November 18th, 2009
Clublist Spotlight • A Better ’Stache0 comments
November 18th, 2009
CD Reviews: MarchFourth Marching Band, Curious Hands0 comments
November 18th, 2009
Meth Teeth Sunday, Nov. 22 | Making the best of this bummer called life.0 comments
November 18th, 2009
Primer: Girls0 comments
November 18th, 2009
Sparkle And Fade | The rise and fall of Everclear and The Cherry Poppin’ Daddies.0 comments
November 11th, 2009
CD Review: The Dimes | The King Can Drink the Harbor Dry (Pet Marmoset Records)2 comments
November 11th, 2009
Finn Riggins, Friday, Nov. 13 | Finn Riggins ditched the big yellow bus, but it’s not about to ditch its home state of Idaho.0 comments
November 11th, 2009
Kelly Blair Bauman Monday, Nov. 16 | Kelly Blair Bauman sees Portland burning, and he’s got the midlife-crisis folk to soundtrack the destruction.0 comments
November 11th, 2009
Primer: Saul Williams0 comments
November 11th, 2009
Living The Dream | Portland’s Dirtnap Records just stumbled into its 10th year.2 comments
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[May 14th, 2008]
[DARK INSTRUMENTAL] Some things in Portland arrive with a roar: the exploding foliage of spring, the drunken sailor pub-crawl otherwise referred to as the Rose Parade, the noisy erection of another condo in yet-unnamed waterfront mystery neighborhood. Other things sneak up, like sleepy coffeeshops or new records by Portland’s Grails—the band legendary Brit Julian Cope refers to as “truly the shit.”
Grails’ formula is deceptively simple: two guitars, bass, drums. The local quartet’s not turning rock on its head—rather, its music is inhabiting heads. And on latest release Take Refuge In Clean Living, it continues to do so. The album begins with an electronic SOS signal that nods toward Pink Floyd’s The Piper at the Gates of Dawn, signaling where the whole thing’s headed. Enter a fuzzed-out pissy bass line and a pair of Eastern-twang guitars (the song’s titled “Stoned at the Taj Again,” after all). Then, the whole package snaps to attention with the arrival of Helmet-precise aggro drums.
Smoke clears and we’re left gazing up at guitars that twinkle like stars—think Indiana Jones gazing out over a smoking twilit desert village in pensive contemplation, a final moment of rest before entering the Temple of Doom. Inevitably, a tangle of percussion and guitar chime signals full-on freakout—like a frenetic Yes jam playing at a violent, Lynchian strip club. Everything grinds down in an exhausted bass riff, a huffing bull on a hill of bones, while guitars hiss like mist in the distance and the SOS signal reprises itself, no less distressed than when it began. And that’s just the first song.
The rest of the five-song record finds Grails building tangled labyrinths and setting more booby-traps—a Ventures cover (“11th Hour”) explores the dark side of West Coast surf-rock while the next track, “Take Refuge,” pushes the band far East past the gypsies and into Mahavishnuvian grandeur. With guitarist Zak Riles now living in Kentucky and drummer Emil Amos’ double-duty as half of S.F.’s mighty doom duo OM, we’ll be seeing even less of Grails, which already barely plays its hometown. They have stated, at least, that less doesn’t mean never. Until then, Portland will have to wait for Grails to spring up again, like magic mushrooms under moonlight or mighty pyramids completed by dawn.
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