Friday, 11 October 2019
7 pm doors, 8 pm show
$15 advance, $20 day of show
All ages welcome
"A moving testament to our life and times, Shook Twins' emotive 'Some
Good Lives' resonates with warm energy and raw humanity" - Atwood Magazine
"Some Good Lives is as
affirming as it is magical." - Popmatters
"The Shook Twins tell it like
it is while also making us want to dance." - Glide Magazine
"I love the harmonies of the Shook Twins, the
dreamlike songs that seem somehow permeated by the American Folk tradition,
without actually being part of it. They make music that twines through your
soul the way vines cover an abandoned shack in the woods." - Neil Gaiman, New York Times - Best-Selling
"The Shooks will Shake you. These ladies have
been keepin' it real since the day they were born and that was only seconds
apart from one another I think. Do yourself a favor and check 'em out. I do
declare, ya won't be sorry." -
"The Shook Twins put on a heck of a show. Keep
your eyes on these folks. I'm excited to hear what they do next." - Tucker Martine
"A unique, personal music that lights up the
stage with its joy and enthusiasm." - Mason
your life will write his or her own chapter in your story. Take a step back,
and you'll see the influence of your loved ones, mentors, and friends in your
decisions. Shook Twins refer to these folks in the title of their fourth album,
Some Good Lives. Throughout fourteen
tracks, the duo-identical twin sisters Katelyn Shook
[vocals, guitar] and Laurie Shook [banjo, vocals]-pay homage to everyone from a
late grandpa and godfather to Bernie Sanders.
realized there was a theme," Katelyn reveals. "Even though our minds are mostly
on the women of today and wanting the monarchy to rise up, we have several men
in our lives who have been such positive forces. We wanted to thank them and
honor the good guys who showed us the beauty in this crazy world we live in.
So, it's an album for Some Good Lives
that have crossed paths with ours-and to them, we are grateful."
also an acknowledgment of our thankfulness of the good life that we get to
the pair derived their own strength from these relationships. Over the course
of three full-length releases and a handful of EPs since 2008, acclaim would
come by way of everyone from USA Today
and Baeble Music to Langhorne Slim,
The Lumineers, Mason Jennings, and iconic best-selling author Neil Gaiman who
enthusiastically decreed, "They make
music that twines through your soul the way vines cover an abandoned shack in
the woods." Beyond gigs with the likes of Gregory Alan Isakov and Ani
DiFranco, they captivated crowds at High
Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Summer Camp Music Festival, and Northwest
String Summit, to name a few.
2016, they planted the seeds for what would become Some Good Lives by thinking bigger. The girls intermittently
recorded at Hallowed Halls in Portland, OR. Within this old library building, "which feels full of stories," they tapped into palpable energy like
never before, locking into a groove inside of the spacious, reverberant live
room. Moreover, the full band-Barra Brown [drums], Sydney Nash [bass], and Niko
Slice [guitar, mandolin]-expanded the sonic palette.
took us a long time to find the band that we wanted to record these songs with
and for the songs to fully mature," admits Laurie. "Once Barra, Sydney, and
Niko joined us, we really started to explore what our music could be. These
amazing players helped us realize that we could be more than just 'folk pop'. We started adding other
genres to the word like 'disco,' 'psychedelic,' 'funk,' and 'soul.' We really honed
in on a new sound."
initially teased that evolution with the single "Safe." Its airy acoustic
guitar and delicate harmonies materialize as a heartfelt and hypnotic
rumination on love. The track quickly surpassed 1 million Spotify streams and
stoked excitement among audiences for the eventual arrival of Some Good Lives.
"'Safe' was written up at a cabin in the
woods," recalls Katelyn. "I had the line 'a
love that feels safe' in my mind for a while. That's the only kind of love
truly possible and healthy when you're touring and away from your person all
the time. You feel like you can trust it, and it's not going to change within
either of you-no matter how long and far you are away from each other."
was struggling to find that kind of love at the time, and Katelyn had this
other perspective," adds Laurie. "It's my breakup song my sister wrote for me,"
opener "What Have We Done" struts forward on funky tambourine and boisterous
horns before culminating on the shuddering soulful chant, "My God, what have we done?" Inspired by "feeling the Bern," the
track serves as a "wake-up-and-do better
social commentary to fire people up."
