Eleven PDX Magazine June 2016 by Eleven PDX

5 YEAR ANNIVERSARY ISSUE

ELEVEN PDX MAGAZINE - VOLUME 6, ISSUE 1

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contents

ELEVEN PDX MAGAZINE VOLUME 6

THE USUAL 3 Letter from the Editor 3 Staff Credits

ISSUE NO. 1

FEATURES Mini Feature 13 Diarrhea Planet

Cover Feature 17 NEW MUSIC

Kyle Craft

4 Aural Fix Winter Adia Victoria Jessy Lanza Colours

7 Short List 7 Album Reviews Caveman Fitz and The Tantrums The Kills Peter Bjorn and John

COMMUNITY Literary Arts 25 Portland author Tim Hicks

Visual Arts 27 Portland artist Morgaine Faye

LIVE MUSIC 9 Know Your Venue Club 21

11 Musicalendar An encompassing overview of concerts in PDX for the upcoming month. But that’s not all–the Musicalendar is complete with a venue map to help get you around town.

more online at elevenpdx.com

HELLO PORTLAND! Last month, we shared gratitude for five years (and now, counting!) of ELEVEN PDX. With that out of the way, here's ELEVEN awesome things you'll find in every issue: 11. Main Feature [17-23] It's always rad to get in-depth Q&A with artists that you love. 10. Mini Feature [13-16] If one is good, two is better! (Usually a local artist) 9. Staff List [3] The heroes that make this happen! 8. Aural Fix [4-6] The new hotness. Plus, the section is so cleverly named! ;P 7. Advertisements [Throughout] More heroes! We always try and align with local businesses that we love and believe in. 6. Visual Artist [27-30] We're more than music! Our city has such an incredible art scene. 5. Literary Artist [25-26] Reading: Not just for the three-eyed birds. 4. Musicalendar [11-16] A curated selection of all of the venue jams. 3. Album Reviews [7-8] Somehow people keep making new music! 2. Rotating Section [9-10] Currently it's Know Your Venue, but flexibility is cool! 1. The Cover [1] 'Nuff said! Turn it up to ELEVEN! Âť

- Ryan Dornfeld, Editor in Chief

3 | ELEVEN PORTLAND | www.elevenpdx.com

EXECUTIVE STAFF EDITOR IN CHIEF Ryan Dornfeld ryan@elevenpdx.com CREATIVE DIRECTOR Dustin Mills dustin@elevenpdx.com SECTION EDITORS LOCAL FEATURE: Ethan Martin LITERARY ARTS: Scott McHale VISUAL ARTS: Mercy McNab GRAPHIC DESIGN Dustin Mills Alex Combs CONTRIBUTING WRITERS Brandy Crowe, Billy Dye, Sarah Eaton, Eric Evans, JP Kemmick, Kelly Kovl, Travis Leipzig, Samantha Lopez, Ethan Martin, Scott McHale, Lucia Ondruskova, Gina Pieracci, Ellis Samsara, Tyler Sanford, Stephanie Scelza, Matthew Sweeney, Erin Treat, Charles Trowbridge PHOTOGRAPHERS Eric Evans, Alexa Lepisto, Mercy McNab, Andrew Roles, Todd Walberg, Caitlin M. Webb COVER PHOTO Mercy McNab

ONLINE Mark Dilson, Kim Lawson, Michael Reiersgaard, Chance Solem-Pfeifer GET INVOLVED getinvolved@elevenpdx.com www.elevenpdx.com twitter.com/elevenpdx facebook.com/elevenmagpdx MAILING ADRESS 126 NE Alberta Suite 211 Portland, OR. 97211 GENERAL INQUIRIES info@elevenpdx.com ADVERTISING sales@elevenpdx.com LOGISTICS Billy Dye ELEVEN WEST MEDIA GROUP, LLC Ryan Dornfeld Dustin Mills SPECIAL THANKS Our local business partners who make this project possible. Our friends, families, associates, lovers, creators and haters. And of course, our city!

new music aural fix

AURAL FIX

up and coming music from the national scene

WINTER JUNE 9 | MISSISSIPPI STUDIOS

With a band name like Winter, the last sound that comes to mind is light and airy synth-washed shoegaze. Formed as the brain child of Samira Winter and Nolan Eley, the live version of the LA transplant quartet includes Matt Hogan on guitar, David Yorr on bass, and Garren Orr on drums. Samira commands as front woman and vocalist, and has driven the band through a couple EP’s, one 2015 full length, and most recently their single, “All The Things You Do.” I could describe the dream pop track by detailing every sound wave, but their music video perfectly embodies their sound in movement. To summarize, melodies greet you like a quirky blonde girl (Samira Winter) parting a curtain of beads with an easy smile, while guitars engulf you like that summer kick off dive into a pool. The whimsical vibes sent out from their only LP, Supreme Blue Dream, manifest in polaroid pictures and VCR-quality home videos. The official video for standout single, “Pretender,” shows just that–Winter behind the scenes of their 2015 tour, in the van, eating pizza and singing into mics wound with Christmas lights. A picture’s worth a thousand words, but what’s a video worth?

ADIA VICTORIA

Sonically, perhaps Winter’s most unique quality is that Samira blends her Brazilian heritage into Supreme Blue Dream. Songs like “Strange Emotions,” “Like I Do” and “Don’t Stay Away” all feature lyrics sung in Portuguese, seamlessly weaving bilingual dreams. Their lyrical themes prove just as ethereal as their dream pop sound. Winter’s songs detail worlds spinning, zoning out, sleeping in clouds and bound expectations. That said, Winter contrasts their title with more than a few songs about waiting for summer, driving down to the California sun, and bumming on Santa Monica beaches. They are true Southern California shoegaze, and bearers of dream pop bliss. » - Gina Pieracci

with manners and solid morals, but defectors indicated a recognition of the inherent problems with Southern culture. JUNE 10 | BUNK BAR

As an eavesdropper I decided not to interject my opinion, although as chance would have it, Victoria happened to be singing her own story into the left side of my head through my one working earbud. Raised in the Blue Ridge Mountains in South Carolina as a Seventh Day Adventist, Victoria’s formative years were filled with hymnals and surrounded by a nature that she found fearsome. These themes reverberate through to her debut album, Beyond the Bloodhound. Victoria dropped out of high school and planned on leaving the South but got sucked into first Atlanta, then Nashville, where she truly tested her wings. Seemingly fearless, she doesn’t mince her words in this bold debut. On "Stuck in the South" she croons, "I don’t know nothin' 'bout southern belles but I can tell you something 'bout southern hell.” With the indie rock ingenuity of Kim Deal and the raw audaciousness of CocoRosie, Adia Victoria takes the listener on a trip through a landscape as multifarious as the U.S. itself. With a beautiful voice and unapologetic lyrics,

I recently overheard a couple on the MAX debating the

Victoria doesn’t pull her punches. From the very first acapella

merits of regional character traits. The fabled passivity of

track, "Lonely Avenue," to the last lovely track, "Mexico Blues,"

Portlanders was readily agreed upon, but while the woman was

Victoria is uncompromising and self-assured.

touting the superiority of Northeast natives, the gentleman

If you’re looking for familiarity and formula, you’re in the

was insistent that Southern people were the salt of the Earth.

wrong place. Adia Victoria breaks the mold with Beyond the

He argued that people from the South are generally raised

Bloodhounds. » - Stephanie Scelza

www.elevenpdx.com | ELEVEN PORTLAND | 4

new music aural fix

Photo by Alex Welsh

JESSY LANZA JUNE 23 | DOUG FIR

Producer, singer, songwriter; there’s not a whole lot that Jessy Lanza cannot do. Throughout her still-young career, she has demonstrated her abilities on all fronts by creating music that flexes and bends genres on a whim. Her focus is production, with heavy electronic dance roots garnished by powerful, yet ethereal, vocals reminiscent of FKA Twigs or Grimes. Her love of R&B music comes through strong in both her production and voice.

