Portland-by-way-of-Los Angeles-based singer/songwriter Scott Fisher has a voice that could easily charm the hotel key out of a beautiful lady's hand, especially when he's singing in French.

Instead of simply seducing the women of the world (though he might do that on the side), Fisher is combining those dulcet vocal chords with equally disarming pop music that centers on his tasteful piano playing and a melding of '60s/'70s lushness with a bit of modern day swing.

Fisher will be showing off his formidable musical talents — as well as plenty of material from his latest album Step Into The Future — this coming Friday at the Doug Fir Lounge.

Recently, he was kind enough to answer some questions for the LivePDX Music Blog about his approach to music making and how he's getting himself heard in this world of ringtones and viral marketing campaigns.

You have a very clean, lush pop sound to your songs — what led you in this direction as a songwriter?
I think a good song can exist in many different forms and production styles. Much of the clean sound for our last record has to do with the fact that there are a lot of pianos and '50s/'60s style guitar tones. I like the honesty of songs that aren’t hiding behind five layers of distorted guitar. On the other hand, I have taken a liking to some pretty quirky edgy keyboard sounds recently. We’re off to record the new record in August and we’ll definitely be varying the sound quite a bit.

You're one of the many artists out there who are really embracing the world of new media through MySpace and YouTube and companies like CD Baby. Will you continue to control your own fate, or are you looking to get snatched up by a label?
I think there are a lot of new opportunities presenting themselves in the music world today. The old label model is slowly fading away and creating different kinds of relationships between artists and music business folks. You have to be on top of all of the new media and have a do it yourself mentality, regardless. On the other hand, there are partnerships and allies that make life a whole lot better. We released Step Into the Future in Japan last fall with a little indie label called Sandfish Records and it is coming out in France in October. I love the idea of a one album deal where a label licenses the record for a given market. I see these more as a partnership than a label deal. I don’t think about a label in the traditional sense anymore, but an artist definitely still needs help with marketing…and marketing costs money.

What influences your songwriting? How do you turn some small or large idea into your head into a new song?
I definitely listen to a lot of music, which consciously and unconsciously influences my songs and sound. Ideally there are those truly inspired moments where you can get a song going from top to bottom in one session. Often though, it’s just habit and work ethic... in terms of putting the time in with a given song and going through the trial and error of what works and what doesn’t.

What made you want to take up music as your full-time profession?
I guess it was more of a process than a conscious choice. I’ve always loved music from the songwriting, to the performing, to the more technical production side of things. It’s a diverse profession, and I’ve been lucky enough to produce a few albums for other artists this year, tour with my own project and even write three French bossa nova songs for a little indie movie called The Last Word with Winona Ryder and Ray Romano. I like the diversity of the experience and the fact that I have to push myself creatively.

Where do you want to go from here in your musical career? What dreams have you yet to fulfill?Well…I still want to make that epic, undeniable record that can connect with people in a primal, universal way. My previous work has been a bit more esoteric. I think I’m a bit more outwardly focused than before, in terms of making music that can connect with people. It’s taken me a while to figure that side of it out. I also want to keep developing the production work I’ve been doing. I find that to be a great balance to the road. I really enjoy helping people make their songs and sound better.

Scott Fisher plays Doug Fir this Friday, July 18 at 8:00pm. The 21-and-over show is $15 at the door.

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The big news this week — as I reported yesterday on the site — is that Jackpot Records, in conjunction with Vice Magazine, is presenting a special screening of Daft Punk's first feature-length film, Electroma, this Friday at Secret Society (116 NE Russell St).
What I failed to mention in that piece is that the movie has a local Portland connection. Peter Hurteau, a twenty-something transplant from Los Angeles, stars as one of the robots in the film.

Last week, we swapped e-mails, and he told me how he came to star in this otherworldly production. Below are snippets of our dialogue, which touch on various topics.

On getting involved with Daft Punk:

"I was/still am involved with Daft Punk. In Electroma I played "Hero #1" or the silver robot, and have subsequently filled in said position for certain photo shoots, videos, etc. I met the producer on a commercial shoot in Los Angeles, about three years ago, right before I moved up to lovely Portland. About a month after the shoot he called and asked if I, perchance, wouldn't mind coming over and trying on a leather suit. Well, the glove fit and soon after we shot what was supposed to be a video for 'Human After All'."

