64 Results for : portland's
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Portland's Historic Eastern Cemetery
Portland's Historic Eastern Cemetery: ab 16.49 €- Shop: ebook.de
- Price: 16.49 EUR excl. shipping
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Heartlandia
Heartlandia - Heritage Recipes from Portland's The Country Cat: ab 28.49 €- Shop: ebook.de
- Price: 28.49 EUR excl. shipping
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Oh Oregon Songs of Oregon
Oh Oregon Written by Christina Duane © Copyright 2008 Top Moon Productions To Oregon, you called them West ward By river, wagon, mountain trail To those who made the journey homeward To those who died yet never failed For what they found surpassed the stories Of granite peaks and lakes of glass Forming rivers wild and teaming That flow to rich and fertile lands Oh Oregon your native people Chant beneath the ancient falls I join with them, your pilgrim daughter I'm home, I'm home The red earth calls The eagle soars from on the pine His talons reach, the river winds Along the bank, the doe and fawn Graze among the berried vines Oh Oregon, your native people Chant beneath the ancient falls I join with them, your pilgrim daughter I'm home, I'm home The red earth calls Oh Oregon you were there future And still today, you shine as ours From miles of vines, to Portland's skyline God's bounties rich, transcending time Oh Oregon, you hold such promise We chant beneath the ancient falls We sing to you, your sons and daughters We're home, we're home The Red Earth Calls We're home, we're home The red earth calls. Oh Oregon credits: Vocals: Christina Duane Acoustic Guitar: Roman Morykit Bass/Keyboards: Sean McCoy Arranged/Engineered, mixed and mastered by : Sean McCoy P © Top Moon Productions ASCAP All Rights Reserved.- Shop: odax
- Price: 24.62 EUR excl. shipping
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Riddim Killah (The Dark 1/2)
Before ever uttering a word behind the microphone, Panamanian-Born Zulu had become a luminary of the Chicago Dance music scene. In the late 90's while employed as a sound engineer, he would go on to co-produce several House music tracks. The seedy side of the business ensured that although he would receive a substantial (out of court settlement) payoff, he would not get due credit for his work. It was during that time that Zulu honed his lyrical talents as a Dancehall Reggae act. Initially he sang in Spanish as well as English. Patterning himself after the likes of Shabba Ranks, El General, Nando Boom and Buju Banton, he released several independent efforts, which were earnest, but failed to gain traction. Zulu's 2004 'Whitelabel Menace' mixtape release gained him considerable notoriety because of the unique remixes of popular songs. He had developed a pattern of dancehall singing, known as 'Reverse 16th', or 'Digital Screw'. A mashup of his vocals along with AC/DC's 'Back In Black' would bring global attention from DJs seeking dubplates, or 'specials'. The following year he released 'Riddim Killah' selling out of his initial stock. This would be his first internationally distributed album, with the help of noted promoter Sharlene Oshiro, also winning him a 2007 Hawaii Music Award. Since the release of 'Riddim Killah' Zulu has worked with a variety of artists, to include DJ Shakin Melodiz, DJ C, Bionik, Aceyalone, Black Silver, David Last, Kool Keith, and Ghislain Poirier. He is a guest vocalist for Chicago Dub band The Drastics, and features prominently on Indo-Dub prodigy Kush Arora's album 'Brooklyn To SF'. He has also found a home releasing singles for Portland's Community Library Records, as well as Jamaican label Manatee Records.- Shop: odax
- Price: 19.50 EUR excl. shipping
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Lost Weekend
Paper Cameras began as a series of solo material from Michael Carothers after All the Dead Horses broke up. Four self released (and now out of print) e.p.'s with sounds ranging from a redneck Brian Eno fronting a Guided by Husker Du-ish Devo swam in the undercurrent of the Portland's scene sounding off with a fondness for I.R.S. era R.E.M. but raining rivers of over driven tube amps coping a feel on The Kinks or The Troggs. Slowly by very surely co-producer Sean Flora (The Shins, The Black Keys, Yeah Yeah Yeahs) fell into place as a band member. Josh Bretton's reoccurring lick-y guitar was found among a host of PDX's finest musicians also lending their talents in the studio as well as on stage. And then in 2008 things changed. Carothers decided to hand the microphone over to an old friend in Nashville. That person was Jerry Campbell (Millionaire Magicians, Spider Virus, Hands Down Eugene) and from that collaboration began a new phase in Paper Cameras, not out of step with previous work, but far more focused, simple and brooding. Their first album of psychedelic sounds caught between Love and Rockets and The Beach Boys is 'Lost Weekend'. There are two other e.p.'s currently in the works. Michael Carothers is also currently in Radiant Silvergun with Chuck Westmorland (The Kingdom) and played in Spectator Pump as well as hardcore bands with Hank III.- Shop: odax
