Carcrashlander Where to Swim press/album reviews:

Parks and Records released Where to Swim by Carcrashlander last year. Rooted in Portland, Oregon the album comes off sounding downcast like their home cities winters. Lead singer Cory Gray doesn’t sing so much as mix singing and speaking in a hushed way. His voice makes him seem uninterested in the music. Make no mistake, while his crooning is down he does infuse his passion through the other instruments he plays.

Gray plays keyboards and he can really work them when he wants to. On “Boat Full of Buckeyes” he livens up the track with some funk-like keyboard playing. It really makes the track pop. While on “Rosie” he really plays with the tempo and his horns. The song starts off a little upbeat, like an early 1900’s love song. It is a poppy little beginning one could skip to. The song slows down then, but starts to build up ending in something akin to Kozachok music from the Ukraine. Here he really lets the horns play to make the song fun.

Its not that Carcrashlander don’t have catchy songs. It is just misleading that Gray’s voice sounds so melancholy on the tracks. The poppy background instruments are the real heart of this band’s theme. Where to Swim is one of those albums that really needs to be listened to more than once to be appreciated. In our fast paced world, I wonder if people will be willing to do so or move on to the next catchy thing that comes along.
 - Surviving the Golden Age

7/10 - If you have been looking for music perfect for a rainy day or that week where depression suddenly strikes, then look no further- I give you CarCrashLander. Where to Swim is the newest addition to the CarCrashLander catalogue, and is unquestionably one of the mellowest albums I’ve heard in a long time. The vocals of lead Cory Grey rarely rise above a whisper, but they provide a perfect ambiance for the album through and through. These hushed vocals team up with Grey’s organ, laying down the undertones for the majority of the album. The rest of the band quietly playing in the foreground and background and only getting loud when necessary presents a perfect formula for Where to Swim.

Songs like opener “Landmines” set the course for the entire album with catchy hooks and memorable melodies that will be stuck in your head for weeks. When CarCrashLander does finally decide to turn up the volume and quicken the pace it is well-timed. The track “Boatful Of Buckeyes” displays this skill, when it’s the guitarists’ turn to show off a bit with a face-melting solo at the end.

However, certain songs in this album feel a little out of place; tracks like “Overgrown” and “Rosie” seem more akin to some fusion between indie, Spanish Polka, and gypsy, but I most certainly am not complaining. These tracks provide a pleasant aside from the usual mellowness of the rest of the album. With flutes and a horn floating in and out, these tracks do a great job in displaying the musicianship and adaptability of CarCrashLander.

For a price tag under $10, Where to Swim is undeniably a purchase worth making.
 - Racket Magazine

Lots of albums are marketed with hefty claims to be something new, but few of them actually are. Where To Swim by Portland band Carcrashlander might proof to be the peak of their career in later years - that one time when everything just works like a charm. Led by songwriter Cory Gray who plays keyboards and horns (and bass on one track) the songs flow like a river on a glorious summer day. Mind you, the lyrics are pretty dark at times but the guitar licks and lazy keyboards will lift the dread of House Arrest. Rosie on the other hand is wrapped in horns and piano, the drums edging her along. Sts-925 is an instrumental that could turned into a full blown orchestral piece inspired by the avant-garde titans as Strawsinky and Shostakovich.

So it isn't so much as a question of Where To Swim, but more like what you are waiting for? Jump right in, the water is fine.
- Here Comes The Flood, Netherlands

As might have been gleaned from my appraisal of their last album, I love these folks' sound. Keyboard-heavy, shady, and subtle, Carcrashlander's songs boast an insidious sort of infectiousness -- shifting melodic phrases combine with electric keys synergistically, eliciting irresistible, moody nuggets like blissful "Where to Swim" and noir-esque "Behind You in Line." Often it's the seemingly peripheral details that make these songs; the high-pitched synth squall melody of "Boatful of Buckeyes;" the unexpected but not-out-of-place bossa nova of the lion's share of "Windtunnel;" the tasty instrumental moments on the title-track. While some songs lack the immediacy of others, not one feels out of place -- unless you count the first 40 sea-shanty seconds of diversion "Rosie."

As one delves deeper into Where to Swim, it becomes apparent that mood and texture play just as much of a role in the songs' delectability as does melody. Frankly, these tracks are rarely tidbits of pop clarity -- they are alluring in their overall construction, but the hooks aren't especially overt. Nowhere is this better exemplified than on slow-rolling "Yellow Car Tides," which bewitchingly revels in a gradual haze of deep keys, eerie ambience, and deadpan-ish vocals. It's a subtle expedition, but one that sinks its claws in surprisingly deep.
- indieville.com, Canada