How the movie role evolved:

"Soon after they received the footage they realized that they had a much larger vision for this concept and decided to develop it into a feature. When I received the call I was slated to move north in a week and let them know that; they, being consistently amazing, told me they would fly me back for the shoot and fittings... and so commenced my official involvement in Electroma."

On working with Daft Punk:

"All in all, it was a completely far out experience. The guys, Thomas and Guy Manuel, were so enthusiastic and easy going. They both directed, with Thomas shooting the film. They pushed themselves and bounced back positively with every blow, the whole crew did, it was a real pleasure.

After shooting had finished, and a small bit of time had passed, we (Mike, the gold one) got a call from their producer inviting us to Cannes [Film Festival] for the premier as a thank you. Occasionally we'll get a call that, and we'll soon thereafter find ourselves in leather."

On Daft Punk's live performances:

"I went up to [their] show in Seattle [last summer], when we were walking around outside the venue we ran into everyone from Daft Punk just strolling around. It's funny that with all the fans that were decorated in jump suits and thick-rimmed sunglasses passing by, not one knew they were Daft Punk. I totally understand the anonymity."

A big thanks to Peter for taking the time to speak with yours truly.

Also, this screening is 21+, so please bring your I.D.!

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While listening to Alone With the Moon by the Tiger Lillies because, well, I guess I must feel like sending myself into an uncontrollable spiral of moroseness. I should slap myself....

Guitarist Margaret Slovak called the other day to tell me she's moving back to New York City in mid-August. She followed with an email that said she wanted, "...to be closer to my family there and to expand my guitar, composition, and painting endeavors and studies. I plan to continue my work playing for patients in hospitals, doing music/art workshops in schools, performing, and teaching. I also have some work opportunities that involve composing music specifically for hospital environments and other healthcare settings. I lived in NYC for five years before I moved to Portland; I am looking forward to reconnecting with my colleagues there and being closer to my brother, sister-in-law, and 6 year old niece. I am also hoping to do a NYC release concert for my recently-released third CD, For the Moment, which was recorded in 1989 in NYC and features Fred Hersch on piano… Better late than never!

I also have been studying with a teacher in NYC, David Leisner, who works with musicians with injuries; I would like to continue my studies with him. I still have not regained all of my right hand function due to injuries from the car accident in 2003 and an underlying connective tissue disorder, but I have continued to adapt my right hand technique and work on the rehabilitation of my right hand, arm and shoulder. I am still joyfully playing and performing every day, for which I am very grateful.

I will miss Oregon and my many friends and colleagues here very much. This was a difficult decision, but my Spanish Gypsy roots are calling and it is time to move the caravan! The next month is very hectic with many hospital gigs, teaching, packing, etc., but I hope to be able to say goodbye to everyone in person. I do have a few public performances coming up in the next several weeks. I appreciate your support over the past 14.5 years. Peace, blessings, and best wishes to you all!"

I know that was long, but she has been more valuable to folks here than you might ever imagine. Her farewell performance plus an exhibition of her art will be at the Bite of Oregon on Saturday, August 9 at 1:00pm and 2:15pm on the Café Stage. I'll have her on my KMHD show as a guest on Saturday, August 2.

Doing a 180 to tell you that this Thursday, July 17 at 8:00pm the ClownSnotBombs Secret Circus will be appearing at the Fez Ballroom for a night of hobo music. According to their words, "The rebirth of the hobo musician tradition in the latter 1990s remains one of the great untold cultural histories."

Consider it told.

Rev. Tony Hughes of Jesus Presley and the Miss White Trash Pageant impresario seems to have been added to the long list of people who no longer book bands at Mt. Tabor Legacy. I hear the owner is sending emails around announcing that. Tony has his own story. He thinks new ownership may be on the way.

Aside from his other projects, he's helping out at Buko, which is now a monthly magazine and had been named Two Louies for the past 27 years. The new magazine bears no resemblance and carries "Music in the Northwest" as its main banner. Good move.

Portland's Blind Pilot is opening for Aimee Mann on Saturday, July 19 at the Aladdin Theater. The backstory is a lot of fun.

According to super-publicist Alex Steininger, "Mann heard a Blind Pilot CD, through a friend, and instantly sent a friend request on Myspace to the band, from her personal account.

Thinking it may have been fraud, vocalist/songwriter for Blind Pilot, Israel Nebeker, was hesitant. But he accepted the friend request and asked if she really was Aimee Mann.

Indeed, she was.

The two began chatting and Aimee Mann offered Blind Pilot the opening slot, gave Nebeker her manager's #, and Nebeker called the manager, and a week later the show was confirmed.