5 | ELEVEN PORTLAND | www.elevenpdx.com

Lanza’s 2013 debut, Pull My Hair Back, was released to near universal critical acclaim, and the world warmed up to her flavor of synthpop. It was no fluke; Lanza was on her way to a master's degree in musicology at McGill University in Montreal before leaving the program to pursue her own artistic endeavors. Pull My Hair Back was the culmination of a musical partnership between Lanza and friend Jeremy Greenspan of the group Junior Boys. The two grew up in Hamilton, Ontario and share a love of R&B music. Lanza attributes Greenspan's background in pop music as an influence in sound and style on Pull My Hair Back. The two came together again for Lanza’s 2016 release, Oh No. While both are considered co-producers of the record, Lanza explained in an interview with BRBR that the creative process between her and Greenspan is primarily each of them, separate, producing tracks and then coming together for tweaks and finishing touches. Lanza doesn’t like to call herself a singer, and ranks production as her chief skill. I disagree, I think the strength of the records come from the collision of these two worlds; gaudy, sometimes poppy production with unmistakeable, dreamy vocals. It’s impressive to me that a career as brief as Lanza’s has resulted in two universally lauded albums and a currently ongoing world tour that lands her in Portland’s own Doug Fir Lounge on June 23. With her remarkable talent and quickly expanding fan base, the future is going to belong to Lanza, and we’ll just occupy some space in it. » - Tyler Sanford

new music aural fix

Photo by Dustin Smith

COLOURS JUNE 25 | WONDER BALLROOM

It’s hard to imagine a band straying further from its roots than Colours. What started as a five-piece Christian screamo band has turned into a two-piece electronic boy band. Kyle Tamo and Morgan Alley both come from metalcore band Burden of a Day. In 2010, the whole band switched gears and began working on what turned out to be Colours’ EP Skin and Bones, released in 2013. Since then, only Tamo and Alley have stuck together, and traded Burden of a Day’s ear-piercing battle screams for ivory-smooth vocals. The result? Electronic music with dark undercurrents and a vocal control that can only be gained from playing in a band that requires full-throttle screaming. The Florida-based duo has such pretty vocals you might conclude that they’re here to bring the boy band back–and they’ve already started with the release of their debut album Ivory in February. Don’t worry; the vocals/ drum duo isn’t like One Direction or even more socially acceptable Hanson, but a stripped-down version that trades in lovesick rhymes for sludgey, driving electronic beats. They combine the falsettofriendly, anti-vibrato vocals of Zayn Malik or Justin

Bieber, but with the dark electronic pulses of The Weeknd. They’ve been compared to Purity Ring and Crosses, and while these comparisons point astutely to their driving, electronic, dark aspects, to discount their vocals is to sell them short. This becomes especially true when you compare them to the days when they screamed lyrics like, “With vengeance we could light the flame.” » - Sophia June

QUICK TRACKS A “ALONE” What begins as an ambient, tonal prayer laden with falsetto wishes for a time lost explodes into a battle cry with the rhythm of a pipe organ in church.

B “MONSTER” Something about the track treads the valley of the uncanny, feeling unsettled, but sexually driven, like a Berlin club in the dead of winter. The lyrics may be unoriginal, but as they suggest that the monster in the song gets stronger, so does the song itself, gradually opening up to reveal a driving groove.

www.elevenpdx.com | ELEVEN PORTLAND | 6

new music album reviews

ALBUM REVIEWS THIS MONTH’S BEST R REISSUE

L LOCAL RELEASE

Short List Tegan and Sara Love You To Death Garbage Strange Little Birds Nite Jewel Liquid Cool DJ Shadow The Mountain Will Fall Neil Young Earth Band of Horses Why Are You OK?

Caveman Otero War Cinematic Music Group It’s my understanding that on this endeavor to listen to and actually hear the bands that we come across, what we seek is relevance–something that has a substantial link to anything close to what we can understand as quality. After giving quite a few thorough runs through the album Otero War by Brooklyn's Caveman, I at first

Swans The Glowing Man Deerhoof The Magic Hot Hot Heat Hot Hot Heat The Avett Brothers True Sadness Bed. Klickitat

Small Million Before The Fall EP

Red Hot Chili Peppers The Getaway Buy it

Stream it

Toss it

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Fitz and The Tantrums Fitz and The Tantrums Elektra Records Think back to your early twenties. Think back to those tumultuous first few years, where your body could endure a lot more than it can now and think back to that one toxic relationship you had—the one that for the life of you, you could not just walk away from. Overdone millennial experiences that really aren’t that groundbreaking: these are basically the themes LA indie-pop rock and soul band, Fitz and The Tantrums explore in their third and self-titled album. The band first came onto the scene back in 2011 with their breakout

reluctantly recognized that link to quality that we always hope to hear from up and coming bands. The album begins and ends with songs that strike a chord that can only be explained as personal and honest. “Never Going Back Again” kicks off this album at a poppy pace but invokes feelings of sincerity, while at the end of the album their delirious track “I Need You In My Life” seems to haunt and relate to a part of me that cannot be denied. The album is riddled with tracks that have an undoubted source in the '80s–greats such as The Cure, and The Smiths–and evolve into the glam indie rock sounds of The Killers, The Strokes and local favorites The Helio Sequence. It must be noted however that this band has achieved a sound all their own. In the end, although this new offering is hit and miss at times, the band is honest, has an undeniable link to quality and is definitely worth some listening. » - Ellis Samsara hit “MoneyGrabber” off their debut album, Pickin’ Up The Pieces. In their career they have enabled a throwback, soulful approach in their sound, which is build up upon with sax, keyboards, synthesizers, and jaunty and lighthearted vocals. “Handclap,” the first single and first track off this latest album, sticks to this style in a more mature way, giving the band’s R&B rhythms and soulful singing a more polished and sparkly pop feel this time around. The next three songs that follow: “Complicated,” “Burn it Down” and “Roll Up” all in their own way attempt to make light of the themes I mentioned above. And they do so in a hip-hop, electro, almost spastic way, distracting from the lyrics–which is good because if you’d actually pay attention to them, you’d realize how silly they are. This album is OK and it’s sure to have a couple standout radio hits, but ultimately it’s nothing to write home about. This is a collection of songs you absentmindedly bop your head to in the car and dance to in a sketchy nightclub. They are songs powered by jittery beats and rhythms and shouty choruses. And like I said, it’s a good thing no one pays attention to lyrics anyways. » - Samantha Lopez

new music album reviews

The Kills Ash & Ice Domino Records Roughly five long years have passed without this fiery half-English, halfAmerican duo. Sure, Alison Mosshart has been busy crooning with The Dead Weather, but what really set the pair back was a gnarly injury Jamie Hince suffered after his hand was slammed in a car door, requiring nearly half a dozen surgeries. After a painstakingly slow recovery and having to relearn the guitar, the wait is finally over and the follow-up to 2011’s Blood Pressures is

Peter Bjorn and John Breakin' Point Ingrid After a fairly prolific nine-year run, during which they released six albums, including the transitional and commercial success Writer’s Block, Peter Bjorn and John took stepped away in 2011. Nearly five years later, the trio returns with Breakin’ Point, a continuation of the group's move into sonically expansive territory. Catchy as ever, and with a seemingly renewed focus on vocal melody, Breakin’ Point surprises, delights and never disappoints.

