photo credit: Chris Spicer

The #MeToo movement and its impact on our society have been immense. Artists have been using their craft as a means of therapy and as a way to speak out about the issues that plague our country. Portland’s Camp Crush shares a track “November Skin” that was inspired by a conversation with a fan after a show.

One night after a show, Deale previously explained from a press release, a man came up to her and asked her what makes her “have it” and why other music industry women don’t “have it.”

The lead single “November Skin” from the EP is a passionate feminist song that helps to shed the superficial assumptions about women and “how we [women] are always in constant judgment of being enough or not,” Deale explains. The music video is a visual and symbolic representation “to show different superficial types of the same woman, playing into how people like to pigeonhole women into an easy definition. Each character is represented by single word descriptions, like moody, spunky, cold, sexy; different exteriors, same interior.”

The husband-and-wife duo of Jennifer Deale (synths/keys/vocals) and Chris Spicer (drums/vocals) are preparing the release of their upcoming EP, She’s Got It, out May 18. Watch the video below for “November Skin” below.

When she’s not writing music, Rachel Taylor Brown is composing material for the civil and engineering firm she works for in Portland, Oregon.  She sometimes finds it refreshing to be in the company of non-musicians in a city that’s overpopulated with fellow artists. Portland has developed a reputation for being the place to go if you’re a singer or songwriter looking to showcase talent.

“It’s more of a collection of a bunch of small, [music] families,” Brown says, when I ask about the bond among the city’s musicians. “There are so many different scenes and so many different types of music. It’s changing all the time. People are moving here so quickly that I was recognizing the other day that there’s these bands I’ve never heard of now, that are playing a lot of the clubs. [There’s] such rapid migration to Portland right now. I think the [music] scene is constantly changing. And there’s all these little families that kind of spread out.”

Brown doesn’t really fit into any of those clans.  She considers herself reclusive and more removed from the clusters of musically inclined Portlanders. Because of her hermit-like nature, Brown laughingly admits that it’s sometimes challenging to show up for her own gigs in the community. She keeps it simple, surrounding herself with the small network of family and friends that have been continuously supportive over the years. And she’s okay with that.

If solidarity is any indication of her accomplishments, Brown released her ninth album, Falimy, on May 6th of this year.  In an ever-changing, unpredictable industry, she has been able to persevere, doing what she loves to do. For a musician on any scale, producing an album isn’t easy.

“I’m so small in the [music industry] picture, that I don’t have any of the big repercussions that have been happening to musicians who have sizable careers,” says Brown. “But even at this lowly end, it costs actual money to make albums. [Even having] the good fortune to have people who want to play with [me] and really believe in [me] and are willing to play free, I don’t feel good about not paying my friends and my band members.  It’s just a struggle to pull together the resources to make an actual recording and an album.”

“This is either going to sound crystal magic “unicorny” or it’s going to sound like I’m a melomaniac or something,” continues Brown,  “but I really do feel like it’s my job to get the songs out. Even if it’s just personal and only [for] me and I know it doesn’t matter to anyone else; just for my own self. I feel like it’s a job and I don’t mean that in a bad way. It is an intrinsic thing.”

Falimy, Brown’s latest album is about family and its many different dynamics; thus, the record’s derivative title. Similar to her other albums, Falimy had no creative formula to it. When still developing her latest project, Brown took the spontaneous path and “just wrote” as she often does. Doing things in this way remains a success for her. It also takes some of the pressure off and gives Brown the room needed to make the music she wants to make.

“I try almost not to think as much when I’m writing,” explains Brown. “If a little fragment of melody goes into my head or a lyric or something like that, it’s almost like I half close my eyes and try not to get too smart about it. I just try to deal whatever it is that’s trying to get out and I don’t try to overanalyze it and I don’t think about chords. Most of the time when I’m working at the piano, I’m not looking at [it]. I just put my hands down and noodle around. I’m working something out [so] that I don’t intellectualize it too much. That’s part of what I enjoy and the fact that it is stress free. I don’t have any kind of an agenda when I’m writing or when I’m going in to write a song. And If I do try to impose my will on a song, I’ve noticed in the past that it’s turned out horrible.”

