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sad, but true.

posted 5 years, 2 months ago
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I thought there was nothing particularly distinct about Portland's sound either, until a few weeks ago. I'm a 9-year Portland resident recently transplanted New York City, where I work as a live sound engineer @ NYC's Knitting Factory and DJ @ praradio.org (remotely now). It took me a long time to see the common thread, but I now believe that Portland musicians, for the most part and as an outstanding commonality among them, have higher artistic standards than many scenes in the US, and that's what makes PDX different (not to mention that plenty of basements, cheap rent, and high unemployment are the respite of musicians not looking for a career, but looking to make their mark). Most music coming from large US cities is SOAKED with what the band thinks is marketable and will get them paid as soon as possible. What stands out about the Portland music scene is the great deal of attention paid to aesthetics in the aural and visual parts of the art-form. Posters, demo CDRs, and even stage presence are all judged equally alongside indie and major-label releases in the uber-competitive arts community that is Stumptown. The past 10 years have seen epic numbers in artist migration and have created the head-turning attention Portland now gets. Bands like Modest Mouse, Spoon and Scout Niblett becoming "Portland" acts only goes to show that the huge amount of attention Puddletown receives is not only from the music press and music industry, but high-caliber artists themselves. To give you a little NYC perspective, Williamsburg is full of Portland clones preparing to move there -- and even the radio now sees need to simulcast KEXP in NY public radio (what's that tell you?). The wave Kurdt predicted in the 90's is seriously about to break -- it's just been moving as slowly as the residents of Cascadia do. Never fear, the hype will pass, and Sam Coomes will still be in the basement making miracles.

posted 5 years, 2 months ago
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