- Price: 18.59 EUR excl. shipping
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Superhellamegaepic
Many bands claim to be unclassifiable, most are wrong. But Portland's Cark makes unpredictability a core value. "We get complacent when we know what to expect all the time. The whole point of keeping art vital is to try something new, to confuse people," said Josh Gross, who fronts the band and is also a PSU student. The name of Cark's latest album, SUPERHELLAMEGAEPIC, seems an apt description for a band that transitions seamlessly from speed metal to an only half ironic cover of Journey's "Don't Stop Believing." If Cark's aim to keep their audience on their toes than they succeed in more ways than one, for a raucous two-piece that is firmly rooted in metal, Cark is undeniably catchy and most of all, fun. Audiences regularly oscillate between lighthearted moshing and '80s-style dancing. "Music doesn't have to be a joke to be funny," Gross said. "It can be rock music and still be fun." And indeed Cark are hilarious, but somehow they remain earnest and passionate about the onslaught of pop riffs and cowbells that erupts from stage during their live set. Even though Cark is a unique experience, they have retained the rock ethos. Gross said that he is sick of what he calls snoozecore. "When rock started it was about being loud and energetic. It scared people because it was so fun, it was this uncontrollable energy," he said. "We just love to play and we don't give a shit about what anyone thinks about it." Cark's live show is engaging and awe inspiring. On songs like "The Standing Drummer," they manage to simultaneously jab their tongues in their cheeks and kick fucking ass. Drummer Dustin Wasserman, who is a Portland state grad, is one of the city's most energetic and inventive percussionists. And despite Cark's deliberate distance from Portland's thriving indie-pop scene, in many ways the standing drummer ranks among Talkdemonic's Kevin O'Connor and Menomena's Danny Seim as one of Stumptown's most fun drummers to see live. -Leathan Graves-Highsmith Portland Vangaurd, February 23, 2006 --------------- Cark v-(kark): 1. To vex, to confuse, to annoy. 2. To disturb in mind or make uneasy or cause to be worried or alarmed. What is Cark? Well, Cark is not a fish. Nor are they broad-shouldered lasses from the south of France. They might be a ham-fisted, rock'n'roll juggernaut terrorizing the airwaves with their fresh new sound, but then again, they could just as easily be your parent's insurance agent. Are you confused yet? Good. That's what Cark is. United in the belief that the rock world can be a bit stuffy at times, Josh, 'Mad-Sombrero' Gross, and Dustin, 'Drummer of Death' Wasserman, like to keep the audience on their toes. A hyperactive songwriting process, that covers topics as diverse as picnics, and robotically enhanced hoboes taking over the planet, fuels performances that invite the audience out of their seats to join Cark in their merrymaking. No cow is too sacred for the seppuku two. A few chords and two lines later, we all remember that rock music can be fun, and still rock. Both Dustin and Josh were members of stalwart southern Oregon band, The Vam Commanders, but had gone their separate ways for several years before Cark's inception in Portland, in late 2004. Dustin went to study in Japan for two years, and kept busy with his many recording projects, documented on his personal label, Tingle Finger records, while Josh played clubs around Portland with new-wavers, The Sucker M.C. Jive Turkeys. Cark's first year on the town was mostly spent describing how a song should go to one another, and then playing it for the first time ever on stage, since they lacked a consistent practice space. Although this sounds dysfunctional to the max, audiences liked it, and a sound was born. Since Cark didn't own a car, gear was transported to said gigs either on the bus, or by walking, or in the case of a gig at Sabala's, by shopping cart-a technique which earned them the label of most hardcore band in Portland, from the owner of Suburbia practice studios, and a lot of confused looks