Portland’s Carcrashlander they ride a dark groove. They are a black ship, a level cruiser of smooth organ, dirty guitars and the deep, haunting whisper of Cory Gray. The newest release, Where To Swim (Parks and Records: a San Francisco label which releases all records with recycled packaging and liners, always at a minimum impact on the environment), is like what Gray describes in “House Arrest,” a “a yellow house of dried up leaves.” This album is both light and bright, harsh and cold, comforting and welcome in the way of an Oregon autumn. Swim will hi with a Built To Spill rhythm, then jump to a grungy bebop jam, such as in “Boatfull of Buckeyes,” just before Gray sings, with quiet ernesty, “To those hills of gold, we row row row.” The emotional weight of Carcrashlander seeps in from multiple listens, not from a whack over the head by a tearful two-by-four, which only serves to give each word gravity. “Windtunnel,” a loungey, finger-snapping tune about living with a heartbreak that will not leave, makes one want to dance across the kitchen to put away the tea. Swim is a winter album, it is jacket and gloves album, it is a fireplace and coffee album. It may be easy to label this album as depressing or needlessly dark. But within each tune, behind the barrel-chested hum of Gray and the deep horns, there lies a chance for a handclap, a toe-tap, a sway, a two-step. “Rosie,” stands out like a tulip in the burn-pile, a waltzing jam that builds up from Moment One and doesn’t let go. “Yellow Car Tides” finishes this steady ride with a orchestrated dance with dissonance, as Gray, tapping his keys, Jacy McIntosh behind on guitar, and Shelly Short crooning beautifully behind, sends the listener, bundled and at peace, out in the cold.
- Oneflewwest.com, Seattle WA

Carcrashlander is the nom’ de plume of Mr. Cory Gray. You might remember him from Portland emo kids Desert City Soundtrack (who originally formed in Santa Rosa, California but relocated to Portland in the early 2000’s) but he has recorded with tons of other Portland bands including Norfolk & Western, Laura Gibson, etc. etc. On this, I believe his 2nd full-length, it is musically all over the map but held down by Gray’s unassuming vocal style. Opening cut “Landmines’ is wigged out n’ weird while “House Arrest” has some soulful keyboards and “Overgrown” has some spraying horns and smooth keys. “Rosie” has distorted vocals and marched at times to a Calexico beat. At times Gray’s style, both vocally and musically, reminds me of Lou Barlow’s solo work though with a bit more attention paid to experimentation. Gray is one of those guys who ,despite prodigious talent, will most likely never become a household name but will be invaluable to a music scene like Portland where, in addition to helping out tons of other musicians, he also releases terrific low-key records like this one. Good music is always out there, you just need to find it. Find this.
- Daggerzine, Portland OR

Best of 2009 - Carcrashlander - Where to Swim: How can an album be this stylistically diverse and yet so cohesive? Cory Gray once again finds a way. Amazing.
- Rock and Roll and Meandering Nonsense (A Great Blog with the best album rating system ever!) 

More than anything else, what’s most enjoyable about Where To Swim is Cory Gray’s seemingly innate capacity for crafting the sort of tight hooks so intrinsic to good pop music. Regardless of whatever genre he’s attempting to co-opt for the purposes of Carcrashlander, Gray wraps his hushed vocals around clean melodies that remind me of a delicate combination of Starflyer 59, The Shins, Wilco, and Cake (minus that band’s need to be intentionally quirky).
 - Oregon Music News

hier hatten wir bereits einiges aus der karriere des cory gray, vorsitzender von carcrashlander, berichtet, sessionmusiker, unterstützer (u.a. the decemberists, grails, norfolk & western, graves) und schließlich auch unterstützter bei seinen ersten soloausflügen, durch u.a. dave depper (bass), shelley short, laura gibson (backing vocals), adam selzer und nate ashley (guitar), brian wright (drums) und amanda lawrence (viola, violin), das selbstbetitelte album erschien vor zwei jahren auf parks and records. nun ist der zweitling da, wir hatten es bereits verkündet, hier. eingetroffen ist "where to swim" mittlerweile auch und wir können einige worte darüber verlieren. wer griff dem portlander diesmal unter die arme? eine so gut funktionierende szene wie diese, findet sich wohl nur selten, an bord waren cliff hayes (bass), brian wright (drums, percussion), jessica wright (flute, backing vocals), shelley short mit kurzeinsatz und viele andere mehr. sprach ich beim erstling noch davon, dass die fehlende opulenz nicht weiter ins gewicht fallen würde, fällt auf dem neuen werk durchaus auf, dass an den einzelnen arrangements gefeilt wurde. die palette an ideen ist riesig. die ausführung ist so überzeugend, dass der soundreigen einen schwindelig spielen kann. fast klassisch muten einige tracks an, wenn orchestrale wellen über einen hinweg ziehen. dann lösen sich die spuren wieder auf und eine singulär agierende kraft nimmt den faden auf, um ihn umzugestalten, einzufärben oder etwas gänzlich neues daraus zu kreieren. ein track wie "rosie" bspw. beginnt als piano gestützter slow waltz mit leicht verhalltem gesang, bald fügen sich horn und schlingernde flöte, das lustvolle pfeifen eines ausgebüxten hinzu, der marschierende rhythmus gewinnt an kraft, flotter wirds hernach, eine gitarre, schneller, das piano im duell mit dem horn, jauchzer, jubler, noch schneller, flöten stimmen wieder ein, rumpelbass, vollgas! balkanpower! ende! ähnlich erlebnisreich ist das gesamte, sich über zehn tracks und gut 35 minuten ausbreitende werk. laura veirs schrieb "...you'll be licking a multi-colored swirly sonic lollipop of jangly guitar rock (ala pavement), half-sung vocals (ala little wings), floaty keyboards and quirky horn arrangements..." und der von uns hoch geschätzt leonard mynx ergänzte gar: "...one of the best albums to come out in a long time..."! so variantenreich, wie sich gray hier zeigt, so geschlossen wirkt schlußendlich "where to swim". wie er das angestellt, wird ein rätsel bleiben. es ist schlichtweg nicht zu eruieren, ohne die wohl überaus flexiblen hirnwindungen des carcrashlanders auszuleuchten. jeder track bietet eine in sich verborgene welt auf, spielt mit unterschiedlichsten stilen, vermischt genre, löst grenzen auf und überbietet sich in der vielfalt von launigen einfällen. "windtunnel" ist zunächst ein gemächlicher schleicher, ein von piano- und barjazz rhythmik- ingredienzen bestimmter shuffle. gray haucht mehr als er singen würde. refrain!, zügel werden angezogen, aufbäumen, knarzgewitter, wind trips, soundscapes, williger backgroundgesang. das schmissige "landmines" läutet nonchalant mit zugleich giftiger gitarre diesen kreativen aufgalopp ein. noise pop in reinnatur und mit beliebigen ausläufern ist "house arrest", der wie von ungefähr kommt, leicht müde schlingernd beginnt. warm in synthifarben eingewoben, doch bald verschärftes schießbudenfeuer abgibt, fuzzy gitarren und handefeste anschläge auf dem pianotöner. "boat full of buckeyes" ist ein ruheloser hüpfer, selten wirst du cory gray so aufgeräumt singen hören, aus dem mutstiftenden grower wird alsbald ein reisserischer aufbäumer. in der wandelsfähigkeit liegt der grund für das ebenmaß. ein album voller überraschungen und dennoch reiht sich folgerichtig ein track um den anderen aneinander. wie bestellt. als hätte man sich ein gericht zusammengestellt, dabei den finger über die speisekarten schnellen lassen und mit viel glück erreicht, dass die einzelnen gerichte perfekt zueinander passen. "where to swim" ist nicht nur folgerichtig auf "s/t", es bedeutet auch das erreichen einer neuen qualitätsstufe. tolle arbeit, cory!
 - dasklienicum (German music blog)

