Kyle Morton (vocals, guitar), Toby Tanabe (bass), Dave Hall (guitar), Pieter Hilton (drums), Alex Fitch (drums), Tyler Ferrin (horns), Ryan McAlpin (trumpet), Devin Gallagher (percussion), Nora Zimmerely (vocals, piano), Shannon Steele (violin), Jen Hufnagel (violin), Eric Stipe (trumpet), Samantha Kushnick (cello)
Ambitious, all-encompassing post-pop. Signed to Tender Loving Empire. Discography to date includes Typhoon (2005), Dearborn Sessions (2007), Split 7 Inch (2007), Hunger and Thirst (2010), A New Kind of House (2011) and White Lighter (2014).
Looking for a band who combine the bombast and drive of Arcade Fire with the communal energy of The Polyphonic Spree? A tough call, you might think, but fast-rising Oregonians Typhoon just happen to fill that niche nicely. With majestic orchestration and complicated arrangements, they fuse indie rock instrumentals and vocals with violins, percussion, hand claps, xylophone, horns and a choir of other instruments, making for inspiring and catchy songs all round.
“I initiated a recording project in 2005 with all of our musically-inclined friends,” singer Kyle reflects on their origins. “It sort of snowballed from there.”Fast-forward seven years and – as well as releasing several albums and EPs – Typhoon snared a headline slot on the prestigious Letterman show (which, short of a billboard reading ‘big things expected’, is pretty much as golden an indicator for future success as it gets).
This success hasn’t detracted from their enigmatic nature, though. Describing their sound as “very loud …then very quiet”, they also list their influences as “Moms and Dads … andeach other.” As for what they each bring to the band? “Ha!” Kyle laughs.“Someday I'll write a memoir about it …”
While we’re waiting for that memoir, we can always take a look at the story so far. How has the band developed since their inception? “Tastes & maturity levels have changed for the better, in my opinion,” Kyle reflects. “With a large ensemble it's always an exercise in applied restraint. With the current democratization of music, I feel like everyone is a contemporary. And that's not necessarily a good thing. I've always preferred distant admiration over proximal contempt.”
Another excerpt from this upcoming memoir comes in the form of their high and low points. “Proudest moment: Sharing the stage with heroes like Yann Tiersen, Built to Spill, Explosions in the Sky. Weakest moment: playing a bar at SXSW alongside a giant wood cut-out of a milkmaid being molested by a clearly un-neutered bulldog.” Talk about a gig that requires balls …