Show Preview: Experimental Psych-Noir with Clawfoot Slumber

Clawfoot Slumber is a band with a vision. Based out of Portland, Oregon, the trio formed in 2010, and has since been steeping their mysterious, post-folk ballads and slow-burning psychedelic rock in a heavy dose of noir inspiration. 

You can catch their cinematic sound turning into picture at their upcoming video premiere show for their song, “Morality’s Whip,” this Friday, May 26 at Portland’s Bunk Bar. The video for the song, off of their upcoming LP, The Stars Within You Beckon to be Carried Forth from the Dark, weaves a tale of tension and mystery -- not unlike the film noir and psychological thrillers of the '50s and '60s.  

"We all collaboratively decided on a theme of film noir, but experimental film noir," says Erin LaCerra, who plays synth and piano for the group (and also holds down the fort here at Marmo HQ as our Studio Manager). "We looked for inspiration from directors like Maya Deren and Wes Anderson. Even a little bit of that film noir mystery, like “Is someone going to die here?” kind of Alfred Hitchcock/Rear Window or something.”

Directed by local filmmaker, Devin Febbroriello in collaboration with LaCerra and band founder Alex Callenberger, the short film also features costuming by local Portland shop, Cargo, and performance dance by Kya Bliss of PDX Dance Collective. 

“I always like to partner with different groups, companies, friends, bands, whatever, because I think that it’s always better to work together and make something even bigger than we could do on our own," LaCerra says. 

In advance of their performance and video premiere tomorrow, check out Clawfoot Slumber’s full songography below and enjoy. 


Clawfoot Slumber, Megan Diana, Young Elk

Friday, May 26th at 9pm

Bunk Bar, 1028 SE Water Ave.

Portland, OR 97214

21+

Posted on May 25, 2017 and filed under Music.

Marmolabs: Oh Hello, Mixtapes Page

 
 

We all could use a little mixtape magic.

We all know how overwhelming it can be to browse through various artists and songs when on the hunt for the perfect song to fit the mood of your project. Especially when you have an idea of what your film is about but aren’t exactly sure what to search for. Well, if this is you… say hello to your new best friend, the Mixtapes Page.

From female-fronted pop anthems, to artist roundups, to vocally-powered songs that remind us we’re better together, our expert team of curators  is constantly updating this page with new tunes for you to enjoy.  Check it out at  marmosetmusic.com/mixtape and listen away.  

 
 
Posted on May 23, 2017 and filed under MarmoLabs.

Artist Spotlight: The Disco-Era Grooves of Bob McGilpin

If you’ve ever wanted to know what the essence of disco sounds like, you can find it with Bob McGilpin. Entering the scene in 1978, McGilpin found immediate success with his single, “Superstar,” going on to craft album after album of energetic disco music about love and loss. Complete with funky bass lines and pumped up brass sections, McGilpin’s music played alongside the likes of KC and the Sunshine Band and The Bee Gees, landing three #1 hits on the Billboard Dance Charts.


During his career, McGilpin signed with Butterfly/MCA Records and later worked with Casablanca, performing for years as a solo touring musician. Today, McGilpin still puts his musical chops to work as a producer, songwriter and sound engineer at his studio, McMusic Sound Recordings Studio, in Nashville, Tennessee, on top of writing and producing music for TV and film. We’re thrilled to feature some of McGilpin’s recordings in our Vintage Collection. Check out these classic disco-era songs below and enjoy.

Posted on May 19, 2017 and filed under Music.

Don't Be Afraid to Be Weird: An Interview with Grant Harold

Grant Harold is a wondrously prolific composer residing in our hometown of Portland, Oregon. With a breadth of impressive work under his belt, including scores for Apple, Nike and NBCUniversal, we can’t help but wonder what the secret to his success is. Luckily, Harold teamed up with  filmmaker, Keith Fenter, to share the creative process behind his latest project, Radar Flora. The film uncovers the story behind each song off the EP and observes Harold in his element, drawing inspiration from his surroundings.

We chatted with Harold about the making of the film, writing alone and keeping things weird. Check out the interview and a short film below.


Marmoset: “Radar Flora” is your artist's name, but also the name of the short film about the creative process behind your latest EP. Was this process different than how you normally compose or get inspired for other projects?

Grant Harold: Yeah. So I was given quite a bit of time at the very beginning to come up with 20 or 30 short ideas. It was [Marmoset Original Music Producer] Katy Davidson who kind of spearheaded it. We had coffee and talked about how she appreciated how I use real instruments and stuff, at least trying to get the actual mix to have a little bit of vibe...I'm also very messy with my creativity, so, she was a guiding light for me.  

