Bon Iver: Bon Iver
Release Date: June 21, 2011
Length: 39:25
Genre: Alternative
Label: Jagjaguwar
Rating: 5 out of 5 stars

Few albums in recent memory are as striking as Bon Iver’s latest.

To have as much of a following as Justin Vernon (the mastermind behind the “group”) and only be as far as your sophomore album is saying something. Not to mention, it is no small feat for your talents to be featured on an album classified in a genre almost opposite to yours. I am speaking, of course, of Vernon’s auto-tuned inclusion on the fabulous song “Lost In the World” from Kanye West’s “My Beautiful Dark Twisted Fantasy.”

Vernon’s previous and first studio album under the Bon Iver moniker was released in 2008 and aptly titled “For Emma, Forever Ago.” I use the word “aptly” because to enthusiastic fans, it probably did seem like forever ago. Four years later, with the release of “Bon Iver,” the wait is over and Vernon’s sound is better than ever.

It is almost immediately apparent that this album is vastly more percussive and electrified than the last. The first song, “Perth,” utilizes a surprisingly rapid succession of drum parts.

What makes “Perth” truly compelling is what birthed it. In a recent interview with Rolling Stone, Vernon revealed that his inspiration for the song was the news of actor Heath Ledger’s passing. While at his parents’ house shooting the video for the track “Wolves” from the first album, director Matt Amato (a close friend of Ledger’s) received the call informing him of the actor’s death. An excerpt from the article reads:

“ ‘So I’ve got this guy in my house whose best friend just passed away. He’s sobbing in my arms. He can’t go back to L.A. because the house is under siege. Michelle Williams is calling my parents’ phone. All this stuff.’ For the next two days, Amato drank brandy, cried and reminisced about Ledger riding horses back home in Perth. The morning he left, Vernon wrote the song’s first draft.”

And what a hauntingly beautiful tune it turned out to be.

In the broad scope, “For Emma, Forever Ago” was simply Vernon singing and playing guitar. This album employs more electronics and production in the form of keyboards, electric guitars and vocal effects.

However, one of my favorite songs from the album, in terms of vibe, is a throwback to the first album. It is called “Holocene” and is simply Vernon with a guitar. There are a few sonic effects thrown in here and there for good measure, and they only serve to further the song’s heartfelt and hopelessly romantic feel. The song feels like it should be in the next film directed by Zach Braff.

A high point of this album is its last song, “Beth/Rest.” It is completely reminiscent of a late 1980s/early ’90s ballad sound a la Bryan Adams or Phil Collins. Some may consider this a bad thing, but the sound and vibe of this album as a whole is one that makes its own path, and to do a song that is a direct throwback to what many would consider outdated and “cheesy” only fits that motif.

All throughout the album, Vernon demonstrates his signature falsetto vocals. As scary as it sounds, auto-tune can even be found in places, namely the aforementioned “Beth/Rest” which, again, given the vibe Vernon was going for, really only adds to the album’s lasting and ironic impression.

I listened to this album before I had ever heard “For Emma, Forever Ago.” After I listened to the new album a few times, I went back and checked it out. It was good. That is, I can say about it. Bon Iver fans of old may want to lynch me for that because of the rightfully special place it holds in their hearts, but in comparison to the new album, it is just that — simply good. I used the phrase “hauntingly beautiful” earlier to describe the song “Perth,” but really that phrase applies to the entire album. It gives a feeling of sadness, possibly even despair, yet feels extremely hopeful at the same time. Few albums have the capacity to pull off both so well.

If Bon Iver stayed away from Oregon on their current tour it would be criminal. Thankfully, that’s not the case. Justin Vernon and Co. will be playing a show where all the cool kids play these days, at McMenamin’s Edgefield Amphitheater on September 24.

Viva Voce: The Future Will Destroy You
Release Date: June 21, 2011
Length: 41:21
Genre: Alternative
Label: Vanguard Records
Rating: 3.3 out of 5 stars

The latin translation of the term “Viva voce” is “living with voice.” That seems fitting when you listen to the latest album by the Portland group of the same name. Moreso than in the past, the band seems to have found its true voice.

Last time I wrote about Viva Voce, I mentioned that their album “Rose City” left me excited for whatever might come next. That moment is upon us with their slightly-more-major-label release “The Future Will Destroy You.”

