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Music

“SKATERS makes you believe in rock ‘n’ roll again”

I’ve seen SKATERS twice now, once in Seattle and most recently in Portland at Mississippi Studios. And after both of those shows, lead singer MIC (Michael Ian Cummings) has told me the exact same thing.

“So, what did you think of the show?”

And just as before, he answers with a half-smile and says, “It was weird.”

Well, he was kind of right. It was weird. Mississippi Studios was less than one third of the way full, and me – a blonde chick in 4-inch heels – was dancing harder than anyone else there. Why is it that still, even after Warner Bros. got their hands on them and they’ve recorded in the legendary Electric Lady Studios, do they struggle to bring out that West Coast punk love? It exists, I’ve seen it. But not here.

This isn’t to discredit the talent of SKATERS. They are as musically gifted as any band I’ve seen live. Since the release of their LP Manhattan, Michael’s voice has become more demanding and refined. Drummer Noah Rubin’s tenacity is icon-worthy. And bassist Dan Burke is solid tight.

Manhattan’s analogue is about life in New York through the lens of millennial generation 20-somethings. There’s a reason why people call us the worst, most entitled, most spoiled generation. (Hey, I’m one of them so….) Generation Y has been stereotyped into being completely self-serving, and songs like “To Be Young in NYC” don’t help with those sentiments.

On Friday night, March 21, SKATERS opened with “Fun and Games” followed by “Symptomatic” and “Dead Bolt” – all of which have the rawness that early fans love. You’ll also notice a new face on stage – Miles, a talented guitarist who hails from Florida of all places.

The Jamaican reggae elements on songs like “Band Breaker” shows the guys have done their homework. When SKATERS rebels in different directions, they produce a good racket reminiscent of their early garage-punk forerunners.

As my friend that night said, “It’s the Strokes 10 years ago.” While they don’t have a “classic” album on their hands, SKATERS makes you believe in rock ‘n’ roll again.

Arts & Entertainment, Music

A Conversation with Dan Vidmar of Shy Girls, MFNW 2013

Dan Vidmar
Dan Vidmar

Dan Vidmar (Photo: Kelsey Kaufman)

Dan Vidmar (Photo: Kelsey Kaufman)

Dan Vidmar (Photo: Kelsey Kaufman)

Dan Vidmar (Photo: Kelsey Kaufman)

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Either music critics haven’t gotten laid for a while or they don’t know how to describe this R&B resurgence as of late as anything other than “baby makin’ music.” There’s definitely something in the water, and Shy Girls tastes like sweet, saxophone-laced, R&B bliss.

Dan Vidmar of Shy Girls saw a niche and decided to fill it. For what Portland lacked in “funky or smooth” music, Vidmar made up for in a less-is-more style and a knack for arrangement. His debut EP Sex in the City created some serious buzz and followed with a collaboration with Cyril Hahn. Also, his latest track “Still Not Falling” was released six days ago on SoundCloud and already has more than 21,000 plays.

Vidmar fuses together modern lyrics (“I’m not an athlete, I sit at home and make beats”) with doo-wop-wop’s, a dash of jazz and a simple yet soulful vocal tone. It’s R&B without the sentimental weight. What’s old is new again, and Shy Girls just seems to keep getting better and better.

His second EP Timeshare is due on October 29th. Try keeping your clothes on in the meantime. 

What makes for the perfect R&B song? How should it make you feel?

Vulnerable, emotional, powerful, and intelligent.

A lot of people describe your music as baby makin’ music — which I think is kind of a cop out.

It’s definitely a cop out.

How would you describe it, then? It’s not necessarily bad or untrue, though.

Totally. I understand people saying, “it’s sexy music.” But I’m not actually sure I entirely agree with that. I think it’s just slow and that people confuse more slow, deliberate jams, with sexiness. I would describe my music as pure R&B… But really, it’s so hard to describe your own music.

What did you think going into it, then? Did you always want to make an R&B record?

I was listening to a lot of R&B when I made the first EP, and that’s pretty apparent. Honestly, the goal was to make something for my friends that I liked at the time and that was different from what was going on. There wasn’t anything – at least in Portland – that was funky or smooth. There was a lot of raw, indie rock and I wanted to do something different and that’s what came out.

Is there a reason you chose to come from more a revival standpoint versus a more contemporary sound?

That’s a good question. Honestly, I just grew up listening to that stuff so that’s what came through. A lot of the newer songs I’m working on are more modern, darker, in some ways. New Jack Swing was a big thing.  It definitely comes through, mostly because a lot of the beats on that first EP are swung. People in modern R&B don’t really use a lot of swung beats. It’s relegated to the jazz world now.

You recorded the first EP by yourself, but now you play with a live band. Did you always see it being performed that way?

Yes. Totally.

