All Jane Comedy Festival is an all-female comedy festival devoted to inspiring, encouraging, discovering and promoting the quality and diversity of women in comedy. This curated festival focuses on selecting the very best women stand up, improv and sketch comedians working in comedy today.
THIS YEAR we have Page Hurwitz (producer of Last Comic Standing), Karen Kilgariff (Conan, Mr. Show), Alice Wtterlund (Silicon Valley, Girl Code), Nicole Byer (Girl Code), Ms Pat (LCS) and 37 more!
ALL JANE 2015 LINE UP
Details at alljanecomedy.org/schedule/
TO PURCHASE A FESTIVAL PASS, FOLLOW THIS LINK: https://www.boxofficetickets.com/go/event?id=305493
WED 10/14 @ CURIOUS COMEDY THEATER
7:30 - Pacific Northwest Showcase:
http://www.curiouscomedy.org/events/all-jane-pacific-northwest-showcase/
THURS 10/15 @ CURIOUS COMEDY THEATER
7:30 - Karen Kilgariff and Friends:
http://www.curiouscomedy.org/events/all-jane-karen-kilgariff-and-friends/
9:30 - Naomi Ekperigin and Friends:
http://www.curiouscomedy.org/events/all-jane-naomi-ekperigin-and-friends/
FRI 10/16 @ ALBERTA STREET PUB
7:30 - Subhah Agarwal and Friends:
http://www.curiouscomedy.org/events/all-jane-subhah-agarwal-and-friends/
9:30 - Rants Off/ Dance Off:
http://www.curiouscomedy.org/events/all-jane-rants-off-dance-off/
FRI 10/16 @ CURIOUS COMEDY THEATER
7:30 - JV Club with Janet Varney:
http://www.curiouscomedy.org/events/all-jane-jv-club-with-janet-varney/
9:30 - Random Acts of Comedy:
http://www.curiouscomedy.org/events/all-jane-random-acts-of-comedy/
SAT 10/17 @ RED ROSE BALLROOM
7:30 - Page Hurwitz and Friends:
http://www.curiouscomedy.org/events/all-jane-page-hurwitz-and-friends/
9:30 - Minority Retort:
http://www.curiouscomedy.org/events/all-jane-minority-retort/
SAT 10/17 @ CURIOUS COMEDY THEATER
7:30 - Janet Varney and Friends:
http://www.curiouscomedy.org/events/all-jane-janet-varney-and-friends/
9:30 - Alice Wetterlund and Friends:
http://www.curiouscomedy.org/events/all-jane-alice-wetterlund-and-friends/
SUN 10/18 @ CURIOUS COMEDY THEATER
5:30 - All Jane Podcast:
http://www.curiouscomedy.org/events/all-jane-podcast/
7:30 - Nicole Byer and Friends:
http://www.curiouscomedy.org/events/all-jane-nicole-byer-and-friends/
Acoustic artist with a global perspective, Daby Toure, now on tour promoting his new album, Amonafi, out September 18th.
Amonafi, the title of Daby Touré’s new album, means "once upon a time" in the West African language Wolof, and reflects Touré's desire to weave stories with a fresh perspective on the past, present and future of Africa. "I wanted to present my vision of Africa’s history," says Touré, "Its relationship to the world, what really happened, not peddle the same old platitudes and non-truths." Beyond a tribute to Mother Africa, where Touré was born in 1975, one can hear in this assertion a wish to break free from the aesthetics of another era.
Touré refuses to embrace the mantle of the "traditional" musician, a role that many would like him to play. The singer has always shown a love for pop: Stevie Wonder, The Police, Michael Jackson, artists who first triggered his desire to become a musician. Touré chooses to speak with his own voice, follow his instincts, and allow his work to honestly reflect the multiple influences that irrigate his identity. On Amonafi, which will be released in North America on September 18th, Touré's singular vision reveals a complex yet approachable sound, one that defies expectations and stereotypes of what it means to be an African artist today.