She would send me a few really obscure reference tracks -- something from the ‘60s, like a YouTube video or something -- and she'd be like, "You don't need to take the melody, or the drums, or the groove, or anything. You just need to take the feeling from it." That speaks my language, completely. So yeah, that was the process. She'd send me a few ideas and then I'd create 20 or 30 ideas off of that. She gave me a chance to wander and wait for my imagination to kick in. I got to go out and spend a little time gardening, things like that, whistle into the iPhone.

How would you go from having 20 or 30 ideas to dwindling it down to one succinct piece of music?

That's the really nice thing about producers like Katy. She totally runs with me on that. Sometimes, I wonder if I'm on the verge of being too spacey. Like not being grounded enough to know what sounds good and what doesn't. Gosh, it was cool because I felt comfortable right away with Katy. She was like, "Feel free to send me the weird stuff! Don't forget about that!"

So eventually she would -- gosh, she probably spent a lot of time now that I think of it -- she would listen to every idea. And then narrow them down for me. And then pick out one that sounded the best.

So even though it was a solo project, you still had someone else to bounce the ideas off of?

Exactly. Yeah, I wish everyone had this chance. It gives me an opportunity to just jump into the unknown  and be like, "Who cares!" I can come back to everyday life at the end of the day, but I'm just going to drift off and make the weirdest stuff I can imagine.

So what inspired you to make the film to go along with this EP?

By the actual guy that filmed me, Keith Fenter. Yeah, he's crazy -- he's really laid back, really personal. You kind of forget that he's there with a camera on. He came out, his idea was to film me making music and talk about my process and stuff. So, he stayed at our house for like a week. And we went hiking together out of Bagby Hot Springs and came back. He watched me make music. It was really natural. He just kind of went from day one he was there all the way to the end.

Did it create a different vibe having somebody else in the room when you were writing? What was that dynamic like?

Oh yeah. I'm starting to develop a negative thought loop about my writing -- I really can't create if I'm not alone. It's really weird. So when Keith was over, I tried to make something in front of him. And it's kind of laughable. It's just like, "Keith, I'm sorry man.." I was like, "I'm hitting on things, you can film me doing that." And all those thing that I hit on I ended up using in my songs anyway which was cool. But the bulk of it is just being alone.

I can share a memory that I have that I always think of. It's the '80s in Portland, I'm just climbing. I think I'm like 5 years or old or something, maybe 6, climbing an evergreen tree. Getting bit by mosquitoes and jumping off the tree and then going down into this little grove and just hanging out. Just listening to the wind and talking to myself. That's like me as a composer. Totally by myself.

What are the challenges or perks that go along with having that solo mindset and always writing alone?

The challenge would definitely be that I don't get to draw on the energy of other people around me when I'm creating. I've had that maybe a couple times, but it's so rare. So I miss that. I wish I could... everyone who’s a creative or freelancer wishes they saw people more, because you kind of get stuck in the studio.

So that's a bummer. But the great thing is that eventually when the idea's crafted, I can absolutely bring other people in. And they have the freedom to go, "Hey, can I try something crazy right here?" And I'll be like, "Sure, let’s record that and see what happens." So yeah, I'd say that those rough draft moments are by myself and then I benefit from others when it becomes a full-fledged melody and stuff.

Do you ever feel like you go through times of writer's block when you’re by yourself?

Yeah. Oh geez, yeah. You know what's cool is going to that forum last night made me remember all the women in my life who have inspired me. One of them, she's like too cool almost, Kelli Schaefer. She's this crazy indie songwriter. I would say way beyond that though, like art rocker almost.

So, I was having writer's block and I met with her a few years ago. And she just said, "You know those 24 hour turn around things?" She's like, "You can't depend on those too much for your everyday stuff. You need to really get down in the dirt and write from your soul. Remember your heart.” She's like, "I don't even really write for stuff like that on purpose." She said, "My soul needs to be filled." So she totally birthed creation in me again. I was super dry and then I met with her and it boosted me.

So I think mentioning that you're struggling, and then just talking to people, sometimes changes that completely.

Yeah, definitely. Going back to places you draw inspiration from -- is it ever hard for you to draw that line between inspiration and replication?

Oh man, definitely tough to draw a line. I was talking to someone recently about that. One of his close friends could have sworn that he had written a specific song, but it just happened that he had heard that song over and over again and just played it from his heart and then recorded it. And then they had to figure out who actually wrote it.

That's so funny.

It's nuts yeah. The brain sometimes has difficulty figuring out what's unique and what's inspired. I've had questions of, "Okay, do I need to stay away from the radio?" Literally no reference tracks, just specific keywords. I feel like maybe it's healthy for artists to go out and just stay away from art for maybe a month or two. Just to find their own voice.

