Black Prairie

Early Show

Black Prairie

Casey Neil

Sat, November 10, 2012

Doors: 7:30 pm

Mercury Lounge

New York, NY

$10 advance / $12 day of show

This event is 21 and over

Black Prairie - (Set time: 8:00 PM)
Black Prairie
On Black Prairie’s debut, Feast of the Hunters’ Moon, listeners caught an introduction to the broad musical inclinations of Decemberists members Chris Funk, Nate Query and Jenny Conlee and fellow Portland musicians Annalisa Tornfelt and Jon Neufeld, classic instrumental string-band tones mixing with the vibrant bounce of Romani music and bursts of Tornfelt vocal-led pop.

The new A Tear in the Eye is a Wound in the Heart — out September 18 via Sugar Hill Records — goes far deeper than an introduction, offering a more intimate, layered look into the five bandmates’ predilections and abilities, and a snapshot of a group that’s grown from a side project into a focused, full-fledged band.

Funk and Query initially hatched the idea for Black Prairie as a way to explore instrumental string band music during Decemberists downtime, and those beginnings aren’t absent on A Tear in the Eye. But the growth from idea into five-part whole is immediately present, as Tornfelt’s sweetly harmonied pop takes more of the foreground, and the band digs deeper into the traditions studied on their debut.

The overriding focus in writing A Tear in the Eye, Neufeld says, was simply to follow each member’s creative impulses, in whatever stylistic form they took.

“I don't feel like there's any boundaries in this band at all,” he says. “That feeling of freedom, of, ‘Yeah, let's do that, let's do this.’ It's pretty free-flowing in that way.”

The album offers something of an accidental roadmap pointing toward what and who inspired many of those impulses, too. A The Band-esque brand of loose-groove, heart-forward Americana drives “Richard Manuel”; the bandmates trade exultant bluegrass leads through “For the Love of John Hartford”; and the kind of energetic gallop that permeates the music of famed Romani group Taraf de Haïdouks stomps through Black Prairie’s “Taraf.” Other A Tear in the Eye inspirations come through a little more veiled — like the impulse that sparked album track “34 Wishes,” which Query says started under the working title “Metal Song.”

“We were trying to make, ‘What would a heavy metal song sound like on these instruments?’” he says, laughing, of the song’s early collaborative genesis alongside Neufeld. “He came to my house and we literally opened my computer, listened to Mastodon and stole riffs from them, put them through the lens of Dobro and acoustic guitar.”

That kind of marked eclecticism makes for an album of quick, wide twists and turns, and to Funk, also makes A Tear in the Eye a wholly honest picture of who the members of Black Prairie are.

“I think it's all of our influences and all of us,” Funk says. “In this day and age people say, ‘It's a singles market, people aren't listening to albums as much anymore and they're listened to things on shuffle.’ To me, this is like a great shuffle. It’s our iPods on shuffle, for sure.”

And while you can’t necessarily draw a definitive line between A Tear in the Eye tracks and a certain member’s music collection, accordion player/singer Conlee recognizes how individual sonic strengths and loves build up the whole of Black Prairie.

“I think each of us has their tendencies — maybe I like to do the music that has more of an accordion style, like trying to do a French song,” she says. “I think Jon tends to have a little more of a bluegrass edge. Funk is probably the most eclectic of everybody. But we all have a lot of variation in what we do and like.”

One inclination all five members share: a desire and willingness to produce in-the-moment, fully alive music, free of the hyper-polishing and retouching that can blunt a recording’s humanity. The band tracked A Tear in the Eye with Hunters’ Moon producer Tucker Martine (The Decemberists, Death Cab for Cutie), start to finish, over the course of 10 days, eschewing hemming and hawing for energy and experimentation.

“We just moved quick,” Funk says, “and it’s really refreshing about this band, to let the real personalities come through and not worry about Auto-Tuning and hyper-punching notes, and, ‘Is that completely in tune?’ It's rough. It sounds like who we are as real musicians.”

As musicians, the members of Black Prairie have been keeping plenty busy beyond working on A Tear in the Eye and with their other bands, too. In early 2012, the band paired with the Oregon Children’s Theatre, composing music for the play The Storm in the Barn. For 2012’s Record Store Day in April, they issued a limited-edition 7-inch record featuring collaborations with The Shins’ James Mercer and Sallie Ford of Sallie Ford and The Sound Outside.