Born in Mauritania and raised in Senegal, Daby Touré has now lived more than half his life in Paris. Raised between two cultures, this "Afropean" fully embraces his dual nationality. Neither one nor the other, Daby Touré is a citizen of the world in perpetual reconfiguration.Touré Touré, the group he founded in the late 1990s with his cousin Omar, was already a first step towards his goal to build bridges between Africa and the world. In the early 2000s, he was on the roster of Peter Gabriel's label, Real World before perceiving that the label's well-defined sound and image became a straitjacket for a musician eager for artistic freedom. It was time for a change. "Of course I carry Africa inside me, I sing in languages of West Africa: Fulani, Soninke, Wolof. But with this new album, I approach what I like most: soul, pop, music we can sing beyond borders."
$22 in advance//$26 at the door
INNOVATIVE. PROVOCATIVE. HILARIOUS. WOMEN.
All Jane (formerly All Jane No Dick) Comedy Festival is an all-female comedy festival devoted to inspiring, encouraging, discovering and promoting the quality and diversity of women in comedy.
This curated festival focuses on selecting the very best women stand up, improv and sketch comedians working in comedy today. Curious Comedy Theater, a non-profit comedy theater in Portland, Oregon, produces this all-women comedy festival.
Today, women still represent only 17-19% of the comedy industry. Women are sorely under-represented in high profile comedy festivals, in writing rooms and in television appearances. Industry representatives explain this discrepancy by claiming quality women comedians are hard to find. All Jane was created to help bridge the gap between women comedians, audiences and industry decision-makers.
This year’s All Jane women’s comedy festival will take place October 15-18, 2015, at Curious Comedy Theater and other venues in Portland, Oregon.
The line-up includes nationally and internationally recognized stand up comics, improvisers and sketch groups as well as extraordinary local talent. Women comedians also have an opportunity to meet and work with each other, share stories of their challenges and successes, and trade ideas on how to navigate this tricky business.
For more about Curious Comedy Theater, visit www.curiouscomedy.org
Sunday, Oct 11th, 2015
9pm / 21+ / $8 at the door
adv tix: http://holdmyticket.com/event/222026
XRAY FM, Sound and Salt, Dirtnap Records, and Soundcontrol PDX Present:
RADIOACTIVITY!
https://www.facebook.com/radioactivitytx
Radioactivity is a continuation of The Novice, Jeff Burke's band while living in Japan. Jeff has since moved back to Texas, and out of respect to the Japanese lineup of the band, has changed the name to Radioactivity. Some of these songs are re-purposed Novice tracks, while others are brand new. Jeff is one of the most distinctive songwriters in the punk rock underground, and these songs will sound instantly familiar to any fans of The Marked Men or Potential Johns. Band members include Jeff Burke, Mark Ryan, and Gregory Rutherford, whose credits read like an all-star lineup of Texas punk and garage rock royalty, including members of The Marked Men, Mind Spiders, Bad Sports, Wax Museums, The Reds, VIDEO, and The Novice.
Low Culture - https://www.facebook.com/pages/Low-Culture/292105234150979
Divers - https://www.facebook.com/pages/DIVERS/106213376120283
Peace and social justice groups from the Portland area will be mobilizing around the 14th anniversary of the US invasion of Afghanistan with a march and rally on Sunday, October 11, 2014, "Call Out for Justice: End the Wars." The event will begin at 1:00 PM at Shemanski Park (the South Park Blocks at Salmon St.).
Organizers have laid out a clear set of issues related to the event's theme.
Call Out for Justice: Stop the Wars
* Overseas
* On the people
* On Human Rights
* On the Planet
* FREE Afghanistan, Iraq and Palestine-- Stop the Drones
* REDIRECT Money for Human Needs
* SUPPORT Women, Sexual Minorities, Youth, Immigrant and Racial Justice
* RESIST Police Violence and State Surveillance
* STABILIZE the Climate
Cosponsors of the event include Peace and Justice Works Iraq Affinity Group, Portland Jobs with Justice, Living Earth, Occupy Portland Elder Caucus, Oregon Physicians for Social Responsibility, Jewish Voice for Peace-Portland, Veterans for Peace Chapter 72, Augustana Lutheran Church, War Resisters League-Portland, Peace Action Group-First Unitarian Church, and others.
