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ISSUE #33.42 • SPECIAL SECTION • MFNW

Dirty Projectors


11 pm, Satyricon.


BY MICHAEL BYRNE | 503 243-2122

[August 29th, 2007] [EXPERIMENTAL FREAK-POP] The Dirty Projectors, the project of Brooklynite Dave Longstreth and a massive rotating cast of eclectic co-conspirators, is at the height of experimental indie royalty—and racing quickly toward so much more.

Marked by a voice that floats through ranges like it invented them (you’ll never hear so many notes crammed into the words “fucked up for life” as on the DP’s song of the same name), Longstreth’s creations depict a man who’s part wandering troubadour, part mad scientist. And the Projectors’ music ranges wildly—recklessly even—between broad orchestrations, narrow, lo-fi folk and sly, beat-oriented, vaguely R&B combinations of both. It’s the sort of thing that begs for disaster so fiercely that every time it comes off (which it does every time), it’s simply rapturous.

It would be easy, of course, to confuse Longstreth’s recklessness for pretense. What some might call his opus, The Getty Address , was a concept-heavy indie opera said to be inspired by Aztec mythology, the Eagles and the after-effects of 9/11. And the main character (I am not shitting you) is a gentleman named Don Henley. But it worked well enough to become a permanent part of the freak-pop lexicon, and—however weird—is admired by most anyone it touches.

Now, in the wake of the Projectors’ relatively square, everything-in-one-package Marriage Records release, New Attitude , Longstreth is headlong into a new, Black Flag-related project (he even looks like he could be Henry Rollins’ nerdy little brother). And the concept behind it is so wonderfully insane, it’s near unbelievable: Longstreth went back to his family home recently and, while rooting through some various childhood detritus, came across the empty case of Black Flag’s Damaged . At that moment, he decided to destroy the cover-album concept and instead, as the Dirty Projectors, re-create the album from memory.

Given that the album, titled Rise Above , is set to release only days after MusicfestNW, it seems safe to say we’ll be hearing the result. Expect to be awed.



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HOLDING OUR OWN
WW EDITORIAL STAFF | LocalCut.com’s music writers curated three local showcases for your Musicfesting pleasure. Here’s who they booked and why.
SOUND ADVICE
BY ETHAN SMITH | Pick the brains of music industry masters and mavericks at MusicfestNW’s panelpalooza.
GIVE IT UP
BY ETHAN SMITH | Good is the new bad. Huh?
Listings
WW EDITORIAL STAFF | Thursday, September 6
Spoon
BY AMY MCCULLOUGH | 10 pm, Crystal Ballroom
Aesop Rock
BY JOSEY DUNCAN | 11 pm, Roseland Theater
Aqueduct
BY AMY MCCULLOUGH | Midnight, Doug Fir.
Roky Erickson & The Explosives
BY JAY HORTON | Midnight, Berbati’s Pan
Listings
WW EDITORIAL STAFF | Friday, September 7
Tiny Vipers
BY CASEY JARMAN | 10 pm, Doug Fir
Rilo Kiley
BY CASEY JARMAN | 11 pm, Crystal Ballroom.
Grizzly Bear
BY DEVAN COOK | Midnight, Doug Fir.
Floater
BY CASEY JARMAN | 11 pm, Roseland Theater
The Fucking Champs
BY ERIK BADER | 1 am, Dante’s
Listings
WW EDITORIAL STAFF | Saturday, September 8
The Brunettes
BY AMY MCCULLOUGH | 9 pm, Crystal Ballroom
Girl Talk
BY MICHAEL BYRNE | 11 pm, Roseland Theater.
Dirty Projectors
BY MICHAEL BYRNE | 11 pm, Satyricon.
Clipse
BY CASEY JARMAN | Midnight, Roseland Theater
The Obituaries
BY JASON SIMMS | 1 am, Ash Street Saloon.
Okkervil River
BY AMY MCCULLOUGH | 12:30 am, Berbati’s Pan.
Listings
WW EDITORIAL STAFF | Sunday, September 9
Wolf Parade
BY AMY MCCULLOUGH | 11 pm, Crystal Ballroom.
 

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