How's that for good luck?!?"

Bunch of gigs upcoming for Commotion, the Ben Darwish/Chris Mosely/Sam Howard/Russ Kleiner band. Find out here and here.

Tom D'Antoni is a writer and TV producer/reporter who also hosts a show Saturday nights from 10:00pm to 1:00am on KMHD 89.1 fm. And don't miss his new political talk show with DC-based reporter Art Levine on BlogTalkRadio live on Thursdays at 2:30pm and archived for your convenience after that.

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Last Tuesday night I made it out of my apartment after 9:00pm (which is a big deal on weeknights) and headed downtown to Valentine’s to see the New Bloods play a show with Experimental Dental School and the Softboiled Eggies.

As is usual for Valentine’s, the show was running a little behind schedule, but that didn’t seem to matter to the people huddled around the cramped tables of the intimate bar. My group passed the time playing “Animal Soul-mates,” a made-up game in which we thought of all of those pairs animals that are kind of alike: crocodiles & alligators; ostriches & emus; frogs & toads; etc.

I was so immersed in the game that I almost jumped out of my chair when Experimental Dental School finally kicked things off around 10:30. I had never heard of them before, but was immediately impressed by the two-piece band. This was mostly due to the female drummer. Although her arms didn’t look to be much bigger than my wrists, she could still manage to rattle my bones with every whack. Experimental Dental was kind of just what I needed right then — loud and instrumental.

The Softboiled Eggies (from LA) went on next. While separately they seemed like great performers, the band lacked any chemistry to hold them together (and hold my attention). They had some upbeat numbers though, which made me happy and got me ready to see the band I came for — the New Bloods, who went on at an eye-drooping 12:45am.

While anyone can see that a llama and an alpaca are destined to be friends, the New Bloods have forged a less likely union between punk rock and the violin. The violin takes the place of the guitar in this power trio and adds a depth to their sound that would be impossible without it. It’s hard not to hear the violin without recalling it’s slightly more sophisticated natural habitat. The rowdiness of the drums and bass seem all the more raucous in comparison. The package is completed by awesome vocals and a Sleater-Kinney-inspired (I’m guessing) lead singer. Her voice is therapy for angst, which is helpful when the random drunk people start trickling in from nearby bars and bump into you right and left.

The New Bloods have another show coming up soon at Dekum Manor. I don’t know if that’s a venue or a house, but it’s at the intersection of NE Dekum and MLK. They will play with three other bands for a $4 cover (that’s a buck a band).

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If you haven't noticed lately, music festivals are clogging up the U.S., with every oversized bit of ground being taken up by some promoter or other to parade a few dozen bands past your willing gaze.

Even here in Portland, the festival scene is slowly taking over, with the announcement of an already action-packed lineup for this year's MusicFest NW (Sept. 3 - 6) to the three-day hoedown that is Pickathon (Aug. 1 - 3) to smaller scale events that aren't corporately sponsored nor filled with big name talent.

Just when I thought it couldn't get anymore overwhelming, the good people who run the Mississippi Street Fair and Pix Patisserie are ready to push me right over the edge as they fight for my ever-shortening attention span.

These two will be running dueling events on July 12, both of which just happen to be jammed full of amazing musical acts playing in somewhat unusual venues (always my favorite kind of live show experience).

The Mississippi Street Fair, a benefit for the Boise-Eliot Elementary & Albina Youth Opportunity Schools, will be going on all day on that same named street in North Portland (between Skidmore and Fremont) with all manner of vendors and food and (especially) entertainment. They will be hosting two stages of music: one featuring an eclectic mix of genres, including one of the city's finest hip hop acts around Lifesavas, indie rock favorites The Shaky Hands and The Dimes, and even a set by blues/jazz dynamo Linda Hornbuckle; the other stage with some decidedly quieter but no less powerful acts such as Tara Jane O'Neil, Pete Krebs and The Renegade Saints.

At the same time, Pix Patisserie on N Williams will be holding their second annual Bastille Day celebration, which not only features cooking competitions, grape stomping and a huge pillow fight, but also boasts live performances by the likes of Talkdemonic, Dat'r, Alan Singley and Boy Eats Drum Machine.

What is a local music fan to do in a situation like this? I'm not entirely sure how I will handle it, but if I were you, I would plan accordingly, wear some sturdy walking shoes and steel yourself when you hear reports of a wild-eyed man running around North Portland with his face smeared with BBQ sauce and frosting. That will most likely be me.

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