#portland cello project

[holley4734]

Portland Cello Project: Music You Didn't Know You Wanted for Christmas

@PdxCelloProject #music #Christmasmusic @SaeedaWright @TerrorbirdMedia @MuseBoost #newmusicalert @MusicBlogRT @musiccitymemo #portland #celloproject #happyholidays @_TeamBlogger #portlandcelloproject @ITHERETWEETER1

Portland Cello Project just released their mini LP, Under the Mistletoe with Saeeda Wright. They are putting a new spin on some familiar songs. The album contains classic Christms songs like “What Child is This” and “O Holy Night.” There is also a fabulous rendition of “What are You Doing for New Years Eve?” The group has been performing together since 2006. Originally, they thought that it was…

[brigid-faye]

my 2024 (spotify version)

Let your Spotify predict your 2024! Shuffle your on repeat playlist and the first twelve songs represent your 2024!

thanks for the tag @multiimoments

okay my 'on repeat' is a 'cozy sweater' acoustic playlist because i am an anxious person who listens to folk, so i did my liked songs on shuffle instead

January - Run - Delta Ray February - Don't Wanna Be Without You - Penny and Sparrow - ooooo ultimate wolfstar song, idk what that means for feb March - Green Mountain State - Trevor Hall April - Ode to a Conversation - Del Water Gap May - The Year It Forgot to Snow - Bombadil June - Girl Crush - Harry Styles - cool cool happy pride July - Bad for Me - Meghan Trainor - listen i was going through something August - Come Home to Me - Leon - everyone's liked songs are just a list of wolfstar potential fic titles right September - Shakin' - Happy Landing October - Caravan (Live) - Portland Cello Project November - Humbug Mountain - Fruit Bats December - Werewolves of London - Warren Zevon - LISTEN what did i say about august

and let's see, no pressure tag for: @brandileigh2003 @amour-anguis @thisliminalspacedaydreams

[sunskate]

I don’t really miss the program but I have been missing the Denmark/Portland Cello Project piece that Caroline and Michael used this year. So beautiful. I’ve been listening to it today.

I wish they’d been able to use the music more effectively and create a more compelling program. Ultimately I do wish we were seeing them at worlds next week.

that piece was stuck in my head for a week after the first time i heard it. i had to sit down and figure it out - sometimes the simplest things are the most affecting. Charlie (and Tanith and Greg) didn't seem to know what to do with it except add more Charlie-isms, and it didn't work. based on their FD from a couple seasons ago, Gr/Pa feel like there's a more unconventional team in there, who can make modern dance or avant garde accessible - a team who doesn't look like anyone else would be so welcome. i hope they're able to learn from this rough season and really find themselves in their next set of programs

[teachlong]

Growing up macklemore intro guitar

#GROWING UP MACKLEMORE INTRO GUITAR FULL#

Rudimental is an eclectic quartet of musicians known for a catchy blend of fast-paced dance music and soulful vocals from a rotating cast of guest singers. “But then my record label says, ‘It’s not right for your project, maybe you should give it to Rudimental.’ I played it for the guys and they’re like, ‘Yep, we’ll take that.’” “When you're working at Abbey Road Studios, you've gotta bring ya Mum.”“I wrote the song for myself, really,” he says. One of them was “These Days,” a rollicking kiss-off anthem for faithless lovers that shifts mid-song to a lament about the difficulty of finding human connection in the big city. In 2017, he started work on a full-length album and released a handful of polished singles. In 2016, he released a second EP, Badman, further refining his soul-meets-chamber-music sound. He performed on an album by the English singer-songwriter George Ezra. Since signing with Atlantic, Caplen has been on a tear. “I realized everything sounds a little better with a bit of strings on it. It’s way cheaper than getting the proper guys in,” he jokes. As a singer, producer, and multi-instrumentalist, Caplen says he’s hands on in the studio, right down to the string tracks. That recording caught the attention of Atlantic Records, who signed him a year later.