With this easeful attitude, Brown has been able to create and perform without obligation. She makes music for herself, whether the world is listening or not. If the masses hear a Rachel Taylor Brown song, well, that’s just an added bonus. The ability to freely create her art without answering to anyone, though, is what has kept the pressure off and Brown in the music game.

“I would prefer that tons and tons and tons of people heard my music, obviously. But, there are, all difficulties of putting out your own music aside, a real freedom to it at the same time, in that I don’t ever worry about or think about what someone else is going to think of my music. I’m not beholden to anyone. And so I’m like, what the hell? I’m just pleading myself when I’m writing this stuff, and so I’m might as well completely please myself when I’m writing this stuff. That’s always the way I approach my music and that makes it very fun for me.”

Sometimes the best instrument is the human voice. The only thing better is multiple human voices. Portland band Ages and Ages proved this claim Saturday night at Center City’s MilkBoy as all six band members lifted up in song during a stirring performance.

Ages and Ages (all photos by Adam McGrath)

Led by Tim Perry, Ages and Ages has a knack for building layers of sound that add up to a remarkable whole. Flanked by Sarah Riddle and Annie Bethancourt, Perry was mild-mannered but confident as the band played through tracks from their excellent 2014 release, Divisionary (Partisan Records). Riddle was amiable as she chatted with the crowd while switching out a variety of percussion instruments, and the boys in the back held their own with subtle, guiding rhythms. The moment of the night came as Perry dedicated final song, “Do the Right Thing”, to the people affected by the school shooting in Washington. It gave the already moving song even more poignancy.

Also on the bill were Horse Thief, led by Cameron Neal out of Oklahoma City. Touring behind this year’s Fear in Bliss (Bella Union), the band reminded me a bit of My Morning Jacket, with their interplay of guitar, keys, and vocals. Definitely worth looking into.

Cameron Neal, Horse Thief

Opening the show was local act Former Belle, led by Bruno Catrambone. It was Bruno’s last show in town for a while, as he hits the road with fellow Philly rockers CRUISR. He certainly seemed to appreciate the strong turnout as he flitted nervously around the stage, occasionally alighting upon the microphone like a butterfly testing a perch. Simply seeing him play live makes me want to learn more about him, and that’s what it’s all about, right?

Former Belle

The wet weather this week didn’t dampen the spirits of Philly concertgoers, as big crowds turned out for acts like Courtney Barnett, Benjamin Booker, and Shakey Graves, but now it’s time for the sun to clear the way for a fresh batch of weekend shows. First, though, a shout out to Instagram user @ally2137 for using #phillyconcerts at the Little Dragon show last week! Follow her lead with your concert pics and posts this weekend.

Friday, October 24

The Asteroids Galaxy Tour @ Underground Arts

Get your dose of European-flavored pop with the Danish band built around vocalist Mette Lindberg and songwriter/producer Lars Iversen. After initially gaining recognition when featured in a 2008 Apple commercial, The Asteroids Galaxy Tour recently released their third album, Bring Us Together, on Hot Bus Records. Leisure Cruise opens.

Sylvan Esso @ Union Transfer

When the electropop duo of singer Amelia Meath and producer Nick Sanborn was last at Union Transfer in June, they were opening for Tune-Yards and winning me over with their smooth, seductive sound. Hit single “Coffee” is only the tip of their fantastic debut album, and they will get the room moving Friday night. Psychic Twin opens.

Saturday, October 25

Temples / The Districts @ Union Transfer (early show)

After conquering the big SBC stage at XPNFest this summer, The Districts are living the dream, in town Saturday with Fat Possum labelmates Temples. I haven’t seen them since guitarist Mark Larson left the band, but I’m sure their brand of blues-rock is still in fine form. The English gents in Temples bring a more psychedelic sound, and have received a warm welcome in Philly before.

