Norfolk & Western – Tickets – Doug Fir Lounge – Portland, OR – November 27th, 2013

Norfolk & Western

A special Thanksgiving eve reunion with longtime PDX Americana faves

Norfolk & Western

1939 Ensemble, Darren Hanlon

November, 27th, 2013

Doors: 8:00 pm / Show: 8:30 pm

$12.00

This event is 21 and over

Norfolk & Western
Norfolk & Western
A Brief History

Just prior to the turn of the century Norfolk & Western released their first album Centralia. Adam Selzer, the lone man behind the moniker N&W had just opened a recording studio called Type Foundry. Since he had recently moved to Portland and didn't know too many musicians yet, the newly "open to the public" studio's humble beginnings saw many unclaimed dates. It was at this time that he invited his old college friend M. Ward down to Portland from Seattle to begin working on his first solo album Duet for Guitars. The two friends played almost all the instruments on each other's albums and shortly there after they began working their next albums; Ward's End of Amnesia and Norfolk's Winter Farewell. The first two N&W albums were mellow, sparse recordings relying on moody atmospherics and folk ideals. It was at this time that Selzer's studio began picking up steam becoming one of the most popular studios in Portland. He moved into bigger digs and began recording numerous bands including The Decemberists with whom N&W would then support on a US tour.

Norfolk was invited to tour in Europe in support of Sparklehorse (for the It's a Wonderful Life tour) in 2003 and upon their return home they recorded Dusk in Cold Parlours for HUSH Records. The band had begun to solidify, anchored by Rachel Blumberg (of the Decemberists) on drums. Dusk proved to be a bit more poppy than the previous records. Many songs still maintained the band's sullen sound but the arrangements were more fleshed out and Blumberg's drumming, singing, and writing collaboration had come to the forefront. They had invited friends to fill out the sound live and in the studio but the band at that time consisted of Selzer and Blumberg at the core. They toured all over the US in support of the record and shortly thereafter Selzer and Blumberg joined M. Ward's touring band for the Transistor Radio tour. Norfolk & Western also supported all the US and European dates on the tour and upon their return home the band took a decent sized hiatus.

A couple of years later, in 2006 the band came back strong by releasing a 7 song EP (A Gilded Age) and a an LP (The Unsung Colony), both on HUSH Records. Dave Depper had become the everyday bass player and an important musical collaborator in the band. Norfolk & Western had shed a lot (but not all) of their folk and mellow ideas while trading them in for a more rock and pop sound. Both 2006 releases were filled with lush string and horn arrangements along with loud distorted guitars, accordions, saws, theremins, banjos and pedal steels. The three main members of the band (Selzer, Blumberg & Depper) wrangled in a young Peter Broderick to place his stamp on the new recordings and he was subsequently drafted into the band for the upcoming tours. It was Broderick's first endeavor into the curious world of touring. In the fall of 2006 they traveled all over the US on a support tour with Devotchka. Upon returning home, the band decided to take a break and pursue other endeavors. Selzer & Blumberg joined M. Ward again for the Post War tour and Blumberg went on to tour the world over drumming for Bright Eyes in support of their album Cassadaga. Depper had joined Loch Lomond who was busy recording and touring. Broderick was embarking on his successsful and prolific solo career all the while moving to Denmark to join Efterkleng. Selzer was hard at work in the studio recording such acts as Jolie Holland, Mirah, She & Him, Laura Gibson, Alela Diane, The Builders & the Butchers, Langhorne Slim, Peter Broderick & of course M. Ward. Selzer also continued his role as bassist & guitarist for Ward on the Hold TIme tour.

In the fall of 2007 Norfolk & Western regrouped and headed over to Spain for a festival. While there they decided to do some recording outside of Selzer's Type Foundry Studio to breathe some fresh air into a new record that had just recently begun. They headed down to Paco Loco's studio in Puerto de la Santa Maria and recorded six songs. The band then worked on the record throughout 2008 and 2009 at Type Foundryand completed the new album Dinero Severo. The record has much more of a band sound as it was recorded mostly live with much less overdubbing than on previous efforts. The band wanted to make a record that was both immediate and one which they could accurately represent live. Everyone can hear the record in the spring of 2010 when 3 Syllables, out of England, will release the record.
1939 Ensemble
1939 Ensemble
1939 ENSEMBLE ARE AN INSTRUMENTAL DUO FROM PORTLAND, OR. WITH AN UNUSUAL LINE-UP: DRUMS, VIBRAPHONE & NOISE. DRAWING INFLUENCES FROM KRAUTROCK, JAZZ & NO WAVE, 1939 ENSEMBLE MOVES BETWEEN OMINOUS DISSONANCE NOISE TO SHARP BOMBASTIC BEATS. THE DUO FEATURES JOSE MEDELES (the breeders) and DAVID CONIGLIO.
Darren Hanlon
Darren Hanlon
Darren Hanlon grew in a place described in tourist brochures as: "the town that saved Queensland". The grandiose statement refers to the discovery of gold in Gympie in 1867. The house overlooking the river in the Southside of the regional town contained his parents, his sister and their scant record collection but it seemed the two albums played continually were Kenny Rodgers 'Greatest Hits' and Slim Dustys 'This is Your Life' which they'd all listen to from their rooms at bedtime. "We might even get to hear side 2 if dad stayed awake long enough to get out of bed and turn it over," he remembers.

