8pm (doors open at 7pm). .
$18.00 advance tix from Cascade Tickets.
$20.00 at the door.
1507 SE 39th Ave, Portland, OR (MapQuest)
"Peter Phillips (born June 21, 1970), better known by his stage name Pete Rock, is an American record producer, DJ and rapper. He rose to prominence in the early 1990s as one half of the critically acclaimed group Pete Rock & CL Smooth. After the duo went their separate ways, Rock continued with a solo career that has garnered him worldwide respect, though little in the way of mainstream success. Along with groups such as Stetsasonic, A Tribe Called Quest, The Roots and Gang Starr, Rock played a major role in the merging of elements from jazz into hip hop music (also known as jazz rap). He is widely recognized as one of the greatest hip hop producers of all time, and is often mentioned alongside DJ Premier, the RZA, and J Dilla as one of the mainstays of 1990s East Coast hip hop production. Pete Rock is also the older brother and younger cousin, respectively, of rappers Grap Luva and the late Heavy D.
ABOUT SLUM VILLAGE -
When Slum Village emerged in the late 1990s, the highly regarded Detroit trio of T3, Baatin and Jay Dee made a startling admission: their group was a liquid association with members coming and going during the group's evolution. True to their word, Slum Village has already gone through a number of line-up changes.
Rapper-producer Jay Dee left after the group's first national album, 2000's Fantastic, vol. 2 (Barak) and rhymer Elzhi was added to the mix for 2002's Trinity: Past, Present and Future (Barak/Capitol). Now, with the release of Slum Village's new and best album, the stunningly impressive Detroit Deli (Barak/Capitol), the group consists of just T3 and Elzhi. Throughout the changes, Slum Village's musical mission has remained constant: to deliver soul-stirring sonics that represent Detroit to the fullest. That vision is fully realized on Detroit Deli. Throughout the sensational 15-cut collection, T3 and Elzhi give listeners an intimate look at life in The D, from where they shop, hang with friends and eat to the type of cars they drive (check "Zoom") and what clothes they wear.
Slum Village represents the Midwest's funk heritage on the inspirational "Do You," which was produced by Jay Dee, and teams with Chicago's Kanye West on lead single "Selfish," a sly, piano-driven song where T3, Elzhi and West rap about their desire to have a monopoly with women. They then team with Ol' Dirty Bastard on the riotous "Dirty" about having to battle for a woman and deliver a Player's Hand Guide of sorts on the sensuous "Count The Ways," Both produced by BR. Gunna.
Even though Slum Village excels at making this type of lighthearted music, they show on Detroit Deli that they also hit hard with more serious subject matter. On the moving, guitar-driven "Keep Holding On," they rap about people not losing faith in their lives, while on the stirring "Old Girl/Shining Star," T3 and Elzhi send a open letter of hope and support to single mothers working hard to survive.
"The inspiration came from my boy's niece who has a gang of kids and is out here struggling," Elzhi says. "She's stringing her kids around on the bus, just to get by. By me just looking at that, I'm like, 'I need to write a song because I know she's not the only one going through it.' Slum Village has never touched on ladies like that and everybody is calling girls hoes and Bs, dissing these ladies, so we wanted to touch the ladies in a different way."
The group also takes a different route on "The Reunion." Jay Dee joins T3 and Elzhi on the insightful cut, which offers three different takes on the group's status. "It's like you're going through three state of minds at one time kind of in reverse," T3 says. "What we're trying to say is that we wish we were together, we might be together and then we're not together at all. We're trying to give you all the aspects of how people are coming at us, the type of stuff we're dealing with and kind of give you a glimpse of the stuff we're dealing with in the group."
Indeed, songs such as "Keep Holding On," "Old Girl/Shining Star" and "The Reunion" signal Slum Village's evolution; they mark the first time the group has let listeners in on their personal feelings. "I don't think people really know us and we never really touched on our emotions like that," T3 says. "We wanted to bring some realness, besides just the soul music. Elzhi, as a guy that saw Slum Village on the outside, he brought it to my attention that we never touched on serious topics and that we should try to touch on them more. I was with that and I have a lot to say, so why not?"
