Brewery News: OR: Astoria: Fort George Brewery’s “Festival of Dark Arts” events announced for this February 14th

In the heart of Stout Month, Fort George Brewery’s Festival of Dark Arts is not your normal Stout Beer Festival.  Outside of 55+ of the best Craft Stout Beers that the World has to offer, Fort George will host a bevy of dark entertainment to feast your senses on.  On Valentine’s Day, 2014, the Fort George Brewery Block will be converted into a 1­ Day Only, Carnival of Stout.  Your Ticket to Darkness will give you access to taste the Stout Beer as well as more entertainment than you can shake a beer at.  Tickets can be purchased at FestivalofDarkArts.com until Friday, February 6 will be sold at 9am on the day of the festival.  To control crowds, tickets are limited and are recommended to be purchased in advance.  Tickets for non­-drinkers are also available.  The Stout pours at noon.

image courtesy Fort George Brewing

Fort George Pizza Joint Stage

12pm - Blue Skies for Black Hearts - Power Pop/A Deeper Shade of Awesome

2pm -  Michael Hurley - Freak-Folk/Snock Rock

4pm -  Marty O’Reilly and the Old Soul Orchestra - A Drunken Minor Swing/Stout Down Blues

6pm - Summer Cannibals - Dark Surf/Surf Dark

8pm - Orquestra Pacifico Tropical - ¡Vamos a bailar!/¡Vamos a gozár!


Lovell Showroom Stage

5:00 - Derek Ecklund

6:00 - Belly Dance with Jessamyn Grace

7:00 - Too Long Sparks


Fort George Courtyard

Sisters of Fire - Fire Dancing

5:30 + 7:30


Other Dark Arts around the Fort:

Keepsake Tattoo + Aaron Toledo

Rotten Photography

Tarot by Jessamyn Grace

The Beer Painter, Karen Eland

Glass Blowing by Fernhill Glass

The Solstice Blacksmith Forge

Live Painting

Cigar Tent

Ice Sculpture

The Dark Forest Minstrels

About Blue Skies for Black Hearts:  Blue Skies For Black Hearts began over 13 years ago as a songwriting outlet for musician/producer/engineer Pat Kearns. Along with long time lead guitarist Michael Lewis, the band’s newest lineup includes Portland music veterans Mark Brietenbach, Grant Law and Jason Russell. “The new band is killing it” says Lewis. Setting aside the brit pop revival sounds common to their previous releases, this Portland, Or quintet’s newest endeavor is firmly rooted in the spirit of other American rock and roll greats like Petty, Chilton, and Doug Sahm (who the band frequently covers in live sets) where undeniable hooks and sing-along choruses are king.

About Michael Hurley:  Tracing the lineage and citing the fore-bearers of the New Weird America, one can’t help but mention the music of bizarre folk singer/guitarist/artist Michael Hurley. If you haven’t been following his career since the 1970’s (when he was collaborating with the likes of the Holy Modal Rounders and Jesse Colin Young) then you probably discovered him in the past couple of years via Devendra Banhart’s & Andy Cabic’s label Gnomonsong, who have released Hurley’s recent recordings.

Hurley’s debut album, First Songs, was recorded for Folkways Records in 1965 on the same reel-to-reel machine that taped Lead Belly’s Last Sessions. He was discovered by blues and jazz historian Frederick Ramsey III, and subsequently championed by boyhood friend Jesse Colin Young, who released Hurley’s next two album on The Youngbloods’ Warner Brother’s imprint, Raccoon. How’s that for cred?

In the 1970s, Hurley made three albums for Rounder Records; Have Moicy! (1975), Long Journey (1976), and Snockgrass (1980) which after being out of print for decades are now being reissued on Light In The Attic Records. In recent years, tours with Son Volt and high praise from younger performers like Lucinda Williams, Vic Chesnutt, Calexico, and Cat Power, have increased Hurley’s legend.

About Marty O’Rielly & the Old Soul Orchestra:  This three-man orchestra seamlessly weaves trance based blues music, harkening back to John Lee Hooker and Howlin' Wolf, with a drunken minor swing comparable to some of Tom Waits' darker works. Marty O'Reilly and the Old Soul Orchestra deliver an enthralling and passionate performance, which often leaves them out of breath and the stage littered with broken strings and bow hairs. 

When performing with his trio, The Old Soul Orchestra, O'Reilly is backed by Jeff Kissell on the Double Bass and Chris Lynch on the fiddle. Their versatile musicianship, and soulful chemistry help to expand O'Reilly's songs into pieces that drive like a ten pound hammer, or float like feather and flow seamlessly in-between. The trio was formed in late 2012, and has rapidly made a name for itself along the west coast of the United States, as well as the United Kingdom, and Ireland.