Maybe it's the glowing tones of Cory Gray's electric piano or the muted lounge vibe that escalates into thundering prog fanfare, but there's something evocative of a bygone vinyl era on Carcrashlander's new record Where to Swim. The band celebrates their record release tonight, and it's perhaps the best effort Carcrashlander have put forth. Backed by a stellar ensemble that includes the experimental guitar of Alexis Gideon, Gray's songs only initially seem low key; they slowly tighten their grip until you're undeniably hooked. Where to Swim balances its more ponderous moments with graceful trumpet and pedal steel, and every time things begin to get gruff, Carcrashlander eases up on the throttle with woozy warmth.
 - Portland Mercury

Carcrashlander bathes amidst the bleak and dusty dreamscape, re-mastered for hi-fi, post-apocalyptic cruising. Where, in Cory Gray’s words, “…the desert heat and open road burn fast the lining of your soul.”

CCL’s waltzing, grooving, jaunty, steady, marching, and meandering rhythms frame an impenetrably surreal shell where, ironically (in the context of such fine drumming), time becomes arbitrary, non-linear. “Rewind the tape i wanna listen to my first mistake,” Gray pleads and, under such circumstances, one would conclude he can.

In “Rosie,” Gray sings it’s one, well-crafted verse before the band launches toward the record’s most satisfying moment: a frantic, horn-driven, Klezmer-esque instrumental anthem with falling-down-the-stairs piano lines, hoots, hiccuping guitars and multiple kitchen sinks.

Where to swim?

Where “…it was the dead of night and the moon was sticking to our skin,” Gray suggests.
Gray’s poignant narrative is quietly confided throughout the record: crisp, clear yet often hovering just above above the din of cars passing to the left, to the right, too close for comfort. Each piece– many meticulously layered with Rhodes, fuzz bass, understated, syncopated, bending guitar melodies, baroque-style piano counter-melodies– is replete with some strange and satisfying noise. Whether regular, old excuse-me feedback, chairs dragged across the floor, or those cars passing, passing– one is invariably reminded they’re still in CCL’s shell. And this is a good thing.

 - TheHeartWillBurnRightOut.com, Portland OR

Carcrashlander is Cory Gray, Brian Wright, Jessica Wright, Cliff Hayes, David Dyas, Alexis Gideon. They have just finished their new record at Jackpot Studios titled "Where To Swim" and it will be coming out on vinyl and cd via Parks and Records. Being alluring to the listener is not Carcrashlander's main object; here, music is valued as much for its harshness as its sweetness - or anything in between - as long as it's true to the song. The storm passes and the beauty shows through: there's a beat to sway to, a line that catches our ear and makes us smile.
 - Portland Mercury Co-op

Where to Swim presents a serious shift of direction for Carcrashlander. Opening with the jubilant, fuzzy pop song “Landmines,” the lighthearted record changes styles more quickly than a Super Furry Animals greatest-hits compilation: Jangly rocker “Boat Full of Buckeyes” gives way to slinky lounge-pop numbers like “Overgrown” that showcase Gray’s impressive keyboard and horn playing. The new disc is both more fun and more assured than the band’s first two records, a concrete statement from a musician who often receives more praise for his guest spots—Gray plays with Norfolk & Western and Graves, among others—than his own work.
 - Willamette Week