Detroit Deli also stands as Slum Village's most musically rich album to date. BR Gunna producers Black and Young RJ, both 20 years old, handled the majority of the beats, while Kanye West produced "Selfish," Jay Dee handled "Do You" and T3 along with young RJ produced "Closer" and "Count The Ways." The beats are as divergent as the album's subject matter, ranging from soulful to futuristic, but they always remain powerful and innovative.
The same can be said for Slum Village's storied career. After releasing Fantastic Volume One independently, Slum Village became one of hip-hop's hottest groups. While working on Fantastic, vol. 2, they were joined in the studio by such luminaries as D'Angelo, Busta Rhymes, Kurupt, Pete Rock and A Tribe Called Quest's Q-Tip, among others. The resulting album became an underground classic and Slum Village was seen as the second coming of the Native Tongues (A Tribe Called Quest, Jungle Brothers, De La Soul) by member Q-Tip, as well as fans and journalists alike.
Jay Dee left the group after Fantastic, vol. 2 in order to work on his solo career, but Slum Village pressed on, releasing in 2002 the Dirty District mix tape and later that year its third album and first with new member Elzhi, Trinity. Many fans looked at rapper-producer Jay Dee as the group's backbone, but Trinity proved that Slum Village could provide without its sonic architect, as that album's single "Tainted" became the group's biggest hit.
"We've always stuck to our guns," T3 says. "We've never tried to change to get commercial success. We always just did what we did and when you do what you do, eventually somebody's going to have to give you your respect for having the courage to do what you do."
With Detroit Deli, Slum Village earns the respect it craves and deserves.
ABOUT TOPE--
Born in Portland, Oregon in 1985, Anthony Anderson, better known as Tope, always maintained an air of worldly soul. At a young age, he absorbed the jazz, funk and soul records that his mother would play, ingraining in his being a visceral sense of what's been done before.
Tope is most recognizable for his contributions to N.W. hip hop culture through his releases with Living Proof (Roots To Branches '07 & Full Speed '11), his first solo effort Soul Music, and as part of town-famous TxE; but as a true artist and musician, Tope is never satisfied with the expected, or the easy. He hates when producers say, "I got this joint for you, it's a 'Tope' track" -- or whatever. He hates to look back, and by the time you've heard his music, he likely doesn't like it anymore, and is on to the next one.
Tope has worked with distinguished hip hop heavyweights such as Wajeed, Abstract Rude, TiRon, Scarub, Myka 9, Phil Da Agony, and Planet Asia; and opening for artists including Talib Kweli, Mac Miller, Blu, Nappy Roots, Joel Ortiz, The Coup, Mistah FAB; to name very few, and while others in the region, merely hop from trend to trend; Tope refuses to change with expectations while constantly reinventing himself through his art.
Always looking for new angles, Tope has gained universal town appeal by opening himself up to other genres and mediums (*see The Angry Orts, Tony Ozier, Kelli Shaefer, Liv Warfield), while staying true to his vision.
With a new solo effort, Until the Next Time We Meet and instrumental album Free Lemonade, a new Living Proof EP produced exclusively by Stewart Villain, and a full-length produced exclusively by Calvin Valentine, and the long-anticipated TxE full-length all due out in the next 12 months, Tope remains a workaholic; unsatisfied and unrelenting, while always looking...on to the next."
Know Your City (KYC) and Community Alliance of Tenants (CAT) will host a release event for Know Your Rights: Don't Get Evicted!, a comic book about the rights of tenants and the process of eviction, at Oregon Public House, a nonprofit brewpub (700 NE Dekum St). The event will include short presentations by the illustrator Becky Hawkins, and from lead organizers from KYC and CAT. Community representatives and CAT members who participated in writing the stories featured in the comic will also speak. A portion of the food and drink purchases will benefit KYC and CAT.
