Caffè Mela presents
The Cave Singers
17 N. Wenatchee Ave
Wenatchee, WA, 98801
Doors 7:00 PM / Show 8:00 PM
The Cave Singers
Here is the mystery of Seattle's Cave Singers: They never listened to much folk music, they never intended to play folk music, and more importantly, their guitarist never picked up the instrument until recently. Yet, this strange trio is writing and performing some of the most hypnotizing folk music we have today.
One listen to Invitation Songs, however, and you're ready to call bullshit on them. It sounds like an updated version of the Anthology of American Folk Music. Not the graduate-student, learned interpretations of folk music circa 1962, but folk music approached by way of punk rock. It's sparse, melodic, creepy, and alluring, like the widow mourning graveside in Johnny Cash's "Long Black Veil". Guitarist Derek Fudesco's bottom-end acoustic work sounds like Mississippi John Hurt's soft, rolling finger plucks. Singer Pete Quirk's appealingly nasal voice simultaneously echoes Arlo Guthrie and a mosquito's buzz. And drummer Marty Lund plays like he's slapping a newspaper on a kitchen table.
Though Quirk spent time in Seattle post-punk group Hint Hint, Lund in Cobra High, and Fudesco as bassist for Pretty Girls Make Graves and the legendary Murder City Devils, maybe they've been folk artists all along and we just haven't been open to the idea.
The band maintains that they never made a conscious effort to play a certain 'style' of music, and that, besides the odd Dylan record, their favorite bands are still the Replacements, the Pixies, Fleetwood Mac. With that in mind, I do believe it was Big Bill Broonzy who quipped: "All music is folk music."
Invitation Songs is the Cave Singers' debut. It was recorded in Vancouver, British Columbia by Colin Stewart (PGMG, Black Mountain), and its title is appropriate; it is one of the warmest and most welcoming records of 2007. Each track is coated in a dense atmosphere that feels humid but not stifling. The shuffle-stomp rhythms on "Seeds of Night" and "Dancing on our Graves" recall Civil War marches, highlighting Lund's innate abilities. Elsewhere, on "Royal Lawns" harmonicas sigh and echo back like ghosts in abandoned railway cars. The brooding, washboard-driven "Called" is kin to Ugly Casanova's chain-gang musings, and Quirk's mid-song yelps don't sound planned, but rather like the ultimate summoning of his inner turmoil.
"Helen", a classic tale of a long lost lover ("Helen, you're eyes are frozen in my brain"), employs a wavering synth to create a Martian blues vibe. On the rustic rock-flavored "Oh Christine", another strummy song of a love just out of reach, Quirk takes on an almost jazz-poet tone. "I saw you smoking in the bar just the other night/If I saw you right...I saw you drinking in the bar just the other day/And what's that I heard you say?" Nothing fancy, but he sings as if he is conjuring memories so personal he has to force them through his pinched teeth.
You see, the Cave Singers' music demands attention. You'll throw this record on, maybe in the morning while you're getting ready for work. Then, in the middle of the day, one of Quirk's lyrics or Fudesco's riffs will pop into your head, the way a Townes Van Zandt song does. You won't be able to shake it. You'll go home and listen to it again. Pretty soon, Invitation Songs will have worked its way into your subconscious and become the soundtrack to this moment in your life. Invitation Songs will remain a part of you forever.
Chris Pureka is a breath of fresh air in an age of fleeting success and temporary notions. She is an artist of substance, armed with a sharp eye for oft-missed details and an emotional intelligence that can switch from withering to compelling with a subtle inflection. On her third release, How I Learned To See In The Dark set to hit via Sad Rabbit Music /ADA on April 13, Pureka expands on her distinct and beautiful melodies exploring broader musical soundscapes all the while maintaining the stunning vocals and distinct guitar work she is known for.
With her 2004 debut LP, Driving North, Pureka started a career as a touring troubadour and began building an impressive fan base from the ground up: a cult following that started in her native New England and steadily grew to a national level. Fans and critics alike were drawn to the signature voice that somehow makes heartbreak sound desirable and her acute attention to lyrical detail, while others lauded her aptitude for crafting guitar parts that speak for themselves. The Boston Globe raved that "[she] is such a gifted guitar player and singer that you have to listen to each song twice, once for her guitar playing and again for her passionate lyrics about love, loss and hope." With her 2006 follow-up, Dryland, Pureka further expanded on the emotional topography she charted earlier in her career by continuing to tour extensively playing 200+ shows a year and gathering supporters city by city, show by show and fan by fan. This year Chris will take touring to the next level by adding a full backing band to her incredible live show.
While maintaining the unique alchemy of longing, loss and hope this virtuoso sets to music, there is a sonic adventurism on How I Learned to See in the Dark that marks a new stage in Pureka's musical evolution. This is aided by Pureka's choice of co-producer and longtime friend, Merrill Garbus (4Ad's tUnE-YaRds). In addition to enjoying the comfort that comes with working with someone you've known since middle school, Garbus brought to the table her signature quirky recording techniques and alternative instrumentation, helping Pureka shift her sound into as-yet uncharted territory. This record boasts a newfound edginess, coupled with a more abstract sound and a musical depth and complexity that shines through each track, all the while maintaining the space and creative instrumentation Pureka is known for.