Totally. So, in the film there are a few illustrations that go along with the songs, which I thought was really cool. How did that collaboration process go with the illustrator and director? Did you talk to him and say, "This is what I am seeing for this scene," or were you surprised at what he came up with?

Oh, I was completely surprised. Keith kept asking me, "What do you want the direction of this to be?" I was like, "Ah Keith, I'm not that type of person, man." I'll have my own ideas with my own stuff but I know he's so super creative so I just waited. And when he sent it over I was like, "Ooh this is so cool!" It was like he must have read my mind or something.

Going off that stylistic element of the picture with the music, what was the significance of the radio?

Oh yeah! That was during my formative years. I don't even know what that word means exactly. I think it's just when you're getting your identity, maybe as a musician. When I was in my early 20's, I was shopping at the Goodwill and saw it and I was like, "Why does that look cool? What is that thing? It's a radio, I guess. Why do I need it though?"

So, I bought it and I always keep it with me when I compose and stuff. I'm not even sure why I like it. I use it as a radio too. And I play my guitar through it sometimes to get an interesting tone. So yeah, I think Keith just kind of noticed that right away -- that I always have the radio around. So he's like, "Do you mind, do you trust me with this? Can I take it around town and film it in different locations?" So he did all that. But yeah, that radio's pretty rad. I still use it.

You’ve done a lot of composing for picture -- if you could collaborate or be on a project with any director, living or dead, who would it be and why?

The only thing that pops into my head is obviously Wes Anderson...I'm a huge fan of his. I don't even know what it is about him. There's a nostalgia or something. But the other thing that popped in is... I studied art -- it was like a digital technology and culture degree. And it was crazy the videos we watched. One of them was called La Jetee. I don't speak French, I don't know if I'm pronouncing it right.

I don't know who directed it, but it was a silent film. And it's just still photography and I think there's narration and subtitles. Man, that thing popped into my head right away, too. That would be cool to score. It's like a sci-fi, post apocalyptic thing, which doesn't even fit any love of mine, any inspiration. But the actual video itself has a ton of emotional complexity.

Posted on May 17, 2017 and filed under Music.

Sandwich Meets Composer: A Sandwich Session with Graham Barton

With a sea of different projects on his plate on any given day, our in-house composer, Graham Barton, spends a lot of time closed away in the Marmo studio, writing song after song and helping creatives around the world bring their dream projects to life. We don’t know how he does it, but our recent Sandwich Session tells us there may be more than a little bit of sugar involved. With help of some marshmallow fluff and a palette of frosting, we lured Graham out of his studio to get answers to some important questions -- with a guitar solo on the side.

Posted on May 15, 2017 and filed under Sandwich Session, Marmoset.

Selected Scenes from Our Latest Installment of A/VEC

avec-7409.jpg

The A/VEC series is inspired by a curiosity to explore what a filmmaker and a musician can dream-up, create and execute when paired together, with a limited amount of time, direction, and with mutual anonymity -- including absolutely no communication between the two parties. Once selected for the project, the filmmaker is given one month to create and produce a short film, which is then discreetly delivered (via Marmoset) to a musician/band, who then has 10 days to write, arrange and produce a complete live soundtrack. This soundtrack is then premiered live in front of the filmmakers and a live audience at the A/VEC event.


On Friday, April 28th we were thrilled to welcome our artist and creative community into our HQ for our third installment of the A/VEC series. A celebration of artistic collaboration, this event paired our friends over at the San Francisco-based production company, Avocados and Coconuts, with local Portland artist and Marmoset collaborator, Holland Andrews (who you might've seen in our 2017 Reel and heard in our work with Tillamook). The resulting film + score revealed itself to be full of vibrant and lush color-focused shots found around the world -- perfectly paired with an an ethereal, intense score of operatic vocals layered over clarinet notes with loops and pedals.

With Holland Andrews away at an artists’s residency and the filmmakers juggling between several other projects, the shortened time limit proved to be a challenge -- not that you could tell.

“The time I got to connect with it was just now,” Andrews said in the Q+A immediately following the premiere of the scored film. “I was really excited to see what would come up from watching.”

The Avocados and Coconuts crew drew from the vaults of past footage to shape a narrative, and filled in shots as needed based on striking color, pacing the shots with a metronome to keep the flow and transitions running smoothly without any music. “It’s really hard to feel feelings for something without music,” noted Dalia Burde, who produced the project. “We had a joke going that we would show up here and it would just be bagpipes for 10 minutes," director Chris Newman added. 

Check out video coverage of the event below.

Posted on May 12, 2017 and filed under Music, Marmoset.