from other bands who brought their gear in vans because it was 'raining.' Sound people were appreciative since even without a car, Cark always arrived on time, a rarity in the sordid world of rock'n'roll. 2006 brings Cark a cache of new songs, a freshly minted new album, Superhellamegaepic, and a renewed drive to show Portland how to have a good time, even without a bass player. In their own words: We're here to fucking rock, we're here to fucking roll, so make some fucking noise, and get out of control. Fun facts derived from Cark lyrics: • Cark are in fact from another fucking planet! • The members of Cark have never actually been on a picnic, although they have every intention of going! • Josh, a genuine member of Cark, actually fears that hoboes could be robotically enhanced sleeper agents, awaiting commands from orbiting UFOs to rise up and conquer the Earth! • Dustin, another genuine member of Cark, likes to stand up while he plays the drums in order to pay respect to all his dead drum homies! • Cark once played a show after seven months of not practicing. No one noticed a difference!- Shop: odax
- Price: 24.47 EUR excl. shipping
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High Dive
Little Beirut George Bush Sr., while in office, and visiting Portland, Oregon for the first time, was met with massive resistance and protests from the liberal city's citizens. Some went as far as to ingest red, white, and blue food coloring in hopes of regurgitating the colors of the flag on Bush's entourage. This led to the elder Bush nicknaming the city "Little Beirut", a name that earned Portland national attention, and one that has stuck to this day and is recited as a badge of honor by many in the city. Little Beirut is also a Portland, Oregon-based rock quartet that designs beautiful, lush songs on their commercial debut, "High Dive", a collection of well-written, hook-laden, sweet pop nuggets that are just as much about the melody as they are a driving rhythm. Instantly accessible and easily memorable, don't be fooled, because beyond their sugary exterior are vivid, deep lyrical assets to ensure these songs are anything but pop fluff. Tying into the Bush-coined name of the band, Little Beirut tackles the younger Bush's administration, namely Condoleezza Rice, with a love song entitled "Love During Wartime". "'Love During Wartime'," explains vocalist Hamilton Sims, "is a jab at the war and the goings on of the Bush administration. But it's also a jab at the fact that in order for [Rice] to become the most powerful woman in the history of U.S. politics, she had to be completely desexualized to make it okay. Hence why a love song to her seems so absurd." "High Dive" was a long time coming for Little Beirut's two founding members, Hamilton Sims (vocals, guitar) and Edwin Paroissien (guitar, vocals), two friends that have played together for years, most notably in Silkenseed, a pop-rock outfit that had major label attention following their 1998 sophomore album, "Hurry Home" (Rainforest Records) and garnered praise from publications like Billboard, which described their songwriting partnership as "...instant pop hooks and tight guitar/rhythm interplay that mainstream rock has begun to embrace". Silkenseed disbanded in 2000 following a departure a year earlier by Sims, who left to go back east to attend graduate school. Staying in contact throughout Sims' graduate work, Sims eventually returned to Portland in 2004, and Paroissien and Sims started hanging out, writing songs together. These sessions lead to a 2004 studio demo, "Permanent Kiss", which helped the duo morph into a four-piece with the addition of drummer Alex Inman and bassist Jon Trause. Excitement and material grew within the band as they gigged locally and occasionally regionally. Ready to record their proper debut, Little Beirut entered Portland's Type Foundry to record what would become their commercial debut, "High Dive", which will be self-released in February 2008. Assisting them at Type Foundry were engineers Adam Seltzer (Norfolk & Western, M. Ward) and Badman Recording Co. owner Dylan Magierek, as well as local singer-songwriter and Portland music renaissance man Chris Robley, who co-produced "High Dive" with Little Beirut. Having never used an outside producer or multiple engineers, Little Beirut realized they needed to push themselves beyond what they had done in the past if they were to fully realize the album they envisioned. "We wanted to bring in outside opinions to help us with objectiveness and to make the recording more collaborative," explains Paroissien. "We wanted horns, strings, and keys. We were anxious to move