Allah-Las
If you drive past the 200 block of South La Brea, there is a lamp shop, a pet shop, and a little glass door that says “Casting Agency” above it. Inside you’ll find one of LA’s most stereotypical rituals, where men & women from all walks of life vie for the attention and popularity of the Hollywood producer. It’s a dream factory for some of them. It’s also a place where Los Angeles outsiders learn what the city is really like, beyond the sun and surf and celebrities, where every brightly-lit surface eventually faces a cloud.
Indeed, the lessons learned by the Allah-Las – guitarists Miles Michaud and Pedrum Siadatian, bassist Spencer Dunham, drummer Matthew Correia – since their auspicious formation in 2008 have been tempered with experience. Now, with their third album Calico Review (their first for Mexican Summer), their experience transforms once more, this time into wisdom. The band’s trajectory, formed around mutual appreciation for the same kinds of music and a host of shared experiences, focuses on both the outer trappings of their home and surroundings, and the through line of darkness that suffuses life in LA county.
Where the Allah-Las display their insight, and what really shines across the 12 songs that comprise Calico Review, is the way that the group has pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling – the peerless capture of music long in the tradition and mood of California pop, the sound that’s captured the essence of the LA experience - aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements.
The process began with their self-titled debut, which captured the Allah-Las’ live set circa 2012 and continued onward with 2014’s Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that’s grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit.
Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It’s immediate, the first thing you recognize about the band in the opening moves of “Strange Heat,” in the amount of control and character burning off of the band’s knack for restraint. Songs like “Famous Phone Figure” cradle character sketches over delicate strains of violin, organ, and Mellotron, Correia’s drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs.
“Could Be You” works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. “Roadside Memorial” applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, “High & Dry,” featuring drummer Matthew Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number “200 South La Brea,” its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.
In between releases, the Allah-Las have toured around the world, and will continue that journey in support of Calico Review. The experience of traveling and idle time on tour inspired the group in different ways, and provided the pathways by which the band transports its listeners to a different place, be that wherever they are, and where the band has been.
What the Allah-Las present is not necessarily crossing the L.A. River, coin in mouth, on the Riverboat Styx. It’s not Raymond Chandler and it’s not Raymond Carver. But the band’s four members are aware of the pitfalls that stack against the idyllic notion of southern California life that forms from outside of the city. It’s a siren call to the hopeful, and it’s a successful town for tempering dreams into wakeful reality. Even with over 8,000 people per square mile, there is room for everyone, and then some, to be completely alone, by choice or otherwise.
Calico Review bears the mark of four students becoming the teachers, sharing the sentiments of the town they call home. Join them. There’s a lot to learn.
Entrance
Book of Changes, the new album by Guy Blakeslee as
ENTRANCE, is a poetic song cycle about the seasons of
the heart, tracing an emotional journey through longing
and emptiness to peace and redemption. The record
achieves a seamless melding of the personal, political and
philosophical, a vibrant document of an artist hitting a
creative stride and discovering an expansive new sound.
The adventurously produced collection of songs is
reminiscent of Townes Van Zandt’s ruminative lyricism
and the gypsy avored orchestral explorations of Arthur
Lee and Love, uniquely channeled through Blakeslee’s 21st Century approach to the spiritual dimensions of American songwriting in a way that gives an old form new power.
Book of Changes was written and recorded by Blakeslee over the course of a restless year of travel, touring and transformation. The album took shape in 11 di erent studios in Los Angeles and London, produced by Blakeslee and mixed by multi-instrumentalist David Vandervelde (Father John Misty, Jay Bennett) at Elliott Smith’s New Monkey Studios in Van Nuys, California. Additional mixing came from Chris Coady (Future Islands, Cass McCombs) who lent his talents to the song “Always the Right Time.” Grammy nominated engineer Sarah Register (David Bowie, The Shins) mastered Book of Changes.
On the new recording, Blakeslee is joined by several very talented friends including longtime collaborator Paz Lenchantin (Pixies, Silver Jews) and percussionist Frank Lenz (Pedro the Lion, The Weepies) as well as vocalists Jessica Tonder and Lael Neale and the drummers Derek James and Will Scott. The accompanying art by critically acclaimed artist Amanda Charchian captures Blakeslee with freshly blossomed orchids.
