Altadore

It feels like a long time since Winter 2012′s ‘Golden Hills’, but it has been worth the wait: ‘Bar Lights’ is one hell of a start to 2015 for Altadore.

You all know EXACTLY what it’s like. You’ve found a band that you love to pieces, you’ve metaphorically worn away the grooves on the vinyl listening to that treasured album over and over, you hope fervently for new music, and then it arrives. It’s a struggle to press play. You don’t want to be let down. You want the music to knock your socks off from the first.

And then it does.

‘Bar Lights’ jangles into life, drums and guitars pound and ring out and then a brief moment of silence drops before fuzzed-up, brooding bass introduces us to naked, vulnerable vocals, echoing scratchily into the melancholy winter air.

You can check out a clip here before you go and buy it.

Portland, Oregon’s Altadore are made up of David Katz (vocals and guitar), Gabe Mouer (also Light Club, guitars and vocals), Matthew Hall (ex of Genders and Paper Brain, bass) and Zach Wilder (drums). Even though ‘Golden Hills’ was a fantastic record, ‘Bar Lights’ feels like a real step forward for the band, and not just in terms of building on their previous, more reflective sound. After all, ‘Golden Hills’ rocked, especially on ‘Where You Go’ and ‘Moments’, but the new single finds Altadore upping the tempo and the volume.

‘Bar Lights’ feels like a less autobiographical song than previous efforts, perhaps emphasised by Katz’s delivery which is much more understated, less keening than before. Indeed, it verges on the deadpan at times, but repeated listens give the lie to that – the click at the end of “heartache”, the catch in the voice as he closes out “darkness” – and he always knows the right time to inflect a little, or descend a note or two further. After a while you find yourself listening out feverishly for those delicious moments.

It seems to me that Gabe Mouer has continued to develop his playing style in the same vein as in his Light Club release last autumn; fluid, mellifluous guitar lines slip and slide beautifully under the verse, playing with and around the melody. If anything those lines work more magic here, placed in contrast with the hirsute bass that gives this record much of its punch. It may be that Mouer tops that with the soaring outro (which could only have been bettered if, on the last bars of the solo, it had sped up, thrown in some more notes, but then I’m being greedy…).

Speaking to us last week David described the moment when those two elements were put in place:

“I remember the first time I showed the guys, it was Matthew’s second or third practice with us, and the fuzzed out bass line in the verse was his first original contribution to Altadore. I was pretty blown away. And shortly after, Gabe threw in the lead guitar hook at the end. A sonic 1-2 for me personally.”

The instrumentation for ‘Bar Lights’ was tracked entirely live with the exception of a little guitar and tambourine added later, and vocals recorded the next day. It’s one of five tracks laid down on 10 and 11 May last year, produced by David and Gabe, and recorded by Tim Shrout at Marmoset in Portland (mixing by ‘Golden Hills’ Jeff Bond and mastering by Rob Dennler).

You can expect ‘Bar Lights’ to be available through Altadore’s bandcamp site as well as through itunes and yer usual streaming services. Release date of 13 January 2015, with the full EP (title ‘Wandering Ghost’) to follow later this Winter/Spring. - Backseat Mafia

Ah we do love it when we receive some new music from stateside, especially with a sound as tight and polished as this particular band. Emerging Portland based indie-rock group Altadore kicked off their campaign earlier this year with the release of their single Bar Lights; picking up rave reviews all over for it’s layered guitar lines, driving vocals and infectious melodies. The band consisting of David Katz, Zach Wilder, Gabe Mouer and Matthew Hall are set to release their new EP Wandering Ghost this month (21st), following up from 2012’s debut Golden Hills.
Sitting themselves between indie and garage rock, Altadore’s development over the last year has confidently paid off; excelling themselves brightly with their new EP Wandering Ghost. Bar Lights, with it’s upbeat pop vibe and hook driven guitars falls in the same category of bands such as The Strokes, The Vaccines and Arctic Monkeys. Lead singer David Katz drawing you in with his down-toned vocals and reflective lyrics, accompanied by the beautifully textured guitars lines and rhythmic drum beats. There’s a sense of freshness about Altadore despite the similarities mentioned above. Tracks like Clearer and Drink Sipper offer us some dazzling moments, effortlessly combining loping rhythms, roaming guitar riffs and Katz’s soaring harmonies. Losing You stripped back intro with David’s vocals evoking a sombre tone, you immediate feel a presence of John Lennon as Katz’s reflects on lost love before the thrilling guitar riffs and driven bass lines take over. Cigarette Dances closes the EP with it’s glittering electric strings and David’s beautifully chilled vocals, pouring emotion as he reflects on past tales.
Overall Wandering Ghost is a well balanced record from the Portland based four-piece. If you’re new to Altadore like we are then this record is a great place to start, one that’ll make you sing, dance and connect with music. - The Flux Presents