Oregon continues to top the lists of desirable destinations across the country. More and more people are moving to Portland every day to enjoy our walkable neighborhoods and DIY culture. This national popularity has created a construction boom in the city, but at the risk of increased gentrification in areas home to low-income renters. Renters of all incomes face evictions and rent increases in Portland everyday, and housing justice issues are becoming increasingly pressing. Neighborhood demographics are changing as newcomers and long-time residents alike compete for scarce rental housing. Low-income renters, people with disabilities, and communities of color are facing evictions and are being pushed out of their communities at alarming rates.
Know Your Rights: Don't Get Evicted! tells stories which engage and educate tenants and non-tenants alike. Renters will be able to use this comic as a reference to understand the process of eviction, how to identify an unfair eviction, and what to do if it happens to them. Using graphic storytelling, the booklet covers essential topics such as how to respond to a termination notice, what do do if you are locked out by your landlord, or what to expect if you need to go to evictions court.
"Thousands of tenants across Oregon call CAT's Renters' Rights Hotline every year, and many already have an eviction threat or a court date,” according to Justin Buri, CAT Executive Director. “The evictions process can be complex, riddled with stress, uncertainty, and the real possibility of losing your home and ending up without a roof over your head. This educational tool will help demystify the process, so they can make good decisions, and hopefully stay in their home. It’s also very accessible with great artwork, so people will read it because they want to, and will then be that much more informed."
Know Your Rights: Don't Get Evicted! is the culmination of a year-long partnership between CAT and KYC, and contains compilations of stories from CAT members. Illustrator Becky Hawkins from French Toast Comix was selected from a public call to artists, due to her experience with comics and her accessible style. Using illustration to explain issues such as housing justice and legal processes surrounding eviction makes complex information more understandable and compelling.
The Steampunk Film Festival presents our 5th annual program of the world's finest neo-Victorian retrofuturist cinema, screening another all-new selection of independent feature and short films, plus an evening special feature. Tickets and film details are at http://steampunkfilmfestival.com; follow @pdxsteampunkff on Twitter for news about the festival and other Portland steampunk events.
$15 adults; $7 kids 7-13; under 7 free with guardian. Some programming not suitable for all ages.
DOORS: 8:00 PM / SHOW: 9:00 PM
21+
"The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases -- a rare and uneasy rest period, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes. This offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the album in the unfamiliar environment of a new dwelling; a dark Portland basement. It was from this stir-crazy fire that Shadow of the Sun was forged.
Evolving the sound of their first two full-length records, Mazes (2011) and Circles (2012), Moon Duo -- Ripley Johnson and Sanae Yamada -- have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna). The unchartered rhythms and tones present on this record are reflective of Moon Duo’s strive for equilibrium in this aforementioned new environment. You can hear it is the result of months of wrangling with a profound feeling of being unsettled – there are off-kilter dance rhythms, repetitive, grinding riffs, cosmic trucker boogies and even an ecstatically pretty moment. Mixing with Jonas Verwijnen in Berlin, allowed for a creative catharsis and dissolved the album’s formal technique into a cool and paradoxically sane sound of confusion.
Shadow of the Sun is available for pre-order now. iTunes’ pre-orders come with an instant download of lead single, “Animal.” In a nod to a great pop tradition, “Animal” will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition, and exist as the final track of the album on the CD and digital versions. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog."
Join XRAY.fm for Salad Days, a documentary film that examines the early DIY punk scene in the Nation’s Capital.
It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows—without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry’s subsequent implosion). Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction. - See more at:
Join XRAY.fm for Salad Days, a documentary film that examines the early DIY punk scene in the Nation’s Capital.
It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows—without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry’s subsequent implosion). Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction. - See more at:
Doors: 8:00 pm / Show: 9:00 pm
$15.00
21+
"!!! (generally pronounced "chk chk chk") is a dance-punk band that formed in Sacramento, California, in 1996. The band's name was inspired by the subtitles of the movie The Gods Must Be Crazy, in which the clicking sounds of the Bushmens' Khoisan language were represented as "!". However, as the bandmembers themselves say, !!! is pronounced by repeating thrice any monosyllabic sound. Chk Chk Chk is the most common pronunciation, but they could just as easily be called Pow Pow Pow, Bam Bam Bam, Uh Uh Uh, etc."
