Wednesday, July 22, 2009
Tiny Vipers In SF Weekly
Thursday, July 16, 2009
New Work: Tiny Vipers For Seattle Weekly
Jesy Fortino writes dark, contemplative songs that require serious focus from a listener. Actually, these songs (which she records under the moniker Tiny Vipers) don't require focus so much as they slowly entangle the listener like tentacles, pulling you in tight 'til you're left with no choice but to pay close attention. However, the trick to being transfixed by her music is to let go mentally and be open to said transfixion—otherwise you'll never understand what makes her music so compelling.
In 2007, Seattle's indie monolith Sub Pop released the first album of Fortino's songs, called Hands Across the Void. Because of the label's high profile, she was subsequently booked to play opening gigs in front of audiences who had no interest in allowing themselves to be hypnotized by her patient plucking and slithery voice. (The awkward shows, she stresses, were not Sub Pop's fault, but rather that of a booking agent only interested in working with her because she was on the legendary label.)
"I think I made it [through] two songs at the Showbox before people started chanting 'Minus the Bear,'" Fortino says of one particularly miserable show. "I couldn't even hear myself on the monitors."
So she walked offstage, an act she attributes to hard-won maturity.
Though giving up is rarely considered mature, the 26-year-old Issaquah native says her decision to abort the set wasn't her way of pouting (though she admits to doing some of that, as well). Rather, it had more to do with accepting the fact that not everyone would listen to—let alone enjoy—her music. When I suggest that her realization was "very Zen," she says: "Well, forced Zen, really."
Like a lot of female singer-songwriters, Fortino is shy and would prefer to sit quietly in a corner than take command of a room. On record, she has the ability to draw listeners in, as if her songs contained the hypnotic glow of a campfire. But following the release of Void, many of her live performances were like lighting a pretty votive candle in the middle of a fraternity kegger: It glowed brightly...but inevitably some drunk would stumble, spill his beer, and put out the flame. Fortino found it hard to blame her music, so initially she blamed the audience. But at some point—after two awkward stints opening for Jose Gonzalez and the aforementioned Minus the Bear—she realized that her music was simply not built for the masses. She would be much happier playing in venues that suited her songs (a place, she says, like the Triple Door or Fremont Abbey). So last fall, she went on a European tour with Damien Jurado, an equally subtle performer whose audiences expect to hear softly sung folk music. For Fortino, the tour was an eye-opener, and it informed the approach she took on her latest release, Life on Earth.
Fortino calls herself Tiny Vipers, but it's not an alter ego in the Will Oldham/Bonnie 'Prince' Billy sense. It's more akin to Red House Painters or Iron & Wine—a slice of poetic imagery evocative of the music she makes. Thus her music as Tiny Vipers is moody, emotional, eerie, fragile, and, like a snake, in no hurry whatsoever.
"I think the problem with the first record was that I had too many expectations," she says over lunch at Capitol Hill's Petit Rosso Cafe. "Just being too quiet for almost every venue I played, I was like 'OK, this sucks.' And, y'know, I had to learn the difference between the commercial world and the music world. You have to pick a side or you're gonna go crazy. I'd rather work with people I'm buddies with, and play shows with friends, and have my booking agent be my friend, and not people who are working with me just because I'm on Sub Pop, or whatever."
With that in mind, when it came time to record Life on Earth, her sophomore album, she called her friend, Austin-based producer Andrew Hernandez, whom she met while contributing guest vocals to an album by the group Balmorhea (also Austin-based). As Fortino explains, no one had ever asked her to sing on an album that was not her own, so she was nervous, understandably.
"I was, like, 'OK, I'm gonna try to be calm about this,'" she says of her studio jitters. "But there were all these people standing around the studio watching. So I asked [Hernandez] 'Can I just be alone?' And he was, like, 'Yeah, totally, whatever you want.' So when it came time to record the new record, I thought, 'Man, that recording engineer [Hernandez] was so cool...everything just clicked."
Like its predecessor, Life on Earth is rooted in spaciousness and solitude. Each song, thanks in no small part to Hernandez, is given free rein to spread out and exhale. But where Void had a campfire-like intimacy, Earth is the sound of one woman, alone in a room, surrounded by nothingness. This concept may sound bleak, but as those who have spent hours in deep meditation can attest, it's only through solitude that we achieve clarity of mind. Thus, Fortino gives us a bounty of lyrics that read like Han Shan's hermetic Zen poetry: "Life's not lived right/When you've only got someplace to go" ("Slow Motion"); "Tomorrow is only dying" ("Life on Earth"); "The secret to a language/That is spoken from the soul/Is silence ("Tiger Mountain").
"These songs are songs," she says. "With every one of them, I would finish writing them and be, like, 'This song is done. There's nothing more I can do.' It felt good."
For this newfound tunefulness, Fortino cites Townes Van Zandt as an inspiration. As she says, the legendary Texas songwriter could be abstract and plainspoken all at once. And like Van Zandt, Fortino has written songs for Life on Earth that will stick in your head and haunt you in the middle of the day...if you let them, that is.
Another Pre-Dawn Ritual: Miles Davis In A Silent Way
Via SoundCloud
Sunday morning
rain in the singing bowl
sky a seamless gray
newspaper hits the porch
another pre-dawn ritual
clouds break
a new day
Tuesday, July 7, 2009
The Grizzly Mind
The Grizzly Mind
At Glacier National Park in Montana, the conversation circles inevitably back to bears. Grizzly bears, to be exact. With its deep glacial folds and alpine meadows, the Northwestern Montana is prime grizzly habitat. But mostly, it is prime grizzly habitat because most of Glacier National Park is wild backcountry that most tourists prefer to avoid. Still, this does nothing to curb the ample warnings one faces from park rangers and park signage. Nor does it keep some of us from hoping that one afternoon, minding our business on a trail, we might come face-to-face—or at the very least catch a glimpse of—what may be the most feared and admired animal in North America.
