Updates

Summer Update

July 7, 2016

Hello Friends,

I would first like to apologize for the radio silence. While it may have seemed we have been inactive during this quiet time, we have actually been very busy. Busy with the sort of everyday life activities that bog down even the most steadfast gears, but also the monumental events that can sometimes throw everything into a free spool.

Since you may have last seen us our very own Jen Hufnagel has become the proud parent of a beautiful baby boy. She welcomed baby Harry into the world earlier this year and has been raising him outside the city, where he has been exploring every bit of coastal community that he can wrap his mind around. He is already quite fond of riding around on motorcycles, or going on boat rides with his dad, and we have no doubt that he will become every bit of the talented musician his mother is.

Our other violin shredster, Shannon Rose Steele, recently graduated from school in Boston, where she was learning to tune pianos. Although she was missed terribly while she was away, we couldn’t be more proud of what she has accomplished in such a short time. Already she is working at a prominent classical music festival, and is honing her craft, while also enjoying the perks of the job, to be surrounded by such distinguished musicians.

Over this last weekend, we celebrated the marriage of Kyle to his lovely bride Danielle Sullivan. You may recognize Danielle as the singer of Wild Ones, whom we have had the privilege to tour with multiple times. Anyone who knows those two knows it was a long time coming, and to be able to celebrate their love was an honor for everyone in attendance. The wedding took place at the very same farm we recorded White Lighter, and it was a treat to be able to wander the grounds again and reminisce about the time we spent there a few short years ago. The night culminated in a very rambunctious sing along to one of our collectively favorite bands Kickball. It was the perfect way to send those two along to live happily every after.

But, in all this I failed to mention the most important thing of all! In all the time that life has been chugging away at breakneck speed, we have been finding the time to write a new record. And now that summer is in full force, and the pace of life has slowed enough to allow it, we shall record that record! The details are still sparse at this point but fear not, all will be revealed in short order. We couldn’t be more happy to be recording our new material and are ecstatic to know that once it is in the proverbial “can,” we will be playing in a city near you! I hope that your summer treats you all well and that everyone can enjoy the longer days that it brings.

Yours Truly,

Dave Hall & Typhoon

Tour Dates

More Concerts Coming Soon

Live at The Crystal Ballroom

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Released as a free / pay-what-you-want album on November 11, 2015.

Recorded and mixed by Paul Laxer.

When I was a kid, the Crystal Ballroom–in Portland, Oregon–was about as high a pinnacle to which one could aspire. Our parents used to drive us up from Salem to see bands like Built to Spill and The Get Up Kids, events which, in the mind of a fourteen year-old boy, were enough to sanctify the venue as a sort of holy place.

Today, the fact that my band has actually played at the Crystal Ballroom does not reconcile easily with my early associations. That the stage there has been graced by so many of my musical idols seems to preclude the notion of my ever setting foot on it.

But then life is strange. I am over the moon to present you with Typhoon: Live at the Crystal Ballroom. Please forgive the minor muck-ups of the performance–to say we were all a little overwhelmed by the evening would not be an overstatement.

xoxo,
km
11.11.2015

White Lighter

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Released August 20, 2013 on Roll Call Records.

Recorded and Produced by Paul Laxer. Mixed by Jeff Stuart Saltzman.

Dear Reader,

I don’t remember much, but I remember this one thing with clarity.

I was in the backyard looking up at my father; he was bent over raking leaves, explaining to me over his shoulder what it meant to be a good man–to keep your word and do the work you set out to do. I was a child then and the words were a mystery, having little conception of what kind of man I would be, what sort of work I would do or how I would set about doing it. A few years later, as all my friends were entering adolescence, I got sick. Mine was puberty with a vengeance.

In my last letter I made mention of my illness. Since then I have been asked about it often and feel I should elaborate on its significance. The illness itself offers a tempting narrative hook, but while it is romantic to dwell on the individual suffering, what matters is the universal implication: Once on the other side one finds that there are no sides, that there exists no great partition between sickness and health, only various stages of dying and various ways of surviving that death.

This discovery had on me the effect of leveling all logical binaries to be replaced by ambivalence–not only could I not tell the difference between sickness and heath, but had further difficulty telling friends from enemies, progress from regress, love from resentment, sometimes even women from men. I realized that if I were to accomplish anything it would be to recover some kind of meaning in what my friend Zach Schomburg called the Wild Meaninglessness. You can consider it one very bewildered man’s attempt to explain the universe, to himself, in the language of bewilderment.

I had a lot of help. Without my friends in typhoon this music would have never reached your ears. It is thanks to them that these songs are songs and not just a bunch of quasi-apocalyptic ramblings. We recorded them on a farm in Happy Valley, OR while we lived there for a short, utopian six weeks in the spring and summer of 2012. The record is a collection of seminal life moments, in more or less chronological order, glimpsed backwards in the pale light of certain death, brought to life by a remarkable group of people who hold as I do that the work is somehow important.

