Hi-Fi Music Hall Presents
44 E. 7th Ave
Eugene, OR, 97401
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
Portland Oregon junkbox blues duo HILLSTOMP is infamous for digging through the dumps and forgotten backwoods of American music, recycling traditional elements into a refreshing and distinctive brand of do-it-yourself hill country blues stomp. North Mississippi trance blues, a bit of Appalachia, and a dash of punkabilly come clanging and tumbling from assorted buckets, cans and BBQ lids, all drenched in rambunctious slide guitar. "Hillstomp sounds like the best kinds of music from the hills have come down from said hills, into town, and tried to make nice, but instead decided to stomp you with awesome, crunchy blues licks." --OregonLive
"Oregon’s own Cedar Teeth has a sound as lush and layered as the Mount Hood National Forest, which happens to be a stone’s throw from the band’s hometown." - WILLAMETTE WEEK (JUSTIN CARROLL-ALLAN)
Cedar Teeth didn’t plan to start a band around the campfires that lit up their Oregon youths in the forests of the Cascade foothills that form a clear-cut divide between Portland and the surrounding wilderness. The genre bending roots troupe owe their inception to bassist Rayson Gordon, who forged a musical link between friends and provided their secret headquarters: a cedar shed on his grandparents’ 40 acre forestland on Green Mountain Road. In their new practice space, campfire tunes turned into intricate songwriting and friendships became a partnership.
Following their 2014 debut album, Hoot, Cedar Teeth built their reputation on stage, whether at festivals like Summer Meltdown and Wildwood, or at clubs throughout the Pacific NW, where they have joined bands like Fruition, Shook Twins, Motopony, Hot Buttered Rum, and Magic Giant.
On their 2017 EP, Farewell To Green Mountain, Cedar Teeth explore everything from indie rock and grunge to psych folk and bluegrass, reflecting the diversity inspired by their lives on the dividing line of societal opposites. Produced by Larry Crane (Elliot Smith, The Decemberists), the EP leans heavily on backwood harmony, allowing complex song structures and off-kilter melodies to support tales of love and war and the moments in between. In one sense, Farewell to Green Mountain is a goodbye to both their formative practice space and the vanishing wilderness and community they knew growing up; a sense of loss that makes its way into songs such as “Cancer” and “Mama’s Mourning”. But then again, a voice of defiance emerges in songs like “Winter” and “Echoes Grounding”, testaments to renewal and resilience in the face of the dying light.
While their range of sonic interests and influences defy easy classification, it is difficult not to hear Levon Helm, Rick Danko and company, The Band, hollering from the grave. Indeed, imagery reflecting organic flesh and bone, mingling with gnarled old-growth roots music, is what this band is all about. Call ‘em whatever you like: they are harmonizers and collaborators and Cedar Teeth won’t let the fire go out.
Over the past five years, Cedar Teeth has steadily crafted a distinct sound and set out to build relationships with audiences and fellow musicians alike. Starting off 2015 with a series of shows at Sundance Film Festival, Cedar Teeth has performed at venues throughout the Pacific Northwest, as well as festivals such as Cascadia Rainingman and Summer Meltdown. Recently endorsed by PRS Guitars and Allegra Drums, Cedar Teeth will return to the studio in spring 2016, working with producer Larry Crane at Jackpot! Records to capture their rough-hewn version of NW indie roots rock.