Thursday, September 5, 2019

Lindsay Clark

Sean Ogilvie


7 pm


21 and over

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Lindsay Clark

English folk & country

Lindsay Clark

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. 

Sean Ogilvie

Indie, Folk Rock, Electronics

Sean Ogilvie

Some time ago, while touring the Maritime Northeast of the United States, in a quiet, centuries-old, lichen-covered cemetery in Cape Cod, the members of Musée Mécanique discovered a phrase etched carefully into the final resting place of some unknown soul:

“A ship at port is safe, 

but that’s not what ships are built for.” 

-Grace Hopper 

After years of successful exploration on the strong shoulders of the band’s debut record, Hold this Ghost, these simple words continued to inspire and guide the creation and completion of their upcoming sophomore long-player, From Shores Of Sleep. 

Their first album, Hold this Ghost (Frog Stand Records, US; Souterrain Transmissions, EU) was released in 2008 in the US and 2010 in Europe to great praise and review by Pitchfork, NPR, BBC, Tape Op and many others. The release sent them dashing around the US and Europe thereafter. Written and recorded in their home studio in Portland, Oregon, Hold this Ghost was the first fruits of long-standing collaboration between Sean Ogilvie & Micah Rabwin, the founding members of Musée Mécanique. The album cultivates an intimacy and reverence for nostalgia through the vulnerability of its lyrics and use of a wide range of instruments and sounds, from crackly old garage sale keyboards, to whimsical accordion and glockenspiels, to expressive strings and orchestra. Like the penny arcade machines from the Musée Mécanique in San Francisco (from which the band’s name derives) each song creates a scenic world unto itself; its own colors, landscapes, mechanics, and life.

At its conception, Musée Mécanique’s yet to be released second album, From Shores Of Sleep, was little more than a pile of melodic, rhythmic, and lyrical ideas. Between the trials and tribulations of regular and touring life, the gentlemen of Musée Mécanique began to toil endlessly on a body of work that never wanted to be finished. There was always a new melody seeking the right instrumentation, an older instrument requiring replacement, an arrangement begging for orchestral notation, a drum part finding a new rhythm or a lyric finding a new melody. They called upon friends to contribute their sounds and ears. Years passed. The band had set itself on a course to make a record that was uniquely Mécanique — one that became less like a traditional album and more like a musical novel or story. 

With the help of mixer/masterer Tony Lash (Elliot Smith, Heat Miser, The Dandy Warhols, Loch Lomond, Ramona Falls), the album is finally finished and set to be released in the summer of 2014. Captained by its sounds — frantic rhythms calling from the horizon, rich brass beds swelling with the tides, and layered vocal harmonies filling the air — From Shores Of Sleep is a through-composed, single piece of music full of surprises. The listener is taken on a voyage within a dream, through ten individual songs exploring the balance between realism and idealism, responsibility and adventure-seeking — the dream realm and waking life. From romantic shoreline, across haunted tides, through perilous squall and storm, past coral reefs and up grave river endings, the journey takes us through meticulously composed musical scenes that unfold seamlessly and ultimately leave us somewhere we never expected to be.

Given the difficulty of touring with a full symphony orchestra, preparations for the live performance of From Shores Of Sleep have included a tricky re-envisioning of what is doable onstage. The result is a compelling, multi-instrumental showcase that realizes as closely as possible the reverie and adventure of the album as it was conceived.

Musée Mécanique is: Micah Rabwin, Sean Ogilvie, Matt Berger, Brian Perez, John Whaley, Jeffery Boyd and friends.




The project name Completions is an ode to its purpose; a reminder to its founding member, Shawn Alpay, that within creative pursuits, it’s more important to finish an imperfect creation than to let it die on the vine.

A cello, plucked and strummed like a guitar, is the driving rhythmic force behind Completions, with Shawn singing evocative vignettes over it. His accompanying instruments have ranged from none at all to large orchestral projects, but Shawn is now finding his place somewhere in the middle; preserving the intimacy of a solo act with tasteful arrangements that serve to enhance each song. Shawn explored the death of his mother through haunting and honest reflections in a 2015 self-titled EP. Now, with the project’s new material, slated to be released in 2019, he’s turned that same vivid, unwavering attention to himself, fusing memorable melodies with personal scenes or moments that have formed him.

An engineer and producer in his own right, Shawn honed his craft at John Vanderslice’s recording studio Tiny Telephone in San Francisco. He’s no stranger to time on the road, either, having toured across the US and Europe, and working as a touring cellist in Matt Pond PA, Father John Misty, and How To Dress Well.

Completions, now based in Portland, Oregon, will be playing across the US this Spring, 2019.


About Al's Den

Head downstairs at the Crystal Hotel to hang out in this music venue named for Al Winter, Portland's gambling overlord who, in the 1940s, managed his vast empire that spanned the Pacific Northwest and into Las Vegas from this very location. Today, we hold live music, artist residencies, pre- and post-concert performances and more. 





Dinner  Dessert  Happy Hour  Cocktail 

The menu features local ingredients, house-baked breads, desserts and pastries from the Crystal Bakery, a specialty cocktail menu and an affordable yet approachable wine list, while a well-trained waitstaff provides a comfortable and welcoming guest experience. No reservations are necessary; stop by for a quick business lunch, a pre-show drink or an evening date night.

Explore the Crystal Blocks

Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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