222 SW Clay St
Portland, OR, 97201
Doors 7:00PM / Show 8:00PM
This event is all ages
Watch & Listen
To play music for a long time, you have to surprise the people that love you—while also surprising yourself. Recorded in singer/guitarist James Mercer's basement studio, Phil Ek's Seattle digs, and in Oregon City with veteran producer Joe Chiccarelli (Beck, U2), Wincing the Night Away is The Shins' third full-length album. It's also the sound of a band growing up and out. Mercer's infectious, indelible melodic style is still at the core, and unfaltering. But anything can happen around it—and in this case, it does. While the vocals channel the spirit of Morrissey, "Sea Legs" pairs a loping hip-hop beat with lush melody and searing guitars. Elsewhere the band toys with tweaked-out, liquid piano steeped in kaleidoscopic strings ("Red Rabbits"); fractured synth samples ("Spilt Needles"); gauzy, arpeggiated keyboards cloaking thunderous anthems ("Sleeping Lessons"); and, taking cues from early Jesus and Mary Chain albums, sweeping, fuzz-toned epics ("Phantom Limb"). Finally, "Turn on Me," "Girl Sailor" and "Australia" are the lilting, thrilling, rollicking, rock-solid pop songs we've all come to covet from The Shins. Consider yourself surprised.
Within and Without is the debut album by 28 year-old Atlanta-based songwriter and producer Ernest Greene, AKA Washed Out. Long adored and critically lauded in the blog world, Greene first came to prominence in the summer of 2009 after unassumingly posting a handful of bedroom-recorded tracks to his Myspace page from his family home in the seclusion of the tiny rural city of Perry, Georgia. "I'd been writing music on my own for three or four years previous to that," Greene explains, "mostly as a way to experiment with songwriting processes. Those were just the first I ever shared."
Despite such modest intentions however, those first songs (many of which would appear on the acclaimed Life of Leisure EP of later that year) were about as complete an opening statement from an artist as imaginable. A heady, psychedelic concoction of what Pitchfork's Mark Hogan termed "romantic nostalgia and homespun textures," songs such as "Belong" and "Feel It All Around"—Greene's biggest hit to date—artfully match the glossy melody of '80s synth pop, the widescreen scope of early '90s Balearic dance music and the slowed, heavy bounce of southern Hip Hop production to gorgeously wistful vocals with results as undeniably idiosyncratic and original as they are deeply accessible.