A delightful recipe:  Take one part incredible musicianship.  One part fantastic, engaging songwriting.  A sprinkle of energy.  A dash of the past and a glimpse of the future.  Stir. What do you get?  "Where to Swim" by Carcrashlander.  One of the best albums to come out in a long time.  Pure genius, a pleasure to listen to and a must own record.
 - Leonard Mynx (singer/songwriter) 

Carcrashlander offers in their new work "Where to swim" one of those records that grows on you with each new listen, an eclectic album where all kinds of sound and stylistic references can be found, but where most of all, Cory Gray proves to have an enviable melodic instinct as well as handling an instrumental variety in his songs that is truly attractive. Many of Cory Gray's new compositions included in this record seem to have sprung from sheer improvisation, from the simple combination of sounds at random. Those pieces, though, start to shape up magically in a slow and mysterious way until, eventually, adopting a final appearance that is solid, coherent and tremendously elegant.
 - Cielo Líquido (Spanish Radio Programme)

Laid-back, buttery indie rock made warmer by a cheap-sounding electric piano and soft-spoken vocals. A little psychedelic and quirky, these guys have the quintessential Pacific Northwest indie rock sound. I don’t know what they look like, but I’m assuming full beards are involved. Bottom Line: Equal parts comforting and creepy. Kind of like a lingering hug from a reclusive uncle. Notable Tracks: Boatful of Buckeyes
 - READJUNK

With its brown cardboard jacket, and liner notes printed on recycled office paper, Portland Oregon’s Carcrashlander wear its roots on its sleeves. The newest offering, Where to Swim, has a warm, earthy feel even before the first note

Carcrashlander is buoyed by its sheer range of styles and influences, and by meticulous attention to detail in the production. Cory Gray’s low, lazy vocal style is consistently supported by layers of perfect accompaniment; understated yet screechingly noisy guitars ("Landmines"), soulful Hammond-style keyboards ("House Arrest", "Boatful of Buckeye"), off-kilter horn sections ("Overgrown", "STS-925") to name just a few.

Where to Swim pays homage to a hundred different influences without ever sounding too much like any of them. There’s Beck’s more obscure early work, Lou Barlow’s home recordings, Badly Drawn Boy’s piano balladry, and even Pink Floyd and Neil Young lurking in the corners.

The album drips with horns and keyboards. The horn section sounds like a mad professor’s combination of your high school’s jazz band and a New Orleans funeral band; plodding arrangements where everyone seems to play a different key and tempo while somehow holding it together. The keyboards split the difference between retro-soul, a la Stevie Wonder, and space-aged bachelor-pad jazz; serving to warm the album and lift the down-tempo moments.

But where Carcrashlander soars is in its more experimental moments. Distorted vocals, droning bass and horns on "Overgrown" combine in a chanting meditation that sounds like a field recording of Inuit throat singing. The instrumental "STS-925" is a Dixieland jazz piece as re-imagined by Tim Burton. And finally, "Yellow Car Tides", sends listeners off, floating on a river of cough syrup and background noise; the perfect closer to a strange and wonderful album.
 - Amplifier Magazine

“The brave the bold the mighty: The newest from my favorites of PDX shredders. I got to play some demon baritone guitar on it too!”
 - John Askew / Scenicburrows.com

More and more folks seem to be picking up on Carcrashlander...and for good reason. We've been huge fans of Cory Gray's band ever since we were first turned onto the music. Gray is somewhat of an artist's artist and/or one of those folks virtually every reviewer considers to be super cool. His music is probably most appreciated by other folks involved in music in one way or another because their perception may be slightly more acute. Where To Swim is another exceptional batch of tunes. Strangely enough, this album is probably Cory's most accessible yet. But don't think you'll be seeing him making an appearance on the talk show circuit anytime soon. This guy has too much artistic integrity for that. Carcrashlander tunes are melodic, moody, and slightly experimental. The sound is slick...but there are always peculiar jagged ideas lurking around the background. In terms of vocals, Gray's soft subdued voice is an absolute perfect fit for the style of songs he writes. Ten incredible tracks here including "Landmines," "House Arrest," "Rosie," "Behind You In Line," and "Yellow Car Tides." Highly recommended. TOP PICK.
 - BabySue.com

Upon hearing the new Carcrashlander record, we are quickly reminded why Cory Gray is one of Portland's musical treasures.
 - Tucker Martine (Producer/Musician, Mount Analog/Flora Studios)

Don your headphones and oversized sunglasses and take a walk out in the sun and listen to the new Carcrashlander; you'll be licking a multi-colored swirly sonic lollipop of jangly guitar rock (ala Pavement), half-sung vocals (ala Little Wings), floaty keyboards and quirky horn arrangements. "Landmines" is my new 2009 summer anthem.
 - Laura Veirs (Singer/Songwriter, Nonesuch Records)
 
It is not easy to assemble an album of songs with a large variety of styles, feels, and moods while maintaining your identity as a band or musician. But this is what I try to accomplish when I make music and it’s the first thing I notice about a band as a fan of music. Cory does that and more in this new album. The styles are all over the place, yet they are beautifully woven together with vocals and lyrics just poppy enough to love and just obscure enough to maintain a sexy mystery. Uhhmm, yes, I kind of have a band crush on Cory.
 - Daniel Mckenzie (Shuteye Unison, The Rum Diary)

