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The Paper Kites – Tickets – Revolution Hall – Portland, OR – September 17th, 2019

The Paper Kites

Revolution Hall Presents

The Paper Kites

Harrison Storm

Tue, September 17, 2019

Doors: 7:00 pm / Show: 8:00 pm

$30 Advance, $34 Day of Show

This event is all ages

Partially Seated, Dance Floor by Stage.

Minor Seating In Balcony Only / General Admission For 21+

The Paper Kites
The Paper Kites
“Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

Sam Bentley, frontman for The Paper Kites spoke of the moment the album's concept clicked together. “It's a collection of stories about these characters all living in an apartment building; I wanted to capture moments, feelings, it's about people and their stories,” he says of On the Corner Where You Live (out September 21 via Nettwerk Records), the Australian band’s melancholic, mid-tempo companion to the recently released album, On the Train Ride Home.

Give them your tired, your lonely, your lovesick, your unsure, The Paper Kites have a song for each of them. “I created a world based on the idea of watching other people, but a lot of the songs are extensions of myself or people I know,” he says.

Such artistic insight has earned The Paper Kites (which also includes vocalist Christina Lacy, guitarist Dave Powys, drummer Josh Bentley and bassist Sam Rasmussen) a loyal, organic fan base. In the eight years since they formed, what’s followed is an impressive reach of their music, with steady international touring, nearly 47 million combined YouTube views and over 260 million streams on Spotify.

On the Corner Where You Live wafts evocatively with noir-ish saxophones, guitars, ambient traffic, even the languid sound of rain. Its levitating and bittersweet, heavy-hearted stories that are resoundingly universal.

Expanding on the group’s acclaimed second full length, 2015’s twelvefour, Sam says “I’m still very much drawn to the late nights and the sound of them: rich, honest, compassionate music.” The group originally planned to release On the Corner Where You Live and On the Train Ride Home as a double album, but decided to split them up due to the difference between the tracks – “We had these earnest, minimal, almost acoustic songs and these bigger songs you hear in On the Corner Where You Live. Like two sides of a coin, it’s the same feeling, just different expressions of them”.

The Paper Kites co-produced On the Corner Where You Live with Grammy-winner Peter Katis at his studio in Connecticut – a 120 year old victorian era home that the band lived and recorded in for 5 weeks.

On the Corner Where You Live’s opening instrumental “A Gathering on 57th” bridges the gap between the two records, the first thing you hear is the sound of the train running along the tracks and a street busker wailing into the night. The albums’ concept came to Sam while on tour - “It came from watching people really, being in unfamiliar cities, observing other people's lives. I remember the band was staying in a hotel on 57th street in Manhattan and we'd come home from wherever we'd been. Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

“Give Me Your Fire, Give Me Your Rain” takes over from where On The Train Ride Home left off. Josh Bentley's punching drums making a statement that the record is a slightly different affair from the quiet solitude of the previous offering. A lush sonic tidal wave of midnight melancholy sets the tone of longing, loss and hope echoed through everything that follows.

The band recorded the Manhattan street noise from the window of their 57th street hotel, adding it to the lilting meditation “Midtown Waitress,” Sam tells the story of being alone in London bar years ago, where an elderly woman who turned out to be a pianist for the ballet scribbled down a melody on a piece of paper, gifting it to him, naming it “The Encounter.” During the recording session, Sam dug out that piece of paper, transforming it into a woozy, sax-based coda to “Midtown Waitress.”

“Music is so much more purposeful and devastating when it makes you feel exposed,” says Sam. Take “Deep Burn Blue,” a song about a girl who won’t leave her room. “It’s that feeling of being so inside your own thoughts that it’s debilitating.” (If that weren’t gutting enough, the song even references Nick Drake with the line, “You like the sound of a pink moon cry/Lying on the floor as the day goes by.”) Its foil is “When It Hurts You,” a harmonic lament about a man, locked-out of his apartment, making phone calls and yelling apologies from the street below. Says Sam; “You’re hoping the next morning things will smooth over, but you know it probably won't.”

Sam wrote 30 songs across three months. “It certainly consumed me. I was exhausted by the end of it,” he says, “I didn't stop writing until Christina told me I had to stop.”

Christina Lacy takes lead vocals on “Mess We Made”, her first lead song since the bands debut album. Sam says “I remember we had planned to have her singing lead vocals on the last record (twelvefour) – but our producer at the time felt it sounded as if she was just singing my songs and wasn't making them her own – so we decided that if she was singing on a record it had to be songs that she'd written and had an emotional connection to, and she did just that.”