Altadore describes itself as "indie rock." What on earth does that mean in the year 2015? From listening to their appealing new five-song EP, Wandering Ghost, it means, I think, that the Portland band has drums, guitars, and a singer, but they're more interested in exploring sonic textures with those instruments than banging out three-chord blues-derived jams. The guitars shimmer with just-so amounts of echo (rather than bellow and crunch); the drums lope along elegantly (rather than bash and clatter); the songs are pretty (without being folk-derived). It's not exactly an uncommon sound in this day and age, but the melodies, delivered by lead singer David Katz, are where Altadore gaze in the rock 'n' roll rearview and find their anchor. The tunes evoke '50s prom ballads, Brian Wilson-esque chord structures, and Raspberries power-pop. If Altadore's sound is nebulous, their grasp on timeless songwriting is not, and it's what sets this indie-rock band apart from countless others with the same designation. - NED LANNAMANN - Portland Mercury

Altadore, an emerging rock band out of Portland, OR, released their second EP album last month Wandering Ghost which isn’t a drastic departure from their 2012 effort Golden Hills but certainly takes the band in a different direction that fans should not only embrace but perhaps get the members a step or two closer to their goal of quitting their day jobs.

The five song album from the quartet that consists of band founder David Katz on lead vocals, guitar, and keyboards; Gabe Mouer on lead guitar, background vocals and keyboards; Matthew Hall on bass; and Zach Wilder on drums, brings a stronger rock vibe and sweeps away, just a bit, that softer indie quality that made up their first release.

Recorded at Portland’s Marmoset, it’s evident from the opening track, “Bar Lights,” that Altadore is reaching for new heights with a catchy guitar chord to start things off followed by Hall’s rolling bass, and then Katz’s vocals pipe in taking charge and making an immediate impact, sounding raw yet subtly refined.

“Clearer” is the most pop-oriented and personal of the group, a love letter of sorts that again is driven by Katz’s vocals and you immediately know where he’s headed from the start: Darling, how could you not recognize my love?/Darling, how could you not justify my love? It’s overtly catchy with a great melody and even the background guitar loop that seemingly fades in and out throughout the course of the song helps cement the arrangement.

“Drink Sipper” carries a shade of Golden Hills with Katz vocals a bit softer and an overall more melancholy vibe to the instrumentation. “Losing You” feels like it’s headed in a similar manner starting off slow as Katz is accompanied by just a soft guitar strum but then suddenly the rest of the band breaks in with an upbeat tempo that takes the song in an entirely different direction. It’s a fun tune that offers some musical complexity and allows Hall to rock out a bit.

Finally, “Cigarette Dances” could be on a “Time Life” baby boomer’s compilation disc as Altadore embodies The Everly Brothers’ “All I have to Do is Dream” and even the title suggests a song favorite your Mom and Dad slow-danced to in the high school gym but that’s about as close as it gets especially with these lyrics: When I figure it out, will I still be here?/Or will I be a wandering ghost?/Will you read my eulogy?

Katz said the album is not as personal as their last effort as the content is more fiction than truth however the subject matter of fleeting love and inner turmoil should resonate for anyone with a pulse. Overall, the vocals step up this go-around as a main instrument rather than a complement to the rest of the band and Katz said in many respects that was deliberate as he was trying for a “slap-back delay” that resembled a hifi tone often heard from 1960’s Motown tracks.

Grade: B+ - Drew's Reviews

Motivated by snapshots of city life and love, Altadore’s songwriter David Katz draws from personal experience to present his introspective form of indie-rock. Starting out solo, his project quickly grew to a quartet that presents something emotionally raw, ethereal and contemplative. The songs initially take form in Katz’s home on acoustic guitar, yet the lifeblood of the compositions really come into form at Altadore’s practice space in SE Portland.