M. and I caught a glimpse our third day in the park. We were 9,000 feet up the side of a mountain thick with tough alpine shrubs and rust-colored rock when I spotted—several thousand feet down in the valley basin—three patches of brown moving sluggishly and eating their way through a patch of huckleberry. We stood there admiring them from afar, a mother and two cubs. They moved like heavy equipment, with weight and purpose, their heads hung low, their shoulders hunched and thick. It was peak afternoon and though we could not make it out from afar, I knew they were slow because of the heat and were annoyed by the bugs flying about their eyes, ears, and snout. I knew so by the way they stopped every three or steps to lie down, only to be roused again and move a few steps, irritably.
We spent a few minutes alone with the bears before other hikers had caught up with us. If there is such a thing as a trophy sighting, grizzlies top the list at Glacier. Though M. and I wanted them to ourselves, I nonetheless pointed them out to the first passersby, a middle-aged couple who spoke in the wobbly tonality of a U.K. accent of some sort. The couple gasped upon seeing the bears.
“Good thing we’re up here and they’re down there,” said the woman.
Meanwhile, the grizzlies went about their afternoon of huckleberries and sunshine.
It occurs to me now that her remark was reflective of the overall human attitude toward grizzlies. Our collective consciousness would have us believe that grizzlies inspire fear and are to be avoided at all costs. There is something particularly curious about this since it is not at all difficult to avoid grizzlies in the United States. One must travel into the deeper folds of the mountains if one expects to catch even a fleeting glimpse. The chances of seeing one from the passenger seat of your Winnebago are slim, to say the least. In an era when the chances are highest that you will be shot on a city sidewalk or paralyzed for life in a car crash, it is surprising that the seemingly harmless grizzly is still married, in our minds, to danger.
Humans and grizzlies settled North America concurrently. We made our way over the land bridge to Pliestocene Alaska, lived there side-by-side for thousands of years, and likely traveled south into the present-day United States together. Like humans, grizzlies are highly flexible omnivores, which is why our histories are so intertwined: We are—or were—two species competing for the same food in the same place at the same time. We are—or were—also competing for our survival together.
It is the desire of any animal to protect its young. Some are better at it than others and grizzlies are among the finest. In North America, defending its offspring against lions, wolves, and other now-extinct predators, the grizzly learned to charge at its aggressor. With its massive frame and densely muscled legs, a charging grizzly is a terrifying sight, to say the least. Surrounded by newer and fiercer predators in this new land, grizzlies learned not only to charge when threatened, but to be aggressive right back. Because of our concurrent existence, it was—or is—only natural that a grizzly take a human life now and then.
Before the invention of the firearm, grizzlies stood at the top of the food chain in North America. Being our last known competitor we set about killing as many of them as we could. (By most accounts, the Lewis and Clark team set the standard for North American human-grizzly interaction, with members of the expedition shooting nearly 50 of them, mostly for the hell of it, referring to them in their official report as ghastly beasts worthy of extermination.)
Today, fewer than 2,000 grizzlies roam through the remote corners of North America—Glacier National Park being one of them, Yellowstone the other. Predation of humans by grizzlies is virtually non-existent, and it’s likely they never hunted us at all. So why the fear?
Standing there on the mountain, looking down at the three hulking brown animals, I couldn’t shake the overriding trepidation grizzlies inspired. Three animals, a mother and two cubs, harmlessly chomping their way through a patch of mouth-puckering berries on a hot June day, had the ability to challenge our human impulses. Days earlier, my wife and I had come within 5 feet of nearly a dozen Rocky Mountain Bighorn Sheep. Despite their powerful, curled antlers and stallion-like muscles, something about the big sheep seemed harmless. And now, our knees were trembling at the sight of fat, furry bears a few thousand feet away.
That night at the hotel, we told everyone we could about the bears. And we weren’t the only ones. Others had spotted grizzlies and considered it the highlight of their trip. Indeed it was ours as well—not the mountains, or the Bighorns, or the Mountain goats, or the glaciers, or the sky, but the grizzlies.
The night before we left Glacier I had a dream about the bears. In the dream we were living in our two-bedroom home, just outside of Seattle. It was early in the morning and I stumbled out to make coffee as I normally do. I pulled up the blinds to our living room window and saw several of our neighbors lined up on the sidewalk. Some were clutching their children, others were snapping pictures with their cell phones. I ran outside to see what the fuss was about and peering over the shoulders of my neighbors I could make out the swaggering form of a grizzly. It’s head was hung low, each step looked like the bear’s paws were pulling heavy weights. One neighbor, a woman was so overwhelmed she ran up to give the bear a hug. The bear didn’t move. Some of us were paralyzed with fear. And the bear moved on.
I’ve thought about the significance of that dream ever since. It may have no significance at all, but the truth is grizzlies are the only animals left on the continent capable of stirring such deep reverence and humility in humans. We shot our way to the top of the food chain only to lose sight of our primal awareness. We were once on the same side and because that is no longer the case, we are in awe of them and afraid of them: In awe because they continue to exist despite our best efforts; fearful because their presence is a challenge, a reminder that we are not as significant as we like to believe. Like my neighbor hugging the bear in the dream, we want grizzlies to want us. But they know better than to depend on us for anything.
Seattle, Washington
July, 2009