There’s no one who writes melody like Cory Gray, for my money at least. It almost doesn't matter what he's singing as his cadences are so full of emotion, memory and nostalgia. Lucky the words are good too; cryptic, but they still let the light in. At first this new record surprised me. There are more rhythms and band textures. The arrangements are more adventurous. But after repeated listens I'm happy to find he hasn't lost any of those aforementioned qualities. He's just changed suits. No longer the panoptic dirge balladeer, on 'Where to Swim' he's become lounge singer with the lights off.
 - Darren Hanlon (Singer/Songwriter)

Erm. For some reason I was thinking this would be something heavy and Shotmakerish with those great clunky basslines and splintering guitar parts. Unfortunately, though, it’s actually some kind of reasonably accomplished indie rock, often earnest and breathy and akin to Modest Mouse or TV On The Radio without the songs or, at its most miserable, something kicking at the floor with delusions of Kepler’s muted grandeur. Things get kinda weird and less standard the deeper you wade in, though, with ‘Boatful Of Buckeyes’ tossing in bimbling keys robbed from an Air song while ‘Overgrown’ marries naff drum FX to harem horns and the really rather awful ‘Rosie’ arses around with a maudlin sense of honky-tonk before ending in high-kicking Russian folkdance. If that all sounds odd then yeah, it is, but ‘odd’ thanks to a contrived sense of eclecticism that detracts from what it otherwise is at heart: reasonably solid, reasonably straightahead indie rock.
 - Collective Zine UK

what i love about cory gray’s music is that there is always an element to each song – a woozy guitar solo, a drum machine on its last legs – that feels like it is on the verge of collapsing, but magically, it never does. i don’t know if this is a testament to his playing or his songwriting or simply pure luck. nevertheless, it makes for the kind of off-kilter listening experience that i tend to gravitate towards. “overgrown” is no exception, centering on an ancient beat machine, a boozy horn section and what sounds like a optigon playing at half-speed. mixed with gray’s wispy vocals and bouncing melody, the effect is exhilarating. if this new track is any indication, his band’s upcoming release where to swim is going to be overrun with those unbalanced, stumbling bits and pieces. i couldn’t be more excited to hear the album in its entirety.
 - The Voice of Energy

It’s like an indie-esque lounge record, basically.  And I guess if you’re into that sort of almost free-form folk/indie rock with horns and keys interlaced with the guitars, then go for it.  Otherwise, I have to say that Carcrashlander’s album is a little bit forgettable, less an album and more a free-for-all list of tracks that came out of random experimentation.  Tracks that unfortunately, all seem to just meld into one long song after a while. At one point while listening to this I really did forgot what song I was on, and not in the good way.  There’s potential, but it’d need a lot of tightening up music and lyric-wise to become an actual “album” as opposed to just a collection of songs, or an ambient background soundtrack.  I understand the need for openness in music to allow for creativity, but unfortunately, it didn’t really work out here.
 - Fistfight At The Arthouse

Carcrashlander (S/T) press/album reviews:

I don't know why Desert City Soundtrack called it quits, but I miss them all the same. I'll give credit where its due to any band trying to expand the boundaries of genre and DCS gave it a good try with post-hardcore. Cory Gray, Matt Carillo, Caitlin Love, and Bryan "Nightdog" Wright pushed a genre plagued by stiff rhythms, twitchy guitars and more Fugazi sound-a-likes than you can shake a stick at toward a fuller, looser end by incorporating elements of slowcore, post-rock, and jazz into their fiery compositions. Toward the end of the band's tenure, Cory managed to slip me a CD-R of some stuff he was working on as a side-project at the time called Carcrashlander. It was an even more somber, personal affair than what most will remember of Desert City Soundtrack. Not to detract from that band's material, Carcrashlander features many of the same players but it's obvious that this is Gray's baby through and through.
 
 
Carcrashlander sort of picks up where the last Desert City Soundtrack album left off. It dispenses with any remnants of the harsher side (no screaming, no explosive crescendos) and instead favors the kind of candle-lit bedroom feel of early Low albums. It's definitely more in the singer-songwriter vein of stalwarts like Nick Cave or in some of the less successful songs Randy Newman. For instance, "Gold Sunset" and "Carbon Waltz" are born of the same bleary-eyed state that birthed DCS songs like "Batteries" and "Mothball Fleet (Counterattack)."

Parks & Records is a good label to throw your money at as well. The packaging on their albums is made of 100% reused/recycled materials. The label also supports other organizations that focus on keeping the planet green. As one of the initial releases on the new label, Gray's Carcrashlander is a great place for them to start. Fans of Desert City Soundtrack would do well to follow Gray into whatever territory he mines from here on out. I think this solo outing is a good indication that the guy has plenty of talent to burn and his light isn't going out anytime soon. 
- Delusions of Adequacy