here. Splitting time between Electric Lady Studios in New York and a rented house in Los Angeles, The Kills change gears for their fifth studio album, Ash & Ice, with a slightly updated, emotionally raw and edgier sound. “Doing It To Death,” the first track, kicks off the highly anticipated album and is chosen as such with good reason. The thunderous, pummeling bass, and the bright, sharp guitars achieve repeat-worthy status and it’s no wonder it also doubles as the lead single. It’s a catchy tune you hear on the radio and hours later, out of nowhere, you’re singing it while getting all sudsy in the shower. It’s your pump up song—your jam. Before the song is even over, you will want to start it again, but have patience—the second track (and single), “Heart of a Dog,” is equally notable with Mosshart’s vocals howling lyrics like “I get lost but I always come around. I’m loyal, I got the heart of a dog.” After four hard-hitting tracks, the bluesy punk duo slow down the beat on “Days of Why and How.” At this point, the themes of an emotionally charged push-pull relationship are unwaveringly apparent. Mosshart

croons, “When I hear your name it’s like a freight train shake-shake-shakeshake-shaking me off my tracks.” The song closes with exceptional guitar work and drums that imitate the fading sounds of a freight train in the distance. “That Love,” with a simple piano and acoustic guitar, has one of my favorite lyrics from the album: “If you get a minute, you can find a whole day.” Then, just as your pulse is slowing, “Impossible Tracks” comes barreling in with dark and heavy contrast, proving that Mosshart has a firm grip on the wheel and you should probably get the hell out of her way. Pulling you right back in with effortless ease, “Echo Home” showcases the duo in harmony with soft breathy vocals, slow-building galloping beats and a beautifully bending guitar. The album’s strong start is only matched by its equally strong finish. Emotionally charged, it draws you in close and then shoves you away, nearly knocking you off your feet. Ash & Ice might just be The Kills' best album, but don’t take my word for it. Give it a listen and hear for yourself. » - Wendy Worzalla

Although the trio found commercial success with Writer’s Block, their musical interests range broadly as evidenced by the myriad projects each musician has been involved with throughout the years. From solo albums, to extensive producing credits and other side gigs, the outside influences that each brings to the trio have helped shape and define the group's sound over the years. The four-year span between albums this time around appears to have paid dividends. Breakin’ Point delivers tight song structures and a strong variation of sounds, rhythms and instrumental breaks. The irrepressible and ingestible songs are still present here. The title track follows the high-return formula of a compelling beat, an instantly memorable chorus, and general headnodding, body-moving élan. You’ll no doubt hear the title track getting solid spins on the radio and top lists. Don’t, however, let that fool you into forgetting about the rest. We know that Peter Bjorn and John know how to write a hit song, Breakin’ Point once again proves that they are equally adept at writing a generally top-notch album.

Tracks like “A Long Goodbye” and “Hard Sleep” are examples of seamless fusion between the maddeningly excellent vocal lines and the burgeoning attention to instrumental variance present on the album. The depth of song structure here only grows more apparent as the album progresses. Bringing the trio’s taste and attention to detail to the forefront provides several examples of this maturation process. “Do Si Do” stands out as an example of the group's ability to press together acoustic instrumentals with irresistible, back-beat riding percussion. The challenge with Breakin’ Point –and with most Peter Bjorn and John projects–is that they will be judged against the “hits” from years past. However, the comparisons here should not only be welcomed, but embraced. Breakin’ Point is an excellent album, top to bottom, complete with hits and nuance. Although we’ve had to wait a minute for a new project from the group, it appears our patience has paid off in spades. » - Charles Trowbridge

www.elevenpdx.com | ELEVEN PORTLAND | 8

live music Photo by Andrew Roles

Double Barrel Tavern, Marcus Archambeault and Warren Boothby, who are also in the process of taking over The Sandy Hut, another popular dive down the street. When I asked about his vision for the local bar scene, co-owner Marcus Archambeault says "People in this town love the old bars and charm of Portland past. We are trying to preserve that with our places." Back in 2014, The Mercury reported concerns from Portland Preservation Society about Club 21 (and the area in general) facing the feared redevelopment wrecking ball. Today, the venue's show booker and Portland musician Joey Prude (The Cry

KNOW YOUR VENUE Club 21

and Slutty Hearts) echoed the reassurances of the owners in that Mercury story. "We have a long lease and aren't going anywhere," Prude says. The bar has been revamped, but maintains its original charm. Inside are vaulted ceilings with exposed dark wood beams, antlers, and Gothic light fixtures above a cozy bar. There is vintage paraphernalia and pinball, and the menu: Club 21 is a must try for bar food and stiff-drink specials. Their “Build Your Own Burger” menu averages less than 10

t’s hard to miss Club 21’s storybook cottage

bucks and is full of delicious options–pick your bread, your

façade and arched doorways, with a neon sign

meat (free range organic beef), sauces galore, and toppings

advertising “Cocktails” glowing underneath a red

(I'd recommend the pickled habanero). Sometimes they grill

gnome hat tower. It looks like a magical

bar that belongs on the edge of an enchanted forest, but it lives on a large lot in the Kerns neighborhood where NE Sandy Blvd. meets NE Glisan St. at 21st Avenue. The building began as a 1930s Russian Orthodox church, but later patrons could order from the altar-turnedbar as it became the East side addition of Jake’s Famous Crawfish and later a club called Shadows. In 1958, in relation to its location, it gained a new owner and moniker as Club 21. These days, Club 21 is under the same ownership as Gold Dust Meridian and

9 | ELEVEN PORTLAND | www.elevenpdx.com

Local band Slutty Hearts playing Club 21. Photo by Ron Pierce

live music

Photo by Andrew Roles

them made to order on the patio, which is quaint but still roomy enough to be a great dog-friendly spot. It's a neighborhood favorite with many loyal customers wo have frequented the bar for decades. At one time talented and troubled musician Elliott Smith was a regular. What a lot of people remember about Club 21 has to do with its relation to former raucous spot EJ’s, which back in the '90s, was one of the main punk/rock clubs in town besides Satyricon. But EJ’s didn't have a liquor license, so in between bands everyone would run across the street to Club 21 to get their shots and maybe play a game of Frogger. “That's why it's cool that we still put on shows,” says Prude. The space is tiny, with capacity at only around 50, but three to four times a month they make it happen, moving tables and poker machines to make a small stage for bands like Wampire, Autonomics and Bubble Cats. Every show is free. “It’s like a house party vibe,” he says “We basically just use a PA, and the crowd is right up against the band. The shows that I put on are 90 percent punk rock, so it’s cool to have a small venue where the room gets packed.” » - Brandy Crowe

Photo by Andrew Roles

www.elevenpdx.com | ELEVEN PORTLAND | 10

live music JUNE CRYSTAL BALLROOM

1 4 6 7 11 17 18

1332 W BURNSIDE

Cam'ron | Underachievers | G Herbo | Smoke DZA The Polish Ambassador At The Drive-In Silversun Pickups | Joywave Caravan Palace Amanda Cook Galabration w/DJ Drew G & Orographic

ROSELAND THEATER

SKIDMORE ST.

8 NW 6TH

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TA VE

NORTH WEST BROADWAY ST.

PEARL OLD TOWN 2

BURNSIDE ST.

405

26 18

GRAND AVE.

Want to have your show listed? E-mail listings@elevenpdx.com

RUSSELL ST.

DOW NTO WN

3939 N MISSISSIPPI

MLK BLVD.

1 2 3 4 5 6 7 8 9 10 12 13 14 15 17 18 19 20 21 22 23 24 25 26 27 29 30

MISSISSIPPI STUDIOS

23RD AVE.

MLK BLVD.

6 7 8 9 10 11 13 15 16 17 18 19 20 22 23 24 25 28 29 30

WILLIAMS AVE.

830 E BURNSIDE

1-5 Bridgetown Comedy Festival

VANCOUVER AVE.

DOUG FIR

MISSISSIPPI AVE.

INTERSTATE AVE.

2 The Kills | LA Witch 10 Blue October | Danny Malone 17 The Growlers

live music JUNE WONDER BALLROOM 128 NE RUSSELL

ALBERTA ST.