Always?

When I first started out it wasn’t going to be a performance thing. It was just going to be an EP, a project. But as soon as somebody asked us to play then it was definitely going to be a live thing. I’ve tried before to play music without a band and it just falls on its face. If you’re playing with a laptop it doesn’t really convey anything to the audience. It just seems very contrived and digital and inorganic.

How did you find everyone you work with? I think some people are confused whether Shy Girls is a band or it’s just you.

I’m still confused about it too. (Laughs) I met Noah (sax) through our old drummer Dan. I met everyone through other people. It was just a series of friends. I met Akila (keys) through Noah, I think. And Ingmar (keys) has been one of my best friends since 5th grade.

I’ve read that you don’t take prejudice in your influences. What type of value do you find in say, the Backstreet Boys?

First of all, great production. Max Martin is the guy who produced all the Backstreet Boys, *NSYNC, Britney Spears…stuff like that. He’s kind of a genius. Also, song structure in general. And the arc of the song. The hooks are also just really catchy and in your face.

Do you have a favorite song?

No…. Do you?

“I Want It That Way”…duh.

Arts & Entertainment, Music

Musicfest NW, Now Available in Convenient Recap Form

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Dan Vidmar
Danielle Sullivan
PDX

Katie Stelmanis of Austra performing for KEXP (Photo: Kelsey Kaufman)

John Vanderslice at the Doug Fir (Photo: Kelsey Kaufman)

Dan Vidmar of Shy Girls for the Red Bull Sound Select showcase at Mississippi Studios (Photo: Kelsey Kaufman)

Danielle Sullivan of Wild Ones at Bunk Bar (Photo: Kelsey Kaufman)

Only in Portland. (Photo: Kelsey Kaufman)

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As a born-and-raised Oregonian living in Seattle for the past year, I’ll always have a soft spot in my heart for Portland. Most of my friends live there, and most probably won’t ever leave there. But who could blame ‘em? Portland is a utopia, rich with good-looking people, excellent coffee, and drool-worthy food. It’s Seattle without the “freeze.”

A mere three days after Bumbershoot, I drove down to Portland for Musicfest NW. The festival started on a Tuesday, but the recovery period post-Bumbershoot is at minimum of 48 hours. So here’s what I learned:

What to do:

  • VIP, baby. The lines are ridiculously long at nearly every venue. A press pass won’t do you any good, either, so be prepared to wait. Get there at least 45 minutes early.
  • The best shows aren’t on the MFNW “official” schedule.  Marmoset put on a killer Hott Summer Nights Party on Thursday with Radiation City, Surfer Blood, Shy Girls, and more. They also had Salt & Straw ice cream and an open bar – so it was impossible to have a bad time. Bunk Bar’s CD Baby Day Party on Saturday afternoon with Aan and Wild Ones was also a hit. Then there was a Blouse “secret” show in a warehouse somewhere that same night.
  • See Portland bands. There’s so much good music coming out of PDX lately. MFNW is the perfect opportunity to mainline it directly into your system. Indulge guilt-free.

What not to do:

  • Get stuck on the Westside. You could see Charles Bradley at the Crystal Ballroom or Animal Collective in Pioneer Courthouse Square, but do you really want to be downtown? The best venues are on the Eastside, anyways. If you can handle missing some of the headliners, you’ll save yourself the massive headache of parking and dodging tourists with those pink donut boxes.
  • Drive. Pick a spot and stay there. Unless you’re already playing DD, sit down, have a shot of whiskey, and enjoy yourself. Remember, we’re not in Kansas (i.e., Seattle) any more. Strangers will talk to you and you will make new friends. Don’t be scared.
  • Miss a Red Bull Sound Select showcase. I’m partial because Mississippi Studios is one of my favorite venues, but Red Bull curated some of the — if not THE — best lineups of the entire festival. A mix of local and national artists plus a (time-limited) open bar and free barbecue made it dually enticing. See where I’m going with this? Follow the free booze!

What I probably should have done:

  • Attend more KEXP sets. Austra and The Dodos were the only two I caught. The sets are short and sweet, intimate, and also have excellent sound. Doug Fir also pours their drinks strong, so it’s a good place to get an early afternoon buzz going.
  • More. Brunch. Pass on Pine State Biscuits. I wish it were 10 a.m.–2 p.m. all day, every day, in Portland. Brunch should never end in this city, so don’t let it pass you by. It’s also completely necessary if you plan on listening to music until the wee hours of the night. Broder, Jam on Hawthorne, and Interurban are three of my favorites that I’m kicking myself for not going to.

Overall, MFNW is yet another opportunity to show pride for this incredible place we live in called the Pacific Northwest. It’s the neatly-tied, perfectly-placed bow to wrap up summer. Until next year.