#GROWING UP MACKLEMORE INTRO GUITAR FULL#

He wasn’t yet working in music full time, but he was on his way.Ĭaplen spent the next two years recording more mash-ups and working on a self-produced four-song EP, Epiphany, which he released in 2014 under the name D/C. “I played it as my end-of-semester project, and my friends were like, ‘Put it up online!’” Three months later, Caplen had a manager. “I made this makeshift studio in my house by Market of Choice, and I recorded this thing,” Caplen recalls. It’s an energetic composition, resonant with strings and Caplen’s baritone voice. His first post was his final project for Leonard’s electronic music production class: a medley of music by four established artists-SBTRKT, Kid Cudi, Labrinth, and No Doubt-with his own vocals accompanied by rich layers of cello, hand claps, and instrument tapping. He started a Twitter account and a YouTube channel. When he returned to Portland for senior year, he was ready to start building his identity as an artist. He’s worth keeping around.’”Īfter completing his junior year, Caplen spent the summer interning at a London record company and writing songs. He told the powers that be, ‘Nah, he’s just in his basement recording and writing songs. “At one point, I was in danger of losing my music scholarship, because I was having trouble getting to orchestra. He’s deserving of all his success.”Ĭaplen credits Leonard as a major influence on his music and career. “He writes great hooks, really memorable melodies, and good lyrics. “The music business is very often not a meritocracy, but Dan’s got the goods,” Leonard says. But he also worked on producing his own music under the tutelage of music instructor Jeff Leonard, a bass player and composer who directs the college’s electronic music program. “During the flight on the way over, I thought I was going to Maine.”Īt Lewis & Clark, Caplen majored in psychology and played in the college orchestra and jazz ensemble. “I didn’t actually know where Portland was,” he jokes. It will cost less to go there than it will to university here,” Caplen says. “I thought, you know what, I’ll just go over there. He applied to Lewis & Clark at the urging of a family friend who attended the school in the 1980s. It seemed like an impossible dream.” That Caplen’s dream is becoming reality is no accident-it’s the result of years of hard work, dating back to his college years and before.Ĭaplen was born in England and grew up in Hong Kong and Kent, studying piano and cello on his own time and vocal music at St. “I never thought anyone could make money out of music. “I thought I was going to be working in a bank or something,” Caplen says. But to hear him tell it, he never expected to find a career in music. Caplen is, suddenly, a notable presence in British pop. The video for the song has been viewed more than 130 million times on YouTube. singles chart for 11 weeks, peaking at No. As of mid-April, the track had been near the top of the U.K. The 26-year-old wrote and contributed vocals to “These Days,” a hit for the British drum and bass group Rudimental. This spring, in the streets of London, the voice of Dan Caplen BA ’12 proved inescapable. (Robin Little/Redferns, Getty images)Dan Caplen BA ’12 For two young alumni, one of the keys has been to take their unique musical sounds abroad ―to the U.K. If you Google “tips for breaking into the music business,” you’ll instantly garner millions of hits. Dan Caplen BA ’12 and Ian Hooper BA ’08 create chart-topping hits abroad.ĭan Caplen BA ’12 performs live at O2 Academy Brixton in London on April 6, 2018.

[zoeflake]

Portland Cello Project - Burn the Witch [Radiohead]

[johndavey]

Alexis Mahler records "Cruel to be Kind"

I talked with Alexis Mahler at the end of 2019 about producing a cover of my song “Cruel to be Kind”. I was aware she had performed it a few times at shows when she moved to Portland, Oregon. I wanted to hear a dual cello version. Time went by, then in early 2021 she dropped this beauty in my inbox. It really jazzed me up and I was eager to share it, but we were in the midst of unpredictable work schedules, raising a one year old, and moving out of our apartment in the Lakeshore Park building. While all this was going on, I sent the track off to Steffen Yazvac for mastering while Alexis built some promotional plans up around the release. I reached out to Nate Peltier (@_garlique on instagram) about building some imagery around the track. He had shared a video of himself playing “Cruel to be Kind” out on his porch back when he lived in Montreal. That and his recent move back to the south shore of Lake Superior in Wisconsin made me think it would be a good connection to have him do the artwork for the single. East Coast, West Coast, Great Lakes. When things finally stabilized after the move, we released the single and this video accompaniment. Johnny Himself, who I became aware of by way of my friend Matthew Fowler, shot and edited it in Portland, Oregon. The single has been making the rounds on some nice playlists and Alexis has been picking up a number of new listeners and followers as a result. This recording was arranged and produced by Alexis Mahler at her home studio in Portland, Oregon Mixed by Clara Baker at Rye Room in Portland, Oregon Mastered by Steffen Prentiss Yazvac in Minneapolis, Minnesota Artwork by Nate Peltier (instagram.com/@_garlique) Written by me: John Isaac Davey

