Lindsay Clark finds balance between traditional and english folk, country, and her own version of experimental folk that seems to come from her soul. Exquisite and pitch perfect, her music speaks of quiet revelation, with a background of (usually her own) multi-tracked vocal arrangements. With influences ranging from the Beach Boys, Elizabeth Cotton, Joni Mitchell, appalachian folk, her classical upbringing, and her father's record collection, she blends many worlds into a uniquely warm sound. She has carved out a vibrant place as an artist with a penchant for poetry, rich harmony, and and a style of self-taught fingerpicking influenced by Nick Drake, John Fahey, and others. Popmatters called Crystalline (2018) "a rare exhibition of the weight that minimalism can bear in contemporary, reflective folk music." Atwood Magazine called the first single, Little Dove, "a piece of poetry in and of itself."

Originally from the small gold rush town of Nevada City, CA, she now resides in Portland, OR. After relocating to Portland in 2009, she self-released two albums, recorded in Sellwood with Sean Ogilvie (Laura Gibson). Her sound has been described as “folk with angelic vocals washing over smooth edges” (1859 Magazine). She has shared the stage with musicians such as Alela Diane, Nat Baldwin (Dirty Projectors), Ryan Francesconi (Joanna Newsom), Laura Gibson, Kaitlyn Aurelia Smith. Her most recent effort was engineered and co-produced last year with Jeremy Harris (Vetiver/Devendra Banhart). “Crystalline” was released in September 2018 via boutique German label Oscarson. She is currently writing, with plans to record a new album in 2020. 

You may know Evan best from his 15 years serving as the primary singer / songwriter for seminal Portland-via-Los Angeles folk-rock band The Parson Red Heads. This is his 10 years in-the-making solo project.

Facebook:

http://www.facebook.com/evanthomaswaymusic/?ref=page_internal

Bandcamp:

http://evanthomasway.bandcamp.com/album/long-distance

“Planes on Paper don’t need much; just an acoustic guitar and two vocals harmonizing, holding each other close, is complete sonic comfort.” – KEXP

While at times "Edge Markings," the debut full length record from Yakima, WA duo Planes on Paper, blossoms into grandeur, Jen Borst and Navid Eliot imbue their art with a warm and ever-present intimacy. Indeed, from the first notes the record feels kindly and familiar. A work of grace and beauty crafted with specific intent, our protagonists “tried our best to make a record that we can all feel not alone to.”

Written mostly in the isolation of the rural pacific northwest, Edge Markings was recorded at Panoramic House in Stinson Beach, CA by engineer Scott McDowell (Feist, The California Honey Drops). The recording sessions featured appearances from their friends Faustine Hudson (Damien Jurado, The Maldives) tracking drums, Josiah Johnson (The Head & The Heart) providing moral support and grocery selection, and The Golden Gate String Quartet. Matty Gervais (Shallow Lenses, The Head & The Heart) visited via phone to offer fresh ears and production advice.

Borst and Eliot both grew up steeped in music; both, coincidentally cutting their melodic teeth with wind instruments. Gradually they moved into the contemporary world, and following his muse Eliot headed east from Seattle a half-decade ago. They met when Borst was the photographer assigned to shoot Eliot for a feature on the songwriting scene for the local paper. “Jen said jokingly, ‘I would sing harmony with you sometime,’” related Eliot, “and I told her, dead-serious, ‘I’m playing tonight, show up and we’ll figure out what songs we both know.’”

Fate is stubborn, and shortly thereafter they were recruited to sing harmony in a local band. The pair sang the occasional duet at gigs, and soon enough venues started asking about booking just the harmony singers. On a lark Borst and Eliot decided to cut a demo. The live-recorded demo took on a life of its own, so they cut a studio EP called The Ruins and the train picked up a head of stream. The single “Television” - a song that reflects on the sadness filling the great chasm between Americans of different political leanings - was featured on a few radio stations. Apparently the right people heard it, and the band was asked to perform at The Kennedy Center. It’s been quite some three years.

If one were given to speculation, if would be fair to theorize that this rush to the early glimmers of success might be due to both the meticulous care and lack of ego that go into the duo’s work.  “We’re very conscious of the fact that the only things we are experts on is our own lives and feelings” says Eliot. “We love to write, and we really do labor over each song making sure it conveys exactly what we want, without ever claiming to know any great truths. Our goal with this recording and every other is that people hear it and experience a certain empathy with us, and they feel like we empathize with them. We’ve gotten through the darkest times in both our lives, comforted by soundtracks we still remember, and the best times of our lives have had music to accompany them as well. Music has been so profound in both our lives, it feels almost like an obligation to try to be that for someone else. “

About the label: Rainwater Records is a 501c3 registered nonprofit label based out of Portland OR. None of the music is owned by the organization, nor do they request upfront recoup of costs incurred. A portion of the revenue will go toward contributions to school choir and music programs in the cities where the artists tour as well as the communities they live in. We support the artists and together we support music education.