Endorsers include Recruiter Watch, Little Light of Mine Friends Worship Group, Portland Copwatch, Oregon Wildlife Federation, Back 2 the WALL, Black Lives Matter Portland, and others.
For more information or to get involved contact Peace and Justice Works at 503-236-3065 or pjw @ pjw.info
Seattle's KEXP is taking a road trip down the I-5 corridor to show Rose City members of the KEXP Community their love in-person. The radio station from the north will throw two shows to benefit the campaign to build KEXP’s New Home.
On Saturday, October 10 for a bill featuring Minden, Summer Cannibals, and Boone Howard at the Doug Fir Lounge. (Ticket information HERE.)
(Also, on Thursday, October 8, KEXP hosts Lost Lander, Hosannas, and Tender Age (plus a DJ set by Ingrid tm of Shy Girls) at Holocene. Ticket information and more HERE!)
Join KEXP for one or both shows, and celebrate Portland’s amazing music scene while helping us build KEXP’s New Home at Seattle Center. Tickets for both shows are on sale now at KEXP.ORG.
A raging snowstorm traps strangers Olivia, an unsuccessful yet gifted 39-year-old writer, and Ethan, a tech- addicted and wildly successful young blogger, in a secluded cabin. Opposites instantly attract, and undeniable chemistry ignites. As the dawn rises, however, what could have just been a one-night-stand transforms into something more complicated when online exploits interfere with their real-life connection.
General Performance Times:
Evenings: Tuesday - Sunday at 7:30 p.m.
Matinees: Saturday and Sundays at 2 p.m.
Thursdays at noon
Free + Open to Public
Ariel Pink and Black Lips are heading out on a fall North American tour together. Ariel's touring in support of last year's pom pom and Black Lips are supporting last year's Underneath the Rainbow.
All Ages | Bar w/ ID
Seattle's KEXP is taking a road trip down the I-5 corridor to show Rose City members of the KEXP Community their love in-person. The radio station from the north will throw two shows to benefit the campaign to build KEXP’s New Home.
On Thursday, October 8, KEXP hosts Lost Lander, Hosannas, and Tender Age (plus a DJ set by Ingrid tm of Shy Girls) at Holocene. Ticket information and more HERE!
(A second show at the Doug Fir Lounge will happen on Saturday, October 10 for a bill featuring Minden, Summer Cannibals, and Boone Howard!)
Join KEXP for one or both shows, and celebrate Portland’s amazing music scene while helping us build KEXP’s New Home at Seattle Center. Tickets for both shows are on sale now at KEXP.ORG.
Tabla maestro Zakir Hussain is joined by very special guests exploring the profound impact that jazz has had on both western and Indian music. He is joined by Shankar Mahadevan (Vocal), Louiz Banks (Piano), Sanjay Divecha (Guitar), and Dave Holland (Bass).
Zakir Hussain is considered one of the greatest musicians of our time. Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of his instrument, the tabla, both in India and around the world. A favorite accompanist for India’s leading classical musicians and dancers, Zakir is also widely recognized as a chief architect of the world music movement with his many historic collaborations, including Shakti, Remember Shakti, Diga, Planet Drum and his ever-changing musical feast, Masters of Percussion. In Summer 2012, Zakir was named Best Percussionist in the DownbeatCritics’ Poll.
For more information about the artists, please visit their web sites:
http://imgartists.com/artist/zakir_hussain
This is s $3 show curated by XRAY.fm! RSVP to join us for this Red Bull Sound Select show by clicking this link!
8pm | $12.00 day of show
JUST $3 AT THE DOOR WITH RSVP IN ADVANCE ATRED BULL SOUND SELECT !
RSVP does not guarantee entry, so we recommend arriving early.
After three years of non-stop international touring with the likes of the XX, Grimes and the Gossip, when it came time to record their sophomore album Olympia, Toronto-based band Austra had evolved into a complex collaborative effort between its six members. "Previously, I would flesh out songs before I brought them to the band, but this time I left them bare and let the others fill them in" explains Katie Stelmanis, the principal songwriter/vocalist.