David Katz puts a lot of stake into where he practices. “I tend to do most writing … on an acoustic guitar, but when I come in and play through an amp and/or show a new idea to the band, the increased sonic delivery can really have the potential to spark a new idea for how the song should move,” he says. Like with many bands, the creative process happens when everyone is together in the same room. The band keeps the exact location of the practice space secret, and that sense of secrecy prompts a certain magic from all the members that emanates in a unified sound. “It’s always exciting to unveil the bare bones of a new track in our practice space. Anything can happen,” he says.

Altadore is currently busy recording in the studio, wrapping up their first official full-band album that will no doubt win the hearts of anyone in earshot. - 1859 Oregon Magazine

Describe your music for us:

“Altadore is indie rock with ambient, reverb-slicked guitars. Similar to bands such as The National, Kings of Leon, and Arcade Fire.”

Tell us a little about the process of creating your debut album, Golden Hills:

“I really wanted to deliver an honest collection of songs. About half of the songs were roughly put together when I was still playing in my old band. When that band broke up in March of 2011, I took those songs, finished them up, and wrote the rest of what became Golden Hills. When I was ready to start tracking the record, I booked some studio time and started in July of 2011.”

Why go by Altadore rather than your given name?

“I never felt like the name David Katz sounded or looked like a musician. Maybe it’s the shape of the letter D or the abruptness of Katz, not sure. I settled on the name Altadore instead as I felt it was unique enough and meant something to me personally that I’ll be happy with for years to come. My father grew up in Canada in the Altadore district and he also lived on Altadore Avenue. So I think the name having that connection is pretty satisfying and a great substitute to my given name.”

Favorite part about performing?

“There’s always so much energy playing live. Both from the band performing with loud guitars and drums, and the fact that there’s a crowd who’s there just for that: seeing live music. The connection is perfect and hard to attain in anything else.”

Biggest inspirations?

“Bands/Artists including Kings of Leon, Death Cab For Cutie, Ryan Adams, Frightened Rabbit, Bombay Bicycle Club, and The National have been some of my largest musical inspirations.”

Any big plans for this year?

“I’m planning to record a new EP in the next month or so. Other than that, I’m just trying to play as many shows as I can and possibly tour.”

Your favorite song to perform/record?

“West Virginia is my favorite song to perform and “Moments” was my favorite song to record.”

Since we’re from Honest Reviews Corner, what’s your “honest review” on the Beatles?

“I love The Beatles. I’ve never been one to obsess and really dive into their discography, but I do have some of their records and I think they’re incredible. Definitely worthy of the fame they’ve achieved.” - Honest Reviews Corner

Song Of The Week: “Moments” by Altadore

http://youtu.be/aV-JL6XLEeE - Torches Magazine

As soon as I heard Altadore’s “Golden Hills” I knew it would be a colossal missed opportunity to review the record but not try to get an interview and find out some more about them. Luckily for me and you, lead singer David Katz said ‘yes’. What ensues is lengthy, but I hope you will agree, interesting. To entice you in, it also features questions from some notable musical icons, including Jimi Hendrix, speaking from beyond the grave.



Backseat Mafia: Whose input aside from your own/your band has been most important in shaping Altadore’s music ? And how have they done that ?

David Katz: I’ve played with a number of different musicians over the past 4 years or so. Some were permanently in my old bands and some were just helping me out on some songs and for a show or two. Leading up to the end of my old band, I had about half of “Golden Hills” roughly written. One of my friends, Mitch, who had been helping me out on lead guitar at the time, came up with the lead guitar hook in “Where You Go.” My other friend Justin wrote the lead part in the outro of “Moments.” My old bassist Teejay also wrote the bass lines for half of “Golden Hills”. Those 3 people have been pretty important in at least adding another characteristic to my music. Other than that, the thing that’s shaped my music the most is all of the bands I listen to and that inspire me. When I listen to music I pay attention to song structure and tones. Those two things are really important to me.

BM: How did you meet the rest of the band and how would you describe each of them ?

DK: I met Zach (drums) in high school through some mutual friends. He played guitar in my first band as well. Zach is such a breath of fresh air. Incredibly witty and smart and great to be around. He also has the nicest long hair I’ve ever seen!

I met Gabe (guitar) through the music scene here in the northwest. He used to play in a band in Olympia, WA. My old band played with them once and then they eventually moved down to Portland and we just kept in touch. Gabe is one of the smartest, nicest, and most articulate people I know.