The latter project launched Black Prairie’s ongoing Singers EP series, which will feature songwriting team-ups with an array of friendly voices, with new releases coming in natural bursts, as Black Prairie and their co-conspirators’ schedules allow. (Releases with Martha Scanlan and Langhorne Slim are already in the works.)

Those free-flowing collaborations just extend the approach the members take with Black Prairie.

“One of the things I appreciate so much about this group is how much it's truly collaborative,” Query says. “It's really easy, because everybody trusts each other and is excited about each others' skills and unique superpowers. It's always really exciting — you never know what’s going to happen.”
Casey Neil - (Set time: 7:30 PM)
Casey Neil
CASEY NEILL's career has always walked the line between lyrical song craft and ferocious electric live shows. He is a songwriter and bandleader from Portland, Oregon with a sound that explores haunting Americana, high octane folk punk, and Scots/Irish melody. Neill's latest record, 'Goodbye to the Rank and File' , has garnered rave reviews from radio, online blogs, and press. It is the first to feature his band, the Norway Rats, which includes an all star cast of Portland musicians. For over a decade he has performed throughout the US, Europe, and Japan appearing with artists as disparate as Jello Biafra, Pete Seeger, Sunny Day Real Estate, Richard Buckner, Laura Veirs, New Model Army, and many more. A new long player titled 'All You Pretty Vandals' is slated for release next year. Casey Neill is touring throughout 2012 with the Norway Rats and in solo performance.

"These are songs with stories well told. This is what it's all about" STEVE EARLE

"Casey Neill’s latest record, Goodbye to the Rank and File, is just as much audio book as it is album, teeming with rich lyrics that paint the glory and gutter of a wanderer’s struggle. Backed by talented Rats like Jenny Conlee (the Decemberists, Black Prairie) and Chet Lyster (Lucinda Williams Band), Neill bellows pack the punch of white-capped seas, soaking the band’s big sky, prairie wind sound with a haunting graveness. It just may be Portland’s strongest brand of unfettered, contemporary roots rock." - Mark Stock, WILLAMETTE WEEK

"When the day is young, everything seems possible; the next waking hours can become anything you want them to be. Casey Neill’s newest album, Goodbye to the Rank and File, is very much like that thought. It’s just bloody good, the storytelling, the diverse influences, the delivery, it all comes together to box your ears, but oh, you’ll like the bruises. Lyrically, this is the best album I’ve heard in a very long time, musically it is almost as good, Casey Neill has hit a grand slam with this album." Aaron Binder, WORDBIRD

"…the Norway Rats provide a celtic country rock backing and some very fine rockabilly guitar moments to Neill’s introspective, sometimes autobiographical tales of misery and redemption, cracked ceilings and brilliant mornings, despair and love, tales from the other side of the tracks given quite real depth and emotive power. We haven’t all quite been there but when we do arrive at the destinations described by the twelve songs on Rank And File we’ll know where we are, thanks to Neill’s eye for detail combined with his unflinching humanity. If I’d wanted to hear an album that encapsulated the barroom romanticism, neon lit glamour of a downtown Saturday night anywhere, an imaginatively vivid evocation of life lived not quite on the margins but lived to the full nonetheless, an album that had the grit of the very best Alt. Country and the unsentimental eye of a social document, and that might even inspire some actual jigging in its more upbeat moments, then I couldn’t have asked to hear a more completely realized work than Rank And File." - Jon Gordon, ADEQUACY.NET

The music itself is almost shockingly accomplished. Neill is a talented vocalist and his moody voice suits the feel of the songs perfectly, while the rest of the band fit together to make up the refined roots sound. In theme, this is an album that touches on love, loss, life and bitter defeat, all viewed through a distinctly Northwest American eye. The song writing belongs up with the classics of this or any genre. - Jenna Cosgrove, THE PUNK SITE

In the case of Brooklyn Bridge, specifically, Neill has managed to pour all of the aches and pains earned in a life spent, into music that matters and means something, only to pull free from the mold a damn good album made of an intriguing mixture that blends Indie-Rock, Pop, Folk, Roots-Rock, and Pogue-esque Irish melodies into spellbinding hooks, heartfelt lyrics, and stunning musicianship. - Michael Jones, BLOG CRITICS
Venue Information:
Mercury Lounge
217 E Houston St.
New York, NY, 10002