(Originally Published on The Huffington Post on 7/26/13)
On the heels of a tour with fellow hometown heroes Gossip, Portland’s Magic Mouth is about to release their new EP Devil May Care on August 15. This record is the follow-up to their 2012 debut Believer EP, and will be available in limited edition 12′ 33RPM format and digital download from Fast Weapons Records (the label owned and operated by Gossip‘s Nathan “Brace Paine” Howdeshell).
I met up with Peter, Ana, Brendan and Chanticleer — (aka Magic Mouth) over at their practice space to interview them about the new record, their time on the road with Gossip, their take on the Portland music scene and more. Read our chat just below.
Photo: Megan Holmes
Logan Lynn: Where did the name Magic Mouth come from?
Chanticleer: It’s about a boy who always gets what he wants. (Smiles)
Logan: (Laughs) Well, that makes sense. For a person who hasn’t heard your music, how would you describe your sound?
Chanticleer: I feel like the core is just roots music. We all have a love and appreciation for Read the rest of this entry »
My new record “Tramp Stamps and Birthmarks” is reviewed in the July 2013 print issue of Spain’s Mondo Sonoro Magazine! They gave it 3 1/2 stars (out of 5), which means a B+. The star rating is about as much as I can read, but if you are Spanish-speaking, click on the July cover or just keep reading below for the review.
Thank you, Mondo Sonoro! I dig that you dig the record.
🙂
From Mondo Sonoro (July 2013 Issue):
“Disco De Logan Lynn: Tramp Stamps and Birthmarks – Activista de la comunidad LGBT, periodista y todo lo que le echen por delante, Logan Lynn ha ido virando su género hacia el hedonismo sin frenos del pop sintético de las pistas de baile desde que debutara en lo musical en 1998 rindiendo pleitesía a la indietrónica. Aunque, eso sí, sin hacerle ascos a nada dentro de ese género madre, ya que a lo largo de “Tramp Stamps And Birthmarks” se manifiestan en buena medida los tropicalismos indie a los que nos tiene acostumbrados Kitsuné (“The Ghost Of Someone Else”), la sombra de los siempre a reivindicar Silver Columns (“Loud Enough”), unos The Postal Service hipotéticamente desbocados por el techno pop (“Hologram”, una de las mejores del lote) y hits potenciales que podrían haber sonado perfectamente en boca de Frankmusik (“Radio Silent”). La nueva criatura de Lynn no renueva su sonido más reciente, pero nos deja un buen puñado de momentos perfectos para quemar calorías bailando antes de que se reserve dos últimos números que rebajan drásticamente la adrenalina del conjunto.”
