It’s been a busy couple of years for Josh Tillman. Of course, he’s better known by his boisterous, swashbuckling musical identity, Father John Misty. By this time last year, he was celebrating the release of his critically acclaimed album, Pure Comedy. It would later go on to receive Grammy nominations for best alternative album and best recording package, the second of which he was awarded with the golden horn. As the third full-length offering in his catalog, Pure Comedy serves as a critique on the human existence – a product of society’s contempt turned on itself for the imperious and exorbitant grandeur of its ways. Misty’s persona has often been known to embody both sides of this dichotomy – frequently praising himself while at the same time calling out his own bullshit, as he does on “Leaving LA,” conceding, “Oh great, that’s just what we need / Another white guy in 2017 / Who takes himself so goddamn seriously.”
Many local Portlanders were disheartened to learn back in March that MusicfestNW and Pabst Blue Ribbon would not be putting on the acclaimed Project Pabst event this summer. After a successful 18 years of cheap beer and great music, this was a huge hit to the local festival circuit, and personally, I’m still bitter about it.
But that didn’t mean that the Cascadian music group was out for the count. They’ve teamed up with fellow locals Dr. Martens for a new event called In the Lot! The event will be held in the Doc Martens parking lot on August 25-26th, and will feature the likes of Twin Peaks, Princess Nokia, The Last Artful, Dodgr, Dude York, and more. Check out the flyer below for the details and the full lineup.
“I think I’m gonna be sad. I think it’s today, yeah. The girl that’s driving me mad – is going away. She’s got a ticket to ride… But she don’t care.”
It’s long been known that the concert ticket industry has some peculiar, under-the-table, and definitely questionable selling strategies, especially when it comes to selling tickets for major artists at some of the largest venues in the world. Concert and event ticket conglomerate Live Nation, along with its multiple subsidiaries including Ticketmaster, is easily the largest in the industry, and they’re no stranger to controversy. Now they’re even being investigated by the DOJ for possibly violating established antitrust laws, pressuring venues in multiple US cities to adopt Ticketmaster as the primary selling utility or risk losing the opportunity to host major acts, and, more specifically, lose out on the revenue that they bring.
House shows get rowdy. Things get broken. The cops get called. The liquor cabinet gets raided. Sketchy guys named Trevor show up and seem not to know anyone, yet proceed to grab an armful of beers and stash them in his van out front before coming back in and attempting to sell acid to all your friends claiming that it’s ‘really cool stuff’. House shows exhibit all the recklessness of a standard house party in addition to an elevated sense of enthusiasm influenced by the primal impetus of organic rhythm. Blood runs hot as a living room turned auditorium pulses with every drum kick and guitar wail, shaking the neighborhood with waves of vibration.
House shows are also iconic. People dance. Drunken friendships are discovered. New fans are planted. They’re the historical birthplaces of some of the world’s greatest musical careers, and Utah-based psych rock outfit The Wednesday People are no strangers to this phenomenon. In fact, they’re often the catalyst on such an occasion. On their third tour through the Pacific Northwest in the last 8 months, the Ogden locals stopped by a modest bungalow in the heart of SE Portland to shake things up on St. Patrick’s Day.
This one hurts. Despite the fact that I have literally zero regard for Douche of the Day Robin Thicke, I do greatly respect Pharrell. And regardless of my opinion of Thicke as a human being, I also greatly respect a musician’s right to draw upon their influences and deliver an individual take and style in a new interpretation of their heroes’ artistry. Unfortunately, it’s been reaffirmed that this is not to be tolerated in our ever so litigant society.
If you couldn’t already tell, I’m referencing the case of Robin Thicke and Pharrell Williams defending their song, “Blurred Lines” against the estate of Marvin Gaye prosecuting infringement of Gaye’s “Got to Give it Up”. Though originally decided in early 2015, the case has since been appealed, and the Federal Appeals Court recently upheld the original decision and determined that the song was in fact infringed upon.
There’s some sad news for Portland area festival goers. MusicfestNW and Project Pabst will not be kicking up dust and dishing out PBR’s this year in Portland’s iconic downtown Waterfront Park.
Citing the end of a partnership with Pabst and the budget beer’s decision to “go in a different direction,” MusicfestNW and it’s parent operator, Willamette Week, announced the cancellation earlier this week. This will be the first year without the festival since it’s inception 18 years ago. Event organizers promised that this would just be a gap year, and that the festival would return in some form or another the following summer. Continue reading “MusicfestNW Takes a Gap Year”
Happy Valentine’s Day, music world! To kick such a special occasion off on a nauseating note, check out this car crash of a song, courtesy of Paris Hilton and your friends here at Coma Collective. We wish you well in celebrating the burden of love as you gorge yourselves with the pressures of consumerist adulation (you can’t tell I’m single, can you?).
Musicians have been singing about love basically since the inception of music. It’s widely understood by the world’s top historians that the first love song ever written echoed from the caves of none other than Homo Erectus Musicus in about 67,483 B.C.E. It was called “Oogh Ugh, Gerburghadug, Habooguh,” which, as you probably already know, roughly translates in modern terms to “Ode to my Beloved Club Smasher, and Thank You for the Trout.” But music has evolved immensely since such artistic and sophisticated millennia, and in these modern times it takes on many forms. Instead of regurgitating the novelty of today’s exploitative marketing, we’re reveling in the joys of single life with some songs celebrating such freedom. Continue reading “Happy Valentine’s Day! – The Cynic’s Sonic Celebration of Romantic Freedom”