Tim Sears and I (otherwise known as Backabit) went out and saw the Portland screening of Indie Game: The Movie last evening.
I’m totally biased since I was a Kickstarter backer of the film (it was fun seeing my name in the credits) and because I qualify as an indie game designer… but I think it was the most creatively inspiring documentary I’ve ever seen. I even teared up during a few scenes, especially during Edmund’s reaction to the prospect that Super Meat Boy might be inspiring kids to draw and make games the same way Mario had inspired him. That feeling has some special significance to me.
Toward the beginning of the Q&A session, filmmakers James Swirsky and Lisanne Pajot told us that, during our screening, Phil Fish had announced a release date for Fez. Having just witnessed Phil’s passion and heartache laid bare on the silver screen, our audience couldn’t help but applaud.
Portland was the almost-halfway point for the film’s screening tour. I encourage you to see it if it’s coming your way.
Despite any punk, blues or avant-garde leanings I may have exhibited in recent years (admittedly, these genres seem like prerequisites for 95% of the Portland hipster elite), I am still very much an indie kid. Ever since the fateful day I picked up Blur’s 13 or Pixies’ Doolittle, there has been a soft spot in my heart for these garage-y, two-to-five-piece rock n’ roll machines. Many of these groups are ultimately disposable—Spoon is not one of them.
Everest proved to be a very capable opening act. Their subtly plaintive lyrics and textural guitars were enjoyable and compelling, if not altogether memorable. As they finished their set and the floor began to fill, it became increasingly apparent that a lot of women like Spoon and, specifically, frontman Britt Daniel. Many of us who prefer listening to the group without suffering an earful of desperate shrieks and woos in conjunction with a new level of uncoordinated dancing were well-served by the Crystal Ballroom. Sideline benches, when stood upon, gave a great view of the stage.
There’s no denying that Spoon are solid live. Many of the songs were nearly indistinguishable in polish from their studio counterparts, and it was refreshing to hear how honest their recorded sound had been. They interspersed a varied and eclectic set with new songs, most of which sounded competent but overly jammy in comparison to their existing catalog. Promising, but a bit self-indulgent for my tastes.
The entire show was quite good, though songs from Kill the Moonlight and Ga Ga Ga Ga Ga Ga fared perceptibly better than their peers. While their performance of “I Turn My Camera On” was crowd-pleasing and memorable, it felt flat in comparison to their surprisingly awesome rendition of “Stay Don’t Go” (with drums replacing the love-it-or-hate-it beat-boxing of the original) or “Don’t Make Me a Target.” If they can streamline and punch up their new songs to match that level of passion, they’ll continue winning over the world… one screaming girl at a time.