I met Matt (bass) through Craigslist! Crazy, I know. I was looking for a bassist after my previous bassist decided to pursue other things, so I took to the internet and Matt replied to my posting. Matt is awesome. Really laid back guy who shreds the bass and loves to talk about music. I’ve only known him for a handful of months but he’s becoming a really great friend.

BM: Jeff Bond produced this record with you and, as you know, the sound is something that I particularly admire about “Golden Hills”. Is there a producer that you would like to work with ? And any reason why – work you have particularly admired or an approach you like ?

DK: I haven’t spent a lot of time looking into who have produced a lot of my favorite records/artists, but I know that James Ford has produced Arctic Monkeys’ last 3 records and they all sound incredible. I also know that The National self produced their ‘High Violet’ record which sounds beautiful. They created an incredible work of cohesive art that will stand the test of time.

Another band who constantly puts out cohesive records is Death Cab For Cutie. You can listen through each of their records, front to back, and each one always has it’s own theme. Its own set of tones and textures blanket over the record in its entirety. That approach always strikes deep with me.

BM: Come the zombie apocalypse how will you fare ?

DK: Probably not that well. I’ve never even scrapped before and have never used a gun. I’d probably take to a baseball bat.

BM: Can you tell me about the first time that you were stunned into silence, listening open-mouthed in wonder ?

DK: You know, it’s a real shame, but I can not remember the first time I experienced that happening. But I do know that early in my childhood, meaning around the age of 9, I had heard “Dream On” by Aerosmith and it totally blew me away. Then I followed it up with “Walk This Way” and I was hooked for a whole summer. Thanks for the killer use of your pipes, Mr. Tyler.



BM: Aerosmith huh? Who would have known ? Well, leading on from that, pick 5 more songs that have a special resonance in your life – what is the story behind them ?

DK: 1) “The Shadowlands” by Ryan Adams off of his ‘Love is Hell’ record is amazing. It’s such an adventure of a song. First half is only lo-fi piano and vocals, and then he gradually brings in full band instrumentation half way through the song and it just end with possibly my most favorite lead guitar tone of a all time. No story behind this one really. It’s just a beautiful song and struck deep when I heard for the first time.

2) “Passenger Seat” by Death Cab For Cutie. I remember exactly where I was when I heard this song. My girlfriend (at this time I had only known her for maybe 2 or 3 months) had made a mix of songs for me to listen to. So we took to the freeway and drove south toward the town where she grew up and listened through the mix. That song came on and I was in awe. That was the beginning of a really memorable night, full of adventure and great music.

3) “Oh, Providence” by His Name Shall Breathe. Tim Martin is a Portland resident as well and is the man behind His Name Shall Breathe. He is one of the most honest songwriters and lyricists I’ve ever heard. This wasn’t the first song I heard by him, but I remember it really sweeping me away for the entire duration of the song. This is off his record ‘There is an Earthquake Inside of Me’ and it’s hard for me to pick only one that resonates with me. I believe the following lyric references a local Portland hospital, and it talks about his mother, which I made a strong connection with. Not necessarily for the relationship he’s describing, but the fact that he’s seeking answers and opening up by personifying the hospital and asking it questions about his mother.

“Oh Providence, did my mother lay here in this same bed?
Did she say she would fight to get every breath she could breathe?
Well she always had a way of sounding so brave.
I wish some of it would have rubbed off on me.”

4) “Cold Desert” by Kings of Leon. There’s a line where Caleb sings “Jesus don’t love me. No one ever carried my load.” The first time I heard that, I stopped in my tracks. It was such a brutally honest and raw lyric. He wasn’t sugar coating it or holding anything back. He was just saying it like it is. It resonated with me personally. I think I can relate. But that’s another story I’m still trying to figure out.

5) “Georgia On My Mind” by Ray Charles. His version is absolutely beautiful and conveys such a connection to his birth place of Georgia. Especially after watching the movie ‘Ray’. Just a great piece of songwriting.

BM: What’s it like trying to make music, and to make a living through music, in this day and age ?

DK: I have no idea what it’s like to make a living through music in this day and age because it’s so damn difficult. With the music industry transitioning into a digital age full of conduits to free entertainment, record sales obviously go out the window. Bands end up investing usually thousands of dollars into a record and hardly see that money come back.

