, Forest Fires withholds an essential charm that characterises central themes in its subject matter and more effervescently the story around the songwriter himself.
Based in the tiny Icelandic town Akureyri, Alex Flóvent was organically discovered when the power and authenticity of his bedroom-produced song Beach swooned Newcastle indie label Trellis Records (now based in London) as it raced to nearly 30,000 streams in a month. The discovery of Alex Flóvent is testament to the genuine and sincere soul of his music, giving it the ability to inspire and enchant listeners worldwide. Flóvent has commented on his pleasure with how Forest Fires illustrates him both sonically and stylistically, revealing that song Beach “talks to everyone who is experiencing such negative emotions that it is affecting those around them, the song is speaking to those frustrated souls who need to emotionally restart their life”.
Despite Iceland’s remote location, Alex Flóvent listeners each possess a deep and ruminating connection to his music, tribute to how the modern world can bring us all closer together and bond us in united emotion. Listening to Alex Flóvent is like experiencing a private performance, such is the power of Flóvent’s music to connect with your inner-self and transport you to his stunning homeland. Embracing itself around the listener, like a warm and loving cocoon against the often emotionless world around us, Forest Fires is as authentic and pure as music can be.
Axel Flóvent’s Forest Fires EP is out now on Trellis Records.
This year we have the 2nd annual BBB, and it seems to be all the buzz. I’m sure all the buzz has to do with the lineup, but I also think its a reason why we love Macefield and Doe Bay so much. Its just like a big show with you and a bunch of your pals hanging out drinking beer and getting to hear great music. Not to mention that proceeds go to Rain City Rock Camp For Girls, which is totally bad-ass.
So I wanted to chat with Pete Jordan and find out how this all started and where he see’s it going, in this day and age of “mom & pop fests”.
So, when did you decide that you were going to start this fest? What was the catalyst?
My band moved into the Big Building a couple years ago. We had come from a typically soulless tiny cave-like situation and just absolutely fell in love with our new space and the entire building. Ben Schauland, Big BLDG Bash co-founder and long time BB resident, mentioned to me that he wanted to throw a music festival in the building. I thought it was a brilliant idea so we made it so.
Were you at all concerned with the over-saturation of festivals in or around the surrounding areas?
When we started this, we just wanted to throw a great party with a bunch of amazing bands and delicious beer. We were learning by doing and didn’t really have the bandwidth to worry about rival events. This issue came up in planning this year’s fest but we quickly realized that this festival is basically an enormous house party. There are plenty of great small festivals around, but ours fits uniquely into the mom & pop fest scene that’s been burgeoning recently.
Is this something that you ultimately want to grow, or would you prefer to keep it indie-driven and local?
This festival will definitely remain DIY but I don’t think having growth and staying ‘indie-driven’ are mutually exclusive. We are limited by the capacity of the building, but we’ve discussed expanding it to a multi-day event or having multiple festivals per year. There are so many great bands that we weren’t able to include, we would love the opportunity to have more play.
For now we’re just focusing on getting better at throwing the damn thing.
What do you think makes for a successful experience?
Last year we maintained a super positive, festive atmosphere. It was a celebration of local music and I think everyone in attendance helped foster the feeling of community.
We hope that everyone falls in love with a band they’ve never seen before. We also hope the beer lasts just long enough and that we don’t throw any circuit breakers.
What do you think the BBB offers, that others may not?
The first thing that comes to mind is the setting. The building itself is very unique. It’s a large industrial building in Sodo with all manner of craftspeople inhabiting it. Everything from metalworking to band practice spaces, glass blowing to machining and auto work.
Another thing we do that isn’t common is having multiple stages in the same space. The Yard and Hanger areas will at all times have a band performing on one stage and one setting up on the other. All you have to do is turn 90 degrees and watch the next band start.
Also, $20 for 50+ bands is ridiculous and it’s all for great causes. Our proceeds are benefitting local non-profits (Rain City Rock Camp for Girls and Colectiva Legal del Pueblo).
And if you could book any 3 bands to make surprise performances (Living) at the BBB, who would they be?
Unknown Mortal Orchestra, David Bazan, and The Brian Jonestown Massacre.
I can only speak for myself, but we did decide to send Bazan’s manager an email so I know that one is sanctioned by the other BBB organizers. We, unsurprisingly, never heard back.
Where would you like to see this in 5 years?
We haven’t really talked about the long term plan yet. I think just more bands, more beer, more days, more BBB is the goal. Maybe do seasonal BBBs. Possibly even throw some bashes at intriguing buildings in other cities.
I’m sure you love all the bands, but any in particular you think Seattle needs to check out?
I do love all the bands! It would be impossible for me to catch every act that I want to. Take any 3 bands from this line up and you’d have a solid bill that I would enjoy.
I know Ben and Dane Ueland (who hopped on to help organize this year) would probably have different answers but I’m particularly excited about Fauna Shade, Lemolo, Kithkin, and The Holy Broke.
And lastly….. any tips you can give us, that will make our day the best it can be at BBB? Wet wipes? Flask’s? Lots of weed?
Wet wipes are never a bad idea.
Come early and stay late. We are only selling about half the capacity in presale tickets and everything else is first come first serve. If we hit capacity we will only be guaranteeing bands and presale ticket holders reentry.
Come enjoy yourselves!
For tix: Here
“Delirium” is the second track shared off of Fauna Shade‘s debut full length Baton Rouge, out May 1st. *free download*
Fauna Shade is the music and sounds developed by frontman and Everett, Washington native Scotty Smith. Smith, now 22, combines psychedelica and pop sensibility from years spent experimenting, writing and recording tracks in his parents garage, located between the Puget Sound and Cascade Mountains. Joined live by drummer Richie Owen and bassist Derek Johnston, the band draws inspiration from early MGMT, Coco Rosie and T. Rex, while somehow forming a sound uncorrupted and free of pretense.
Their new full length Baton Rouge was recorded and co-produced by Jeff Southard at SWOON Studios (Night Beats, Tangerine) in Tacoma, Washington. Baton Rouge is out on May 1st, 2015.