Ages and Ages @ MilkBoy Philly

The whole gang will be there as this Portland rock collective crams onto the stage at Center City’s MilkBoy Saturday night. Featuring raw, uplifting arrangements, Ages and Ages will get your spirit stirring. Also on the bill is the slightly more subtle Horse Thief and local artist Former Belle.

An audience is never predicable. From its magnitude to its energy, a crowd fluctuates as often as the weather; you might anticipate sunny skies, but a forecast can change within minutes.

With that said, performing in front of strangers or even long-time fans is a dicey and sometimes stressful game. But for Quiet Life, the unknown and immeasurable are what make a live show that much more exciting.

In the middle of 2012, the band toured Alaska and performed at a variety of venues throughout the state. Some of these gigs only saw 20 people. A few weeks ago, at the beginning of this month, Quiet Life was playing two back to back, sold out concerts in Philadelphia with friends The Head and the Heart.

“Every show is different,” lead singer Sean Spellman says. “You can play a show with 40 people in a bar and it can be just as exciting as playing [for] 2,000 people.”

So, needless to say, size doesn’t matter to Quiet Life because the band doesn’t really find value in volume; it’s more about the connection they feel with the listeners watching them on stage. Quiet Life thrives from the juice of the crowd; that’s the most important thing for them when it comes to performing live. And in those instances when the band can’t find that chemistry with an audience, they say to hell with it and keep playing anyways.

Quiet Life is considered a Portland band now, but the group’s beginnings start with the East Coast. Brothers Sean and Ryan Spellman are originally from New London, Connecticut, moving to the area as teens. Here, they connected with friends Thor Jensen and Craig Rupert to began the early makings of Quiet Life. As they progressed in their music, the band steadily moved towards the West Coast, picking up other members like Jesse Bates along the way. Recent collaborator Philippe Bronctein (Hip Hatchet) hooked up with Quiet Life as a fellow artist of Portland’s music scene.

Quiet Life released their second full-length album, Wild Pack, at the end of last month and it’s their first in two years.

“We made the last record in between tours, which is why it took us so long to finish it,” Spellman explains. “We try to keep that balance [but] at this point we’re just trying to hit the road as much as possible cause we want to play.”

Throughout nine tracks, you can hear that the band was inspired in a few different ways when making Wild Pack. The songs touch upon various themes; some of these are easy to pick up on and others have listeners reading between the lines.

Travel is something that consistently influences the band’s music. Because it’s such a big part of their lives, Quiet Life often use their physical journeys as a muse. Take their recent trip to the Last Frontier.

“It definitely contributed inspiration. I think going up to Alaska is a very humbling experience. It’s nothing like touring down here,” says Spellman. “We played for much longer up there. I don’t know if there’s any particular songs that have direct references to Alaska, but it’s definitely in our subconscious as a band, as we write songs and record music.”

Visiting Alaska was all around exhilarating and because the experience seems to have really left a mark on the band, they are making a documentary out of it. With the help of long-time friends Ben Fee and Colin Shane (The Sights of Sounds), Quiet Life will share their trip on film.

As with previous records, Wild Pack was self-produced by the band. And even though it only became available to the public a few weeks ago, Quiet Life is already looking ahead to the next album, contemplating how to switch it up in the studio. For starters, the group has considered recruiting an outside party to join the creative team.

“That’s probably the next step,” says Spellman. “[Producers] bring so much to the table. There [are] people that I would love to work with. I mean ultimately, in my dreams, I would love to work with Rick Rubin. That’d be pretty cool.”

For now, until their paths perhaps cross with Mr. Rubin’s, the band is busy enjoying the present, sharing their music with fans all over the map. Their tour travels across the globe continue, as Sean Spellman and his friends take full advantage of a life that is far from quiet.