ALBERTA ARTS

15TH AVE.

11TH AVE.

PRESCOTT ST.

HOLOCENE

1001 SE MORRISON

FREMONT ST. 24TH AVE.

HOLLYWOOD

KNOTT ST.

33RD AVE.

28TH AVE.

D. BLV Y D AN

BROADWAY ST.

RONTOMS

600 E BURNSIDE

EASTBURN

LAURELHURST

21 29

GLISAN ST.

BURNSIDE ST. 8

3 11 6

STARK ST.

MORRISON ST.

BELMONT ST.

11TH AVE.

8TH AVE.

HAWTHORNE BLVD.

HAWTHORNE 17

DIVISION ST.

L BLVD.

CHAVEZ BLVD.

CLINTON ST.

POWEL

CESAR

LADD’S ADDITION

1800 E BURNSIDE

KELLY’S OLYMPIAN 426 SW WASHINGTON

BUNK BAR

1300 SE STARK

2 4 6 9 11 12 14 16 17 18 19 21 22 23 25 26 28 29 30

Adia Victoria You Won't | Bombadil | Jocelyn Mackenzie

REVOLUTION HALL

5 12 19 26

8 9

1028 SE WATER

1 2 3 4 7 9 11 13 14 15 16 17 18 19 22 28

2 5 10 11 14 15 16 24 25 28

10 25

Bridgetown Comedy Festival 2-4 Chris D'Elia 10-11 The Bacon Brothers | Cindy Alexander 15

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features JUNE REVOLUTION HALL (CONT.) 16 18 21 24 25

Gregory Porter | Kandace Springs Kimberly Monique Beth Orton | Emmy The Great Toots & The Maytals Rogue Wave | Hibou

THE KNOW 12 2026 NE ALBERTA 1 2 3 4 6 7 9 10 11 12 13 14 16 17 18 19 20 21 23 24 25 28

Photo by Wrenne Evans

MINI FEATURE Diarrhea Planet

ALBERTA STREET PUB 13 1036 NE ALBERTA 1 2 3 9 10 15 16 17 18 24 25 27

14 116 NE RUSSELL

THE SECRET SOCIETY

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WHITE EAGLE 15 836 N RUSSELL 2 3 4 7

13 | ELEVEN PORTLAND | www.elevenpdx.com

ince the members of

be drowned out in the noise. Their most

Diarrhea Planet met

recent album, Turn to Gold, however,

in 2009 at Belmont

marks a distinctive change in tone. As

University–a school

we all must someday, Diarrhea Planet

that's music department

has grown up. There is a certain care put

would balk at the idea

into the production, making each part

of producing such a rowdy, boisterous

clear, and strong enough to stand alone

group–all they’ve ever wanted to be was

without competing. Everything about

the opposite of what Belmont University

Turn to Gold is subtler and more refined.

represents: loud, offensive, carefree.

This release feels like the consequence

From the beginning, Diarrhea Planet

of supremely talented musicians who

have personified the classic rebellion of

are ready to admit it.

the angst-filled teen in any story ever

With some downtime in the middle

written. But recently, things seem to be

of their current tour, Diarrhea Planet

changing.

guitarist Evan Bird took a minute out

Up until now there was a certain

to chat with ELEVEN about Portland,

feeling you could only ever get from

touring and what it was like making

Diarrhea Planet’s live shows, a visceral

Turn to Gold.

response to seeing four guitars played in tandem on one tiny stage, that years

ELEVEN: Do you have any specific

of lo-fi production couldn’t compare

highlights from your most recent West

to. Even though the fuzzy quality of

Coast leg of tour?

their previous recordings feels so representative of their persona, it’s a shame to let interesting musicianship

Evan Bird: At the risk of playing to my audience, the show at Doug Fir was

actually really cool. We played a show

the first time and trying to gauge the

at Doug Fir and a show at The Crocodile

reaction, but outside of that... now that

back-to-back and they were both Red

all the songs are released I think it’s

Bull Sound Select Shows, so Red Bull

going to be business as usual.

rolled out all the bells and whistles and it was a lot of fun. We played a Sound Select show in Nashville a couple years ago and it kind

11: What song off the new album is the most fun for you personally to play live?

of spoiled us, so when we heard they wanted to do it again at Doug Fir and

EB: I really dig playing “Life Pass,”

The Crocodile we were really excited

because it starts with that kind of

because we’d played in both of those

butt-rock intro where it’s like, “Oh boy,

venues before and loved it, but obviously

what are we getting into.” You can kind

getting the boost from Red Bull is a huge

of tell when you look into the audience,

help.

everyone is kind of like, “Oh. Okay.” but then the song picks up. And the solos

11: For sure. Those shows are always really fun.

at the end, Emmett [Miller] and I both play little solos and trade off, and I’m particularly proud of that because both

EB: Yeah, it was a lot of fun; there

of us felt really proud of what we did but

were a lot of familiar faces. The crowd

hadn’t really consulted with each other

all really seemed like they were there on

before we were actually punching into

purpose rather than, “Oh it’s a $3 ticket.”

overdubs the day of.

But people were singing along and the lineups on both shows were a lot of fun. I grew up in Tacoma, so anytime we

TURN TURN TURN 8 NE KILLINGSWORTH

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3 4 8 10 11 13 17 18 20 23 25 29

I mean, I knew how he ended his solo so I tried to make mine in a way that segued with that. But, for not having

are near Seattle or Portland it’s really

practiced with each other, and not

special for me, one of my aunts growing

having practiced the solos at all on our

up had a house right off of Alberta.

own, I think that turned out really well. It’s really fun to play live and kind of

11: Oh. Cool!

shout to each other and start dancing around like an idiot.

EB: Yeah, it’s like another home away from home for me. Portland and Seattle are home base for me.

11: For sure! My only experience is with Portland audiences, but Portland is always really into that.

11: Because this last tour was in support of the new album, Turn to

EB: Yeah! Portland is always really

Gold, but it hadn’t been released yet,

energetic. And we’ve been really

did it feel weird to play songs that the

privileged as far as where we’ve played

audience hadn’t heard yet? Did you

and crowds being really receptive and

notice a different vibe from the crowd?

wanting to be a part of it. Our goal is to make everyone feel like we’re in it

EB: A little. But I don’t think it’s bad.

together. For me, I like people to go

Generally people were really excited.

home and think, “the band couldn’t

They weren’t singing along but they

have done that without me.” Not that

were paying attention. And, luckily, one

we’re co-dependent, but just to have

thing we have going for us is that we can

the vibe be “you push us a little, and we

ramp everyone up and keep the energy

push back and everyone is having fun

going for the whole set. So typically,

together.”

even if someone doesn’t know any of our songs and is seeing us for the first time, it’s easy enough to find the downbeat. It’s a little weird playing songs for

11: The new album is a lot more produced than your past releases, and I know you’ve said previously that you’d

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features Photo by Wrenne Evans

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live show. I think we’re competent as a

but what was the inspiration behind

studio band, but our focus has been on

making something less lo-fi than in the

the live show for so long this was a nice

past?

opportunity to get more comfortable in the studio and flex that muscle.