Released through one of the music industry’s indie giants, Vanguard Records (home to the likes of Indigo Girls, Matt Nathanson, and Mindy Smith, Stephen Kellogg and the Sixers, among many others), this husband and wife duo seems ready to take on the world with their voice, both musically and lyrically, on “The Future Will Destroy You.”

The album process was completed in just four weeks by the husband-and-wife team of Kevin and Anita Robinson in their home studio here in Portland.

“This is Viva Voce getting back to what it is,” Anita says of the two of them being the only ones present during the writing/recording process.

Kevin adds, “The creative wheels were really greased. The way we write and record just totally clicked on this record. I feel like it realizes the potential all of our previous albums hinted at.”

“Basically, with each record we’re just trying to find a way to create the music that’s been living in our heads since the last one,” Anita adds.

A strong opening track is a must-have for any good album. As with the first chapter of a novel or the introductory paragraph to a magazine article, it has to hook you and entice you to stick around for the rest. This album’s first song “Plästic Rädio” does a solid job of this. The laid-back keyboards and droning guitars immediately give “The Future Will Destroy You” a more appealing and accessible feeling than “Rose City.” It actually put me in mind of a swelteringly hot Los Angeles afternoon.

Being a drummer, I’m partial to a good drum part. The album’s title track has a good one. This song has muffled vocals, fuzzy guitars, and it just feels groovy. If there is an overarching feeling that goes along with the title of this album, this song has it. This song would fit the movie version of a Kurt Vonnegut book

Overall, “The Future Will Destroy You” has a more clear direction than “Rose City,” almost as though it were a concept album. It still has the hazy and atmospheric moments present in Viva Voce’s past work, but it feels like this album follows a more definitive and accessible path with its apocalyptic concept, its catchy hooks and Anita taking more of an official lead-singer role.

If the title suggests the Robinsons’ outlook on things to come, then the sound of the record couldn’t be more contradictory. Like everyone on some level, I have my own reservations about the direction humanity is headed in years to come, but based on the sound of this album, the future might not be that bad a place.

Here’s hoping.

Viva Voce is bringing these songs to Portland at The Crystal Ballroom on September 8 as part of this year’s Music Fest NW .

Burlap To Cashmere: Burlap To Cashmere
Release Date: July 19th, 2011
Length: 36:30
Genre: Alternative
Label: Jive Label Group
Rating: 3.5 out of 5 stars

Burlap To Cashmere hasn’t made new music together for a very long time. By most music industry standards, many people probably thought they had seen the last of the group long ago.

But they have persevered.

More than 10 years between albums is just ridiculous. But to have faith and talent enough to plunge ahead at a second chance after so much time and several setbacks proves that there is something here worth looking into.

Those setbacks included exhaustion from extensive touring behind their 1998 debut “Anybody Out There?” and an incident in 2005 when guitarist and founding member John Philippidis was severely injured after a near-fatal incident involving road rage in his home state of New York.

Their new self-titled album is coming at a good time. The sound is going to fit right in. Some would say back in the ’90s that Burlap To Cashmere paved the way for a lot of the popular neo-folk bands today, such as Fleet Foxes, Blitzen Trapper and Mumford & Sons. As a whole, their sound was and is unique because it takes modern folk and blends it with elements of European styles, specifically Flamenco.

Recorded in 2010 with producer Mitchell Froom — who has worked with the likes of Paul McCartney, Elvis Costello, and Tom Waits — the new album is a return to basics. It focuses mainly on acoustic instrumentation and the vocal stylings of lead singer Steven Delopoulos, who enjoyed a good measure of solo success during the band’s long hiatus.

Several of the songs are specifically reminiscent of a Simon & Garfunkel sound. The songs “Love Reclaims the Atmosphere,” “Live In A Van” and “Tonight” all seem to draw direct influence from the famous duo, mostly in the vocal harmonies.

The Flamenco stylings for which Burlap To Cashmere are known really show up in “Orchestrated Love Song,” “Santorini” and “Nehemiah (Build A Wall).”

One high point on the album is its closer, “Other Country.” It is a hopeful track that seems to be inspired by everything that this group has been through and where they hope to one day end up. Personal beliefs are also a theme — thinking about life after death. It works well because it gives the song heart.