DOORS: 8:00 PM / SHOW: 9:00 PM
21+
About Craft Spells:
"After a dormant period following the release of the Gallery EP in 2012, Craft Spells' Justin Vallesteros is back with the gorgeously ambitious Nausea. It's Craft Spells' second proper full length LP, and first since 2010's critically acclaimed Idle Labor.
Since last on the radar, Justin moved to San Francisco to find a niche in the Bay Area music scene. This proved difficult within the regarded garage rock scene and insular DJ night crowds currently dominating the area's music community. Here, Justin fell into a slump, creatively. With a severe bout of writer's block he retreated to his parent's house in Lathrop, CA. Away from the city, he put down his guitar for a full year in favor of properly training himself on piano, the instrument from which all the tracks for Nausea were written.
Being in limbo between the city and the suburbs, Justin felt actual nausea, added to by his admitted semi-addiction to social media and quickly found himself disillusioned. Vallesteros unplugged from that world as much as possible and completely immersed himself in the music (Emmit Rhodes and the solo works of Yellow Magic Orchestra's Haroumi Hosono and Yukihiro Takahashi) and writing (the works of Mishima, for one) that would come to form the LP.
The demos came together in early 2014 and Vallesteros flew to Seattle to produce the record with engineer Dylan Wall. Teaming up on the recording with Craft Spells stalwarts Javier Suarez and Andy Lum, the band went into the studio and recorded a whole and complete work, full of ideas and a new found maturity in both songwriting and recording sophistication. Within the first few seconds of lead single "Breaking the Angle Against the Tide" we know we're not listening to the same Craft Spells anymore. This is a bold, beautiful and lush new sound emphasizing the songwriting abilities Vallesteros always had. An album highlighted by loads of piano, real strings and acoustic guitar, this change is like the color coming alive in the Wizard of Oz.
The beautiful "Komorebi" with it's piano chord progression and sorrowful string accompaniment emphasizes this newfound maturity and confidence as a writer that is the next logical step in Craft Spells' career.
Nausea could easily have been a record rife with indecision and anxiety. But like the song for which the album is named, Craft Spells was able to turn the chaos and disillusionment into a work that provides ammo against that very thing, with beauty, vision and melody."
About Bilinda Butchers:
"The Bilinda Butchers are a dream pop group based in San Francisco who take their name from My Bloody Valentine guitarist and early inspiration, Bilinda Butcher. The group experiments with genre-blending and dramatic themes to create sprawling, cinematic music."
About Appendixes:"Portland, OR’s dream-pop trio Appendixes consists of Eric Sabatino, Beth Ann Morgan and Devin Welch. Formed in January 2012, Beth Ann and Eric started preforming lo-fi Twin Peaks/David Lynch inspired tracks to electronic drum beats played through a reel-to-reel. Said to "fill your hear of bittersweet emotion as summer camp ends".
$15.00 - $17.00
DOORS: 7:30 PM“A golden despondency” is how Kevin Barnes translates the meaning behind Aureate Gloom, the title he gave of Montreal’s thirteenth full-length album. The oxymoron is one Barnes says best describes the overall state of his life and mental outlook while working on the record: first on a writing retreat in New York City, then while demoing tracks in Athens, before finally recording at Sonic Ranch, just across the border from Juarez, Mexico in the Texan desert.
If you’re wondering what exactly would lead Barnes to use this epithet to describe his reality at the time, look no further than the songs themselves.
While many bands rely on vague platitudes as an attempt to make their songs universally applicable, Barnes chooses to take the opposite tact — penning lyrics so personal they sound like entries ripped from a journal that should be permanently kept under lock and key.