Strings, pianos, xylophones, bells and dreamy female voices swirl around uid basslines and ngerpicked acoustic guitars. At the heart of these songs is a voice, which holds an intensity of emotion that can only come from the depths of the soul. From the devotional pop of “Always the Right Time” and the western bolero of “I’d Be A Fool” through the stark blues of “The Avenue” and the dark romantic amenco of “Molly,” Blakeslee’s singing carries the narrative with heart-stopping force. Each unfolding chapter touches a new emotional nerve, from the Lee and Nancy style sway of “Winter Lady” and the apocalyptic lm noir piano dirge “Leaving California” to the anthemic album closer “Revolution Eyes,” which dissolves in a stormy melt of piano and bells as the listener is swept away on an ecstatic wave of liberation and joy. While at moments the ghost of rock ’n’ roll is invoked, for the most part this is something more fragile and ethereal; music from a half-remembered dream, strange and familiar at the same time.
When asked about the impetus for the new sound and style, Blakeslee replied:
“I desperately wanted to get back to the essential nature of ‘SONG’ - as opposed to a ‘track’... Most music that is released nowadays is really a track, not a song - it would be impossible for one person with an instrument to sit down in a room and perform it... So it was important that this album begin from actual songs that I could sing with a guitar or a piano... all of the textures and sounds I added along the way are the icing on the cake to expand the experience for the listener, but at the heart is a real song, a basic text of words and a melody. I want to do my part to see that tradition isn’t lost. I believe there’s still a lot of power in a song.”
- Paul Carlin
October 4th - Wooden Indian Burial Ground + K Skeleton
October 12th - Earth World + Le Rev
October 19th - Don Gero
October 26th - Isaac Rother & The Phantoms + The Reverberations
All times are 8pm.
Fresh from touring the world with Joe Henry and galvanized by ‘events’, not least the worrying rise of popularism, Billy Bragg is dealing with it in the best way he knows how, by strapping on his electric guitar and heading out on tour across the US in October, under the title ‘Bridges Not Walls’. Billy, in one-man Clash mode, will perform songs from his 30+ year career, some pertinent covers by his heroes and mentors and some freshly minted songs about the state of the world.
Billy Bragg has been a fearless recording artist, tireless live performer and peerless political campaigner for over 30 years. Among the former Saturday boy’s albums are his punk-charged debut Life’s a Riot With Spy Vs Spy, the more love-infused Workers Playtime, pop classic Don’t Try This At Home, the Queen’s Golden Jubilee-timed treatise on national identity England, Half-English, and his stripped-down tenth, Tooth & Nail, his most successful since the early 90s. The intervening three decades have been marked by a number one hit single, having a street named after him, being the subject of a South Bank Show, appearing onstage at Wembley Stadium, curating Left Field at Glastonbury, sharing spotted dick with a Cabinet minister in the House of Commons cafeteria, being mentioned in Bob Dylan’s memoir and meeting the Queen. At their best, Billy’s songs present ‘the perfect Venn diagram between the political and the personal’ (the Guardian).
Rakim
Born : January 28, 1968 // Long Island, NY, United States
Rakim Allah, a native of Wyandanch, New York, revolutionised the rap artform during the late 1980s as one half of the influential hip-hop duo Eric B & Rakim. The duo parted ways in 1992 after releasing four popular albums, including the all-time hip-hop classic 'Paid In Full'. After taking a five-year break from music, Rakim returned as a solo artist in 1997 with the album 'The 18th Letter'. He continues to record sporadically.
Libretto
Hip-hop artist out of Watts, California. Currently residing in Portland, Oregon.
Singer / songwriter / accordionist / novelist Geoff Berner's music combines klezmer, punk, political satire and Balkan dance rhythms. He writes sharp, literate songs that make you want to weep, laugh, grind your teeth, or kick out a window - often all at the same time. A lot of famous people have covered his compositions. Look it up.
Berner has built a serious cult following throughout North America and Europe by touring relentlessly through thousands of bars, cafés, and festivals. With his weirdly compelling stage presence, he has a strange ability to create fun chaos. He describes his typical audience members as “odd, bookish people who like to drink. There’s a surprising number of physicists.”
Jack Falk opens.
