The Cave Singers
128 Northeast Russell Street
Portland, OR, 97212
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Watch & Listen
The Cave Singers
f every story is a story about love, what of suffering, surrender, and redemption? Life says they're in there too. Along with traffic jams and dishes, jobs and sunsets and spilling all the red wine on the floor. All of it.
Naomi, the fourth record from Northwestern mystics The Cave Singers, is a totem to these things: the every-, any-, all- ways of life. Written over the span of ten months and recorded in one, it bears a new and more expansive production style that captures the live performance energy the band has developed over the past five years. The disc was engineered and produced at Avast Studios in Seattle by Phil Ek (Fleet Foxes, Built To Spill, Shins, Modest Mouse). Each song on the album functions like a chapter in a bigger story, addressing themes of the past, exhuming the memories under moonlight. There are songs of addiction, car ownership, fireworks, tree houses, moving to New Mexico, and God, each shifting in all the ways that make life difficult and miraculous, astounding and beautiful.
Get quiet for awhile / Happy for each single breath
The core trio of singer Pete Quirk, guitarist Derek Fudesco & drummer Marty Lund have added long time friend Morgan Henderson (Blood Brothers, Fleet Foxes) on bass and extra instrumentation to round out The Cave Singers family. Together they have charted new territory for the band both musically and spiritually, while remaining true to their distinctive brand of brushfired folk. After some time in the dark wealth of the unknown, they have returned to the light with a revitalized purpose. Making music as a cure. Music as a home you always have.
I'm done with sorrow / Don't need to follow
But who or what is Naomi? Naomi is the farthest star just within sight. The tiniest shell, that though broken, remains whole. A fictional muse, who sleeps it off on your couch with her shoes still on. A holy waitress of the cosmos. A miracle, a change, a rekindled sinner who paints all his neighbor's homes for free. A breath, a beat of the heart. A love.
Sit here at the window / Watch it all move through rain
Nevermind the constant threat of a cease and desist letter, when Carrie Brownstein tells you that your band name is weak, you change it. But it isn't as simple as a name change for Philadelphia's minimal noise pop duo Reading Rainbow, significant line up additions facilitated the adoption of a new moniker. So...drum roll please...as we reintroduce Philadelphia's Bleeding Rainbow, now a full-blown, Brownstein-approved, rock quartet. The name better represents the band's evolving sound and is all around more badass and trippy as sh*t. The founding members, Sarah Everton, who moved from drums to bass to give her vocals a better chance to shine, and vocalist/guitarist Rob Garcia are now joined by Al Creedon on lead guitar and drummer Greg Frantz.
While 2010's album release Prism Eyes gained significant attention and raised the band's profile among the indie elite, even that set might not be aware of the previous self-released album Mystical Participation. If Prism Eyes is, by their own description, their attempt at writing pop songs, and Mystical Participation emphasizes an aesthetic of loud and drone-y guitars instead of focused song structure, Yeah Right, the band's third album release set for October 9th, 2012 on Kanine Records, is the merging and maturation of all these ideas and sounds.
For Yeah Right, the band has opted for a bi-polar approach to production, pushing the extremes of murky, ominous and sometimes harsh and fuzzed-out guitar onslaughts ("Pink Ruff") as well as a strong repertoire of hushed, ethereal moments ("Cover the Sky") aiming to evoke a nostalgia for 90s slacker culture without sounding bored or contrived. While previous releases reside in the reverb-soaked psychedelic pop realm, Bleeding Rainbow says, "the sound this time around was more directly influenced by bands from our teenage-hood such as Sonic Youth, My Bloody Valentine, Nirvana, Smashing Pumpkins, and Yo La Tengo to name a few." Mixing hints of Greg Sage's anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells reminiscent of Kevin Shields at his most inventive, with an overlaying of boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins.
With the inclusion of two long time friends and supporters of the band, Bleeding Rainbow has not only freed itself from the limitations of a two-piece, but given themselves a chance to delve deeper into the mood of songs and allow for extended instrumental sections ("Drift Away"). A more collaborative songwriting approach has resulted in more complex songs, but that does not mean they are without pretty sounds or pop moments. So while Yeah Right opens up easy and welcoming ("Go Ahead"), the end will leave you feeling as if a wall of noise has permeated through your body ("Get Lost"). Bleeding Rainbow set out to create something beautiful from harsh noise, and Yeah Right succeeds wildly at doing just that.