One thing is for sure — this album will re-ignite the love of longtime fans and wrangle up the attention of newcomers. If nothing else, I would imagine that with this much time and life experience since the last time we heard from these fellows, they are probably to the point where they are mainly making music because they still enjoy it. And that is good for the listener, because it means we’re getting the most authentic experience possible.

“Some Days Are Better Than Others” is a movie about change. Really, the title says it all: Some days are better than others. For the most part, this movie just focuses on people’s bad or low-key days, but the interesting part is where it leads to and ultimately leaves you — with the thought that if you don’t like your circumstances in life, change them.

Made by Portland’s own Matt McCormick, “Some Days Are Better Than Others” stars Carrie Brownstein of “Portlandia” and Sleater-Kinney fame, as well as Shins/Broken Bells lead singer James Mercer. The story follows the paths of four seemingly random people in the city of Portland as they go about their day-to-day lives pursuing the things they feel are important.

If it weren’t for a few well-placed hints, scenery-wise viewers might be none the wiser about the film’s setting. At one point, Mercer’s character makes mention of Stumptown Coffee, and in another scene he is seen wearing a Jackpot Records T-shirt. From that standpoint, it is exciting to see a well-made film and feel like you are familiar with the elements therein.

The film’s dreary-yet-hopeful soundtrack was done by Portland’s Matthew Cooper, who has released several albums in recent years under the Eluvium moniker. It is engaging music, but when listened to all by itself, it’s easy to see that it was ultimately meant to accompany a film.

Ultimately, “Some Days Are Better Than Others” kept my interest all the way through and even features several extremely well-acted bit parts.

With “Some Days Are Better Than Others,” McCormick demonstrates his ability to create something poignant and encouraging. Hopefully this film’s release well help bring exposure to the city of Portland and to his filmmaking talents.

“Some Days Are Better Than Others” is playing in select cities nationwide. Dates and
locations can be found on the official website. http://www.somedaysthemovie.com/

First of all, “Thor” was sold out.

Second of all, “Bridesmaids” was sold out.

Third of all, “Pirates of the Caribbean” hadn’t opened yet and wasn’t able to be sold out.

Lastly, it took me 30 minutes on the bus to get to the mall and I didn’t want to waste the trip. Although, round trip on the bus wouldn’t have cost as much as the money I spent on this testosterone fest.

In case you haven’t figured it out yet, “Fast Five” is a waste of time. Unless you want to see Vin Diesel out-act the human paper bag named Paul Walker and the walking PED ad known as Dwayne Johnson, a bus ride around whatever town you live is bound to be more entertaining.

F5 starts off with the obligatory break-the-guy-out-of-the-prison-bus-with-one-fat-guard scene that wouldn’t/couldn’t happen in the real world. Dom Torretta is on his way to prison for something. I’m not sure what because I didn’t see Fast 4. Or 3, for that matter.

Anyway, Brian O’Conner — played by the aforementioned grocery sack — and Dom’s sister break Dom out of the prison bus without killing anyone, which is amazing considering the crash they cause. When they were done, that bus looked like a twisted piece of tin foil after it flipped 18 times. So they all split up and head to South America for a well-deserved vacation.

Now, I’m not sure about you, but if I had just broken a federal prisoner off his transport bus, I’m wouldn’t immediately go steal a bunch of cars off a fast-moving train.

But that is exactly what they do. In spectacular fashion, I might add.

Then, The Rock enters the picture.

I like The Rock. He’s fun to watch. His movie with Seann William Scott, “The Rundown,” is one of the five best action movies of the last decade.

In “Fast Five,” he is a federal agent who’s the best of the best. Yadda yadda yadda. Im OK with this stock character. I do have one question though: If steroids are illegal for professional athletes — nay, everyone — to possess and use, wouldn’t it stand to reason that the federal government wouldn’t allow their agents to possess and use them? If The Rock and, say, Thor got into a fight, I’m not sure The God of Thunder would win. The Rock is preposterously big. Not passing a drug test if I had to guess.