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
Sturgill Simpson
Sturgill Simpson has emerged as one of music's most inspired and genre-bending artists. Each of Simpson's three universally acclaimed solo albums explore different elements of American music history (bluegrass, country, rock, R&B, soul) and continue to push his work beyond expectations and musical boundaries. His most recent album, 2016's self-produced A Sailor's Guide To Earth, was written—beginning to end—as a letter to his first child and has gone on to garner industry-wide adoration including nominations for both Album of the Year and Best Country Album at the 59th Annual Grammy Awards. In the past year since the album's release, Simpson has played over 70 sold-out shows across 12 countries and has performed on “The Late Show with Stephen Colbert,” “The Daily Show with Trevor Noah,” “Conan,” “The Tonight Show Starring Jimmy Fallon,” “Late Night with Seth Meyers,” “Charlie Rose” and, most recently, the 2017 debut episode of "Saturday Night Live." Simpson's 2017 tour will feature material from throughout his catalog and is his way of thanking fans—both old and new—for a series of unprecedented years. More information is available at: http://www.sturgillsimpson.com.
Fantastic Negrito
Fantastic Negrito is a man’s truth told in the form of black roots music. Each song is a real story about a musician from Oakland who experienced the highs of a million dollar record deal, the lows of a near fatal car accident that put him in a four-week coma, and is now in the phase of rebirth despite his playing hand being mangled. While his rebirth began on the streets of Oakland a couple years ago, Fantastic Negrito arrived on the national stage in 2015 when he won the NPR Tiny Desk Contest and watched his self-titled EP ascend to #1 in Blues in the US, UK, Germany and Asia. He followed that up in 2016 with tours throughout Europe and North America with Chris Cornell, and legendary Seattle supergroup Temple of the Dog; and the release of his debut full-length album The Last Days of Oakland, which went on to win Best Contemporary Blues Album at the 59th Annual Grammy Awards.
FRANKIE ROSE
turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made" "I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record."
SUBURBAN LIVING
In early 2015, on the heels of touring throughout the U.S. and Japan, Suburban Living began writing what would become the band's sophomore full length, "Almost Paradise." During this time, a chance meeting with Philadelphia-based engineer Jeff Zeigler (The War on Drugs, Kurt Vile, Nothing) led to Zeigler offering to work with the band on their next recording. "Working with Jeff was pretty amazing. I’d never worked with an engineer that knew exactly how I wanted something to sound without me having to express it." explains Bunch. The support of Zeigler, as well as his bandmates, equipped Bunch to spearhead undeniably the best Suburban Living material to date.
A CERTAIN SMILE
NOMINATED: 5 Tony Awards 2015
DARK COMEDY
THE STORY: After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas.
Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own.
Hand To God explores the startlingly fragile nature of faith, morality, and the ties that bind us.
The Philadelphia-based punk outfit bring their infectious '70s classic rock sound back to Portland for an all ages show supporting their debut full-length, Need to Feel Your Love, the follow-up to the trio of EPs that garnered them plenty of well-deserved attention.
Doors at 7:00 PM| All Ages | Bar w/ID
True West Presents:
SHEER MAG
Tony Molina
Wednesday, September 27, 2017 8:00pm
Hawthorne Theatre
All Ages Bar with valid photo ID
No refunds or exchanges.
Sheer Mag is playing Hawthorne Theater on Sept. 27th in support of their debut album 'Need To Feel Your Love,' which was released last month to overwhelming critical acclaim.
In just a quick two years and never having released a full record or signed with a label - the band has played Coachella, Primavera, FYF, Australia’s legendary Meredith fest and made their TV debut a year ago on Seth Meyers. They’ve organically grown into one of punk / indie rock's most important acts with little to no help, sticking to their DIY ethos.
‘Need To Feel Your Love’ is politically charged. The first track “Meet Me In The Street” is about protest and the power of people walking together who may not know each other, but can feel a common goal of change. “Expect the Bayonet” represents the current state of racism, bigotry and hypocrisy that runs through U.S. history while other tracks speak on political groups like Germany’s White Rose Collective during WWII or historic events such as the Stonewall Riots.
The rest of the record is about love and the natural and powerful gravitational pull that comes with it. Their sound is a soulful intersection of disco and rock from the late 70’s, that’s also inspired by the classic sound of Nile Rogers’ production. Led by the powerful and boisterous vocals of frontwoman, Tina Halladay, you can feel the spirit of Etta James as much as the rebellious energy of The Clash.
Top comics, top secret. This one's for the real comedy superfans. We've hand-picked some of our favorite stand-up comics from around the country to perform secret, one-off shows right here at Helium. Who do we have lined up? We're not saying, and you won't find out until they hit the stage. So take a chance, roll the dice, and join us for some serious laughs!
