At just 19, Lopez is a product of his surroundings and influences, as he channels the warm folksy Americana sounds of his mountainous region with the rootsy rock infiltration of indie-rock today. Primarily using banjos, guitars and pretty vocal melodies, Lopez and company can navigate their way around a raw, rustic, alt-country tune, resulting in a glowing debut. This is a great EP, and the future LP should be fantastic.
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The Musebox, 2014
This first album from Bike Thief takes the neo-folk ideas of their Portland home and adds dramatic strings, haunting choirs and the sort of experimentalism that sounds both cinematic and prog-rockish. An extremely detailed affair, there’s more than 20 musicians involved, though the songs never sound busy and flow well between soft and pensive to swirling, fully developed chamber rock. A fantastic debut.
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Glad I Did, 2014
Portland folk-rock is a deep pool these days, but few are like Sean Flinn & The Royal We. Though they utilise the backing harmonies and handclapping of their peers, theirs is an overall more sunny approach to the lush sounds of the Northwest, balancing pop-rock and grittier indie-rock while paying much attention to melody. Lyrically it’s just as compelling, as Flinn tackles important topics with an equal amount of thought as his sophisticated music.
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An eight piece, all of whom sing, Ages And Ages keep the nearly untarnishable ideal of Portland folk-pop alive with soaring harmonies, warm melodies and plenty of hand clapping. Though the music is generally indie-lite and upbeat, the band have been marred by personal strife while making the album, so lyrically it’s a more downcast affair then their jubilant debut. Make room on your year end list for this one.
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Portland is never short on unusual indie-rock, and Amanda Mason Wiles and Zacery Stanley are delivering their own atypical brand as Dramady. At the core it may be bedroom pop, but the violins, clarinets and saxophones bring to mind chamber-pop from a unique standpoint, placing much emphasis on looping and vocal harmonies. Jazz, electronica and funk ideas are all in their arsenal, keeping each track full of cultured surprises.
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Druscilla Cloud, 2013
Though frontman Pete Jordan might be the Cloud Person, Monochrome Places uses six people total and just as many instruments, and succeeds in blending indie-folk, ’70s rock and even psyche moments. Far from mono anything, the warm sounds are varied and constantly shuffling. Broaching classic rock as well as modern indie-rock, and adding some sounds that wouldn’t be out of place at Sunday mass, there’s a great contrast between quiet and loud, busy and stripped back.
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