“I was going through a very stormy period in my life and felt like I was just completely trashed,” reveals Barnes. “I might be guilty of sharing or exposing too much of my private life, but to me the best albums are those that help people connect with an artist on a deep, human level and that do so without too much artifice or evasiveness.”
For inspiration — and to put a bit of distance between himself and the events and people he writes so unequivocally about — Barnes spent two weeks in New York City this past spring. While there, he wandered around Chelsea, Greenwich Village, SoHo, and Chinatown, imagining what it was like 40 years ago, picturing himself as Tom Verlaine
or Patti Smith, or James Chance.
Lead single “Bassem Sabry” (named for the Egyptian journalist who died tragically in the spring of 2014), is perhaps of Montreal’s most political song to date, with Barnes proclaiming “Every leader is a cellophane punk,” while handclaps and danceable drums incite the listener to follow his command: “If you hear me, say ‘Yeah!’ ‘Yeah!’ ‘Yeah!’”
The energy remains high for “Last Rites At The Jane Hotel,” which channels Barnes innermost T. Rex while staying true to of Montreal’s signature kaleidoscopic song structure.
“Empyrean Abattoir” begins dark and brooding before unfurling into a revved up Television-inspired outro, as all the
while Barnes lays bare his most gut-wrenching lyrics.
Closing track “Like Ashoka’s Inferno Of Memory” ends the record on an appropriately epic note, reveling in its seemingly effortless shifting of tempos and tones — a microcosm, really, of the overall album’s auditory audaciousness.
Like 2013’s Lousy with Sylvianbriar, Aureate Gloom was recorded directly to tape with musicians Kevin Barnes (guitar, vocals), Clayton Rychlik (drums), Bob Parins (bass), Bennett Lewis (guitar), and JoJo Glidewell (keys), plus the help of engineer Drew Vandenberg.
Having already spent many of the previous months touring together, the strength of the members’ musical rapport was instantly apparent. The group completed nearly a song a day during their stay in the desert and even wrote a brand new track on the spot, “Apollyon Of Blue Room,” whose title references a supposedly haunted bedroom in a hacienda on the studio grounds.
Working at such a breakneck pace, there was no time to nitpick, to dissect, to overanalyze. Only later, upon arriving back home, was Barnes able to take a step back and fully appreciate what he and his band had accomplished.
With Aureate Gloom, of Montreal have created one of the most unflinching, confessional and starkly emotional albums in their oeuvre."
Revel in the sunny psych-pop of San Diego's The Donkeys.
Holocene and XRAY.fm Present The Donkeys, And And And, Bubble Cats!
California places a distinct sonic stamp upon the music born with in its boundaries. Owens had his Bakersfield, Parsons his Joshua Tree, and Malkmus his Stockton, and in their tunes you can hear dust, desert highways, and skateboards gliding over suburbia. The Donkeys have San Diego, and from that environment have woven a fundamental ease in their music - a rock, a roll, a sway, a slide - you could even call it a breeze. On Ride the Black Wave, The Donkeys continue their easy rolling, classic vibrations, but add a mystery and tension that make this record their most lyrically and instrumentally compelling.
Ride the Black Wave embodies what Jack Kerouac described of California's coast as having an "end of the land sadness." The Donkeys stare out at the ocean in a "fantastic drowse" - a kind of pensiveness towards their environs that summons the elements of sound and style that belong only to them. In "Blues In The Afternoon", a collective mantra, the band runs out of land and asks of the ocean to offer suggestions about their fate. It is songs like these that prove the Donkeys are a band in the true sense of the word, sharing each other's worry and wonder. With RTBW, The Donkeys have further caged their craft and have accomplished the delicate and artful challenge of taming the captured, while also letting it be wild.
$10.00 advance $10.00 day of show
21+
Join XRAY.fm at Mississippi Studios on March 21st for XRAY's 1st Birthday Bash! Minden, Holiday Friends, Secret Drum Band, and XRAY DJs will join together to celebrate year one with cake, balloons, and one hell of a line-up.