[transkholins]

how i wish the portland cello project version of cpr/claws pt. 2 was on spotify. i know the band itself already has historically had a cellist or two (and consistently has a violinist) but that song sounds so good with a consistent layer of strings underneath it

[doomandgloomfromthetomb]

Ryley Walker - Mark & Kim’s Backyard, Flushing, New York, June 5, 2021

Feels good to be linking over to the venerable NYC Taper — to a recording of a Ryley Walker show in 2021! Of all things. Is live music really back? (Live music taping is back, anyway — there’s actually another source for this show. Thank you, tapers.) Ryley admits to a little rustiness, but he sounds great, playing tunes from all over his catalog, plus some choice covers of John Martyn, Jim O’Rourke, Bill MacKay and others. Anyway, it puts me in the mood to catch a show in person ... I haven’t done it yet, but maybe soon? 

The new RW record, Course In Fable, came out this spring, and it is fannnnntastic. In fact, since we’re here, you can read my little one-sheet essay about the LP, which Ryley asked me to write earlier this year. An honor and a privilege. 

Ryley Walker - Course In Fable

Ryley Walker currently resides in New York City. But his latest LP is a Chicago record in spirit. The masterful Course In Fable, the songwriter’s fifth solo effort, draws from the deep well of that city’s fertile 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground, mixing and matching indie rock, jazz, prog and beyond. Walker spent his formative years in Chicago, absorbing those heady sounds and finding ways to make them his own. Even though he emerged at first in folk-rock troubadour mode, it makes sense that he’s arrived at this point; each LP has grown more intricate and assured, his influences distilling into something original and unusual. To put it simply: Course In Fable is Walker’s best record yet, full of active imagination and endless possibilities. Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP. John McEntire, Course In Fable’s producer/engineer/ mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now spans more than three decades. Seeing his name in an album’s liners is pretty much a trademark of quality. Another Windy City exile, McEntire is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. On the seven songs here, he delivers the signature shimmering and pristine sonics he’s become known for over the years. But McEntire was also intimately involved with Course In Fable’s overall creative process. “I told him to take the mixes and have at it,” Walker says. The result is a rich, immersive affair — a headphones record if ever there was one. Course In Fable’s songs are twisty, labyrinthine things, stuffed full of ideas (Walker half-jokingly calls it his “prog record”). But no matter how complex it gets, the album is never overwhelmingly busy. Wiry guitars melt into gorgeous string sections (arranged by Douglas Jenkins of the Portland Cello Project). Tricky time signatures abound but feel as natural as can be. Melodies o@en dri@ in unexpected directions but remain downright hummable. Like Walker’s beloved Genesis, the pop element is never too far from the surface even when shit gets weird. (And speaking of weird, Ryley says that in addition to Genesis, much of the album’s inspiration comes from “Australian extreme scooter riders on YouTube and balding gear heads on Craigslist.” Go figure.) To help put together these various puzzle pieces, Ryley assembled a band made up of several longtime collaborators. Bill MacKay (another Chicago mainstay) and Walker have made two excellent instrumental duo records of interlocking guitars and warm give-and-take — a rapport very much in evidence throughout Course In Fable. The freakishly talented drummer Ryan Jewell has performed with Walker for years now in a variety of settings, from straightforward song-centric sets to blown-out improv extravaganzas. Bassist Andrew Scott Young (Tiger Hatchery, Health & Beauty) has logged many miles on tour with Walker; he and Jewell are frequently astonishing, a buoyant-but-always-locked-in rhythm section, able to navigate sometimes dizzying turnarounds with apparent ease. Listening to the interplay between Walker and these musicians and you might be fooled into thinking they’d spent a year road-testing Course In Fable’s songs. But it all came together relatively fast, thanks to demos, rehearsals and the kind of musical empathy that comes from years of playing together. Beneath the wondrous interplay, you’ll find some of Walker’s most personal – if still typically cryptic — lyrics, hinting at some of the trials the songwriter has been dealing with in recent years. Balanced with necessary doses of dark humour and oddball poetry, Course In Fable feels most of all like a life-affirming record, fresh air in the lungs, sun on your skin. “Fuck me, I’m alive,” Ryley sings at one point, a moment of both disbelief and pure joy. Walker has released his albums on a who’s-who of independent labels over the past decade — Tompkins Square, Dead Oceans, Thrill Jockey and Drag City among them. This time around, he’s doing it DIY-style, putting Course In Fable out on his own Husky Pants imprint. You’re in good hands. This is an album that sounds great (mastered by Greg Calbi), looks great (artwork by Jenny Nelson and design by Michael Vallera). It probably even smells great. Whether you’ve been onboard since the beginning or are new to the Ryley Walker universe, you’re in for a treat.