The Rock is apparently the Feds’ go to manhunter. He doesn’t get emotionally involved, he just gets his man. Because Vin and the paper sack are, at their core, good dudes, they eventually win over The Rock. Spoiler alert: one of the cars they steal from the train belongs to the biggest drug dealer in Rio and contains info on all his drug dealings. This is how the Feds get involved. They want that info. The fellas did steal the cars from the DEA, after all. Did I forget to mention that? Oh well. It really isn’t important. Stuff gets crashed and blowed up real good and that’s all you need to know.

Once the PED crew decides to take down the drug dealer, F5 turns into a heist movie that is a lot of fun to watch. And kind of clever to boot. When Rock decides to join with them, and he and Vin put their collective, abnormally huge craniums together, the thing takes off like an ephedra fueled rocket.

Lots of fighting, gunfire, and car chasing ensues. All impressively staged by director Justin Lin. The fight between The Rock and Vin Diesel is particularly destructive. Not at realistic, mind you. I’m not sure a 5-foot-5, 45 year old Vin Diesel has much of a chance against the 6-3 former football player and pro wrestler. Then again, I never thought Paul Walker could get another acting gig, so I guess nothing is impossible.

To get a really solid take on this movie, I highly recommend listening to Bill Simmons and Adam Carolla break it down on Simmons’ podcast, The B.S. Report. It’s very, very funny. It’s available on iTunes free of charge.

The bottom line is, if you like juiced up cars doing impossible stunts, and juiced up actors doing even more impossible stunts, “Fast Five” is for you.

It’s also pretty funny. Not intentionally, but it’s pretty funny.

These words were met with deafening cheers on Sunday, May 1, as Fleet Foxes’ lead singer Robin Pecknold uttered them to the crowd at Portland’s Crystal Ballroom.

Rightfully so.

Portland is a great city and it will only be made better by the addition of this fine musician.

Pecknold and his five bearded (save for one guy who looks like Michael Cera) folk/hippie companions led the crowd in more than two hours of finely-crafted and well-executed songs from their “Sun Giant” EP, their eponymous album and its extremely well-reviewed follow up “Helplessness Blues.”

If you’re familiar with the Fleet Foxes’ music it may be hard to imagine their songs translating to a live setting with any degree of energy. I assumed it would be a low-volume, mellow setting in which I could chill and listen to a couple hours of soothing music.

Not the case.

Not only did their songs translate well to a live setting, but all six members of the band played at least three instruments each (save for maybe the drummer), so the intricate instrumentation on songs from “Helplessness Blues” was preserved and intact. Never have I seen so many instrument swap-outs between songs. We were treated to 12-string guitars, flutes, fiddles, an upright bass, bowed guitars and even a bass clarinet. In addition, four of the six band members lend vocals to many of the songs, which only adds to their live-wall-of-sound approach.

It was a high-energy pseudo rock show that provided an ethereal vibe. Many people were dancing and bobbing their heads right along with the pulsing rhythm on songs like “Grown Ocean,” “The Shrine/An Argument” and Sun Giant’s “Mykonos,” which can be heard in the 2010 film “Due Date.”

The show came to a close with a two-song encore that ended with the title track from their new album. That song’s theme of wanting to contribute to something larger than yourself brought the evening to a fitting and positive close.

If you missed this performance, be sure to catch Fleet Foxes the next time they will be in the Portland area, on July 24 at McMenamins Edgefield in Troutdale.

Death Cab For Cutie: Codes and Keys
Release Date: May 31, 2011
Length: 44:59
Genre: Alternative
Label: Atlantic
Rating: 4.5 out of 5 stars

It doesn’t take long these days to realize that something is different with Death Cab For Cutie.

More than three years have passed since their last album, “Narrow Stairs.” Although generally well-reviewed, many didn’t find it to be the Death Cab For Cutie they know and love. The album had its share of dark overtones, even if some of the songs didn’t sound like it musically. Even members Chris Walla and Ben Gibbard refer to it as “a pretty bleak offering” and their “most depressing record.”

Out of necessity and a new fondness for life, Death Cab has reinvented and reinvigorated themselves on their new album “Codes and Keys,” which is available May 31.

Three years is longer than the average cycle between albums, and it just feels like it’s time for a new Death Cab album. The band has taken everything that is great and appealing about their sound and poured it into this new set of 11 songs.

