AltWeeklies Wire

Never Trust Liarsnew

The band that traded Brooklyn for Berlin has made a career of re-imagining itself with every release, but according to guitarist and founding member Aaron Hemphill, what sounds like so many calculated reversals is "not that intentional."
The Portland Mercury  |  John Motley  |  10-18-2007  |  Profiles & Interviews

The Evolution of Patrick Wolfnew

As a personality Wolf has transformed into a cross between David Bowie, Marc Almond, and Adam Ant — a flamboyant, androgynous, sexualized crooner with an outlandish fashion sense. But above all else, he's now officially a performer.
The Portland Mercury  |  Rob Simonsen  |  10-11-2007  |  Reviews

Justice for All (except Kanye)new

It wasn't Kanye West's most (in)famous bit of public speaking. But when West interrupted last November's MTV Europe Music Awards to un-ironically proclaim that his clip for "Touch the Sky" should've won the fête's Best Video Prize, plenty within the pop community took note.
The Portland Mercury  |  Tristan Staddon  |  10-11-2007  |  Reviews

Film School's Sense of Placenew

While the Film School sound itself — a brainy My Bloody Valentine-inspired foray into atmospheric post-punk — has not changed all that much, the tendency toward creative expression and experimentation has changed.
The Portland Mercury  |  Jenny Tatone  |  10-11-2007  |  Profiles & Interviews

The Everybodyfields on Delicate Sadnessnew

The duo is part of an exciting new movement in contemporary bluegrass-influenced music (alongside labelmates the Avett Brothers), and its brand-new release, Nothing is Okay, is a gorgeous waltz of swelling country ballads soaked in a river of spilled tears.
The Portland Mercury  |  Ezra Ace Caraeff  |  10-11-2007  |  Profiles & Interviews

Bat for Lashes Debuts with Childhood Nightmaresnew

During the softest whispers of Fur and Gold, Natasha Khan's delicate voice cries out like a child stranded in the woods.
The Portland Mercury  |  Ezra Ace Caraeff  |  10-11-2007  |  Profiles & Interviews

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