EB: First and foremost, every

Ultimately we were feeling like we

producer we’ve had we’ve sought

should try a little harder for the sake of

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everyone complaining and push a little

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specifically. They have a fingerprint

harder for the sake of us not knowing.

they leave on all of their recordings,

And working with Vance and his

and Vance Powell was highly respected,

engineer was a slam-dunk. He could just

and he definitely has a sound. He’s

read our minds, every sound we were

done stuff with The Walkmen and Titus

trying to get they could find. I don’t

Andronicus and you can hear him on it

know if I can speak for the other guys,

which we all really dig, and that’s what

but at least for me, this was the most

we wanted.

pumped about the way an album sounds

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like to make a more mature album,

15 | ELEVEN PORTLAND | www.elevenpdx.com

But retrospectively, when a lot of

sonically I’ve ever been.

people think of us they think of our live show and a consistent comment we

11: Everyone on this album is so

get from our fans, and ourselves, and

clear and it’s easy to hear every part,

our parents is “This is great and I love

where past releases some of the parts

hearing these songs, but listening to

are hard to discern, this album does

this, this is an opportunity for me to

such a great job making every part

learn the songs for when I see you live

stand out.

because they can’t compare.” And that’s fine. Most of the CDs and bands I listen

EB: Thank you! That was definitely

to, between the record and the live show

the goal. It is a nightmare trying to mix

there’s a disparity, but we got to a point

us in any context and we are cognizant

where we’d heard that so many times

of that. Our first full-length, our really

that we were like, “Ok, fine. Let’s listen

good friend, Ryan Ellis offered to record

to everyone’s gripe, let’s really try and

it and mix it for free because we didn’t

close the gap.”

have any money and he pushed really

And the other half was like, “If we’re going to try and close the gap let’s really see what we can do as a band.” I think, even for us, our strength lies in our

hard when we were starting the band to help us out wherever he could. I don’t know what he was thinking agreeing to that. And given that he was

doing it in his room in his spare time

mid-range. You can only get so much out

over the course of four or five months,

of that kind of mix. But with Vance, he

tracking everything individually and

started his career doing live sound and

none of us expecting anything to come

has cut his teeth on the road dealing

of it, he really did a hell of a job.

with a bunch of ridiculous assholes like

And for the second album Kevin

us. It was the first time where we set

McMahon did the same thing. There are

all our stuff up and someone was like,

a couple songs on there where there are

“Ok, let’s get started.” instead of “Let me

some overdubbed parts, like “Emmett’s

figure out how I’m going to do this.” He

Vision,” where the original version

was just like, “I already know what I’m

had 12 different guitar solos from

going to do. You do what you do best and

different people that mixed in and out

I’m going to do what I do best.” »

of each other. Just some unreasonable

- Sarah Eaton

roll with the punches and appease us the best he could. And in both cases, neither of them ever said anything or complained, but you can only do so much with that much

DIARRHEA PLANET PLAYS LIVE IN PORTLAND AUGUST 28 AT THE PROJECT PABST MUSIC FESTIVAL

‘80s with its straight-up harmonized guitar rock, taking on a timbre that feels familiar and refreshing simultaneously. “Announcement” drives hard, bringing a dose of postpunk rawness that proves to be a thread woven throughout the album. Although there’s a certain sense of controlled chaos across the tracks, Diarrhea Planet demonstrates that it can indeed be deft when the

Diarrhea Planet Turn To Gold Infinity Cat/Dine Alone

situation calls. “Dune” serves up satisfying balladry, allowing the bass and guitar to stretch their respective legs a bit, dialing back the drums just a bit. It’s a nice

Diarrhea Planet’s virtuosic

change of pace, demonstrating

guitar work and pounding

an awareness that, for as hard as

percussion places them firmly in

they rock, it’s as equally satisfying

a sphere of down and dirty rock 'n'

to bring the instrumentals to

roll. The sextet has a sound that

the forefront in a solely melodic

falls roughly between alternative

fashion.

and indie, blending some of the

As studio albums go, Turn

more interesting elements of

To Gold is confident, polished

each–aggressive instrumentals,

and mature. The genre blending

compelling vocal lines, and crafted

provides an excellent balance of

song structure among them.

point/counterpoint between brash

Turn To Gold comes at a time

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and nuanced. Turn To Gold is best

when rock with a roughed up edge

served loud, banging speakers off

is beginning to come back into

the wall and with a roiling side of

vogue. The opening track, “Hard

aggression. Diarrhea Planet has the

Style 2,” probably belongs in the

touch. » - Charles Trowbridge

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www.elevenpdx.com | ELEVEN PORTLAND | 16

rom the opening lines of “Eye of a Hurricane” to the closing goodbye of “Three Candles,” Kyle Craft confronts the problem of what magic word will bring 'round the girl of his dreams. He’s found no solution. It would seem his Muse is a jealous lady, and lonely nights the price for inspiration. But his fidelity hasn’t gone unnoticed, and after enduring a famine of the heart, his Lady cast him two divine trifles: a much needed nail in the coffin of his former life, and his new album, Dolls of Highland, out this year on Sub Pop Records. At the time of this rebirth, he had been working and reworking these songs in a Portland basement; a handful of demos had surfaced, but he would need to revisit his old haunts in Louisiana once more for the final cuts. Now he’s turned on his dusty, booted heel and set off high-shouldered into the blue Northwest, his past pawned and the cash in hand.

17 | ELEVEN PORTLAND | www.elevenpdx.com

Photo by Mercy McNab

On the album, a breathless caper of jangling guitars and shiny keys, Craft leaps in the sun and courts beneath the moonlight, swinging hard with his heart and voice. Fat-free, the songs burn inward to the bone where they smolder and stick. His orchestration, though consistently rock 'n' roll throughout the record, shifts emotionally with the lyrics, clarifying and strengthening them. When the stripper “Berlin” swings herself around the pole slow, the drums throb, and the piano’s all sleaze; the mental demons of “Pentecost” swoop in amid the shriek of a pained guitar line; the begging, trembling voice at that song’s end is mirrored in the lyrics “We could go downtown/take the one in the chamber out.” The result is a union of sound and image that reminds us why the human voice, with its unique ability to sing and tell, is the most enduring instrument. Lyrically, Dolls of Highland is at once love letter, bitter grudge and apology to the women longed for and lost, the boys who took his place, and everyone caught up in his undertow of rejection and rebirth. But it is no self-absorbed pity

party. With the slanted eye of a poet and a storyteller’s turn of phrase, Craft transforms the traces of these people into a surprising, wild portrait of humanity with all its restless and contradictory obsessions. Images flash and turn like tarot cards: promdressed strippers, six-headed hounds, day-lit ghosts, furious girls chasing away the Grim Reaper, Black Mary, the jester, the poet, a warm shot of rye, spinning coins, and candlelit goodbyes. And in the eye of this hurricane is Craft, giving it all his wry point of view. Ever a victim of twisted timing, he bears bad fortune with a shrug on the outside but a scream in his soul, and never begrudges his subjects their crazes and cravings. After all, what’s a poet without a cracked rib or two? We see him high up an apple tree, stretched out on a rotting limb and reaching for fruit he should know better to avoid. He gets burned. He’s a fool in love anyhow. But unlike many lyricists these days he doesn’t bury his vulnerability beneath hip irony or obscure it with selfish mumbling. Instead, he wades into the muddy water along with us, hands outstretched and messy, unwilling to judge others before he first sees his own reflection.

www.elevenpdx.com | ELEVEN PORTLAND | 18

features national scene ELEVEN: Why did you choose Portland?

