House trained

It’s common for listeners to gain a sense of an artist’s personality based simply on the music they create. If the same holds true for Portland’s increasingly popular indie pop quartet Tiger House, it would be safe to assume they are a sophisticated, ambitious group with their eyes on the prize. Of course, a quick peak at the “Bomb Iran” Beach Boys parody on their MySpace page suggests a slightly less serious approach.

“Each one of our members helps shape the personality of the band,” said vocalist Bill Scharmann. “Everyone has a great sense of humor, which is very important when working with one another. You can’t take yourself too seriously. You’re in a fucking band. You’re kind of a novelty.”

Scharmann, a poet and former Portland State student, started the band after deciding it was time to give music a go last year. He recruited bassist Alex Arrowsmith, drummer Ky Fifer and guitarist/keyboard player Carl Simpson, formerly of Mondo Hollywood. Without much experience under his belt, Scharmann devised a master plan to disguise his novice past.

“I figure surround yourself with a bunch of talented motherfuckers and no one will know,” he said.

Talented they are, without the pretentious holier-than-thou vibe strung throughout much of the Portland music scene. Scharmann’s vocals are solid, versatile and extremely easy on the ears, a characteristic that can’t be taught. Though Tiger House may share the do-it-yourself repertoire, house-show appeal and horn-rimmed glasses of their indie counterparts, their wit, genuine likeability and mastery of the pop-song formula sets them in a league above the masses. Admittedly, this is a hard city to maintain originality in.

“Portland is a Mecca of bands,” Scharmann said. “We all know this. By Portland law you have to be in a band.

Also you can’t admit to owning a TV. The hardest thing not to do is do what everyone else is doing. You know peer pressure? Well, there is most definitely band pressure. The pressure to be in the scene. I am slave to bad hair cuts, man.”

After describing the ideal show as a happy-go-lucky orgy of dancing, hugging, sweating and smiling, Scharmann went on to explain why Tiger House is suited for such a gig and the release a musician gets from performing.

“I think we’re all pretty happy people,” he said. “We really want to have a good time. We like having a good time. We hug, kiss, high five and yelp onstage. It’s not an act. We do that shit when we practice, when we hang out. We’re all friends. We want the audience to feel that. Saying, ‘You know what, even though I had a shitty day, I am going to dance [the] shit out of this place.’ Let it out, man. The mood is about all of us, us and you, what we create together.”

Before you decide to check out a show based solely on the promise of inter-band affection, it’s important to note the substance here. Tiger House consistently produces high-energy, well-balanced pieces with finger snapping doo-wops, trans-generational influences and capable, playful instrumentals.

They carry a distinct point of view across every facet of pop—from epic intros reminiscent of Europe’s “The Final Countdown,” to highly caffeinated surfer-dude indie, to rainbow-colored, head-swinging tunes with catchier-than-swine-flu lyrics and a breathiness that could challenge Coldplay. The music has a confidence generally reserved for bands with years under their belts and enough variety to keep even the most ADD listener content.

“The most satisfying thing about performing is looking cool,” Scharmann said. “No, I kid. We’re all pretty big nerds one way or another. We have Trekkies in this band. Fucking Trekkies. I really think it’s important to put on a good show. We pride ourselves on putting on a high energy shows with as little cliché as possible. I am not going to ask you if you’re ready to rock and roll. We’re going to have a party. Join in if you don’t care what your friends think. Or if you think our drummer looks like Wolverine. He totally does.”