Every summer, Van works on his father’s commercial salmon fishing boat, the Shawnee, on Kodiak Island in Alaska.  The work is exhausting and the weather could be much better, but the contrast between the serenity of the wilderness and the rigorousness of the labor seem to cause quite a bit of musical inspiration.  Meanwhile, on land and around the corner, Cambria also writes music while maintaining her position as the Head Baker at Larsen Bay.  Her days can be even longer, and the work even more tiresome.  After both write parts and lyrics separately, they fix them together when Van comes ashore. For the first time this summer, Caleb also joined the ranks at the cannery, and their cumulative effort while up in a latitude and longitude few of us may ever see resulted in the creation of the songs that comprise the band’s first studio-recorded album “ALL WE COULD DO WAS SING.”  Because when you’re working all day in the freezing cold, what the hell else are you going to do?  “Stuck on a Boat” tells of the frustration related to being so close yet so far away.. Van stuck on a little fishing boat, while Cambria bakes across the bay…yet weeks go by without having a chance to go to port.  “Fisherman’s Son” speaks of the frustrating, yet contented thought of destiny.  “Don’t Take My Advice” captures the endless quest for settling, while  remaining in awe of the entire world to explore.  “In Vino Veritas” expresses the flurry of emotion caused by isolation, while emerged in substance.

The album was recorded in San Francisco, CA by two very talented engineers.  Aaron Prellwitz recorded the band at the legendary Tiny Telephone Recording Studios, where he has also recorded Sun Kil Moon, the Mountain Goats, and Death Cab for Cutie.  Jason Quever, of the band the Papercuts, recorded the other half of the songs at his Pan-American Recording Studios.  Lush string arrangements, raw electric guitar, percussive banjo, pots + pans, a tight rhythm section, group chants and screaming provide the new album with a diverse, but cohesive feel.

In the summer of 2007, the band released a compilation of previously self-released songs titled The Wind and The Swell on American Dust Records.  They’ve become a touring machine since the critically lauded M. Ward first named Port O’Brien his Favorite New Band on Pitchfork Media.  They have been able to perform with several of their favorite artists; touring the United States with Rogue Wave, the West Coast with both Bright Eyes and the Cave Singers, and England with Modest Mouse. Now, Port O’Brien is ready to take on the rest of the world, using the little island of Kodiak as a jumping off point.

White Rabbits signed to TBD Records (US home to Radiohead/Other Lives/Hatcham Social) and erected a makeshift studio in their basement rehearsal space to demo new material.  Band members popped in and out over the course of several months lending ideas and personality to a new batch of songs that defy instant categorization. After enlisting tourmate, friend and songwriter Britt Daniel (Spoon) as producer, the pair began the process of exchanging demos between Brooklyn and Portland.  White Rabbits recorded It’s Frightening over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France.  The sessions were recorded by visionary engineer Nicholas Vernhes (Animal Collective, Deerhunter) at Rare Book Room in Brooklyn, NY.  Taking special care to recreate the unhinged nature of the original demos, the band utilized the wide range of tools in the analog-friendly studio to shape the personal spirit infused in the new tracks.  Upon the completion of tracking, White Rabbits traveled to Austin, TX to mix the record with studio wizard Mike McCarthy (Spoon, Trail Of Dead) using his exceptional ears to transform It’s Frightening into a uniquely rewarding headphone experience.

It’s Frightening plays like a classic reel of tape from start to finish. Opening with the visceral drums of “Percussion Gun,” it is clear that time-off from the road has served the band well.  The many highlights include the emotional centerpiece “Company I Keep,” the new sonic territory of “Lionesse” and the macabre lyrics of “Right Where They Left.”  Fans of Fort Nightly will find much to go weak in the knees over and new listeners are in for an awakening as White Rabbits flip the switch on an already impressive beginning. It’s Frightening is a journey into the playfully dark musings of Everyman.

The lineup : Stephen Patterson (vox/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar), Gregory Roberts (guitar/vox).

White Rabbits signed to TBD Records (US home to Radiohead/Other Lives/Hatcham Social) and erected a makeshift studio in their basement rehearsal space to demo new material.  Band members popped in and out over the course of several months lending ideas and personality to a new batch of songs that defy instant categorization. After enlisting tourmate, friend and songwriter Britt Daniel (Spoon) as producer, the pair began the process of exchanging demos between Brooklyn and Portland.  White Rabbits recorded It’s Frightening over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France.  The sessions were recorded by visionary engineer Nicholas Vernhes (Animal Collective, Deerhunter) at Rare Book Room in Brooklyn, NY.  Taking special care to recreate the unhinged nature of the original demos, the band utilized the wide range of tools in the analog-friendly studio to shape the personal spirit infused in the new tracks.  Upon the completion of tracking, White Rabbits traveled to Austin, TX to mix the record with studio wizard Mike McCarthy (Spoon, Trail Of Dead) using his exceptional ears to transform It’s Frightening into a uniquely rewarding headphone experience.

It’s Frightening plays like a classic reel of tape from start to finish. Opening with the visceral drums of “Percussion Gun,” it is clear that time-off from the road has served the band well.  The many highlights include the emotional centerpiece “Company I Keep,” the new sonic territory of “Lionesse” and the macabre lyrics of “Right Where They Left.”  Fans of Fort Nightly will find much to go weak in the knees over and new listeners are in for an awakening as White Rabbits flip the switch on an already impressive beginning. It’s Frightening is a journey into the playfully dark musings of Everyman.

The lineup : Stephen Patterson (vox/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar), Gregory Roberts (guitar/vox).

As 2009 began, the band started to prepare songs for what was to become threadbare.  What started as a light-hearted and loose effort quickly turned into a dense, introspective work following the tragic loss of Cambria’s younger brother.  They started recording at their friend Jason Quever of Papercuts’ living room studio in San Francisco.  The songs were given a certain warmth and intimacy that couldn’t be achieved in a larger space.  The sense of comfort they found gave them the ability to fully realize the weight of the songs.  “In the Meantime” explores the desire for contentment in tumultuous times.  “High Without the Hope” bookends the album, illuminating the emotion and sense of loss that was felt throughout the recording process.

After spending weeks recording with Jason, the band felt they could work in a more open space.  They worked on the more celebratory and rhythmic songs in Los Angeles with Aaron Espinoza of Earlimart at the Ship recording studio.  “My Will is Good” and “Oslo Campfire” describe the liberation that follows in the wake of making active changes in one’s life following tragedy.

Together these sessions create threadbare. Its become somewhat of a two sided record with dark, haunting, and at times meditative songs paired up with the untiring, somewhat aggressive and punchy anthems that Port O’Brien is becoming known for.  The last few years have seen many adventures for the band.  The creation of this record came with continuing changes both within the band personally, and sonically. Port O’Brien will continue to evolve. In the meantime, Threadbare stands as another mark this young band is leaving.