When we started working on White Lighter, I had reason to believe that it would be the last thing I ever did. It is now six months since we finished. I’m still here and there’s still work to be done.

k.r.m. 6.21.2013

A New Kind of House

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Released March 8, 2011 by Tender Loving Empire.

Recorded and Mixed by Paul Laxer.

Dear Reader,

I once came very close to dying (bug-bite, failed organs), and though my life was spared thanks to thanks to modern medicine and a kidney given to me by my father, nonetheless I live with a persisting sense that my time is borrowed. My resolution–what I intend to do with my finite allotment– is to reach some small, yet conclusive understanding of my life in particular and the world in general; an understanding accomplished, in part, through a combination of music and words.

The last record we made, Hunger & Thirst, is a record that purposefully confuses physical sickness with ontological sickness, i.e. that most desires are only symptoms of the desire to be someone else. This new record picks up where we left off, though this time “purposefully confusing” the idea of time as a place. It imagines that my past is a composite of old houses and apartment buildings, that my memories are these little artifacts strewn about, and then there’s me with a single candle, picking up the artifacts one at a time and examining them by the dim light.

Songs as personal as these perhaps ought to be burned or buried rather than be paraded before an audience. But there is something transfigurative in playing music with so many close friends–what starts out as a solemn, solitary attempt is turned into something both communal and cathartic. I think we even have fun at times.

A New Kind of House (the title itself is borrowed from the brilliant poetry of Zach Schomburg) was artfully recorded on location (our house) by repeat-collaborator Paul Laxer; the artwork was beautifully realized by Ricky Delucco, and we have Tender Loving Empire to thank for so tenderly helping us put out a record a second time.

kyle ray morton / 01.11.2011

Hunger & Thirst

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Kyle Morton sings the first line of Typhoon’s Hunger & Thirst, “I’ve started a new beginning…suspiciously like the old one, only this time, I’m ready”, with the bravery and trepidation of someone who is staring down a familiar path, with all its known challenges and potential pitfalls, surrounded by his dearest longtime friends.

The seven core members of Typhoon (17 total contributors sing, play upright bass, toy piano, real piano, and a crumpled plastic bag for texture on Hunger & Thirst) have all known each other since high school or before, are aged 21.8 years on average, and either live together or within walking distance of one another. When playing unannounced house parties in their native Portland, Oregon, it is not uncommon for word to rapidly spread like wildfire online and over the phone, resulting in upwards of 400 people flocking to the scene within an hour of any announcement. There is a reason for this, and it’s not that anyone is mistaking Typhoon for a feel-goodfun-time-youthful-lots-of-members-andinstruments-party-band. It’s that Typhoon is magnetic, stunning, hypnotic, subdued in their visceral grandeur. People who know Typhoon—a dedicated population—have been waiting for this record for five years. The catharsis is palpable for them, and for the band.

When Morton and the other members of Typhoon (a force involving two drummers, multiple guitars, a horn section and group singing) play for a crowd at one of these houses or at a legitimate venue, it is blaringly evident that they are seasoned beyond their young age. Watching such a group edit, control and restrain themselves, fully aware of the beautiful tension of space between a whispered vocal and an explosive payoff, is an exercise n watching the kind of nonverbal cmmunication that is only possible through deep, almost familial, connection. Fittingly, producer Paul Laxer recorded Hunger & Thirst in Morton and his bandmates’ beloved old Victorian rental house. The lease was about to be up; the landlady was about to be back from Korea—everyone knew their time there was limited, that they were crafting an aural snapshot using room mics and dining rooms.That house can be heard all over the record if you’re listening for it, spaciously framing Typhoon’s lush, well-edited orchestration, its wood floors perfectly warming Morton’s empowered, concerned, delicate vocals in a way that any studio environment would be hardpressed
to capture.

These are songs about striving for what you want, then realizing that once you have it, you don’t want it anymore; that maybe that elusive “thing” was never really the issue anyway. Morton sings about the searches, in all their permutations, the bruises healed by those important to you, impermanence, joy, and
finding peace within the incessant desire that has always been man’s burden. He sings with strength and hope about renewal (“Starting Over”), with the entire band in gospel-chorus about confronting and progressing (the 47 second “The Mouth of the Cave”) and with brutal honesty about struggling with a lifelong illness (“The Sickness Unto Death”). Everyone has their own unique path to follow, and Hunger & Thirst is a record that should remind us of the preciousness of exploration, the value of those we meet along the way, and the power within that sustains us on our quests.

Young Fathers [Live At The Crystal Ballroom]

Young Fathers [Live At The Crystal Ballroom]

Prosthetic Love [Official Music Video]

Prosthetic Love [Official Music Video]

Dreams of Cannibalism [Official Music Video]

Dreams of Cannibalism [Official Music Video]

"Young Fathers" [Official Music Video]

"Young Fathers" [Official Music Video]