Making the trek from Austin, TX to Anacortes, WA, each July has become an essential pilgrimage for me. Jutting out into the Pacific Ocean, hidden in the furthest northern reaches of Washington state, the town is less than one latitudinal degree from the northernmost point of the contiguous United States, and only two longitudinal degrees from the westernmost point. It is here that a small group of young artists consistently creates some of the country’s most arresting music. I wrote briefly about this year’s installment of the festival on 33 1/3’s blog and have written extensively about the fest in general.
Typified by Mount Eerie’s Phil Elverum, and following in the footsteps of Beat Happening member Brut Lunsford (both Anacortes natives), the group also includes visionary musicians like Paul Benson, who records as Ever Ending Kicks and fosters artistic endeavors as Fontee Fount Recordings, and bands such as Lake, who blend easy listening grooves with indie pop to great effect, making them an easy candidate for your favorite band you haven’t heard. Each year includes sets by these regional bands and friends of friends, and the event serves as a convening of the major players of Northwest independent music that stretches back to the founding of K Records. So, of course, Beat Happening’s Calvin Johnson always has a set, which in recent years has been with his new band The Hive Dwellers.
The Hive Dwellers set certainly stands out among the many other great performances of the weekend, as does an infectious set of airy pop tunes by Karl Blau’s project Lovers Without Borders and a set by Mount Eerie, during which Elverum performed nine entirely new songs. A rare, wildly experimental and improvisational set by Le Ton Mite and a pristine performance of haunting, beautiful, dark pop songs by L.A.’s Bouquet should also be noted. Bouquet is a band I’ve been following for the past few years and one that should be on your radar. Get on it. I was also particularly convinced by Vancouver musician Nick Krgovich‘s set of mellow pop, some of which we recently shared with you.
This year’s event would have been equally as magical with this usual cast of players, but the event has begun to branch out, pulling in a few like minds from communities beyond their own. This year, those recruits included Bonnie ‘Prince’ Billy and legendary Nashville producer David Ferguson, who has worked with the likes of Johnny Cash and Jack Clement. Despite such names, the remote locale still only draws (and will only accommodate) a modest crowd of true believers–those who are stalwart enough to seek out such an intimate and singular music experience.
Bonnie ‘Prince’ Billy’s set included a selection of solo songs including takes from his newest self-titled effort as well as from past albums: “Hard Life” from Master and Everyone and the title track from I See A Darkness. (Are you aware that the latter was recorded by Johnny Cash the year after its release and Will Oldham sang backup? That’s how good that song is.) Following a few songs alone, Oldham’s collaborator Matthew Sweeney joined him for several numbers before the aforementioned music legend David Ferguson formed a trio and performed several covers of songs by the recently deceased Jack Clement. The three performed unplugged around a central mic, which picked up harmonies and dueling vocal parts as well as strummed acoustic guitars.
This rare treat undoubtedly emerges as one of the weekend’s greatest treasures, but it should be seen as a reflection of the kind of commitment to unique, magical moments that this community has always practiced. No matter who’s on the lineup for one particular year, the remote island locale and intimate community of artists makes for an unforgettable experience.
All photos © Bryan Parker & Pop Press International; all rights reserved. Click any image to open in slideshow viewer.
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- Bonnie Prince Billy performs Anacortes Unknown 2014; photo by Bryan C. Parker