Olympia is also the first confessional record for Stelmanis as evidenced by the heartfelt lyrics of piano driven lead single "Home" (stream now). "Home" expresses the anxieties of waiting up all night for a lover to return. "I was mad and upset and the song just wrote itself," says the singer. The album touches on a range of sentiments that stem from a relationship ending, a relationship beginning, and friends' struggles with addiction and motivation. Despite the sometimes dark lyrics written in collaboration with band member Sari Lightman, Olympia is bubbly and buoyant-- fundamentally a dance record, which Stelmanis says was the band's aim all along. "We are really into dense harmonies and big beautiful melodies, but I also love techno and dance music. I wanted to bring those elements together."
Though Olympia is filled with electronic and synthetic sounds that reference everything from Trax Record classic cuts to Yazoo's Upstairs At Eric's, it's free of programming and loops. Everything was played live by the band in the studio and all of the percussion including a wild set up of marimbas and congas is drummer Maya Postepski. "Maya played a huge role in the production of the album," says Stelmanis, who has been playing with the drummer for eight years since their previous band, Galaxy. "There is a major percussive element running through every song," Stelmanis laughs, "this is the album where we discovered rhythm."
Grammy-nominated harmony duo The Milk Carton Kids have announced the May 19, 2015 release of their third album, Monterey. A refreshing alternative to the foot-stomping grandeur of the so-called “folk revival,” an understated virtuosity defines The Milk Carton Kids and their new album. The two years since the release of their last album, The Ash & Clay, have been significant ones for the group. In addition to a Grammy nomination for Best Folk Album, The Milk Carton Kids won Duo/Group of the Year at the Americana Music Awards in 2014.
Their featured performances and interviews in T Bone Burnett & the Coen Brothers' concert documentary, "Another Day/Another Time,” brought the band its widest audience and their 55-city North American tour last year sold out months in advance. Cultural purveyors from Garrison Keillor to T Bone Burnett to Billy Bragg have hailed the duo’s importance among a group of new folk bands, both expanding and contradicting the rich tradition that precedes them. Yet while some of the band’s many accolades reference a specific genre, the duo quickly transcends those tags with clear inflections of jazz, classical, even the dark lyricism of modern “alternative."
This past year, The Milk Carton Kids were asked to pay tribute to Johnny Cash and Emmylou Harris — Cash on the Joe Henry-produced remake of “Bitter Tears,” and Harris with their standing ovation performance at the tribute concert “The Life & Songs of Emmylou Harris,” among luminaries including Kris Kristofferson, Mavis Staples, Alison Kraus, Iron & Wine, and Harris herself. If Cash and Harris taught us that American music is meant to be taken at its expansive word, without confines or borders, The Milk Carton Kids appear to have taken the lesson to heart.
All of the things. Come see all episodes of the first season of The Lyric Project, including two premiere episodes and a few remixes of early episodes. The event consists of live performances, give-aways, and dancing.
Event Page, $3
When it came time to make the fourth Telekinesis album, drummer/songwrit- er/principal architect Michael Lerner found himself in a predicament that will sound familiar to anyone with even a passing interest in the lore of rock bands. In just under five years, he had released three fantastic records—Telekinesis! (2009), 12 Desperate Straight Lines (2011), and Dormarion (2013)—each more ambitious than the last. He had toured all over the world, shared stages with great bands (Death Cab for Cutie, Portugal. The Man, Aimee Mann and Ted Leo’s The Both), and enthralled fans of his infectious, ebullient power pop. Newly married and happily ensconced in the home studio he’d assembled in his West Seattle basement, Lerner found himself asking the question that has haunted modestly successful bands down the ages: What do you do after the rock and roll dreams you had when you were 19 have come true? The obvious answer was to make another Telekinesis record—that was his job, after all, and he was grateful for it. So he got to work. It didn’t go well. At least not at first.
“I went down to the basement,” Lerner recalls, “and started playing the same chords I always play... I just felt like I’d exhausted everything I knew. I was not excited at all. I just could not make another power-pop album.”