KC: Oh yeah. I changed. There was this giant leap. I don’t like to harp so much about the whole “rebirth” thing I had…

Kyle Craft: Because of everyone I knew here, all the Animal Eyes guys, and my bassist, Nick. Basically what

11: Talk about it.

happened after my relationship ended down in Shreveport and my old band broke up was I had the hots for this chick that was living in Ireland, and I was like, “Well what I’m

KC: I think I had some anxiety, pretty constant, pretty heavy stress. All the time.

gonna do is go to Portland, record this album in my buddy’s basement, and then go back to New Orleans when she comes

11: Coming from what?

back from Ireland and try to sort of, like, fall in love…” And this is, in retrospect, such a stupid whimsical idea because

KC: Everything. Whether it was my old relationship, or

it was absolutely motivated by infatuation and not by

the band I was in. Just a lot of things. I just didn’t feel good

anything that was slightly real. It was all in my head. And

for a really long time. And there was this moment where,

she did nothing wrong.

when I was finally in Portland, I was like, “I’m gonna give

Basically, long story short, I went down and visited her,

this whole New Orleans girl thing one more shot.”

and at the end of a three-week period we went out, had some drinks and stuff, were never romantic in any physical

11: What? After you came to Portland?

way, but went out to this bar and had a great night, really fun, got back to her place and it was like this thing where, it

KC: It was a very simple thing. This was “pre-rebirth.”

was my last time being there, and she was the only force in

Still slightly trying to figure out “what the fuck,” I invited

heaven and earth that, had she said, “Teah, I’ll give it a shot,”

her to New Years, and was like, “Hey, you know if you ever

then this album wouldn’t have happened. Had she said,

told me to give up, I would leave you alone and give up. But

“Teah let’s try it out” I would’ve been like, “Ok, sweet. I’m

I would really love to hang out with you more.” And she

staying in New Orleans,” but instead she was like, “Well, I

was just like, “It’s probably best if you give up.” And that

have a boyfriend back in Ireland.” And I didn’t know that the

moment, the me you see now, like in front of you, is this

whole three weeks I was hanging out with her. And there

person that existed sort of in the back of my head for years

was this moment where I was absolutely, pretty wasted,

being like, “Hey man, hey, you’re kind of like fucking up.

four in the morning, we were just sitting on her stoop off

Why are you so fucking stressed? What’s wrong? Why don’t

of Frenchman, and she said that and I said, “Well what am I

you just not care about anything?” And at that moment,

doing here?” and I think that might’ve been the last thing I

whenever it was finally “give up,” this person kind of like

said to her, and I got in my van and drove to Portland. That

reached out of the back of my psyche in a weird way and

was September 2013, I guess.

instead of just joining forces, the other person pulled the old me in, kicked “old” me out the door, and I just changed

11: Interesting segue into a new life, new city.

immediately. I guess it’s very much one of those situations where you find yourself on this sort of rock bottom playing field where it’s the crash

19 | ELEVEN PORTLAND | www.elevenpdx.com

Photo by Todd Walberg

features national scene and burn situation of the old you, and you get there and then when you start working your way back up you’re this whole other animal. 11: There’s a huge element of love lost, and impossible, foolhardy infatuation in your lyrics. You feel that’s coming from personal experience? KC: Absolutely. They are 100 percent things that existed. It’s not like I make any of these things up. Some of it there is an ambiguity to. I mean if I said some things straight up, it’d be this thing like, “Oh god, well that really is a fucked up situation,” but it’s all there. For me, this whole writing experience, being a musician, is like writing a memoir constantly. 11: There’s a sense of victimization in your songs sometimes, victim of heartbreak, a cruel world. How do you see yourself in the songs? KC: I mean there were certainly times when I wish things would’ve been different. Everybody’s victim to something. I would never want to make it seem, and I don’t think I do, like I’m victimized by people though. 11: What are you victimized by though? KC: Circumstance. Timing. A huge part of that transition was realizing that you’re not in control. I don’t ever blame anyone for anything. 11: You told me once how sometimes there are these performers who make you want to roar, make you tear something apart. It’s a dark side to creativity. How do you find that in your music? KC: There’s different ways to do that. There’s an element of capturing a moment lyrically. There’s only so much you can say about gun control in a song, and it’s never going to do anything by saying that. And I don’t think that was ever the point of art to begin with. I think the point of art was to let other people know they are not alone in the world, in general. What Dylan does in some songs, is he paints this picture that you look at, like in "Visions of Johanna." You see yourself in these songs, but you also see the world in these songs. And they’re not trying to say anything; they’re not trying to change your mind. Lyrically that’s what I strive for. Then there’s the other part, the immediate performance part, and there’s a rawness to that which needs to keep going and be there forever, because, I don’t know, it’s watching somebody bleed out on the floor. It’s watching a car wreck. It’s like watching some sort of macho man getting held down by multiple other people and just get the

www.elevenpdx.com | ELEVEN PORTLAND | 20

features national scene fuck beat out of him. That’s the vulnerable part. I think that

down there, and this girl, I was like, “Oh, she’s really cute.”

art needs to be vulnerable, because that vulnerability, that’s

She sort of reminded me of something straight out of Rocky

what people need to know they’re not alone. If everybody

Horror Picture Show. I just found this immediate attraction

walked around with some sort of mask on, this whole

to her. Didn’t even know her, never talked to her. Just went

macho thing, or this pretentious, overly hip thing like, “Oh

home and wrote this song. And absolutely based off a few

you haven’t heard of this...?” Well, none of that ever does

nights at a strip club, not even knowing this person.

anything for anybody. It doesn’t make people feel good. It makes people feel isolated. I just don’t agree with that. I feel art should be vulnerable. Then there’s also the fun part. 11: Many of your songs are vulnerable, with a longing

11: Before Sub Pop contacted you about getting signed, what were your ambitions? KC: I never really had any. I was pretty whimsical. Even

quality to them. Others, like “Berlin” and “Gloom Girl” are

now, after everything, after this whole rebirth thing for

more joyful and celebratory. Both are just these wonderful

me, it is this thing where I still live day to day. As far as

explorations of the hilariousness of life and relationships.

the album goes, that was just me doing the only thing I

How does the fun part interact with the vulnerable part?

knew how to do. And I feel like part of it was almost this other thing, like this weird ghost steps into you and says,

KC: Yeah I mean that part, the rock 'n' roll part is always

“Alright.” It guides in a way.

fun. That’s what “Berlin” is. Straight up, that’s all that is. There’s no grand message in “Berlin.” 11: Tell the story of “Berlin” if you can.

11: What does that ghost feel like? KC: The perfect drug. It comes and goes. Inspiration. And I don’t think you can have it forever, but when it does

KC: It’s pretty simple. Whenever I got to Portland I was

come, the more you acknowledge it being there, the more it

always looking for things to do, and the whole Stripparaoke

acknowledges you being there. And you kinda succumb to it

thing was going on down at Devil’s Point. We’d always go

in a way. That’s how the album was. These songs, it was just

21 | ELEVEN PORTLAND | www.elevenpdx.com

www.elevenpdx.com | ELEVEN PORTLAND | 22

features national scene

Photo by Mercy McNab

a roll of film. And it was like this roll of film that you take out of the camera and you put on your shelf for a minute

11: When someone’s performing in a really honest way, how do you know it’s sincere?

and you know there are good pictures on there, and then you get it developed and you’re like, "Fuck yeah those are the pictures, that’s exactly the shot I remember taking."

KC: For some reason you can just tell. You can’t ignore the idea that there’s always some character on the outside of an artist that might be distorted in his or her own view,

11: What qualities do you look for in great music and art?

like their own view of themselves. I guess my main thing is trying to get to that sort of nirvana state of being an artist. Being able to walk through a bar and if something happens,

KC: I think the main thing is to maintain the human

I can put it into a word. It’s very much a camera thing, like

element. Let the world know that you’re this open person.

I was saying earlier. You take the snapshot. You don’t get

I don’t have any fucking secrets. They’re all in the songs.

the film developed for a while but you remember taking

It’s all there. People want to watch this, like I was saying

that picture. Maybe when the film comes out the picture is

earlier, this fight, or this car wreck. If you’re standing on

not exactly how you remembered it, but you were there and

the corner and a car wreck happens, are you gonna turn

you certainly took the picture. And that’s, as far as lyricism

your head and walk away? No. You’re gonna watch it. And

goes, the only thing I imagine that’s worth anything, is

if you don’t watch it you’re at least gonna think about it for

documenting this human experience of wherever you are,

awhile. You know what I mean? To me that’s how songs are.

really. Whether it be a heartbreak thing, or your friend

Especially executing the songs. I’ve said before that when

killing himself. It’s always worth documenting. »

I see this thing on stage, when I watch this performance on stage, I want to see it bleed in a way. I want to see it really fucking sort of falling apart in a way, not absolutely, but whether it be lyrically or the force behind the performer, there’s this element of blood that I want to see, like I want to know that that person’s a human and not a fucking robot.