A lot has contributed to frontman Ben Gibbard’s fresh outlook. He’s married, and is now the only member of the group not living in the Seattle area, residing in Los Angeles with actress/singer wife Zooey Deschanel, who is one half of the group She & Him with Portland’s M.Ward.

Gibbard also recently found sobriety, which has also affected his outlook on life and, naturally, his writing, both musically and lyrically.

Death Cab For Cutie has gone in an alternating pattern with the last four albums. With 2003’s “Transatlanticism,” it sounded like the four members were all together in a hollow room playing songs in unison. Then in 2005, when they released “Plans,” they took a more studio-oriented, finely-tuned-production approach. It wasn’t a vastly superior album, but it felt warmer. Next, with “Narrow Stairs,” they went the way of “Transatlanticism” again. It had a more raw sound, almost as though if a mistake were made it would have stayed for purposes of authenticity.

That leaves us with 2011′s “Codes and Keys.” In many ways, this release is Death Cab For Cutie’s most ambitious album. It is a perfect balance between raw sound and the finely-tuned warm sound that only studio scrutiny can provide. It is their least guitar-oriented album to date, which is interesting as the album’s lead single. “You Are A Tourist.” is completely built around an extremely catchy guitar lick. But almost nowhere else on the record is something like this present. Guitarist/producer Chris Walla (formerly of Portland) refers to the album as “very ’70s electronic. We wanted to explore how bands were using machines in the pre-computer era.”

The album opens with an unexpected jazz-sounding drum part on the song “Home Is A Fire.” From there the instruments softly layer in, and Gibbard begins to set the album’s tone lyrically with a theme of being uncomfortable with home, with things you’re used to, wanting to move on to something better.

It’s hard not to be put in mind of the song “I Will Possess Your Heart” from “Narrow Stairs” when you hear the bass guitar part on “Doors Unlocked and Open.” But this song moves much faster and isn’t nearly as drawn out.

The song “Unobstructed Views” is immensely striking. It’s the longest song on the album and the only one without drums or percussion. It doesn’t need them. It is extremely ambient and a great example of the ’70s electronic sound Walla described. It even uses a xylophone, which gives it the perfect touch of innocence.

On “Monday Morning,” Gibbard sings “I cry out, ‘Love, keep your arms around me, I am a bird in need of grounding.’” The song is a well-penned ode to his wife. Anyone familiar with the style of She & Him will find it easy to see Deschanel was at the forefront of his thoughts when he wrote the lyrics.

“St. Peter’s Cathedral” is another electronically-inclined track whose meaning I found tough to deduce. It seems contradictory to the hopeful theme of the album, because Gibbard seems to be exploring the issue of mortality and the possibility of what lies beyond this life. He comes to the conclusion that “there’s nothing past this.”

Every song on “Codes and Keys” is striking and memorable in its own way. That is something that will make it lasting, possibly even classic, and ultimately something that Death Cab For Cutie should be very proud of. It will envelope you, and before you know it, the last song will have come to a close.

And you will just want to start it all over again.

On their way to the Sasquatch Music Festival, Death Cab For Cutie will be playing in my hometown of Bend, Oregon, on May 27 at the Les Schwab Amphitheater with Bright Eyes and Jenny & Johnny.

The national touring company of “Wicked,” the Tony Award-winning musical, opened at the Hult Center on April 20 for a two-week run, the longest a Broadway show has stayed in Eugene.

“Wicked,” which started in 2003, has gained huge popularity among audiences and has since become one of the longest-running Broadway shows.

However, when the show originally opened, it received mixed reviews, namely from “New York Times” theater reviewer Ben Brantley, who criticized the score as bland and the show’s lead heroine, Elphaba, as boring.

Brantley got it wrong.

Though “Wicked” has its flaws, the overall experience is both enchanting and unique, drawing in audiences with dramatic and elaborate scenery as well as, for the most part, entertaining music and plot.

“Wicked” is based on Gregory Maguire’s book “Wicked: The Life and Times of the Wicked Witch of the West,” which was inspired by the original film and book “The Wonderful Wizard of OZ.”

The stage show focuses on the life of Elphaba, before she became known as “The Wicked Witch of the West.”

Contrary to what we know from “The Wizard of OZ,” Maguire paints a picture of Glinda the Good Witch and Elphaba as friends, even though they started off as enemies.