He sought inspiration in music that bore little relation to the familiar Telekinesis sound, and soon found it in the swooning, synth-driven pop of early ’80s UK bands like Orchestral Manoeuvres in the Dark and Glasgow’s The Blue Nile (whose 1982 debut album, A Walk Across the Rooftops, Lerner had been given by Merge honcho Mac McCaughan), as well as more up-tempo numbers like Donna Summer and Giorgio Moroder’s 1977 disco master class “I Feel Love” and, even further afield, Drake’s 2013 summer jam “Hold On, We’re Going Home.” Though Lerner is a drummer with a strong affinity for loud electric guitars, he found himself irresistibly attracted to the powerful atmospheres stirred up by the gorgeously inorganic sounds and simple arrangements of these wildly disparate inspirations. A new idea began to take shape, as did a somewhat obsessive collec- tion of old synthesizers and drum machines.
Lerner dedicated himself to learning the intricacies of antiquated keyboards with names like the Roland JX-10 (the very model Angelo Badalamenti used to com- pose the music for Twin Peaks), the Teenage Engineering OP-1, the Moog Sub Phatty, the Elektron Octatrack, and even a Speak & Spell. “If you buy a guitar,” observes Lerner, “people always say ‘oh, there’s a song in that guitar.’ That’s how it was for every piece of equipment I acquired over the last two years.” Finding the songs was one thing; making sense of the elaborate technical requirements that would allow him to sync the multiple generations of machinery with digital record- ing software was another. There were plenty of easier ways to go about the process, sending MIDI versions of the vintage sounds and letting a computer do the heavy lifting, but that would have missed the point. There was joy in getting his hands dirty; part of the process was to invent the process. It took months of diligent effort (“pulling my hair out, for real”), but when the literal and figurative dust settled, what emerged looked and sounded like a legitimate breakthrough. The previous three Telekinesis LPs had been recorded fast, on tape, in professional studios with accomplished producers—Chris Walla on the first two, Jim Eno on the third—at the helm. This new one had been painstakingly assembled by Lerner alone, work- ing without a map, using an entirely unfamiliar palette of sounds, and discovering an entirely different tonal vocabulary in the process. And though the total running time is a tidy 33 minutes, it had taken what seemed like forever to get there (hence the album title).
And yet, for all the new methodology and instrumentation, the DNA of Ad Infinitum is oddly familiar. The melodic hooks that have endeared Telekinesis to the world of pop music aficionados are flagrantly front and center. The pinging pong of an instrumental figure on album opener “Falling (In Dreams)” sounds almost like a permission slip for Lerner to let loose with a soaring head voice in the chorus. It’s a chilling entrance to an album that soon veers into the much faster new-wave thrills of “Sylvia,” the ironically technology-averse retrofuturism of “In a Future World” (which sounds like the missing link between Speak & Spell-era Depeche Mode and the birth of Erasure), and onward. The hyperactive gem “Courtesy Phone” proves that no matter how many stylistic obstacles he places in his own path, Lerner’s knack for perfect power pop is irrepressible. But the high- energy dance rhythms of “It’s Not Yr Fault” and the gorgeous, McCartney II-esque polyphony of “Ad Infinitum Pt. 1” are totally unprecedented in the Telekinesis oeuvre. The whole album is a relentless marriage of old and new, memory and imagination, deconstruction and rediscovery.
While artists like M83 and Blood Orange (among many, many others) have made fruitful use of vintage sounds and production techniques in recent years, Ad Infinitum is a different animal. It’s less like a time capsule and more like a time machine. In the movie version of the story, Lerner would stumble on his way down the stairs, hit his head, and wake up in 1983, and the only way he could get back to the present day would be to make a record using available instru- ments. Then he’d wake in 2015 to discover he’d been in his basement studio all along. And the record he’d made in that strange dream state would turn out to be Ad Infinitum, the most ambitious and assured Telekinesis release to date.
‘band’ Say Hi). Back then he’d taken his exposé deep behind the trenches of post Buffy vampire life (death?) with his record Impeccable Blahs. There, he found a culture ripe with individuals as complex, moral, stupid and romantic as their human counterparts.