XRAY Members and their guest get 1/2 price tickets, and general admission is $10. (Members will receive email instructions).
Brought to you by PDX Pop Now!, Mississippi Studios, and XRAY.FM.
Facebook invite here!
Join the Portland Area CSA Coalition and Ecotrust on March 21, the spring equinox, to celebrate CSA and spring. Meet 30+ CSA farmers, taste spring greens, and join in chef demos, farmer matchmaking, a cookbook swap, kid’s games, and more. And it’s FREE! More details to come, but mark your calendars today!
more info:http://www.portlandcsa.org/2015/02/csa-share-fair-spring-starts-here/
photo credit: Diggin’ Roots Farm
All the fun & groundbreaking music of Portland, without the rain! Portland's best bands come to Austin for one day of absolutely free fun in the sun. RSVP now to hold your place!
Wild Ones / Natasha Kmeto / Summer Cannibals / Joseph / The Lonesome Billies / Grandparents / Swahili - band / Us Lights / Melville
Brought to you by Marmoset, Travel Portland, Mississippi Studios, Doug Fir Lounge, Tender Loving Empire, CD Baby & XRAY.FM
END THE
RE-INVASION OF IRAQ–
12 Years Later
Visibility Action
DATE: Thursday, March 19,
2015
TIME: 4:00-6:00 PM
LOCATION: NE Couch & Martin
Luther King Jr Blvd
(East End of Burnside Bridge)
PUBLIC TRANSPORTATION: TriMet bus lines 6, 12, 19 or 20 or Central Loop streetcar
"March 19 will mark 12 years since the devastating US invasion of Iraq. Join this action to call for the US to get out once and for all, as troops continue to flow back into the country under the pretext of "fighting ISIS." The event will also focus on the US bombing of Syria, and the similarities between the alleged withdrawal from Iraq in 2011 and the "end of combat operations" in Afghanistan in December. While there were about 250 troops in Iraq prior to the Islamic State's seizing territory in June, that number is growing to about 3000, maybe more. Airstrikes in Syria and Iraq have killed dozens of civilians".Event coordinated by Peace and Justice Works Iraq Affinity Group. Cosponsored by Oregon Physicians for Social Responsibility, Veterans for Peace Chapter 72, Freedom Socialist Party, Jewish Voice for Peace-Portland, Occupy Portland Elder Caucus, Women's International League for Peace and FreedomPortland and others. Endorsed by Recruiter Watch PDX, Little Light of Mine Friends Worship Group, Americans United for Palestinian Human Rights and others. For more info: Peace and Justice Works Iraq Affinity Group (503) 236-3065 iraq@pjw.info www.pjw.info/Iraq.html
Make Money. Make Oregon.
Learn from the experts opening the door for Oregon’s new community “crowdfunding” law. Become a pioneer in the new wave of Oregon business.
On January 15, 2015, Oregon passed new securities crowdfunding law. The Jan. 22 event at Hatch Lab in northeast Portland kicked off a statewide Community Capital Initiative, an effort to educate small businesses and investors about the Community Public Offering rules. Now, join Hatch Innovation, the non-profit who initiated the law-making conversation, in creating the statewide ecosystem for success in this new realm of securities crowdfunding. Oregon legislators, thought-leaders, decision-makers, entrepreneurs, investors, students - anyone interested in investing both time and money into building stronger communities – is invited to participate.
ComCap Oregon tickets include Thursday night keynote, panel and reception, Friday's full day educational conference, lunch and evening reception, and Saturday's regional breakout session.
LOCATIONS:
Thursday, March 19th at Hatch Lab 2420 NE Sandy Blvd in Portland, OR
Friday, March 20th at Ambridge Event Center 1333 NE MLK Jr. Blvd. Portland, OR
Saturday, March 21st at Hatch Lab 2420 NE Sandy Blvd in Portland, OR
Read more at hatchoregon.com
21+
13 NW Sixth Avenue
Portland, OR
About A Place to Bury Strangers:
"A New York–based noise rock band composed of Oliver Ackermann(guitar/vocals), Dion Lunadon (bass guitar) and Robi Gonzalez (drums). The band plays a heavy, atmospheric wall of sound-influenced blend of psychedelic rock, shoegaze and space rock. The band is commonly known by the initials APTBS."