Lovers was already established as a band before Carolyn Berk met Kerby Ferris and Emily Kingan. In 2002, the same year Star Lit Sunken Ship was released, Berk had her first encounter with her future band mates. Fast-forward a few years later and thousands of miles from Portland, Oregon, the three musicians all met again in São Paulo, Brazil.

“It was all very cosmic,” says Berk about coming into contact with Ferris and Kingan.

Not only did these meetings mark the start of what would later be a long lasting, intimate friendship, but it also set the stage for a new platform of creativity through song. Berk, Ferris, and Kingan share a deep connection and it’s evident through their music. The band’s newest record, A Friend in the World, is no exception. Having come out earlier this fall, the 10-track album is the seventh release from Lovers (the second album with Kerby and Kingan in the band) and it contains some of the group’s best work.

“I think we try to bring out each other’s best sides,” says Berk. “I feel like I continually learn from [Emily and Kerby] and that’s nice. I just respect them both a lot as individuals, as people moving through the world, and as creative people; we definitely connect nicely in that way. When you’re a band, it’s like a family. Intimacy is hard, but it’s gratifying.”

Lovers have hit the road, beginning their world tour on the East Coast, which includes a stop in Philadelphia at Kung Fu Necktie on the 23rd of this month.  The band will also travel to Europe and the West Coast, where their last show is scheduled at Bows & Arrows in Sacramento.

“[Going on the road] continues to get more and more dynamic as we get older and more fussy. But in a good way,” says Berk.

A Friend in the World was recorded at Type Foundry Studios in Portland, Oregon. The album was mixed by Andy LeMaster (R.E.M., Bright Eyes), who has had a long-standing relationship with Berk. The two have known each other since Berk was 18 and LeMaster produced some of her earlier works.

As with their last record, Darklight, Lovers have embraced electronic pop, using it to explore the depths of their sound. Intact with a fearless and limitless vision has given the band an ability to continuously make great music together. Berk, Ferris, and Kingan are also able to rely on each other for unconditional support, giving each other the confidence to truly express their talents.

“I think [Emily and Kerby] brought out my love for performance,” says Berk.  “Before, I just really needed to write and record music. It was just something [that was very clear from an early age], the thing I was allowed to do and most passionate about. And whatever was going to come my way, [recording] was sort of going to be the engagement in my world. I was pretty shy. Performance was also something that I enjoyed on a certain level, just because it has this like movement forward sort of aspect. But since the three of us have started playing together, [its more enjoyable]; it’s enjoyable to feel that connection.”

Cardiology

Reviewed by: Stephen Krock

You know when you’re watching Pretty Little Liars, and something super sad has just happened to Aria, and then an indie pop song kicks in to perfectly encapsulate the moment? And you’re like, “Oh, I should look that song up later!” But you never do. Well, let me save you some time. Portlandian pianist Sara Jackson-Holman’s Cardiology is a little jewelry box of songs ideally suited for whatever scene is currently playing out in the sitcom of your own life. Particularly if you’ve gone through a recent heartbreak. Hey, “Cardiology!” Clever.

Vocally, Jackson-Holman joins the league of whispery songstresses such as Nora Jones and Corinne Bailey Rae. It doesn’t wow, but it’s very nice to listen to. The strength lies in how she tickles those ivories. Instrumentally, Cardiology can take you from ethereal Enya-esque territory in the opening track, “Cartography” to whimsically woeful a la Nellie McKay in “My Biggest Mistake” and the title track. There are times when the album goes for straight up radio-friendly pop, with moderate success. The most triumphant moments, however, occur when those ingredients merge with the classical, as in “Can’t Take My Love” and “For Albert,” which is aided by Beethoven’s “Für Elise”.

Cardiology has the goods to keep your heart pumping from start to finish. See? You’re not the only master of wordplay, Sara Jackson-Holman!