[puredamien]

The Portland Cello Project - Homage (2012)

[margotine92]

Paper Tiger -- Portland Cello Project Feat. Laura Gibson

[burlveneer-music]

Derek Hunter Wilson - Steel, Wood, & Air - lovely chamber music from Portland

What began as a self-imposed challenge by booking studio time and musicians for a recording session before any music was even written, turned into a year-long journey and examination of what it means to compose music. From the beginning, the concept behind Steel, Wood, & Air was to pare everything back to just the essentials. No overdubs, no electronics, no textured effects. I wanted the music to be just the instruments themselves and how they might interact with one another using the palette of piano, bass clarinet, viola, cello and later, violin. Whereas my previous album, Travelogue, had all the tracks recorded individually, it was important as well for this project to have all the musicians together in the same room performing the pieces. A large part of what one does in composing I feel, whether consciously or not, is to examine what one feels and what is essential to them. It’s a tool used to better understand who you are and by doing so, learn how to become a better version of oneself. It is a life-long journey and this album and the works within it represent another chapter in this journey.  Derek Hunter Wilson - Piano Anna Fritz - Cello Mike Grabarek - Bass Clarinet Mirabai Peart - Viola, Violin

[senorboombastic]

Album Review: Red Fang - Arrows

Album Review: Red Fang – Arrows

Words: Ben Forrester I have found myself recently catching up with everyone else and finally checking out a whole heap of cult bands within the alt rock world. Portland’s own Red Fang have been a band so many people have told me of their undying love for over the years. As the quartet ready the release of their fifth full length, the time had come for me to fall headfirst into their pit of…

[covers-on-spotify]

“White Winter Hymnal”

Original by Fleet Foxes

Covered by the Portland Cello Project

[larryland]

Troy Savings Bank Music Hall Presents the Portland Cello Project. TROY, NEW YORK     The Troy Savings Bank Music Hall presents an exceptional evening of music with the Portland Cello Project.

[wisconsinuniontheater]

Portland Cello Project: Blending Contemporary and Classical Music for over  12 Years

by Sebastian Khattabi, Communications Intern

Portland Cello Project plays a stellar cover of Fleet Foxes’ “White Winter Hymnal.” Not only are they covering my favorite folk band but they are also playing the song that got me started listening to that band.

I’m so excited to see them this coming fall on Friday, November 9, 2018 in Shannon Hall at 8 PM.

The troupe of Oregonian cellists first played a show in their hometown of Portland in 2006. After that first performance, the Portland community was begging for more so they performed another show...and then another....and now they tour around the country. Their website includes a  comprehensive history. 

PCP is dedicated to providing music in places that are historically not the typical concert hall. You can see in their videos and photo shoots that they will play anywhere--railroads, a shipping dock along Portland’s Willamette River, and even in Oregon’s beautiful forests. 

MTV applauded PCP’s music, saying “It doesn’t get more genre crossing than this” and they’re absolutely correct. They have played household names in Western classical music as well as celebrities in current pop culture, from Pantera to Taylor Swift to Kanye West to Elliott Smith, alongside Bach, Rossini, and Saint-Saens, to name just a few...

Take a listen to PCP cover Taylor Swift’s 2014 summer hit “Shake it Off!”

When the Portland Cello Projects visit the Wisconsin Union Theater in November, they are not just bringing a small portion of the troupe; the ENTIRE ensemble is coming. They will be doing their cover of Radiohead’s “OK Computer.” Who knew progressive rock could play so well on the velvety strings of a cello? Click here to see them doing Radiohead’s Electioneering with friends.   

What a night it will be. Personally, if they played White Winter Hymnal during the show, you might hear me in the audience singing along.

Check out Portland  Cello Project’s website

Click here for more information about the event

Buy your tickets here!