The audience is led to believe, at first, that Elphaba is totally evil and Glinda is good.

The political undertones in the plot are fairly obvious. The Wizard acts as both an intimidating ruler and a dirty politician who creates an enemy — in this case the talking animals — for the people of Oz during times of turmoil and dissatisfaction. But Elphaba won’t stand for this and, with her unique magical powers, frees the animals but soon becomes the new enemy to Oz.

It’s fun to see where Maguire and the creators of the musical take the plot of “The Wizard of Oz.”

Though Elphaba, played by Anne Brummel, is the heroine of the show and has a powerhouse voice (particularly on “The Wizard and I” and “Defying Gravity”), Glinda or “Galinda,” played by Natalie Daradich, is the real gem of the show. Glinda’s character is both funny and “blonde,” while also being lovable, big-hearted and just as much a heroine as Elphaba.

The set is breathtaking in its own way, and has completely transformed the Hult Center.

There are some points in the plot that lag, or are just downright silly and, given that the show is just under three hours long, it can be taxing on the audience when the excitement level is low.

But overall, “Wicked” is quite the spectacle and is well worth the price to see it live. While the grandeur of the show is amazing, at the heart of it, “Wicked” is a funny, slightly biting take on the much beloved “The Wizard of Oz.”

More Information:
Wicked Touring Schedule and Ticket Information

If you’ve spent any time in the City of Seattle, you’re probably familiar with the reality that traffic can become a major problem at just about any time of day, any day of the week.

I kept this in mind as I planned my annual trip to Seattle for the Mariners’ first home game of the Major League Baseball season. I’ve made the trip to Safeco Field many times, and so, as I came upon the bumper-to-bumper slowdown in Chehalis, Washington, some 85 miles south of my destination, I was not the least bit surprised.

My wife and 9-year-old son became inevitably grumpy and bored as we crept along, rarely topping 20 miles per hour, but I was resigned to the situation, and oddly content. I had made this drive for the Mariners’ home opener 18 times prior, and keeping the possibility of a traffic disaster in mind, I had built in a four-hour cushion for our travel schedule. Although disappointed that our dinner plans would have to be altered, I had faith that we would make it in time to see the first pitch.

For many baseball fans living in Oregon, a Mariners game at Safeco Field represents the closest available MLB option. It is a trip that is certainly worth taking, but is by no means a trivial undertaking. Being prepared and planning ahead will enhance your experience immeasurably.

First and foremost, let me dispel one popular myth — taking Interstate 205 to get around Portland is NOT the best option. Not only is this route approximately 10 miles longer, it has been my experience that the traffic is always worse. The best route is to just stay on I-5 straight through Portland. Do your best to avoid the morning and evening rush hours, but otherwise traffic is fairly manageable. For evening games in Seattle, I always try to leave the Eugene/Springfield area around 9 a.m., that way I will miss the morning rush hour and get through Portland around 11 a.m., just prior to lunchtime traffic.

Parking in Seattle can seem like an immense challenge for an “out of towner.” There are plenty of options available in the industrial area to the south of Safeco Field. To get to these lots from Interstate 5, simply follow the signs from the freeway to Safeco Field (Exit 164) and then look for the guys with “Parking” signs and orange flags. In my opinion, however, these lots are not the best option for your buck. These lots generally charge at least $20, and you will still have to walk 10 to 12 blocks to the stadium.

Although the downtown area may seem intimidating to the first-time visitor, there are actually many parking options available that will not only save you money, but also place you closer to restaurants and shopping. I almost always opt for a pay lot that is located just west of 1st Avenue, between Columbia and Marion streets. After 5 p.m., the lot charges only $10, plus tax, and is about a 10-block walk to Safeco Field. To reach this lot, take the Seneca Street Exit, turn left onto 5th Avenue, turn right onto Columbia, and the lot will be on your right after crossing 1st Avenue. If this lot is full, there are several others in the immediate vicinity.

Directly across Post Avenue from the parking lot is a great little Irish Pub called The Owl ‘N’ Thistle. All ages are welcome at The Owl, and they have an outstanding happy hour menu, available from 3 p.m. to 6 p.m., which features several food items for only $3.50. I always opt for the happy hour fish & chips and a hummus plate. There are several other restaurants in the immediate vicinity, all of which offer food options that are far superior to ballpark food at a much better price.