Rating: Badass

Lady Lamb the Beekeeper, AKA Aly Spaltro, knew that she wanted to dedicate her life to music when she decided to forgo college to pursue songwriting.  This kind of decision is always risky, but with her certainty in wanting to take this route, there was no denying it.  “When it came time to go to school I was so invested in music that I just kept doing it and didn’t end up going.  I’ve been doing it nonstop since then,” Spaltro shares.

When it comes to music, or any creative endeavor for that matter, it takes time to fully hone your craft and bring any one particular work of art to life. Spaltro is starkly aware of that fact.  She was in no rush to bring her dream to fruition.  She started by teaching herself how to play guitar and record songs while she was working at a video store in her hometown of Portland, Maine.  When she got off work at 11pm, she would camp out in the store until all hours of the night playing guitar and singing, and experimenting with bass, keyboards and looping pedals.  After spending five years playing and writing enough songs to comprise seven albums, she finally decided to take her music to a studio and expand her horizons in terms of bringing her vision of her songs to life.

The name Lady Lamb the Beekeeper is certainly a distinctive one that sets Spaltro apart from the rest.  But apparently she chose this unique moniker rather coincidentally.  She explains, “When I was eighteen, I kept a notebook by my bed where I wrote a lot of poetry.  When I woke up one morning that was written in my notebook.”

Spaltro marches to the beat of her own drummer when it comes to the lyrics and structure of her songs.  Her melodies, chord progressions and rhythms are unique to her alone, and that’s how it should be with songwriting.  To get a feel for Spaltro’s music, you just have to listen.  Her melodies start in one place and end up in a completely different one.  Moods and rhythms can start out gentle and serene and blossom into violent animals.  But that’s not to say she hasn’t had some influence from other artists.  A few bands that veer off the beaten path in terms of song structure have inspired her as a songwriter.

“When I started it was The Fiery Furnaces, Of Montreal, Neutral Milk Hotel- bands that write non-formulaic songs that have really long and weird structures.  They helped me believe that I could do that, and it could be accepted.  You don’t have to write a song so formulaically,” insights Spaltro.

Ripely Pine is Spaltro’s first studio album, but she has written several albums prior to recording this one.  The record is a collection of songs that showcase many styles, and that team with visual lyrics and arresting instrumentals.  Spaltro arranged all of the songs on the album and it’s obvious that she’s skilled in this art, as we can feast our ears on beautiful string interludes and horn melodies as well as abrupt changes in rhythm and tempo.

“It’s a lot of songs about heartache and longing, a lot of metaphor,” says Spaltro.  “I was really into spoken word poetry and stream of consciousness in high school so that’s where I got my style from.  I wanted it to be really lush and epic when it wanted to be, and minimal when it wanted to be.  I wanted it to have a wide range of style and instrumentation.”

The record was made at Let ‘Em In studio in Brooklyn with producer Nadim Issa, and this producer/artist pairing could not have been a better one.  “We had a lot of the same ideas, we were very in sync in making sure the album as a whole was full of a lot of feeling, honesty and rawness,” Spaltro says.

As an artist, it takes a lot of drive just to write songs and record them the way you hear them in your head, but it takes even more perseverance to get your songs heard and to gain respect as a musician.  In this day and age in the independent music scene, originality is key.

“With the Internet today, it’s designed to find what’s buzzing- people go through music so quickly.  The attention span has changed, and a lot of bands get too gimmicky.  It’s important to stay grounded and set your own goals.”

This young artist has no misunderstandings about the reality of thriving in today’s music industry.  She is well aware of the determination it takes to write songs, make records, and earn the respect of listeners.  “It’s a lot of hard work, it’s a lot of dedication.  I’ve been working really hard at it for years.  You don’t see the payoff right away, and if you do, that’s not necessarily a good sign.  I find that I set my own pace.”

Catch Lady Lamb the Beekeeper at World Cafe Live in Philly on Sunday May 12th.

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