I first met Cory Gray (aka Carcrashlander) shortly after moving to Portland as he was then the piano player for local emo heroes Desert City Soundtrack (I may have met him briefly in my previous home of Santa Rose, California as that was where he moved here from as well). I could tell from local D.C.S. gigs that the guy was supremely talented and he has since lent his talents to records by plenty of other folks both local (Decemberists, Norfolk and Western, etc.) and beyond (Aussie popster Darren Hanlon) but Carcrashlander is his solo baby. Some of the earlier Carcrashlander stuff I heard was basically Cory and his piano but on most of these songs he has other players help him out and most songs get the full band treatment. The first cut, "Gold Sunset" perfectly sets the tone for the record where an air of mystery surrounds it all while "Carbon Waltz" was more upbeat and even a bit, playful and "The Skin that You've Grown" has an otherworldliness about it (hard to describe but it's there). As opposed to musicians who can simply play, Cory can write well-crafted pop songs too and I have to say, this debut full-length is full of them.
- Daggerzine
 
Indie rock doesn't have to be innovative to be successful. Sometimes the prudent use of a few simple tools, injected with soul and passion, can produce a result far beyond the sum of the musical components. Similarly, strident political exhortation can be bracing, and at times inspire contemplation, then action. But sometimes the most potent politics are implicit, following the example of Fugazi's poetic lyrics and principled approach to their "business" dealings. In a time when much of indie/punk's connection to progressivism has been blurred or lost, a new band and label arrives with a creative approach.
 
Carcrashlander is Cory Gray, formerly of Desert City Soundtrack, a Portland band that blended somber melodies, pensive piano passages, and thrashing DIY hardcore noise into an emotionally resonant clusterfuck. In a good way. His new approach relies on the first two, excludes the loud parts, and adds some very nice progressive lyricism and a heavy dose of supplemental instrumentation, precisely played and painstakingly arranged.
 
The CD comes in a post-consumer cardboard sleeve, its grainy brown embellished with a simple screen-printed image, the band name and a campfire. The minimal packaging and humble, nature-themed art suggest the label, Parks and Records, is ecologically conscious. Indeed, they donate a portion of proceeds to the National Arbor Day Foundation and other green organizations. As ecology becomes a larger issue for progressives, it seems likely to be a major focus of politically conscious art in the years to come. Park and Records and Carcrashlander are leading the way, and doing so in a gentle, artistic manner.
- 30music.com
 
Possibly the most eco-friendly record label has produced one of the most sustainable records of the year. Housed in an individually hand-stamped, recycled office paper sleeve, the album appears crude and simplistic, but the nobility behind reducing carbon by eliminating plastic jewel cases reveals a thoughtfulness and acumen that’s also found in the rich, buoyant songs on the album.
 
Singer/songwriter Cory Gray offers an answer for those seeking the next Black Heart Procession or Songs: Ohia. The songs on Carcrashlander are static-free, clean, richly produced and largely piano driven — minimalist dark tunnels centered on Gray’s deep, inscrutable voice. The debut is a cohesive work and, like any BHP album, it feels vintage, like a treacherous waltz or like the dark, slowed moments of later Tom Waits. Songs typically arrive with gentle piano chording and patiently paced drums, dotted by subtle dirty electric guitar and synths.
 
Undeniably, the heart of the album belongs to Gray, whose voice and words elevate the placid instrumentation into inexplicable gorgeousness. This is especially pronounced on the song “Branches Made of Money,” which effortlessly flows with ride cymbal pings and a hauntingly stark piano melody as Gray sings in near conversational tones, “I sleep with sleepless horses racing / From a source that somehow forces me to ignore everything / It’s not enough / It’s hot enough in the summertime / It’s hard enough / It’s hot enough outside.”
 
With all of Gray’s doubled harmonies and dark broodiness, the result is an artful, delicate and completely indelible series of emotional experiences. If this debut album is a sign of things to come for this equally debut label, tell Jagjaguwar to scoot over and make room for the new guy.
- West Coast Performer (CD of the Month! April 2008)
 

There’s an autumnal grace to Carcrashlander’s self-titled debut album – an almost three-dimensional quality that feels less like listening to a soundtrack than being in the film itself. The hushed vocals of singer-songwriter Cory Gray and spare piano provide the anchor for Carcrashlander’s evocative chamber pop. Horns and strings swirl in and out of the mist, sometimes woozily, sometimes to a spectral effect, but always in a way that’s genuinely mesmerizing. While most of the songs could easily provide the background music for a regret-filled stumble through the streets of New Orleans as the sun is just starting to peak on the horizon, tracks like “Carbon Waltz” and “Quoting Dead Comedians” pick up the pace and add a healthy dose of variety to a record that promises to be one of ’08’s best local offerings.
- The Portland Tribune
 
I've seen Carcrashlander compared to Randy Newman and I can't stand Randy Newman. After listening to the debut album (and first release by green-focused Parks and Records), one of two things must be true: Either the Randy Newman comparison is inaccurate or I need to reconsider my feelings about him. Or perhaps there is a third possibility: Carcrashlander gets very close to a line (that Newman crosses) which divides good from cheesy. One thing I know though, is that this album is really, really good.
 
Carcrashlander is really Cory Gray who played with the haunting Desert City Soundtrack. While this is somewhat of a departure from that band's work, it maintains the same quirkiness. The piano-driven music is dynamic, countered by low-key, droning vocals. Dissonance tugs on the album's pop elements, making it colorful and multi-dimensional. At times, the ambient noise behind the piano gives it an airy trippiness reminiscent of pre-Dark Side Pink Floyd's more mellow moments. At other times, it shifts back and forth between poppiness and moodiness. Sometimes the songs fall into schmaltzy piano pop and other times they expand out into a bit of free jazz.
 