23 | ELEVEN PORTLAND | www.elevenpdx.com

CATCH KYLE CRAFT LIVE THIS MONTH JUNE 18 AT ALBERTA ABBEY FOR ELEVEN'S 5 YEAR ANNIVERSARY CELEBRATION

making waves at Portland State since 1994

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www.elevenpdx.com | ELEVEN PORTLAND | 24

community literary arts my surprise and without my intention, I was writing a novel about the issues I’d been trying to write about in nonfiction. I had no idea what the story was to be, who the characters would be, etc. I just kept following it along, one step, one section at a time. It was about a third of the way through the book that I realized what the ending would be. It was not an ending I wanted but it was the ending that was going to happen. I just had to follow along with the story as it seemed compelled to be told. 11: Your book is of course a work of fiction, but beyond that, I'm not sure of which other books to group it with– politics, current events, philosophy or natural history? Why so multi-disciplinary? TH: Well, there is a lot of philosophy and a lot of

Photo by Sandy Tilcock

LITERARY ARTS Portland author Tim Hicks

first met Tim Hicks in 2006, while attending graduate school at the University of Oregon. Hicks was a director of the Conflict Resolution program I was studying in and proved himself to be a valuable project advisor and something of a mentor to me. Invariably, we had many academic discussions during my tenure there, but if I'm being honest, I have to say what I can only recall from those conversations with Hicks is talking about novels. I recently caught up with Hicks on N. Mississippi Ave. after his reading of an excerpt from his first and newly published novel, Last Stop Before Tomorrow. ELEVEN: How did this book come to be? Tim Hicks: I’d been trying to write nonfiction on climate change for a few years and had been unable to find a satisfying voice. One morning, I sat down to write and out came the first section of Last Stop. I didn’t know who Jules was, or why, or who the narrator was, or why. Next morning, wrote the next section, then the third. Then realized that, to

25 | ELEVEN PORTLAND | www.elevenpdx.com

history in it. It is so because the book is trying to look at the whole arc of human history from 50,000 years ago to our present predicament, so the various disciplines are naturally involved. And since the book is also dealing with our relationship with technology and our tool making, there’s also the natural history involved, and remember that philosophy and science were not separate to begin with. The political aspect is there because the book is also addressing the dilemmas we deal with in making group decisions at the social level, and therefore issues of power and control. 11: I found Sir Henry Percival McIntyre such a compelling character? Who was his inspiration? TH: Mostly not inspired by one person, but bits of my father, and also a bit from my godfather who was a powerful NY lawyer who did a lot of international diplomacy stuff and who played piano with his wife on two grand pianos facing each other. But beyond those bits, just an invented character. 11: Art figures prominently in your book, what role does art play in relation to climate change? TH: The connection is with our tool development, both art and technology are reflections of our creativity. As we mastered fire and made tools, we painted cave walls and constructed monoliths. We made tools to make art as well as to create safety and comfort. Both art and technology reflect and are manifestations of our aspirational natures. Maryanne is struck by the beauty of our technological explorations even as she is troubled by the unfolding story of technological development. Prometheus represents creativity as well as our source of fire as symbol of technological development and the management of heat in the transformation of matter into energy for our use. Maryanne loves the tools of art that she is surrounded by in Draw Your Own Conclusions, the art store where she has a day job. 11: Can you expound on the myth of Prometheus and why it's a central trope in your book?

community literary arts TH: Prometheus provided the fire that is a central symbol of technological development. Think early pottery industry, forging and metallurgy, steam engines and the burning of fossil fuels, and nuclear fission. Without fire, no transforming matter into energy that is essential for technological development. And all this has led to climate change. 11: You've dedicated your professional and academic career to conflict resolution. In what capacity does that inform your writing? TH: In terms of Last Stop, the most direct links have to do with such issues as how we resolve differences, how we make decisions at the public level, the fact that issues are complex and multidimensional and there are not necessarily easy answers, issues of communication across differences, issues of meaning and how we assign meaning to the objects of our perception, what meaning we make of history and of ourselves, and the importance of the story we tell of ourselves and of our history. Things like that. Probably more to be said on this one. 11: What was your intention with the book? TH: I wanted to offer a more nuanced view of climate change and to give it meaning within the arc of human history. I wanted to make sense of climate change. And I wanted to place climate change within the personal experience of the reader, to bring climate change home, so to speak. 11: What would you like readers to come away with after reading the book? TH: I think we tend to think of climate change as the product only of bad or wrong human activity. I’d like us to see that climate change is the result of various parts of ourselves, including those parts of us that are some of our greatest strengths. There’s a way in which climate change can be a mirror in which we can see part of who we are. In the end, I’d like readers to come away with a feeling of more compassion for us as a species and for the circumstances we find ourselves in and for our efforts to make our way on this remarkable journey we are all participants in. 11: Are you optimistic or pessimistic about our prospects as a species given the climate change threat? How do you think things are going to turn out? TH: In part, the book is about, and tries to convey, human history as a learning process, just as the story of an individual’s life is about learning. And certainly, the book is about what the outcome of the story will be, at least this part of the story that has to do with our impact on the planet.

Without giving away the ending of the book, it does raise the question of what the outcome will be. Will it be a tragedy or a successful shift in our behavior? The book raises the question without answering it. I hope that the book helps the reader ask what he or she wants the outcome to be, what might prevent that outcome, and what can we do to achieve the outcome we want. But the book also asks the meta-question of how much we are in control of the outcome after all. In this sense, the book raises philosophical questions as much as it does climate change response questions. 11: Any additional writing projects you're working on? TH: I’m working on a book titled Embodied Conflict on the roots of conflict and the challenges of conflict of resolution in the basic and fundamental neural function of encoding perceptual experience that is the basis of consciousness, learning, memory, cognition and identity. » - Jack Alton

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community visual arts Photo by Mercy McNab

is working on my jewelry line and keeping up with the demand from the shops that sell my work. I also spend as much time as I can making personal work for the handful of gallery shows I participate in each year. I haven’t been working animations lately, but it’s true that I occasionally work on projects for the stop-motion studio Bent Image Lab, and I have been able to work on many fun projects with them creating puppets, props, sets, storyboards, and all manner of other strange things, in miniature. I wouldn’t say there is any one style I work in, necessarily. I can say that I get a ton of inspiration from ancient artifacts, religious relics and iconography from cultures all over the world. I hope that rather than a style, my work has a cohesive voice. My work doesn’t really resemble what it did even three years ago, but it all comes from the same place, and I think you can see that. 11: Tell us a little about the artistic evolution and progression that you have been through, from drawing to painting to sculpting.

