Sat Nov 1
On a basic level, Portland's Edward Pop sounds like an acoustic, folksy Interpol. Lead singer David Mosley, whose brooding vocals are akin to Daniel Kessler's, plays hypnotic rock musicÉ but on acoustic guitar and harmonica. Though unneeded, bandmate Molly Griffith adds a further twist. While David strums away, she rocks Amadeus-style with classically trained fingers on cello and keyboards.
It's these weird twists that make Portland's dichotic Edward Pop, formally known as Number Stations, a band of interesting tensions. From their musical backgrounds (and choice of instrumentation) to their serious yet tongue-in-cheek stage persona, the two founding members of Edward Pop work a peculiar dynamic that makes this band a noteworthy local act.
As noted earlier, Molly Griffith is a classically trained musician who has been studying music since the age of three. She's proficient on several instruments, and holds a bachelor's of arts in music, with a focus on the harpsichord. In contrast, Mosley is a self-taught upstart--a singer songwriter who picked up the guitar roughly five years ago. Sort of like an indie rock version of Paula Abdul's "Opposites Attract."
Even their concerts contain a sort of duality. For example, while each number has the potential to be imbued with floor-shaking rock, there's a subdued quality within the acoustic arrangements. Though serious and artistic, there's also a loungy or silly side that steers the band away from being too pretentious. As for their stage personas, this duo is attractive and well dressed (again, something like Interpol)--yet not so attractive that you wish they would be horribly burned in a chemical accident.
Currently the band is in an awkward spot, building up their song repertoire, planning to add a drummer, and hoping to make a first recording sometime soon. But I'd keep my eye on this pair; their eclectic instrumentation and artsy inclinations make this band one to watch.