Occasionally, Carcrashlander falls into the singer-songwriter trap of craft taking precedence over emotion, but more often it finds a way of being oddly comforting in its sadness and moodiness. Both musically and emotionally, the album seems to be on different pages at the same time, but it somehow finds an alternate synchronization that is pretty amazing.
- Rock and Roll and Meandering Nonsense (A Great Blog with the best album rating system ever!) 
 
Cory’s just released an album on Parks and Records, a new venture by Jon Fee, from the Rum Diary, with his wife, Mimi. Carcrashlander is like a more lazily drunken version of Out of the Fierce Parade: the piano-drenched songs stumble in all the right places, and the trumpets and dirge-like drums create a loose-tie atmosphere.
- Boho Beat, North Bay Bohemian

reden wir über carcrashlander reden wir vor allem und in erster linie von cory gray. der hat sich auf parks and records dieser tage ein denkmal gesetzt, in dem er mit seinem unbetitelten full length auf den markt schlitterte, wie es nur großen gelingen kann. indem ich mich gestern noch auf diese paar zeilen vorbereitete und auf der labelseite letzte infos zusammentrug, erschloss sich mir heute morgen auf selbiger seite eine neue welt, da dort nun die ersten reviews aufgeführt wurden. und alle sind voll des lobes, wittern eine kreuzung aus the black heart procession und tom waits. randy newman wird herangezogen, wenn man cory gray als bastard bezeichnet wissen will, hervorgegangen aus einer beziehung von cat power mit eben jenem randy newman.
als sessionmusiker hat sich gray am piano oder an der trompete bereits verdient gemacht bei the decemberists, grails, norfolk & western, graves oder auch life at these speeds. dass dann einige namhafte kollegen zur stelle sind, wenn cory gray sein erstes offizielles carcrashlander album aufnehmen will, versteht sich von selbst. einige seien stellvertretend aufgeführt: dave depper (bass), shelley short, laura gibson (backing vocals), adam selzer und nate ashley (guitar), brian wright (drums) und amanda lawrence (viola, violin).
hört auch mal auf myspace rein, die warme, etwas knarzige stimme wird Euch sicher auch in den bann ziehen. die songs sind frei von willkür und dennoch überzeugend, voller anziehungskraft. die instrumentierung ist niemals opulent und dennoch mehr als nur begleitung.
 - http://dasklienicum.blogspot.com/ (German music blog)
 
This is the first full-length release from Portland 's Cory Gray, who toured with the complimentary Desert City Soundtrack for years. Tightly-knit, melodic-driving pianocore, with minor pop undertones, and wooing vocals makes for a unique first release from newly-minted label Parks & Records, which was recently started as a "green" label (the packaging is made from recycled materials and is limited in plastics) by Jon Fee (The Rum Diary) and his wife Mimi. "Carcrashlander" will instantly whisk you away into soundscapes of solitude and will paint rural backdrops in your mind. This is a must for fans of The Desert City Soundtrack, The Rum Diary, Black Heart Procession, Pleasure Forever, as well as music with an indie/folky, and earthy sound. 
- AMP Magazine
 
On first listen, Portland-based Carcrashlander really caught my attention with their piano-driven melodies and dreamy, bedroom vocals. Cory Gray (a.k.a. the Carcrashlander) has an affinity for writing catchy pop-songs that lack traditional choruses—the instrumentation holds the melody while the lyrics just drift on without repetition. 
- USF Foghorn
 
The first thing that caught our attention about this release was the label. The folks at the independent Parks and Records label are approaching things from a different perspective...apparently driven more by morals than money. Not only are they only releasing albums they feel very strongly about by folks who they feel are like-minded, but their CDs are packaged in 100% recycled/reused packaging. Not only that, but they support environmentally friendly organizations. That was nifty enough to be certain...but we were even more impressed when we heard the music of Carcrashlander. Damn, this is good stuff. The band is the project created by Cory Gray who was previously in the band The Desert City Soundtrack. Gray writes smooth, instantly friendly, smart pop music that features cool arrangements and excellent vocals. His intriguing subtle lyrics and melodies have real staying power. This twelve track album is a real winner. Top picks: "Gold Sunset," "Carbon Waltz," "Quoting Dead Comedians," and "Words in Another Language." Recommended. (Rating: 5++)
- Babysue.com
 

The album’s first track, “Gold Sunset,” contains all the ingredients of a great pop song: a solid, bob-your-head beat, catchy keyboards, subdued, too-cool-for-school vocals, an unexpected flailing fuzz-guitar solo and a haunting female voice, all of which culminate in a noise-induced climax.
- The Portland Sentinel

The name Cory Gray might not be familiar to you, but crack open the liner notes to recordings by some of Portland's best local bands. There, in the credits, you'll find him. Primarily a hired gun who lends his piano and trumpet skills to various acts, both local and global, Gray is finally striking out on his own under the moniker Carcrashlander. With a debut self-titled LP under his belt, it's high time Gray made the transition from the back of the stage to his rightful position in the front.
- The Portland Mercury
 