Many times, when arriving around or just after 5 p.m., when many people are getting off of work and heading home, I have been fortunate enough to find a metered parking spot on the street in this area. There are plenty of options surrounding the pay parking lot, and under the viaduct to the west. Meters are only enforced until 6 p.m., so you only have to pay a couple of bucks to park for the rest of the evening. Timing is of the essence, as these spots go quick.

A short walk, about 10 blocks south along First Avenue, will take you directly to the northwest entrance to Safeco Field.

If you have given yourself enough time for dinner, and have been fortunate enough to avoid a traffic jam, I highly recommend The Crab Pot Restaurant. Located at 1301 Alaskan Way, just north of the Seattle Ferry Station and about a mile from Safeco Field, the Crab Pot is an experience in and of itself. After making your choice from several seafood combo options, your waiter will cover your table with wax paper, provide you with a wooden mallet, a bib and a large roll of paper towels. When your food is ready, it will be dumped in a pile directly on your table, and a bucket will be placed on the floor next to your chair for you to discard clam shells, empty crab legs and the like. Dig In! It may sound barbaric, but the food is wonderful and the experience is fun and unique.

In the event you are fortunate enough to make the trip to Seattle the day or evening before the game, you might consider traveling up the Kitsap peninsula to Bremerton and taking a ferry across Puget Sound to downtown Seattle. My son and I took advantage of this option two years ago for opening day, and the little guy enjoyed it immensely. I will never forget the look on his face as we drove our car onto the huge boat. Taking advantage of online resources, we found a great deal on a hotel room in the City Center, and the following day, prior to the ballgame, we took in a spectacular view of the city from the top of the Space Needle. Tickets for the elevator ride up are a bit spendy at $18 for adults and $11 for kids 4 to 12 years of age, but my son was once again enthralled with the experience. After descending from the tower, we took the short walk to the Monorail station and caught the elevated train downtown, and from there caught a free shuttle to Safeco Field. My son talks about this particular trip every time we return to Seattle, and for that reason alone, I feel it was well worth the extra cost and time.

The weather in Seattle in April is inevitably cold and windy, with a significant chance of rain. I rarely opt to bring rain gear, simply because the only time it may be necessary is during the walk to and from the ballpark. On rainy days, the retractable roof will be closed at Safeco Field, and carrying around a wet raincoat becomes more trouble than it is worth, in my opinion. Instead, I choose a suitable outer coat that I can take off after arriving at the park for the purposes of drying it out. It WILL get chilly, especially at an evening game, so warm clothing is a must, and a blanket is a great idea. I generally carry my extra sources of warmth in a backpack, which of course, slows down my entry to the ballpark as it is subjected to a routine search. I do not generally attempt to sneak in any bottled or canned beverages, which greatly accelerates this process. Sometimes, a nice usher lets us slide with a bottle of water, in violation of official stadium policy. Even during the summertime, Safeco Field can get a bit chilly and breezy once the sun goes down.

Post game, Seattle’s Pioneer Square offers a plethora of watering holes for evening libations. A stroll from Safeco, north on 1st Avenue, will take you past many bars and taverns, all worth a visit. The J&M Café is one of Seattle’s oldest and busiest bars, with an authentic old style saloon feel. The J&M is located at 201 1st Avenue South. An upscale Irish Pub, “Fado” is located on the corner of 1st and Columbia. Other Pioneer Square spots worth visiting include The Central Saloon, Triangle Pub, Sluggers Sports Bar, Fuel, Collins Pub and King Street Bar & Oven.

At Seattle’s home opener for the 2011 season, the Mariners were unceremoniously whipped 12-3 by the Cleveland Indians. It appears that the Mariners will struggle to compete in the American League this year, as the talent simply isn’t there. Fortunately, Safeco Field is a beautiful stadium in a wonderful city, Ichiro Suzuki still plays right field, and one other Major League team will be playing in each of Seattle’s home games this year.

For all of these reasons, a trip to Seattle for a Mariners game is well worth the taking for a baseball enthusiast in Oregon.