Scarily, his musical education could have started and ended there if it wasn't for a music teacher from a rival school who lived on his street. Owning a record collection that spanned 3 double arm lengths and 4 shelves high, it was from this stack miscellaneous enlightening gems would be plucked at random on the afternoons Hanlon would arrive uninvited. Whether or not the teacher put them on to actually educate this inquisitive rural nerd or simply shut him up was unimportant. He would sit there bug-eyed hearing everything from the Sex Pistols to the Smiths for the first time (and that was just the selections under "S"). The pestered neighbour eventually moved away but Hanlon found his new address by simply asking another teacher.

Fleeing Queensland after high school to Music College in Lismore his eyes were opened wider. If one would visit the town now it's hard to imagine that at the time it was a hotbed for original music and creative energy. From a long list of local bands, the 7 or so venues would fill their chalk boards most nights of the week, Hanlons favourite being University art-pop combo, Playground. He slowly got to know them by loaning them his guitar leads and was soon asked to join as guitarist, was fired on grounds of being "too country" and then rejoined in time to record their first EP under new name 'The Simpletons' and with them he toured Australia for the first time. Over five or so years, standing stage right of songwriting genius Shane Gelagin, he was happy to embellish tunes rather than build them. "To witness Shane working out songs was equally awe-inspiring and intimidating. He had limited musical background so therefore had no pre-conceived ideas on harmonic or melodic theory. He made his own rules. I wouldn't dare try compete."

But songs did slowly materialise over that period, mainly written for friends to perform at parties, some of them intended to be played once at the most. By the time the Simpletons dissolved messily at the Plantation Hotel in Coffs Harbour, Hanlon had a small but growing rucksack of tunes that he started performing on low-key early weeknights in venues around Sydney. After a brief stint touring as guitarist/keyboardist for Simpletons label mates the Lucksmiths and the Dearhunters and a year with Weddings, Parties, Anything leader Mick Thomas, Hanlon was finally convinced by Candle records mogul Chris Crouch to commit some of his songs to tape.

Getting the 'Early Days' EP out of the way quickly and heading to America for a whistlestop greyhound bus tour, national radio at home picked up on an unlikely banjo driven last-minute track called Falling Aeroplanes that meant he had some kind of career to return to. "I'm as surprised as anyone" he was heard muttering at the time.

During the recording of 'Hello Stranger' in 2002, Hanlon collaborated with drummer/instrumentalist Bree van Reyk on a couple of tracks and a musical partnership was formed which came to full fruition when the pair travelled to Tucson, Arizona in 2004 to record the next collection of songs. This time not only did Van Reyk contribute all percussion but also helped with a lot of arrangement and melodic ideas as well calming his nerves on turbulent plane journeys. They both bought ice-creams from a little shop under Wavelab Studios served by Mexican children. The words 'Little Chills' were crudely written on a piece of paper stuck to the window and were soon stolen by Hanlon and van Reyk to be the banner under which the new recordings would lie. The success of this album slingshot the pair into fairly constant touring splattered throughout Australia and the rest of the globe it belongs to.

In 2005 Darren moved to Oxford, UK to live for 7 months. His writing for the next project was interrupted briefly with a couple of trips to Scandinavia to support and play in that years line-up of Ladybug Transistor, as well as yet another tour in the US with NYs the Magnetic Fields. We first played together in Australia years ago and got along quite well. They seem to think I'm low maintenance and that suits them. I'm not sure how. I've lost a backpack, guitar and a passport while touring with them. But hey, they keep asking me back and I'm not complaining.

After returning home to Australia in 2006 plans were made to record the next album in a place that meant a lot to the singer spiritually and geographically. The Majestic Theatre in Pomona, QLD is but a few kms from the Hanlon family farm and Darren spent a good few Sunday matinees trying to get comfortable in the lumpy old seats there. His own grandmother attended school dances there and now years later the building could boast being the oldest operational silent movie theatre in the world.

Darren, Bree and good friend Mark Manone (Lucksmiths) ensconced themselves in the pub opposite and for 2 weeks recorded the album 'Fingertips and Mountaintops.' This would also mark the first of a long collaboration between Hanlon and Portland, OR piano/trumpet wiz Cory Gray (Carcrashlander) who flew to Australia to contribute. We'd met while I was recording at Type Foundry Studios in Portland and hit it off. Cory has been playing piano since he was 2 years old and you can hear that it's instinctual when he plays. He dreams up grand, nostalgic, mournful tunes in his sleep.
Hanlon added lyrics to one of these very tunes for his first co-write, included on the album as 'Old Dream.'

'Fingertips and Mountaintops' yielded radio songs and new live favourites which began a relentless touring schedule for the next few years and yet another support tour with the Magnetic Fields, this time in Europe.

In early 2009 a Rarities collection was released called 'Pointing Rayguns at Pagans'. Other stuff happened around this time but lets face it, he's not Sir Edmund Hillary. If you've read this far, Congratulations. That's the problem with these things: he records, he tours, he records, he tours.

And as you've probably guessed already this is me writing this. Hi. Well who else is gonna do it? And yes I did feel stupid being in third person and typing out all those quotations. But they are all things I've said! Or at least thought.
Better finish this thing. I'm going back in...

This year heralds 9 years of 'Darren Hanlon the Artist.' In a few months it'll become double figures which will mean all this is no longer a hobby.

An easily distracted pinball/crossword addict Hanlon now lives wherever and walks the streets with empty notebooks. "I find buying note books more inspiring than writing in them. They're just so perfect and pure, like a blank canvas or unflavoured tofu. I don't want to ruin it by writing in them."