Carcrashlander is the project started by Cory Gray. You might not know that name but if you have an album from a Portland band there is probably a good chance he might be playing somewhere on it. Gray is a session player for acts as diverse as The Decemberists, Grails, Norfolk & Western, Graves and Life At These Speeds. But, you should know him best from his former band, the sadly underrated Desert City Soundtrack. Carcrashlander’s official debut album comes courtesy of an interesting new label called Parks And Records (a percentage of all sales goes towards arbor related projects). Owing comparisons towards Desert City’s more even-keeled record, the somber Perfect Addiction, Carcrashlander play dark piano-driven music. In fact, moreso than older (unreleased) Carcrashlander material, Gray often uses a full band approach here. While it adds depth to Gray’s arrangements, this is strictly his show. His piano and horn playing along with his trademark somber vocal style continue to lead the way. Carcrashlander offers up a brooding album’s worth of material here that seemingly contradicts at every point. Gray’s moody tendencies are balanced by a wealth of ominous restraint. The sound of the record is mysterious yet still oddly comforting. It all works to push the album towards beautifully, sad places. So, I guess seems fitting that a campfire adorns the front cover. While Carcrashlander’s music is warm, intimate and even inviting at times, it sheds light on a world much better off left in the dark.
- Sound As Language
 
Carcrashlander, led by Cory Gray, a multi-instrumentalist  who revels in the discomforting aspects of life — heartbreak, self-doubt, passing out drunk. The lyrics on this album are rarely that cut and dry, though they do cut deep, filled as they are with poetic fragments worthy of Celine. Gray is joined on this new album by fellow moody songsmiths Adam Selzer (Norfolk & Western), Shelley Short and Laura Gibson, who do much to add to the drowsy and hypnotic atmosphere.
- Live PDX
 

There's a welcome lightness to the instrumentation, focusing on Gray's austere piano playing and echoed vocals, all undercut with lovely trumpet lines and some dulcet vocal work by Shelley Short and Laura Gibson. The songs that cut the deepest are the ones that move slowly and methodically, raking over each melodic line, either sung or played. Album closer "Words in Another Language" might read like a lost metaphor on the lyric sheet, but when filtered through Gray's desperate vocal performance, they sound like absolute truths. This remarkable and assured album might not answer the questions posed above, but its overcast sensibilities will no doubt resonate with many music fans out there. Misery does love company after all.
- The Oregonian

The first track of Carcrashlander’s self-titled release gives up a lot. Its straight-forward beat and honest lyrics are quickly confronted by an unexpected wall of horns, acting like the calm before the storm as gritty guitar brings you to a cathartic ending. And though at first you think it might be too much upfront, you quickly realize that you’re reading an epic, and chapter one is literary foreshadowing, and what’s to come is a journey. This journey is guided by the sleepy vocals of Cory Gray, riding on the waves of intertwining piano, horn and bass melodies that form a familiar but original sound. These calm but dynamic arrangements create a smooth surface ripe to cut through for emotional impact. This tension is present in the edgy and even punchy drums that continually threaten to burst through the fragile seams of the feathery vocal melodies. Needless to say this is musical storytelling. And though the lyrics are a blend of narrative and poetic, at times just shy of cryptic, it is really the musical narrative that pulls you through. Though the song writing is based in simplicity there is always something new to hear within the subtly of the arrangements.

Yet with all the intensity of a soundtracky epic, its not until track ten that the violins enter, like the cavalry at the climax of an old western; you know they are on their way but when they hit you it’s as beautiful as it is expected. Point being, the timing of the album as a whole is thoughtful and moving. And point being, this epic is deserving of an entire Sunday afternoon in the most comfortable spot in your home, with surround sound and without interruption.
 - Aleks Martray, Grandchildren
 
The beauty of being a session player, apparently, is having friends in high places, all over the place. Such is the case with trumpeter and pianist Cory Gray, who—with a rotating cast of stellar collaborators—records as Carcrashlander (read more here). This particular track, which heads off his recent (and first) solo effort, is a prime example.
 
The credits for Carcrashlander read like a veritable PDX folk all-stars list: Dave Depper (bass); Shelley Short, Laura Gibson (backing vocals); Adam Selzer and Nate Ashley (guitar); Brian Wright (drums); and Amanda Lawrence on viola and violin. If those names bring Type Foundry studios to mind, there’s good reason: Gray’s played on many a song recorded there, as have most of those listed above, and Selzer runs the space.
 
The reason all these connections matter needs no more explanation than a single listen to “Gold Sunset.” Two of the song’s most striking elements—Selzer’s fuzzed-out guitar and Short’s twang-tinged, vaguely Dolly vocals—appear thanks to Gray’s work in the studio and on tour. But, even amidst all that familial talent, Gray’s piano and trumpet shine most brightly—creating a perfectly spooking tapestry for Selzer and Short to tear apart in their own, affecting ways.
 
About two minutes into “Gold Sunset,” the song breaks and allows for Gray’s slightly whiny, sepia-toned trumpet to set the mood. Selzer then steps in and electrifies the vintage-sounding track with very Norfolk & Western-y guitar. The verse that culminates with Gray and Short pairing up on the refrain: “This isn’t a coma/ You’re wide awake,” before a slow-building guitar- and piano-fueled noise-freakout takes hold. Much like it’s namesake: beautiful.
- Portland's Musical Journal / Willamette Week