They just happened to get their sustenance from drinking
blood. But that was before the complications the Twilight series introduced. Suddenly, things were different. Garlic wasn’t really a thing any more, mirrors couldn’t be relied upon to not have reflections and, gasp, apparently the cloud cover of the Pacific Northwest was enough to give them a we-can-now-walk-around-in-the-sunlight loophole? Let’s just say things didn’t really sit quite right with the vast majority of blood suckers. They rebelled. Subtly at first. But, before us humans knew it, they’d infiltrated the very fabric of our society.
Bleeders Digest is their story. It’s polaroids of their patience, resilience and wrath. In opening track “The Grass Is Always Greener,” the vampires are content with coexisting until the song’s protagonist cartoonishly hurls a giant boulder at them (thanks a lot, Jenny). By the time we reach the chugging anthem “Pirates Of The Cities, Pirates Of The Suburbs,” the fang-ed demons have driven most of us from our homes in a bloody wash of brute force and Darwinian eminent domain.
But all is not lost. Behind closed doors, some vague but jovial remnants of humanity sprout anew. They’d never show it to the outside world, but mansion-roommates Aldo and Tina fill their daylight hours sailing sofas and penning crosswords for the New York Times in “Creatures Of The Night.” It’s a fun distraction from the necking they’ll do once the sun goes down … Which actually brings us to our next point.
Is there a better metaphor for intimacy than the vampire? The sharp teeth and fluids, the romance of eternity. Besides, it wouldn’t be a Say Hi record without some good stories of lovin’. Throughout Bleeders, we see things from the vampire’s perspective. On “It’s A Hunger,” our protagonist literally starves for what the female gender offers to all five of his senses. Elsewhere, as on “Galaxies Will Be Born,” the seduction of immortality is eclipsed only by the tenderness of the act of turning, itself.
And so, from his tiny home-studio in Seattle, WA, Say Hi updates the vampire genre with another chapter via eleven rump-shaking vignettes and a giant still-beating heart.
Say Hi is Eric Elbogen. He lives in Seattle, WA and has been making records since 2002. His ninth, Bleeders Digest, is a record about vampires and the sequel to Say Hi To Your Mom’s Impeccable Blahs. It will be out on September 18th via Barsuk Records, with a lengthy North American tour to follow. All are welcome, but please
check your fangs at the door.
BED
For fans of The Delgados, Grandaddy and Sonic Youth.
The Thesis returns for a very special night brought to you by We Out Here Magazine and XRAY FM.
Tope
https://tope.bandcamp.com/
His first Portland show since moving to the Bay Area last spring.
Dre C
https://soundcloud.com/imdrec/sets/dre-c-for-the-art-ep
Dre C returns to rock #TheThesis off the heels of his brand new EP.
Zoo?
https://soundcloud.com/dylanmuldrew
Perhaps the most underrated member of Portland's Renaissance Coalition, Zoo? has been on our list of must-have artists since this concert series was conceived. So happy to have him on this bill.
Verbz
The Sensei of #TheThesis, always on the 1's and 2's.
Always $5
9 PM
"Songwriting is a way to approach unanswerable questions, these experiences that don't have easy conclusions," says Austin Crane, the 27-year-old multi-instrumentalist and songwriter behind Valley Maker. "It's a way to dwell on history and ask these big questions with other people."
Distinctive finger-picking, unconventional tunings, and plaintive vocals anchor Crane's music. Throughout this record, longtime collaborator Amy Godwin intertwines her voice intuitively with his; the end result sounds less like two individuals harmonizing than one who sings with astonishing depth and dimension.
Despite being recorded on different coasts during concurrent summers, ambient noise imbues When I Was A Child with cohesion via a sense of being in the same room with the musicians. This immediacy particularly enriches "By My Side," which began life in Columbia, South Carolina as a skeletal figure repeated on fourstrings. When Crane and his friends reconfigured the song between sessions at Archer Avenue Studio in Columbia, SC and at the Unknown in Anacortes, Washington, it blossomed into the version heard here.
Music opened up the world to Austin as he approached adolescence. "My dad gave me my first guitar when I turned thirteen, and I started playing in bands with friends almost immediately." Initially fixated on keeping abreast of the newest indie music, his tastes settled and matured as the Internet directed him towards key influences like Bill Callahan (Smog), Will Oldham (Bonnie "Prince" Billy), Chan Marshall (Cat Power) and Jason Molina (Songs: Ohia).
