Jam (noun): a sweet, sticky edible substance made of fruit and sugar, boiled to a thick gelatinous consistency that’s yielding and spreadable

Jam (verb): to push, shove, squeeze or otherwise manipulate an object into a constrained space, often implied to be aggressively or even forcibly realized

Contained in this little three-letter word are at least six or seven distinct meanings according to this thing once referred to as a dictionary (it’s like a papery blog). And while we’re talking semiotics it’s interesting to note how the two definitions above are on opposite ends of the spectrum in some ways: yielding vs. forceful, sweet vs. aggressive. 

Another meaning of jam: “An extended, semi-unstructured musical passage, or entire musical work, in which synchronized, partially improvised interactions between musicians are of key importance--often with the objective of achieving a concentrated, intensified, and/or ecstatic state of perception among both musicians and listeners. The formal properties of the jam (aka “jammers”) tend to revolve around an optimal balance between repetition and variation; and on the macro level, a continuous ebbing and flowing in terms of tempo, dynamics, and/or texture before ultimately reaching a climactic release, with the notable exception of “mellow jams” or “droney jams” where such macro-level formal developments are de-emphasized or not sought at all.”

The long-running bands Woods are masters jammers (but not a “jam band,” you won’t find too many patchouli-besotted noodle dancers at their shows). And in their jamming they capture all the dictionary meanings of jam described above--playing music that’s alternately and sometimes at once both sweet and aggressive, ethereal and ferocious, disciplined and sprawling. 


Besides their proclivity for jamming Woods are master songwriters as well with a musical palette stretching from pastoral folk rock to driving alt-pop to resplendent psychedelic rock. If you need proof of any of this I’d recommend spending New Year’s Eve and Day listening to their eleven albums (the latest being Strange To Explain released earlier this year) plus the compilation released out in October called Reflections Vol. 1 (Bumble Bee Crown King) that brings together rare and unreleased recordings made between 2009 and 2013. One standout on the latter is an early demo of “Bend Beyond” that’s a good deal more jammy than the version on the Bent Beyond album (2012). And below you can hear how they stretched out the song even more when they played it live. 

Strange To Explain is a fitting epithet for the year that just passed, featuring songs that act as a gentle balm for dreamers (“Where Do You Go When You Dream?”) and insomniacs (“Just To Fall Asleep”) alike. Here is an album that puts the “vibey” back in vibraphone and the “mellow” back in Mellotron, both instruments featured heavily on the album.

The writing of Strange To Explain overlapped with the band’s Purple Mountains project, a collaboration with Silver Jews’ frontman David Berman. The reclusive songwriter and genius poet came out of a decade-long retirement from music to record the album with Woods. Sadly, after a life-long struggle with depression, Berman committed suicide in 2019 just weeks before a widely-anticipated Purple Mountains tour.

And so as we say good-bye and good riddance to 2020 let’s pay tribute to those we lost and those among us who feel lost. And give thanks for the transcendence granted by the music that we love--whatever it may be--more important than ever this past year. Personally I’ll be riding it out with “Weekend Wind,” the mellow jammer that closes Strange To Explain. (Jason Lee)

Originally, celebrating this year's Memorial Day weekend was highlighted by a much-wanted performance by Frank Ocean at the Sasquatch Music Festival in the Columbia Gorge. But, in true Frank Ocean fashion, fans were faked out as he dropped off one of the headlining slots. In all honesty, heading out to the Gorge is a hassle anyway, especially when the chance of running into Fred Armisen, who's got a set of his own at the fest, is ever increased. Thank goodness the first annual What Was Sound Fest is happening, so much closer to home, with so much less hipster novelty to deal with.

Sub Rosa Curation teamed up with the Portland Mercury, Do503, Next Northwest, XRAY.fm and the Rose City Festival to bring Brooklyn dream rockers DIIV and El Ten Eleven's mellow post-rock with everyone's favorite indie folkers Woods and Fruit Bats down to Tom McCall Waterfront Park. Local support from Bed., the 11 piece funky afrobeat of Jujuba, Small Leaks Sink Ships and the recently added Sunbathe round the lineup out with some good balance in their first year.

Next Northwest and Vortex Music Magazine are hosting a free What Was Sound launch party tonight at White Owl Social Club, featuring a performance from Small Leaks Sink Ships. Come through and get a sneak peek of what will be happening at Waterfront Park on Saturday, and listen to the newest Small Leaks' track "Dancing Devil" below.

“Rolling Stone” magazine declared last year's Joshua Light Show at NYU's Skirball Center “the most psychedelic light show of all-time.” It doesn't mean we necessarily trust their judgment. However, the three-day music and light fest returns to Skirball this October 23-25th, where you can judge for yourself.

LA electro chanteuse Glasser and midwest free-jazz trio Bad Plus play opening night, where the latter is slated to perform Ornette Coleman's understated 1972 masterpiece “Science Fiction” in its entirety. Television, as well as J. Spaceman & Kid Millions, fill the Saturday night bill (10/25). But it's the middle show that “The Deli” is most interested in, where NYC psych-folk duo Woods bring their latest song cycle -- the appropriately titled “With Light and with Love” -- to glow beneath the shimmering colors on Friday the 24th.

For those unaware, “With Light” is Woods' eighth full-length since its inception in 2006. Mixing a steady diet of Grateful Dead-like jams with indie pop-vocals (think the Shins), the album spreads out into odd new directions this time around. From Bowie-like lyrical couplets to the occasional prog-rock trill, it is the band's crystalline effort to date. One which is sure to require more than a duo for the stage performance.

As to the Joshua Light Show, its most famous residency came at Bill Graham's Fillmore East rock club on “freaky Second Avenue,” where from March '68 'till it closed in June 1971, Joshua Light produced “Mondrianesque checkerboards, strawberry fields, orchards of lime, antique jewels, galaxies of light over a pure black void and, often, abstract, erotic, totally absorbing shapes and colors.” That's what the “New York Times” saw, at least. Founder Joshua White came to NYC after graduating from film school at USC in 1965. (Classmate George Lucas stayed on the West Coast and ran experimental light shows at Frank Zappa's Shrine Auditorium freak-outs of 1966-67.) White & co. re-emerged more recently as lighting designers for the 2008-11 Broadway revival of “Hair.” This latest fest showcases their ephemeral cinema with a well-deserved top-billing. - Brian Chidester

 Love Garden Sounds celebrated its 24^th anniversary this past Sunday at The Granada, with an impressive lineup of local and national acts.

 

It should not come as much surprise that momentous things are afoot for Portland's The Woolen Men. 2013 saw the band put out 3 different releases and sign with Woodsist Records. By just March of 2014 The Woolen Men have already released a split 7" vinyl with Spookies, and a four track Quick Trips EP. 

Currently on tour in promotion for their freshly released Quick Trips EP, Tuesday night The Woolen Men will play at Baby's Allright as main support for Brooklyn based Woods, along with Weyes Blood and Cassie Ramone. Currated by Brooklyn Vegan, this show is a part of the Red Bull concert series, Sound Select Presents: New York. 

Only a week following the Sound Select show, The Woolen Men will be packing up and flying over the Atlantic for a 20 show, month long tour though Europe. Have fun and good luck boys, here's wishing you well from back home in Portland. - Travis Leipzig