PDX is one of the pseudonyms for the city of Portland, Oregon in America’s North-West. It comes from the abbreviation used for the train and airport terminals. More evocatives nicknames for the city are Stumptown, a reference to historic links with the logging industry, or Bridgetown , so named because of the sequence of bridges that cross the The Willamette River into the city’s downtown area.
As far as Portland’s musical identity is concerned, the double CD PDX Pop Now! gives a tip of the iceberg hint on what to expect. It’s a budget price compilation released to coincide with the annual free, all ages festival which this year took place between July 24-26th. This event, now in its 5th year, showcases artists from or based in the city and ,in the words of the organisers, its aim is to “advance a sustainable community which values inclusivity and a high caliber of artistry”.
Over three days, 48 acts are each given 30 minute slots to sink or swim on one of two stages, one inside and one outside. I was visiting the city but was only able to drop in for an hour or so to see a promising band ‘Church’ and an intense set by Tara Jane O’Neill. I was especially sorry to miss Liz Harris aka ‘Grouper’ whose dreamy soundscapes I have long admired.
My stop-by was enough, however, to be able to appreciate how smoothly run and civilised a happening this was. Aside from the obvious logistical nightmare of getting acts on and off the small stages quickly, the organisers this year also had to contend with an unprecedented heatwave which hit the city. With daytime temperatures exceeding 100 degrees, the shows, particularly those inside, were hot and sticky affairs.
There’s a track by Tara Jane O’Neill on the compilation but no space for Church, which is a pity as their debut album is excellent. One criticism I would level at the CD in that it doesn’t feature more from those who actually performed at the 2009 festival. Of the 40 tracks only 13 are by artists who played at the event. I understand that the discs are primarilly designed for fund raising, but it’s not as if they have included many well known names in the selections. There’s a track by M.Ward and one by rising Punk rock ‘stars’ The Thermals but I don’t think sales would have been drastically lower if tracks like these had been replaced by complete unknowns.
What the discs and the festival do succeed in showing is the incredible wealth and diversity of talent to be found in the city. I don’t think its possible to identify a unique Portland sound but its clear that there’s a vibrant community of artists and an extremely healthy music scene.
During my stay, I was struck by the fantastic range and quality of independent independent record stores dotted around the city. Some like Everyday Music and Music Millennium (“A place where the music and people still matter”) have a huge selection of new and used discs while it’s noticeable how the smaller stores like Exiled Records are especially eager to preserve vinyl as a living format. Jackpot Records has two medium sized stores downtown and in the south east and they also operate a much sought after recording studio. All this is heartening in that it bucks the worldwide trend for disappearing record stores.
As for the music on these discs is concerned, the aim has obviously been to give listeners a flavour of the city’s broad output so we get a snapshot where the ‘pop’ label is applied very loosely indeed. You’ll find indie, jazz, hip hop, new folk and even contemporary classical pieces. It’s a mixed bag so only the most eclectic listener will like everything – but the standard is so remarkably high that there’s plenty to justify the modest outlay.
My own personal picks err towards the indie-pop selections. The clap along opener by The Mint Chicks, for example, is a great bouncy way to start the collection. This is a band who originate from New Zealand but have upped roots for PDX. I also like the fragile sound of Dirty Mittens who are fronted by the splendidly named Chelsea Morrissey. The sixties era pop of Ravishers is also fun and Chilly Willy’s ‘Grab & Go’ is a synthy instrumental that would make a great theme tune for a Sci-Fi cartoon show.
Fans of New Weird America can check out the set the controls for the heart of the drone of Plankton Wat’s ‘Dawn of the Golden Eternity’ and the aformentioned Grouper who can do no wrong in my book. Here, she contributes a typical etherial six minute piece called ‘Rising Height’.
An honorary Carter Family award for Americana harmonies with quirky instrumental backing goes to Ah Holly Fam’ly’s ‘EIEIO’ and for sheer acoustic loveliness (and best band name) there’s a beautiful song called ‘Sweet Dreams’ by Bird Announced Land.
The in deep independent sound of self proclaimed “mischievous misfits” Sandpeople with their ‘Hate Aside’ is the best hip-hop track and Chervona’s gypsy punk number ‘Reality Show’ is great fun, especially when the backing vocalists direct the singer to “speak English motherfucker”.
Oddities are an atonal experimental instrumental piece by Bryan Johnson called ‘Rat Catcher’s Dance’ and stranger still is Silentist’s ‘Hex’ where repetitive piano loops and primal groans are guaranteed to annoy neighbours of a sensitive disposition. An elegant late night Jazz number by Blue Cranes called ‘Broken Windmills’ will help soothe the nerves after these.
Like I said, diversity is the watchword and eight bucks for two hours of fascinating new sounds is a real bargain.
PDX pop for now people
A copy of this review can also be found on Whisperin’ & Hollerin’