Hints for September 27th:
• Was named a Comedy Central Comic to Watch
• Recently appeared on Chris Hardwick's @Midnight
• Is currently writing for and starring in a new Netflix comedy series
This show is 21+. Tickets will be available for pick up at the box office prior to the show (they are generally available 1.5-2 hrs prior to showtime.)
How do you go from being a nationally recognized vocal percussionist in a college acapella group to a nationally touring headlining comedian? Ask Tyler Boeh, a comedian whose comedy has been described as high-energy, intelligent, physical, and silly. His quick wit and award winning “beat-boxing” talent bring audiences to hysterical heights. Tyler started his stand-up career in his hometown of Portland, OR, but after winning or placing in the finals of comedy competitions in Seattle, San Francisco, Boston and at the World Series of Comedy in Las Vegas, Tyler made his way to Los Angeles. Within a year of his move to Hollywood he had established himself at the top comedy clubs, completed work on two television pilots, and Tyler’s debut comedy album, “Carpool Companion” was chosen as LaughSpin Magazine’s album of the year when it was released in 2012. In 2015 Tyler held his own with Craig Fergusson on his new show, “Celebrity Name Game” and appeared in 3 episodes of “Laughs on Fox”. 2016 culminated with a college tour that took him to nearly 40 campuses across the country. Tyler most recently returned to showcase for the third season of “Laughs” which will be airing soon on FOX. He continues to perform across the country at comedy clubs, colleges, and theaters bringing his incredible brand of humor wherever he goes. You can hear his comedy on iTunes, Sirius XM Radio, and Pandora, but don’t miss the chance to see Tyler perform live!
Caitlin Weierhauser is a kind-hearted bully, reminiscent of an elementary school PE teacher in her delightfully unhinged enthusiasm. Caitlin is sharp tongued and quick witted, frequently personal, often political, and entirely too tantrum-prone. Her stand up is equal parts glee and rage, delivering the worst news about society with a dimpled grin and pointed outbursts. aitlin Weierhauser was voted best comedian by Willamette Week Readers' Poll and won Portland's Funniest Person Competition at Helium Comedy Club this year, and they are a member of Lez Stand Up, Portland's favorite comedy show. They can be found weekly at Mississippi Pizza hosting, "You're Welcome" and on XRAY in the Morning every Friday.
Thee Oh Sees
Thee Oh Sees are the latest incarnation of songwriter, singer, guitarist (and Castle Face fearless leader) John Dwyer’s ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, R.I., has been active on the San Francisco indie scene since the late ’90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
Arrington De Dionyso
Vocalist, clarinetist, guitarist, born 4 January 1975.
45 years after Pink Floyd’s David Gilmour filmed "Live At Pompeii" in the legendary Roman Amphitheatre there, he returned for two spectacular shows; part of his year-long tour in support of his No.1 album "Rattle That Lock". The performances were the first-ever rock concerts for an audience in the stone Roman amphitheatre; and for two nights only, the 2,600 strong crowd stood exactly where gladiators would have fought in the first century AD.
Both concerts also saw very special performances of "The Great Gig In The Sky" from "The Dark Side Of The Moon", which David rarely plays as a solo artist. DAVID GILMOUR: LIVE IN POMPEII shows an artist at the top of his game, performing incredible material with his world-class band, in a unique setting, on a very special occasion.
Passes Accepted: Guest Pass and Member Guest Pass.
Music Mondays at Produce Row- Start your week off right with live music, and good food and drink! Check out their line-up for scheduled live music kicking off Mondays at 7pm! The September guest is artist/rapper Soopah Eype.
Music Mondays at Produce Row- Start your week off right with live music, and good food and drink! Check out their line-up for scheduled live music kicking off Mondays at 7pm! The September guest is artist/rapper Soopah Eype.
Music Mondays at Produce Row- Start your week off right with live music, and good food and drink! Check out their line-up for scheduled live music kicking off Mondays at 7pm! The September guest is artist/rapper Soopah Eype.
As Vagabon, Lætitia Tamko plays anthemic but intimate indie rock. Listening to her excellent 2017 debut Infinite Worlds is initially startling, because Tamko sounds wholly possessed by emotion. The way she howls on “Cold Apartment” is viscerally relatable for reasons that are hard to explain. That’s probably why her music is so striking—it’s like a new bold language for navigating our universal experiences.