beyond the standard two guitars, bass, and drums set-up we'd done before, and felt seeking help on this would allow us to realize exactly what we wanted to do, without over-complicating the recordings or losing the songs in layers upon layers of instrumentation". This opened several new doors for the band in the creative department, invigorating them and encouraging them to test out new ideas, new sounds, and new boundaries. "We experimented with different tempos, keys, and arrangements, until we got the songs either exactly to, or pretty close to where we wanted them," Sims says with enthusiasm. "Once we got a song where we wanted it, we'd bring in Chris Robley, who would often trim the fat, re-work the arrangements to fit in orchestration, and help us really develop everything for the benefit of the song. We were able to get a lot of the lush harmonies and orchestrations through this process." Once the tracking was done, the band brought the record to the hands (and ears) of mixing engineer extraordinaire Jeff Stuart Saltzmann (Stephen Malkmus, Sleater-Kinney, Death Cab For Cutie, Menomena), giving "High Dive" a timeless sound and feel, ensuring it is just as much about the music as it is the mood for the listener. All the time and hard work paid off. With the completion of "High Dive", Little Beirut felt proud that they created a record that spoke not only through the lyrics, but with the music, too, delivering vivid imagery for the listener. "The imagery of 'High Dive' touches on several recurring themes throughout the album," explains Paroissien. "When you're on top of a high dive, you're completely alone, there's an air of anticipation because either way, something major is about to happen, whether you jump or back down, or do something else. Each choice will have a major impact on the outcome of the event you choose." With a release date for "High Dive" set for February 2008, Little Beirut will bring their brand of rock to clubs, doing everything the old fashioned way, winning over one fan at a time with a strong record and a powerful live show to back it up.- Shop: odax
- Price: 25.46 EUR excl. shipping
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Nature vs City
A couple years back the mediocre likes of Flobots scored a minor hit boasting about their no-handlebar bicycle-riding skills. Big freaking deal. Hurtbird can top the 'Bots in both hiphop flow and bicycle swagger ('I Like My Bike' could serve as a local two-wheel anthem and should be the soundtrack to any late-night bike lane adventure). Their brand-new Nature vs. City stomps through hiphop's sacred grounds with a destructive urge to destroy and creatively reassemble the storied franchise. Much like the Anticon folks-or Seattle's Astronautalis-Hurtbird pile their flowing vocals atop a vast selection of warm, live-band instrumentation. It's unlike anything you have ever heard before, and that's a damn good thing. EAC [WEIRDO MUSIC] Hurtbird's early demos and live showings always showed potential: They bucked Portland's twee popular music trend for an hip-hop/indie funk fusion that meshed tribal percussion, spoken-word poetry and dramatic synths. But it's hard to deliver on a high-concept sound without the production values to back it up. That's where Nature Vs. City is such a success. The finds Hurtbird building a sonic nest somewhere between Air's The Virgin Suicides, Cake's Fashion Nugget, Grizzly Bear's Yellow House and the Talking Heads' Remain in Light. It's an unconventional mix, but one works quite well for Hurtbird, which ties everything together for a really enjoyable, atmospheric, post-genre disc. I think Hurtbird just moved itself up a notch in Best New Band voting. CASEY JARMAN.- Shop: odax
- Price: 20.17 EUR excl. shipping
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Illuminated by God
Convexion continues their New Movement with the release of their 2010 full-length album, Illuminated by God. Written mostly in 2004, the LP took more than four years to complete and showcases the two emcees' skills as two of Portland's most lyrical combatants. The album opens up with "How I Cope," a gritty underground rap track which is emphasized by each member's outstanding lyrical verse. The formula transpires throughout the record, with seasoned mellow songs here-and-there to lighten the sometimes dark atmosphere. Classic abstract lines and head-banging beats. This back-to-form style of hip-hop has become the group's trademark when blessing tracks. If you like discovering unknown underground hip-hop artists, or are a fan of 90's hip-hop, then this album is for you.- Shop: odax
- Price: 14.68 EUR excl. shipping