Of course, putting money into recording music isn’t always necessary, like if you have a home studio. I applaud the ones that do. But that’s not the easiest to attain, let-alone operate correctly and well. Bands may be able to write songs, but they don’t always know how to engineer a record and/or mix and master. So bands take to the road to make a living off of door/ticket sales and merch sales. That includes transportation, which is not cheap. Just look at gas sales and the cost of purchasing a van and possibly a trailer. And on top of all of this, you have to have a fan base.

So many great artists never make it. They never attain a huge fan base. Of course, I could be totally biased or maybe I just have terrible taste in music and wonder why I’ve seen so many artists bite the dust, who knows. But I do now that with this day and age, everyone is so fast paced. It seems like everyone has ADD. If your song doesn’t catch and keep someone’s attention in the first 5-10 seconds, chances are they’ll move onto a different song. That can be very disheartening, especially if you write songs that aren’t 3 and a half minutes or less, or songs that aren’t completely upbeat.

BM: Is there somewhere special that you go to write ?

DK: Anywhere really. I write best late at night. I get a lot of ideas while driving in my car or while I’m going to bed.

BM: Have you always lived in Portland ? If not where did you grow up ?

DK: I was born and lived in Portland until I was 5 and then my family moved to Vancouver, WA where I lived until I was 20. It’s a suburban town. Good to grow up in and good to raise a family, but not the best when you get out of high school. Part of the reason why I moved back to Portland. I just recently moved back to Portland a little over a year ago.

BM: We spoke to another Portland band a few weeks ago, Foreign Talks – have you heard of them ? Do you feel connected to other bands in your area ? We also interviewed a Danish band, Vinyl Floor, who felt, as an indie rock band, pretty isolated in their home country but, when recording in Sweden, found a real sense of community and mutual support – lending instruments, sourcing players etc. how does that sound ?

DK: I have heard of Foreign Talks. I’ve seen them getting some buzz lately. I don’t feel too connected to bands in my area though. I’ve only played a handful of shows as Altadore, so I haven’t shared the stage with a ton of local acts. But it would be great to gain some connection with some other bands. I’ve been told from some friends that my music would do better outside of Portland, but I don’t know where. Hopefully when Altadore takes to the road and starts touring, I can find some connection elsewhere. However, I love Portland as a city so it has a pretty good hold on me currently.

BM: How do you go about planning your set list for your concerts ?

DK: This is usually pretty simple. We’ve recently brought some new tunes into our set which is really fun. We’re playing about half of Golden Hills and half new songs. I think the key (and this is mainly targeted toward up and coming bands who are trying to grab new listener’s attention) is to keep your set pretty upbeat for the most part. Have some ebb and flow but don’t stoop too low.

BM: Album covers. Do they still matter ?

DK: I think they definitely matter to a certain extent. Honestly, I think as long as the artwork has a color palette that is cohesive to the tones and sounds of the record, and the content isn’t completely off from the band’s style and sound (i.e. Coldplay would never have a mutilated animal as a cover. A bit morbid, sorry!), then I think the playing field is pretty open. However, if an album cover is 100% cohesive with its record counterpart, then that’s pretty cool and deserves admiration.

BM: Are you a hard-working musician ? What do you work hardest at ?

I am a hard-working musician. I’m always thinking of the next thing to be doing. And being a musician today means you need to be multiple other things as well in order to present yourself professionally and progress. I think I work hardest at marketing and networking, at least currently. I also create all of the visual work for Altadore, i.e. Promotional Ads, Album Artwork, Merch Designs, etc. However, I hope to move some of that work into other hands eventually.

BM: What’s your party outfit and music ?

DK: I’ll throw on a nice collared shirt and do my hair. That’s about it haha. Probably “Don’t Fuck With My Money” by Penguin Prison.

BM: If you had to turn out your pockets right now what would we find ? What would it tell us about you that’s true ? What lies would the contents tell ?

DK: You would find my iPhone, a guitar pick, and my wallet. Everything is truthful to who I am. No lies!

And that’s it, except for these vitally important celebrity guest interview questions:

Jimi Hendrix: Are you experienced ?

DK: Not like you.

The Beatles: Why don’t we do it in the road ?

DK: Cars, construction, pebbles in your bum.

REM: What if we give it away ?

