Brent Knopf is no stranger to experimentation. Formerly one-third of the Portland-based indie group Menomena, Knopf left the nest to form his latest project, Ramona Falls, an experimental, indie rock outfit that released in May its sophomore album. The follow-up to 2009’s Intuit, his first studio album, Prophet offers a glimpse into the Portland musician’s genre-bending side with unnerving tracks like “Sqworm” and “Spore.”
With marching drumbeats, stereo-shaking synthesizers, and the brooding ambiance of a Cure album, Ramona Falls is reminiscent of English post-punk groups like Joy Division and The Jesus and Mary Chain, had they been making music in the latest decade. Knopf has both groups beat in tech-savvy grooves, relying on interlaced harmonies and melodies of synths, distorted guitar strings, and thumping drums that would make Ian Curtis’s mouth water in his grave. Not to put down the lad from Macclesfield, but the way Knopf coos ghostly lyrics like “I put the lamb”s blood on my door” over a tapestry of chugging guitar and plinking piano keys is enough to give chills. And that’s not at all the musical limitation of Ramona Falls’ brainchild.
Whereas Ramona Falls’s first album was an experimental group effort of Knopf and 35 of his friends, Prophet resembles more of the Portland musician’s own musical imprint. During his time in Menomena, Knopf and his other band mates shared songwriting duties and often rotated instruments. This sheer talent and neglect to appoint a principal songsmith in his previous group has led Knopf to expand his musical capabilities and toy with the borders of musical genres into what his music can be described as experimental neo-folk.
In the track “Sqworm,” as the chorus erupts into a kick drive of atmospheric harmony, Knopf delivers the line: “It doesn’t come natural.” Well Brent, you could have fooled us.