Authenticity is important to Sam, who penned many of the lyrics for both albums while on the road, composing both albums in Melbourne. Amongst his many influences – film played a part. “I had films playing on the wall of my studio: ‘Lost In Translation,’ ‘Rear Window,’ ‘Lost Highway’,” he explains. In that vein, he wrote the piano-based track “Does It Ever Cross Your Mind” while working at a cinema.

Immersed in an aural diet of blues and jazz, “I was also listening to these ’50s mood albums like Jackie Gleason’s 'Music to Make You Misty’ and Frank Sinatra's 'In The Wee Small Hours.' I wanted to do a tribute to a mood album.” In a similar style to the covers of such albums, the artwork was painted by Los Angeles American Noir artist Gina Higgins, who also painted the cover for On The Train Ride Home and worked closely with the band on the concept.

While The Paper Kite’s songs explore longing and compulsions, Sam’s own obsession lies in breaking elusive sound-emotion barriers. “It's a delicate responsibility to try and be sincere, but I think if there's never a lack of feeling, it's earnest to say the least”.
Harrison Storm
Harrison Storm
“If my songs can help others connect to themselves and realize these emotions are the same, that would be incredible. It helps me understand my life” – Harrison Storm

Songs act as milestones. Life before and after never quite looks the same. Harrison Storm catalogs life in similar fashion. His music signifies a turning point as change, growth, and evolution follow on the other side of the song. The Australian-born singer and songwriter once again details a transformation on his Falling Down EP and forthcoming 2020 full-length.

That transformation ultimately unfolds by way of honest lyrics and bold musical experimentation.

“These songs are the most relevant to where I am right now,” he explains. “It’s a really interesting time, so the songs are personal and I’m sharing what’s going on with everyone else. It all started in the aftermath of a breakup. There’s a lot of reflection going on and work to do with myself and how I affect the world. I’m working it out one song at a time, finding my feet, figuring out where I stand in the world, and trying to embrace change as much as I can.”

A whirlwind four years preceded this dawn. A born troubadour, Harrison traded college for busking in Melbourne. The fruits of his impromptu performances financed the 2015 debut EP, Sense of Home. The latter yielded a worldwide hit as “Sense of Home” generated upwards of 50 million Spotify streams and counting. Signed to Nettwerk, he unveiled the Change It All EP two years later and notched another hit in the form of the title track, which racked up over 30 million Spotify streams. Along the way, he occupied real estate on coveted playlists such as Your Favorite Coffeehouse, Relax & Unwind, The Stress Buster, and more as the total stream tally exceeded 100 million and counting. Plus, he made a name for himself on the road alongside everyone from Snow Patrol, Gregory Alan Isakov, SYML to Ziggy Alberts, in addition to receiving support courtesy of worldwide tastemakers KCRW, Triple J, and more.

In 2018, he turned his attention towards new tunes. For the first time, Harrison opened up the creative process to co-writing. Hitting a Nashville studio alongside Sam Ashworth, he left with the single “Feeling You.”

Within just a few months’ time, it put up over 10 million cumulative streams and paved the way for further progression.

“That was my very first co-write, which is something I never thought I would do,” he admits. “Songwriting has always been so personal to me that it seemed foreign to share the process. It was literally about me opening up. It paid off.”

Written in the UK and Australia, “Run” followed with its eloquent fingerpicked guitar and hypnotic harmonies, and both songs set the stage for the Falling Down EP. Harrison penned the third single “Falling Down” across the pond in London. Under the influence of Kygo and Lewis Capaldi at the time, he architected a vulnerable, yet vital hymn to heartbreak as a sweeping hook - “Darling, I feel I’m falling down” - breaks like waves over clean strumming and a subtle beat.

“It came out of a really tough time in a long-distance relationship,” he explains. “It’s a pure reflection of how I was feeling. I remember sitting on the floor. I was just fully engulfed in a sense of being disconnected from the one you love. It’s one of the most honest songs I’ve ever written. Singing it made me feel better.”

In the end, Harrison’s songs will make listeners feel the same.

“I listen to music because if there’s an emotion I can’t quite put into words it makes me feel like I can connect,” he leaves off. “It sheds light on things for me. If my songs can help others connect to themselves and realize these emotions are the same, that would be incredible. It helps me understand my life.”