Nihilism. Nothing matters anyway. Right? - Backseat Mafia

POSTED BY NED LANNAMANN

Here's one from a Portland band named Altadore, about whom I don't know a ton, other than that they're fronted by a fellow David Katz, and this is the clip for their first single, "Moments" which appears on their debut EP, Golden Hills. It's a pretty, swoony track with lush guitars and a confident, reassuring melody. The video is similarly meditative and autumnal. - Portland Mercury / Blogtown PDX

Emerging from the city of Portland, Oregon is indie rock act Altadore. Forming in 2011, frontman David Katz made the decision to go solo after going through a series of failed projects. Altadore's debut album, Golden Hills, was released last December and is full of infectious mixes of ambient sounds, influenced by the likes of The National and Death Cab For Cutie. Their first single "Moments" caught the attention of 94.7fm, an alternative radio station in Portland, granting them airplay. Because of this, Altadore gained recognition in the local music scene and formed a dedicated following. Altadore's upcoming EP is expected to be out this summer. - Venture Magazine

Wow.

I haven’t been this excited about a new artist for a very long time. Wow.

I’m not claiming that this band is doing something that is going to break the world wide open. This isn’t the birth of rock and roll or hip-hop. And that’s not what they are trying to do. But it is good. Really, really good.

About a week ago Backseat Mafia svengali Jim asked me to get in touch with a man called David. I was about to take some beds apart and move them around so I figured I might as well do so with some musical accompaniment. I picked out the Altadore link from Jim’s email and, given a recent bandcamp success, I felt primed for disappointment.

Holy fuck. Quite the opposite. ”Golden Hills” is marvellous.


The album is absolutely jammed to the gunwales with clever changes of direction that keep you hooked. It’s so well tracklisted that the changes from song to song never allow the music to feel one-paced or similar. The tracks themselves feature a beguiling array of subtle changes and perfectly-timed decisions that compliment and showcase such strong songs. This attention to dynamics and detail marks this album out – the craft that must have gone into writing and revising is powerfully evident and is perhaps a result of the fact that some of these songs started out life in David Katz’s previous band, The Routine.

Throughout the album, save on the acoustic “You’ll be here someday” (which is one of those tracks that keeps you alert – dropping things down gently from the power of “Northbound”‘s closing bars), there is a signature richness of sound. David Katz and co-producer, mixer and engineer Jeff Bond (in whose Portland, Oregon studio Clangor Den this was recorded) have done a great job with the feel of this LP. “Golden Hills” pulsates with the hum and crackle of amplification, with the heaviness of reverb and sustain. What follows are some, only some, of the songs and sections to highlight from this mini-album. There are others that could equally have been written up, but the cut has to be made somewhere.

“Where You Go” sets us off at an easy lilt but just when you’re enjoying its shuffling progress, a tiny pause: “well, I lost you too” before musically cranking it up a notch. As you settle into that development, as David raises his vocals a level he hits us with an emotional sucker punch – you thought it had all gone wrong but “from that moment on, I knew you’d stay” and we’re happily moving on, back into the rolling, chiming guitar from before. It isn’t over though: having nailed us with two killer pieces of teasing and timing, and lulled us with a return to the main hook, Altadore take us, via a swirling bridge, into a squall of guitar before leaving us stunned and amazed as Katz softly repeats the opening strains: “I felt it in my bones, yeah i saw it too”.

A warning just before we move on. There is a chance that “Moments” is going to be bad for the health of your speakers. My x-mini is still bruised from an initial encounter. What fabulous song is this ?


“Moments” is where you can feel the craft at its strongest. There are small changes in the structure of verse lines, fleeting inflexions in the lead guitar part, the drummer frequently shifts his patterns so neatly that you find yourself noticing almost as they return to normal, there is a sparing unleashing of the different facets of David Katz’s voice – nothing is given too easily, or too often, so that when there is a rasp or a raising of volume it really means something to the listener – and different words in what you thought were going to be repeated phrases; these are vital changes that keep the song interesting, give it momentum and charge and mean that when you come back to it, it keeps giving something new and unexpected. They’re also the kind of changes that fuel fan fascination – getting to know the song is a pleasure, but it is also a rewarding challenge – because, in a song with such a great hook, there is more there to find, the getting to know it gives you more back.