Valley Maker began in 2010 as Crane's senior thesis project at the University of South Carolina. He'd achieved a modicum of local popularity fronting a band that bore his name, and needed a moniker to distinguish his new material, eventually lifting one from Callahan's "Say Valley Maker" (on Smog's 2005 album A River Ain't Too Much To Love). "For me that song paints a picture of floating down this river as part of your life, and you know it's going to end, and you're facing that futility and figuring out what it means to respond to it."
For now, Crane is excited to invest more energy into sharing Valley Maker with the world. And the open-ended nature of this songwriting project permits him to showcase it live in different configurations: solo, in a duo with Godwin, or as a full band. "My hope is that there are more Valley Maker records to come, and some of those may be stripped down and sparse, and others built-out and full. It's nice to be able to shape-shift a little." Because as When I Was A Child affirms, when the questions you ask - and the art they inspire - remain fluid, moments of great truth and beauty ensue.
Michael Henchman's latest EP Near and Far is a mostly-acoustic project, continuing to explore characters finding their way along wayward paths, such as the sweetness of finally coming home from across the country, being free yet not free of love, hard times on the prairie, and stepping into a larger life after loss of a parent. Traveling since childhood, and formerly living many years in Alaska, Michael paints both the tangible and the intangible - what is perceived directly and what is laid across a wider cinematic landscape - in his ongoing fascination with far horizons and how the heart becomes entangled by time and distance; with what is both near and far.
The Back Fence PDX storytelling series is showcasing 5 Tradeswomen telling their true stories about their lives and experiences as well as raise much needed funds for Oregon Tradeswomen. There will be a raffle and other fun surprises.
Hosted by B. Frayn Masters & Mindy NettifeeAdvance tickets and more info at http://BackFencePdx.com/.
Founded in 2003, Decibel Festival has become a unique platform for exposing attendees to leading-edge multimedia art from around the globe. With a focus on live performance, interactive multimedia art, state-of-the-art sound and technology based education; Decibel has solidified itself as one of the premier electronic music festivals and promotional organizations in the world. The five-day festival program averages over 25,000 attendees a year.
Outside of the annual festival program, Decibel Events producers over 60 events per year, ranging from intimate club performances to massive international festival stages. For more information visit our events page at http://dBFestival.com/events
db 2015• 80+ audio/visual performers hailing from 15+ countries
• 25+ individual concerts ranging from club events, after-parties, theater a/v showcases, boat parties and park events
• 10+ workshops geared towards audio technology
• 3 workshops geared towards visual technology
• 3 lectures from marquee artists and educators
• Interactive industry happy hour events
• The return of our dB in the Park event at Volunteer Park
As an organization, Decibel has prided itself on providing free technology-based arts education to the public. Over the years, the dB Conference has played a significant role in fostering emerging talent while bridging the gap between the music industry and festival attendees.
The festival includes several artists from Portland's electronic scene, such as Natasha Kmeto, Manatee Commune, Sean Pierce, Strategy, Dylan Stark, as well as Archivist and Joseph Gaard, featured in the Portland-based music label Blankstairs.
For more info
http://dBFestival.com
http://facebook.com/DecibelFestival
http://twitter.com/dBFestival
http://soundcloud.com/DecibelFestival
http://youtube.com/DecibelFestival
Founded by producer-composer Ryan Lott in 2007, Son Lux “works at the nexus of several rarely-overlapping Venn Diagrams” (Pitchfork). With the recent additions to the band of guitarist-composer Rafiq Bhatia and drummer Ian Chang, Son Lux is now a ferocious trio both live and on record. Bones (June 23, 2015) is the first album documenting this new formation, and it draws from the three members’ unique and omnivorous musical vernaculars. Few bands have built a more impressive and varied array of collaborators: Lorde, Beyoncé producer Boots, Sufjan Stevens, Matthew Dear, Busdriver, Vijay Iyer, Nico Muhly and Pulitzer Prize winner Caroline Shaw.