Papercuts (band)

This article is about the American indie pop band. For Portuguese electronic-music project, see Papercutz.
Papercuts

Papercuts performing in New York
Background information
Origin San Francisco, California
Genres Indie pop
Years active 2000–present
Labels Gnomonsong, Antenna Farm, Memphis Industries, Sub Pop
Associated acts Cass McCombs, Beach House, Deerhoof, Casiotone for the Painfully Alone, The Skygreen Leopards, Vetiver
Members Jason Robert Quever
Graham Hill (drums)
Frankie Koeller (bass)
David Enos (keyboards, guitar)
Past members Malcolm Pullinger
Jeremey Brown
Matt Stromberg
Alex deLanda
David Enos
Kelly Nyland
Trevor Montgomery
Jason Blalock

Papercuts is an American indie pop project centered on San Francisco songwriter/producer Jason Robert Quever.

History

Born in Arcata, California, Quever moved to the bay area during grade school, living in various places until settling in San Francisco.[1] He began making home recordings after buying a four-track recording desk at the age of 15,[2] and his first work as an engineer/producer was on Cass McCombs' Not the Way EP in 2002. The first official release as Papercuts was 2004's Mockingbird (on Oaklands Antenna Farm Records). The band's next two albums, Can't Go Back (2007) and You Can Have What You Want (2009), were released on the Gnomonsong label, before the band signed with Sub Pop records in 2010, releasing the Fading Parade album in 2011.

Quever has his own home studio which he calls the "Pan American Recording Studio", where he has recorded or mixed work by local artists including Vetiver, Casiotone for the Painfully Alone, Port O'Brien, Beach House, the Skygreen Leopards, the Finches, the Moore Brothers, and Still Flyin' alongside Papercuts material.[2]

He cites among his influences and inspirations Django Reinhardt, Nirvana[3] and the original The Twilight Zone TV series.[4]

Papercuts covered Don Henley's "Boys of Summer" for American Laundromat Records charity CD Sing Me To Sleep - Indie Lullabies The CD was released worldwide on May 18, 2010.

The bands that Papercuts have toured with include Grizzly Bear, Beach House, Camera Obscura and Vetiver.

Personnel

Quever is the only permanent member of Papercuts, early on playing with whoever of his friends were available. Bay area artist/filmmaker David Enos has been the longest standing collaborator (keys), while Frankie Koeller (bass) and Graham Hill (drums) have been regular members of the group since 2008, when the band started touring more regularly.

Musical style

The Papercuts sound is generally classified as indie pop, with comparisons also being made to freak folk artists such as Devendra Banhart.[5]

In a 2007 live review in the New York Times, Jon Pareles described the band: "Melding sustained organ chords with slow fingerpicked guitar, the Papercuts’ music merged Velvet Underground ballads with touches of the Byrds, while Jason Quever sang in a high, diffident voice about elusive love."[6] A PopMatters review described Papercuts as "a marching band on Quaaludes" and "part atmospheric, part dream pop rock, always melodic, and never boring".[5] A Houston Press review of Can't Go Back described the album as having a "warm, sunny sound, recalling northern California circa 1968", going on to describe the band as "a lo-fi version of The Byrds".[7]

Discography

Albums

References

  1. ↑ Hopkin, Kenyon. "Papercuts - biography". Allmusic. Retrieved 4 January 2013.
  2. 1 2 Chun, Kimberley (15 April 2008). "Going back: Talking to Papercuts' Jason Quever". San Francisco Bay Guardian. Retrieved 4 January 2013.
  3. ↑ Somera, Kris (2011) "Interview with Papercuts vocalist Jason Quever", SanDiego.com, 10 March 2011
  4. ↑ Smyers, Darryl (2007) "Retro Nothin: The Papercuts' Jason Quever is quintessentially modern", Dallas Observer, 21 February 2007
  5. 1 2 MacNeil, Jason (2004) "Papercuts Mockingbird", PopMatters, 7 December 2004
  6. ↑ Pareles, Jon (2007) "Three Bands on Trips That Lead to the ’60s", New York Times, 9 March 2007
  7. ↑ Ayers, Michael D. (2007) "Papercuts Can't Go Back", Houston Press, 28 February 2007
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