“Districts” is an instrumental interlude that, off the back of the emotional charge and rock potency of “Moments” gives time for reflection, albeit with a haunting backdrop. The use of space and echo reminded me of that aberration in Noah and The Whale’s career – the splendid album “The First Days of Spring”.

“Northbound” is sweet and sad and hypnotic, sustained by a sombre pulse of piano before the full band weighs in. Something as simple as the muted crash of the cymbals gives such swaying rhythm and there is a delicate, melancholy interplay between the two guitars. The narrators heart bursts open then, as he asks:

“Darling,
don’t forget me
don’t forget me when I don’t
don’t forget me when i don’t come back”

The song ends with such a burst of guitars, a howl into the storm, a less scuzzed-up and angry version perhaps of one of my favourite outros of all time on “Niagara” by The Wedding Present. In a moment of sadness this week, reflecting on the passage of time and the departure of friends, I stared out of a bus window into the dead of night, listening to this song over and over and over for understanding and redemption.

The aforementioned “You’ll be here someday” performs that same trick that “Districts” did earlier, of disarming your ears. From out of the noise, a gentle ballad of hope that, despite the conclusion that “growing up was a big mistake”, knows that love is round the corner.

The album closes with “West Virginia”, spoken by a faux-defiant narrator claiming imminent departure. The central piano motif is achingly hummable. There is a descending guitar solo towards the end that is utterly timeless in sound. The final bars seal the piano into your ears (again, such simple drumming but so perfectly matched that the rhythm drives the tune home), bringing the album, via one last neat variation, to a perfect close, coming to rest briefly in the same warm hum that can be heard for a split-second at the start of “Where You Go”, and that burns throughout the record.

You can download this excellent album for free, but i would urge you to contribute something. This music is worth your money… You can get it either through itunes or through these links:

http://www.noisetrade.com/altadore/golden-hills

http://altadore.bandcamp.com/ - Backseat Mafia, Nick Pett

How many of you can say that your parents bought you an instrument to help with physical therapy because you dislocated your elbow? Thankfully David Katz, the man behind the project Altadore can! Which is the event that sparked his interest in music. The musician from Portland, OR is dedicated and ready to get his music out there, so take a look at his profile below and feel free to download his new album Golden Hills for free right here!

Current Single
“Moments”

Instruments You Play
Guitar, Bass, Piano and Vocals

How did you begin writing and creating music?
I started to become interested in playing music when I was attending middle school. During the winter of my seventh grade year, I dislocated my elbow whilst snowboarding. My folks were very thoughtful and gifted me a First Act acoustic guitar that Christmas to help me with “physical therapy.”

What has been the highlight of your career so far?
I have only just started under the name Altadore, but the highlight of my career thus far would have to be when my single “Moments” was introduced and played on Portland’s local alternative radio station, 94.7fm.

Why should people listen to you? What makes you different?
The goal of this project is to eventually become 100% a solo project; where I write and record everything myself, and then have friends help me out with playing live. My recent release, Golden Hills, is the first step toward that goal. There are a few collaborative parts on the new record and my friend Zach Wilder composed and tracked drums for me. I’m looking to continuously grow and try new things with each release in hopes to eventually come into my own sound. - Highlight Magazine

"This is the first music video any of us had ever done or been involved in so it was a new experience for us all", front man David Katz tells Spinner. "One thing I didn't want to do with the video was directly interpret the song. We wanted something that would be simple, grab the viewer's interest, and be somewhat relatable. However, in hindsight, I can see how a dude making cupcakes may not be the most relatable. Sandwiches. Sandwiches are relatable." - Spinner

Rocks Like:
Arcade Fire, the National, Beirut

Check out:
Golden Hills EP

In David Katz’ eyes, a band’s success is the result of dedication and reliability of all members. This was lacking in his previous projects and the groups eventually fell apart. However, in March 2011 after his band the Routine broke up, Katz found a foolproof way to make sure his new endeavor, Altadore, had full dedication and reliability. “I took that as an opportunity to start a solo project where the only person I could rely on to make things happen was myself,” says Katz. After the last year of working adamantly on the new record, Katz is hoping his dedication will start paying off. “I really just enjoy creating a new tune and hearing that people enjoy it. I want people to delight in my music as much as I do writing it.” - Alternative Press Magazine

Heartfelt Power Folk
"West Virginia" - BANDxCITY