LOVERLESS

Let's think of some clichi monikers Loverless fans could call the band: Loverlots, Loveyoumuch, Lovewhenyourocksohard, Lovergods, Badassfunkygreatness. Well, you get the point. Loverless is The Next Big Thing as those in the know have told me, and it's a welcome relief to report that this could - and should - very well be the case.

Portland, speaking in strict generalities, lacks the sort of indie-cred bands that other cities have. Loverless fills that void and reminds audiences that spontaneity, sounding gruff, playing pulsating chords and the ability to laugh at yourself onstage is what makes this genre of live music so enjoyable. Singer/guitarist Elijah Ocean's appeal is unwavering even when he spews nonsense in-between songs, even when he wears his yellow ruffled shirt, and even when he tells the audience he could marry them  or maybe I mean because he does those things. Ocean and band mates Michael Anderson (drums) and Danny Macleod (bass) wave no false pretenses that they play for any other reason than the music, and well, maybe the party that comes along for the ride. And, like in the original indie scene, Loverless is not a band to be confused with all the other scenester-wannabes out there.

Part of their originality comes in the form of their sound, and although this should be an obvious, that can't be said for most bands recycling the same garbage. Before "You Never Drive Aggressively," Loverless warned that they wanted to see how loud they could play this song. Eardrums were pulsating and bass lines were felt in the chest, never-the-less, Ocean's lyrics were recognizable and the give-and-take between Macleod and Ocean was goose bump producing. They next slowed things down with the groove driven "Til Your Mama Comes," which was a nice breather for the audience before their next fabulously infectious song "Downward Dog" where drummer Anderson uses the song as a catalyst to show-off and does so righteously. They ended their set with the crowd begging for more. You will be sorely missing out if you don't see this band. Go to www.loverless.com to see how soon you can get in the door to them hear play.

Loverless is a tough act for headliner Sidecar Radio to follow, but they were the headliners for a reason and gracious enough to call Loverless "the best rock band in Portland." - iT Magazine

Last week we told you about the Swamp Witch Revival reunion show. Too bad we didn’t tell you what day it was on. Oops. Check them out Friday, September 23 at Geno’s. Still, that’s a pretty good entry point for a fall preview of the local music scene. There’s going to be some serious rocking going on with Swamp Witch, and that’s only the beginning.

Actually the true beginning of the fall of rock will happen the night before, September 22, at the Big Easy, when Loverless release their self-titled full-length debut. Did I say the fall of rock? With Loverless, we’re talking about rock’s brand-new resurrection. This is a flat-out killer album — raw, edgy, and manic like the John Spencer Blues Explosion; spit-in-your-eye mean like early Red Hot Chili Peppers (without the funky bass); and just plain fun.

Loverless let their songs yawn and stretch, without filling them up with too much ridiculousness. "You Never Drive Aggressively," built on a fuzzed-out and simple descending guitar line, surprises with a melodic and thrilling guitar break from Elijah Ocean (this is a real departure from the poppy Ocean & Casas, let’s say that) at the four-minute mark. Shit, "I’m Trying to Avoid Your Love" (maybe mocking Wilco’s "I Am Trying to Break Your Heart"?) has such a great drums-led breakdown/fall apart to finish the tune that the band let it take five minutes or so to happen — which is sort of unbelievable the first time you listen, like the song is ending over and over again and you’re caught in some kind of time flux.

They even have a theme song (love that). "Loverless" is built on the great line, "When you’re cold and lonely I hope you’re thinking of me." That can go two ways, right? Like, when you’re cold and lonely, I hope the thought of me gives you hope, or, alternately, when you’re cold and lonely I hope you remember it was me who made you feel that way. Fucker. Then comes a guitar break that may just be a bunch of blues riffs, but where some guitarists might seem to be simply plucking the same old notes, Ocean somehow transmits soulfulness.

Oh, and if you want to know why "Sticksrocksknives" is named just that, check out the frenetic and crazed jam that finishes the song. "Why you gotta worry about anything at all when I’m right here wiping your brow?" asks Ocean in "Till Your Mama Comes." "Why you gotta worry about Hell, baby doll, when the devil’s so far from you now?" - Portland Phoenix

Portland-based alt-rockers, Loverless have released their self-titled studio
debut, a collection of 10 songs, ranging from two- and three-minute tunes to a
10-minute bluesy epic. This album is nothing short of heavy hitting recording
that captures the raw live energy and artistic vision of these budding indie
rockers.

There is a variety of influences throughout: White Stripes, Cream, Nirvana,
Led Zeppelin and some tweaked out Hendrix insanity for good measure. The sonic
onslaught is led by Elijah Ocean’s fuzzy guitar and lead vocals. Ocean
forcefully delivers his lyrical themes (predominately life, lovelessness, lust and,
of course, driving).

Cuts like “Fifty Dollar Ticket” and “You Never Drive Aggressively” are
classics among the Loverless faithful, and rightly so, given the musicianship and
humor contained therein. But the textural interplay of tunes like
“Sticksrocksknives,” “Dirt and the Sky” and “Loverless” present an interesting take on
the group, mainly because - with exception of these - the distorted tones
change little throughout the CD. Perhaps, this is what gives the album its raw live
feel.

Like part-heavy tunes? Shifting signatures? Heavy syncopated grooves? Well,
the album is full of these, especially the 10-minute bluesy “I’m Trying to
Avoid Your Love,” which not only has a lot of parts, but also meandering
improvisations and a big, false ending. Drummer Michael Anderson’s precise,
earth-rumbling double-bass pedal plays a major role in keeping Loverless on track in
these tunes. His style is busy and heavy, tight (in time) and loose (breadth in
the beats). Bassist Danny the Cloud knows what to play and when to play it,
providing the meat and proverbial glue to the album by honing in on Ocean's
subtle variations on the songs' riffs and hooks.

Loverless is available at Bull Moose, Loverless.com and at their live shows.
You can also check out the band at MySpace.com/Loverless. -Randy Billings
- Good Times Magazine