Meanwhile, the dreamy "Figure It Out" sways from vivid verses into a catchy and
me, it's about being lost and trying to figure 'it' out over and over again," continues Katelyn. "We're always
going to be trying to figure things out, and that's okay."
intimate "Grandpa Piano" draws on 1992 tapes of the girls' grandpa performing
on a grand piano during the final weeks of his life. Such moments thematically
thread together the record, following its concept.
adds, "You can hear our grandma, uncle, and godfather who have all passed on
speaking in those clips too. These are little glimpses of those lives that we
are honoring. I knew it was the perfect thing to add and complete the theme."
the album concludes on "Dog Beach"-a song penned by their godfather Ted as his
only original composition in 1989. Preserving the raw spirit, Shook Twins
tracked their background vocals over the initial tape 28 years after the initial
recording. As Ted passed away recently, the song possessed a special place in
like our village anthem in a way," says Katelyn. "We made him sing it, and we'd
all sing the responses at every campfire we had growing up."
In the end, Shook Twins do Some Good Lives justice by reaching new heights themselves as
musicians, lyricists, artists, and women.
hope people will hear this music as part of the soundtrack to their lives,"
Laurie leaves off. "I hope it makes them feel joy, relaxation, or makes them
want to dance a little. I hope they're satisfied with the way we captured these
want them to feel the love that emanates from the songs: the love of the sounds
we made and the love of the people we are honoring through them," concludes
Cedar Teeth didn't plan to start a band around the campfires
that lit up their Oregon youths in the forests of the Cascade foothills that
form a clear-cut divide between Portland and the surrounding wilderness. The genre bending roots troupe owe their
inception to bassist Rayson Gordon, who forged a musical link between friends
and provided their secret headquarters: a cedar shed on his grandparents' 40
acre forestland on Green Mountain Road. In their new practice space, campfire
tunes turned into intricate songwriting and friendships became a partnership.
Following their 2014 debut album, Hoot, Cedar Teeth built
their reputation on stage, whether at festivals like Summer Meltdown and
Wildwood, or at clubs throughout the Pacific NW, where they have joined bands
like Fruition, Shook Twins, Motopony, Hot Buttered Rum, and Magic Giant.
On their 2017 EP, Farewell To Green Mountain, Cedar Teeth
explore everything from indie rock and grunge to psych folk and bluegrass,
reflecting the diversity inspired by their lives on the dividing line of
societal opposites. Produced by Larry
Crane (Elliot Smith, The Decemberists), the EP leans heavily on backwood
harmony, allowing complex song structures and off-kilter melodies to support
tales of love and war and the moments in between. In one sense, Farewell to
Green Mountain is a goodbye to both their formative practice space and the
vanishing wilderness and community they knew growing up; a sense of loss that
makes its way into songs such as "Cancer" and "Mama's Mourning". But then again, a voice of defiance emerges
in songs like "Winter" and "Echoes Grounding", testaments to renewal and
resilience in the face of the dying light.
While their range of sonic interests and influences defy
easy classification, it is difficult not to hear Levon Helm, Rick Danko and
company, The Band, hollering from the grave. Indeed, imagery reflecting organic
flesh and bone, mingling with gnarled old-growth roots music, is what this band
is all about. Call 'em whatever you
like: they are harmonizers and collaborators and Cedar Teeth won't let the fire
Tuesday, 20 August 2019
Wednesday, 21 August 2019
Thursday, 22 August 2019
Friday, 23 August 2019
Saturday, 24 August 2019
Sunday, 25 August 2019
Monday, 26 August 2019
Tuesday, 27 August 2019
Wednesday, 28 August 2019
Thursday, 29 August 2019
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