About Summer Cannibals:  Summer Cannibals aren’t wasting any time. The punk-flecked four-piece from Portland hit the ground at full speed, their 2013 debut album No Makeup catching people completely off-guard in their hometown and beyond. In just a few short months, Summer Cannibals earned deserved props from some of their heroes—including a ringing endorsement from the Thermals—opened for international touring bands like Chvrches, and found themselves at #2 on the coveted “Best New Band” list in Willamette Week. Now they’re back with their second full-length, the raw, to-the-point Show Us Your Mind. As before, Summer Cannibals come armed only with the things they need: fuzz pedals, razor-sharp riffs, and songs that get stuck in your head the first time you hear ’em.

The group formed around guitarist/vocalist Jessica Boudreaux and guitarist Marc Swart in 2012, their sound fueled by Boudreaux’s songwriting chops and the band’s full-volume fervor, which flows most fluidly during Summer Cannibals’ head-turning live shows. To capture that live spark, the band recorded Show Us Your Mind at Portland’s hallowed Jackpot Studios with Larry Crane (Sleater-Kinney, Elliott Smith, Tape Op) behind the board. The group recorded and mixed to tape, working quickly to capture the momentum, and Show Us Your Mind is both a continuation of the straightforward statement-of-purpose on No Makeup, as well as an effective introduction to the band’s ultimately catchy clang. These are pop songs played at air-raid volume, serving as a simple tonic for day-to-day frustrations.

About Orquestra Pacifico Tropical:  Deep in the vein filled jungles of each of our hearts beats a music with roots as wide as continents and influence as deep as time itself. Cumbia, music of the Southern American Hemisphere. Orquestra Pacifico Tropical have taken this frenetic, addictive rhythm and accomplished what musicians across time and space have always done, bringing crowds into a blistering dance frenzy. From clubs to the forests of the Pacific Northwest, to hear the ecstatic thump, rumble, and sheer brilliance of the racing rhythms of coastal Columbia side by side with the psychedelic guitar explorations of the Peruvian rain forest is to travel across continents and through time with Orquestra Pacifico Tropical as the guide. With respect to those who came and innovated before us, and armed with an arsenal of percussion, woodwinds, horns, accordion and guitars, these 11 friends have come together in the spirit of capturing and breathing new life into this most essential of musics. Cumbia, music of the people.

Featuring members of Sun Angle, Deer or the Doe, O Bruxo, Ioa, Lewi Longmire Band,Tu Fawning, Point Juncture WA, Modernstate, Jippedo and Team Evil, Orquestra Pacifico Tropical's wall of sound is dedicated to expanding the music of Central and South America to the people and dance floors of the Pacific Northwest.

About Derek Ecklund:  Derek Ecklund is an Oregon based multi-instrumentalist, composer, sound artist, and digital creative. Working across a wide range of styles, approaches, and influences, his music is about creating an environment, a raw stream of pure sonic possibilities. His approach is textural and in the moment. He uses a variety of instruments, field recordings, and digital music tools to create an ecstatic listening space, evoking beauty, wildness, and trance. Derek’s work explores mystical approaches to music, how it relates to culture, and how it can affect our collective experience and perception.

About Jessamyn Grace: Jessamyn began taking Egyptian Cabaret and Turkish style Belly Dance from Saqra and Aziza in 1994. After returning from a small town in Central Turkey to her hometown of Portland, Jessamyn moved to Astoria 8 years ago, co­-founded the Astoria Arts and Movement Center, and studied Egyptian Cabaret with Var’yin Parham. For Jessamyn, Belly Dance is a way of putting aside the distractions of daily life and handing yourself over to your soul and passion. Middle Eastern and Northern African music moves her tremendously, and she loves that Belly Dance is improvisational­ allowing her to experience everything the music has to offer.

About Too Long Sparks:  The eerie and terrifying beauty of an electrical transformer exploding in a lightning storm was the inspiration for Migi Artugue’s musical alias Too Long Sparks. It is a suitable moniker for a project which builds dark, ambient pop songs with beautifully discordant guitars and ukuleles, looping layers of live and found sounds, while Migi’s expressive tenor lilts from narcotized falsetto to the occasional unfettered roar.  You can definitely detect a bit of punk influence when you listen to Too Long Sparks. Migi started playing in punk bands in the Bay Area in his early twenties, landing gigs opening for the Didjits, the pre-­Rancid UK Subs, and Fitz of Depression, among others. A return to the Pacific Northwest brought new influences and ideas about the conventions of songwriting and the blurring of genre boundaries.

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