VISUAL ARTS Portland artist Morgaine Faye

ELEVEN: You are from Santa Cruz, California originally, what brought you up to Portland? Morgaine Faye: I was born and raised in Santa Cruz, California. I moved to Portland in 2008. My sister had moved here a few years prior to attend the NCNM, and the first time I came to visit her, it was easy to see that Portland had a ton to offer in terms of art community, spaces to show, and people making interesting and diverse work. I moved here shortly after to attend Pacific Northwest College of Art. Coming from Santa Cruz, which is at the top of the Monterey Bay situated between the soggy redwood mountains and vast sandy beaches. I had easy access to dense forests, bodies of water, and total isolation if I wanted. 11: You are an artist of many different styles. Is there a type of visual artist that you would consider yourself to be? What is the name of the style of art that you make? MF: I consider myself a "visual artist," which is just a handy catch-all to say that I like to make things in a variety of media. The activity that takes up most of my time day-to-day

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MF: Drawing is what got me hooked on making art. Or rather, it was watching cartoons and playing video games that made me want to draw, and it was drawing that made me want to become an animator (or so I thought.) I was lucky enough to be encouraged from a young age to develop my creative skills. I can’t express how lucky I feel to have that. So many creative kids are actively stifled, and it breaks my heart. I feel so appreciative I had people around me telling me it wasn’t a total waste of time. In school I took every art class they offered, I knew I wanted to go to art school because I wanted to become a really technical painter (or so I thought.) To save money on tuition, I took a bunch of core classes at my local community college, that's where I took two years of small scale metals and jewelry fabrication classes. That had an enormous impact on opening up avenues for my work. I transferred to PNCA, struggled in a painting department where I didn’t feel like I belonged. And then switched over to the illustration department where things finally clicked for me. It was client based, and commercially rooted, and it helped me learn how to market my work. This was key if I was going to make this art career thing work. After I graduated in 2011, and I could make whatever the hell weird thing I wanted, I began saving up for jewelry tools one by one and built my studio. After a huge gap in even touching a smithing torch, I began making and selling jewelry since 2013, and I have been self-employed since 2014. 11: What is the significance of nature in your work? MF: Nature has always been the strongest theme and influence on my work–it’s the original art! I also use themes in nature to create my own personal narratives. I use nature as a sort of coded language, which allows me to feel safe while expressing personal ideas. I also appreciate and fear the duality of nature. It is both life-giving and life-taking. Nature is beautiful and cruel and perfect and here we are slowly destroying it.

community visual arts 11: In some of your work, you describe your art as being taken from elements of nature and in a state of decay, and that at times it is your intention to make people feel uncomfortable? Why is that? What can people learn from their feelings of discomfort? MF: Part of it might be to share my own discomfort. Kind of spread it around, if you will. I think that most of the discomfort people feel from my work stems from their own fears of illness and death. I can understand that. What my work is suggesting is that you cannot hide from these things. They are ever-present whether you choose to see them or not. I also feel that humans have to face that fact that we are responsible for so much destruction of the earth. Mistreatment of animals, poisoning our own water systems. We do it to ourselves. I think people would rather ignore unpleasant aspects of life, hide the garbage, hide the sick and old. Iâ&#x20AC;&#x2122;m encouraging the viewer to take a peek at the icky insides. 11: How do you find the bones and stones for your work? Do you go after particular stones or skeleton pieces specifically for symbolism or are they found in nature and incorporated sporadically? MF: The majority of the bones in my work are collected by me. I am a scavenger by nature and am always looking for remains even if I am walking in the city. When I am hiking, camping, or traveling I am always scouting for remains and other treasures I can collect and use for my work. The roads are an abundant resource, sadly. I have also made a few like-minded scavenger friends. Other artists who also work with found bones. I will often trade with these folks if I am looking for something specific. The stones come from just about everywhere. I have only recently began tumbling the stones I pick up locally, but I have amassed a nice collection of rocks and gemstones over the years. I prefer to buy from the stonecutters themselves. I occasionally will cut or reshape a stone, but lapidary work is an art in and of itself, so I leave the stone cutting to the pros. 11: What got you into making jewelry? How does the aspect of consumerism affect the type that you make? MF: Jewelry making started when I was younger and I began making my large and colorful beaded earrings. As a collector, jewelry has always been a way for me to put my collections and collective habits to work for me, rather than just accumulating this mass of curious stuff for my own shits and

giggles. I find an enormous amount of beauty in worn down, used objects, things that once had a life. Rather than let these things live on a shelf, or be lost, making them into wearable art is a way to memorialize and tell a story. I am still figuring out how consumerism influences this practice. Generally, I feel like my jewelry isn't for the faint of heart. It won't appeal to most people. Tending to land on the side of being very large, aggressive, and made with dead things, it's not everyone's taste. That being said, there are a ton of people out there who find teeth and bones as beautiful as I do, and there are even more who bring me their own treasures to be immortalized in jewel form. People have brought me their pet's or baby's teeth, relics they have found themselves. And these are some of the projects that I love the most. I love being able to make keepsakes for people. I like to think about the life my work goes on to live when people take it home. Maybe my favorite part of the job. 11: Tell us about your newest work that you have up at the Antler Gallery. MF: My latest body of work, "Vigor Mortis," consists of six intricately handcrafted reliquary sculptures that house bejeweled animal skulls, ornamented with fine silver components and transformed into wearable jewelry. Created using traditional silver smithing techniques, the bejeweled skulls are reminiscent of the jeweled corpse kings of Austria, or Tibetan ceremonial kapala skulls. Behind each skull is a vibrant landscape painting housed in a hand sculpted frame, creating a "window" into the areas where each animal skull was found. A common theme in my new series is a comment on the unintended consequences of human interactions with animals. Many of the skulls were sourced from road kills. I wanted to bring them back to life, in a way. Memorialize and bestow them on high regard by adorning them, and giving them a beautiful final resting place.

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community visual arts 11: Is there any advice you might have for any up and coming artists that would like to get their work out to our community? MF: Yes! If I could share any advice for someone wanting to get their art out into Portland, I would say that first you've gotta show up! Go to shows, show up to events. Meet and ask questions of the people who are making the kinds of work and showing in the spaces you want to show. Nobody is really going to just find you, you have to get out there. Find out who is curating the spaces. Talk to those people about things other than art. People are friendly here. But my other part of that advice would be, that if you are serious about showing your work, or making any sort of living with your work, you need to look outside of Portland, too. That's where having a professional online presence is key. There are way larger audiences and art markets to be accessed online. Sharing bits of your process, and what drives your work will engage people and has brought showing opportunities to me I never would have thought to pursue. But also, don't worry too much about getting into shows, or how many followers you have if your work isn't

there. Making the work is what's most important. Develop your skill. Don't get stuck in a style, and don't rip other artists. That will hold you back. Focus on making authentic work that you are proud of, and show up! A lot can happen from there. 11: Who are your artistic inspirations or influences that you have had through your career? MF: I draw inspiration from so many sources: ancient jewelry, cultural history, weapons and armor from all over the world, religious iconography, music, and of course my influences as a child that I mentioned earlier. I really try to draw from realms that are outside of contemporary art. Though, of course I am inspired by many artists as well. Wangechi Mutu comes to mind because I saw her speak earlier this year. Her work deals with many of the same themes as mine. So many more: Gottfried Helnwein, Lucia Mathews, Egon Scheile. The jewelry collaborations of Georges Foquet and Alphonse Mucha, designers like Alexander McQueen have impacted me as well. Many of my favorite pieces of art were made by unknown artists though. The giant Lamassu statues, which were destroyed by ISIS last year, being one of them. 11: Tell us about your upcoming projects. MF: I am gearing up for a pair of shows that center around the theme of "Growth and Decay." I will be making two pieces, one on the theme of growth, will be displayed in Paradigms gallery in Philadelphia, and the other decay-themed piece will be exhibited at Antler Gallery here in Portland. After that I will be beginning a new personal body of work. I have some ideas I need to get out. Think similar to the reliquaries but on a much larger scale. And also some exciting new developments for my jewelry line. 11: Is there anything you would like to add? MF: You may find my work in several galleries and boutiques around Portland. Antler Gallery, on NE Alberta shows nature inspired fine art from all over. Paxton Gate, an amazing natural wonders and curiosity shop on N. Mississippi, and also Altar on Hawthorne, which sells locally-made alternative clothing, jewelry and wares. Âť - Lucia Ondruskova FIND THIS ARTIST ONLINE MORGAINEFAYE.COM MORGAINEFAYE.TUMBLR.COM INSTAGRAM: @MORGAINE_FAYE TWITTER.COM/MORGAINEFAYE Please Morgaine's piece "Blind Zealot" decorating our inside back cover this month.

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