Sound Stories & Interviews

Noah Gundersen has dropped his own name from that of his band, known now only as “The Courage,” but that doesn't mean the songwriter's creative stamp isn't found on the band's new full-length record, Fearful Bones. Still, the record is a departure for Gundersen and company, who were originally known as a folky acoustic act when they began touring out of Centralia, Washington, making stops in Central Oregon at the Sisters Folk Festival. It's a remarkable departure, and the calling card of a band that's settling into its own sound.

This year Laura Veirs put out what most have considered her most complete album with July Flame and followed it up with several successful tours, making her name even more recognizable in the indie-folk rock world. But that's not why people want to talk to the Portland singer-songwriter. Veirs, you see, had a baby about six-months ago and that has managed to overshadow any musical accomplishments she may have racked up this year.

“Sufjan, follow the path – it leads to an article of eminent death.”
“Sufjan, follow your heart – follow the flame or fall on the floor.”
“Sufjan, the panic inside – the murdering ghosts that you cannot ignore.”

So goes “Vesuvius” and the mantra on The Age of Adz, Stevens most primal, explosive, and all-encompassing record to date. From the opening song, “Futile Devices,” Sufjan's vulnerable voice both echoes from the record's production and the themes he's dealing with: apologies, finding true love, concerns of future failure, distractions, overcoming demands, aging, death and the divine. It's dangerous, sexy and provocative. The bombastic synthesizers rarely let up, pushing beats, dissonance and shrills without ever abandoning Stevens' trademark melody, fluttering keys and orchestral punches.

Matt Hopper is from Wasilla, Alaska, but don't expect the rock and roll singer-songwriter to spend much time talking about that – or, for that matter, say anything about that city's most famous resident.
“To me, you either make good music or you don’t, it doesn’t have anything to do with where you’re from except maybe some of the lyrical content is derived from your surroundings and environment,” says Hopper, who is now based in Boise and has just released his most complete and fully realized record to date, Jersey Finger.

At a table in a coffeehouse somewhere in Madison, Wisc., sits a heavily bearded man who goes by the name Valient Himself. He's deeply engrossed in a fantasy novel by an author, George R.R. Martin, who he believes “blows Tolkien out of the water.” At some point during the half-hour telephone conversation, Valient Himself will talk about the fact that he and the rest of his band mates in Valient Thorr are not Earthlings, but rather hail from Venus. They're just forever marooned on our planet, he tells me.

Pete Bernhard's left index finger still hurts and that's a problem for a guy who makes his living playing lazer-quick guitar riffs. It's starting to heal, but it's been less than a month since The Devil Makes Three front man sliced the end of his finger while sharpening a knife.

Blonde Redhead
Penny Sparkle
4ad Records
It's hard to be critical of Blonde Redhead. The longtime New York trio always has gorgeous vocals, unique instrumentation and an otherworldly sound. Even at their weakest, this is a band that never lacks taste.
That's my long disclaimer for this: I am disappointed by Penny Sparkle. I'm not mad at it. It doesn't make me want to puke. It's just that it seems to lack the depth and range of emotion of 23 and Misery is a Butterfly – and I think Blonde Redhead fans need that diversity. Because when Kazu Makino, the band's singer, is sad, she's suicidal. And when the band picks her up off the ground and speeds things up, she's still no cheerleader.

The Revival Survival Guide
Now in its fifth year, the Bend Roots Revival, the most significant celebration of local and regional music in our area, has gotten even bigger. Previously spread between the Parrilla Grill and the Victorian Café, Bend Roots quickly outgrew that location. With some 100 acts and workshops going down between Friday and Sunday, Bend Roots has now moved to the Century Center (see next page).
Mark Ransom, the local musician who serves as the festival's creative director, says that Bend Roots had outgrown its old spot, but is excited as ever for this year's expanded version of the increasingly community-oriented event. Not only is its venue considerably larger, but Bend Root s continues to stretch the definition of “roots” music, bringing in an even more eclectic lineup with rock bands like The Autonomics (6pm, Saturday, BIGS Stage) and The Dirty Words (6pm, Saturday), but keeping popular local acoustic acts like Moon Mountain Ramblers (8pm, Friday, BIGS stage) and Blackstrap (5:30pm, Sunday, Dave's Garage) high up on the lineup.