Fleet Foxes: Helplessness Blues
Release Date: May 3, 2011
Length: 49:48
Genre: Folk
Label: Sub Pop
Rating: 4 out of 5 stars

From the likes of The Decemberists and Bon Iver to Mumford & Sons and Blitzen Trapper, indie folk music seems to be a popular nationwide trend, especially in the Pacific Northwest.

The style pays homage to music of the 1960s and ’70s with a bit of a country music tinge thrown in. Seattle’s Fleet Foxes are one of the forerunners of this genre, and the band lists Bob Dylan, Peter, Paul & Mary, Neil Young, Crosby, Stills & Nash and Ennio Morricone among the inspirations for their music, especially their new album, which releases nationwide on May 3.

“I was raised up believing I was somehow unique… but I’d rather be a functioning cog in some great machinery,” lead singer and primary songwriter Robin Pecknold sings on the title track of the Fleet Foxes’ sophomore album, “Helplessness Blues.” The theme of this album, Pecknold says, “is the struggle between who you are and who you want to be or who you want to end up, and how sometimes you are the only thing getting in the way of that.”

The Fleet Foxes’ first and self-titled album was released in 2008, and the band’s follow-up was meant to be recorded that same year. But due to an overwhelming and rather unexpected positive reaction to the first album, subsequent touring and promotion shelved it temporarily.

After several other unforeseen forces — such as illness, scheduling, creative doubt and rewriting — “Helplessness Blues” was finally finished in December of 2010. It was recorded at several places: at what used to be Seattle’s Hall of Justice until Death Cab For Cutie moved out; in Woodstock, New York at Dreamland Recording; and finally back in Seattle at several other studios, including Avast! Recording Co., where bands such as Soundgarden, Band of Horses and The Shins have also recorded.

Pecknold describes the new album as, “a synthesis of folk rock, traditional folk and psychedelic pop, with an emphasis on group vocal harmonies,” the latter of which is in true Fleet Foxes fashion. The first album was full of bountiful and intricate vocal harmonies on songs like “Sun It Rises,” “Quiet Houses” and “He Doesn’t Know Why.” As a whole, it was very echoey and delicate, yet at the same time concrete and exquisitely crafted. Every word sounds like it is being sung from the end of a long hallway with the microphone at the other end. It almost felt like an accidental success, as though the band set out to solely make music that appealed to them. But as it turns out, it appealed to many others as well, leaving fans eager for more.

Intricate vocals and harmonies are still one of the focal points of “Helplessness Blues,” but instrumentation plays a much more significant role on this album. In addition to traditional instrumentation, more unique sounds are present, such as hammered dulcimer, zither, wood flute, tympani, tamboura, fiddle, clarinet, Tibetan singing bowls and vibraphone.

Although this album took much more time than intended to make and release, it is easy to see that the Fleet Foxes have found their niche. They even take the time to throw in a lot of instrumentals (such as the song “The Cascades”) here and there, which is a welcome treat on any album.

The title track stands out, musically and lyrically. The theme of introspection and overcoming one’s own limitations to find success is as appealing as any.

The song “Someone You’d Admire” has lyrics that are very contemplative. It is a simple tune, with just Pecknold’s vocals and a guitar. It is nice to see that in the midst of an album that focused more on complexity, the Fleet Foxes are still able to demonstrate simplicity, which gives the album more emotional impact.

“The Shrine/An Argument” is two distinct songs combined into one, and is the album’s longest track. The first half starts off like it was taken directly from a Simon & Garfunkel album and leads into a more percussive section. The second half mellows down as far as percussion goes but introduces an interesting section with a lot of the aforementioned instrumentation.

The Fleet Foxes are not the type of band that will initially blow you away. Rather, their music has to be chipped away layer by layer before you feel like you have a grasp of it, which is a great thing for an album’s longevity. From that standpoint, their music takes effort to enjoy. It has depth and cannot be taken at face value. While “Helplessness Blues” doesn’t initially stand out as a classic album, I think it has the potential to grow into an album that will stand the test of time and ultimately end up on a lot of “Best of 2011” lists.

In a recent Rolling Stone interview, Pecknold shared that he is relocating from Seattle to Portland. It will be interesting to see what role that will play in the band’s next moves. On the Fleet Foxes’ upcoming tour, Oregonians will have two chances to see them — at the Crystal Ballroom on May 1 and at McMenamins Edgefield on July 24.