"A Place to Bury Strangers was formed in 2002 by David Goffan and Tim Gregorio. Current frontman and guitarist Oliver Ackermann had moved to New York City, following the disbanding of his previous group, Skywave, to join the group and become the primary songwriter after the departure of Goffan. They played their first show at Luxx in Brooklyn in 2003. Jay Space and Jono Mofo, both from the New York City-based band MOFO, joined the band when Tim Gregorio left. In 2006, APTBS handmade three different untitled EPs with different color schemes; these later become known as the Red, Blue and Green EPs.
In 2006, the band gained some acclaim following its Webster Hall performance with The Brian Jonestown Massacre. The band returned to Webster Hall in 2007 to play with one of their major influences, The Jesus and Mary Chain.
Throughout these formative years, the band's live shows became increasingly chaotic which earned them the title of New York City's "loudest band" from various indie reviewers and bloggers,[1][2] as well as "the most ear-shatteringly loud garage/shoegaze band you'll ever hear" by The Washington Post.[3] The New York Times applauded their revival of "the ominous, feedback-drenched drones of the 1980s".
"Daydream Machine began in vocalist/guitarist Jason Adams’ basement, a well-used room that seems like it’s held together by band posters, flyers and stickers—a record of the history of the bands that share the space, the people they’ve toured with and their influences. This record stretches more than a decade as do the musical careers of most of the members. Daydream Machine is made up of the front people of other notable bands. Founding members include singer/guitarist Jason Adams (The Upsidedown); singer/guitarist Matthew Strange (Hawkeye); guitarist/noise Jonathan Allen (Music for Headphones) Bassist Josh Kalberg and singer/flautist Charlotte Engler together form the folk-gaze duo The Whole Wide World. Drummer Jason (Plucky) Anchondo (The Warlocks).
The dream machine for which the band is named is made from a cylinder with cut sides that throw out photons as the machine oscillates. The experience of looking, eyes closed, into the light can be quite intense but all you need to do to escape it is to open your eyes. Such is the music of Daydream Machine, which takes you, our gentle listener, to a place where magic, sedation and elation exist in waveform. The music combines light with dark through its tri-vocal harmonies. Jason Adams’ sardonic vocals play off of Matthew Strange’s hopeful tenor with Charlotte Engler lacing her soprano throughout the songs. The vocals don’t fuse, they work around each other sometimes coming together and sometimes floating apart. None of the vocalists is specifically “lead.” Each voice plays an integral part to the music—at times witty and at other times heartbreaking.
Daydream Machine combines the lush sounds of shoegaze and neo-psychedelia with the jutting angles and dance beats of post-punk. Layers of guitars, vocals, flute and keyboards shimmer above the driving drumbeat. The results, like magic in fairy tales and Fantasia are unpredictable. Daydream Machine owes a lot to a lot of people. “Dawn” is a cover of a Frankie Valli song dragged through the Jesus and Marychain, the Ronettes and the Beach Boys. The guitars don’t follow the usual rhythm lead strategy. Strange’s winding leads overlay the rhythm and textured sounds created by Jason Adams and Jonathan Allen with his plethora of guitar pedals. In this, notes of Spacemen 3 scratch against the fuzzy backdrop of Galaxie 500.
In May 2013, Daydream Machine signed to Picture in My Ear Records, and is releasing their debut
album, Twin Idols, in early 2014 (TBR 3/11/14). Twin Idols includes contributions from Peter Holmstrom (the Dandy Warhols) and Collin Hegna (Brian Jonestown Massacre, Federale) and was partially recorded at Hegna’s Revolver Studios. Some of their early demo basement tracks can be found on samplers “The Psychic Underground – Vol. 5”, and “The Active Listener – Record Store Day 2013” and they have received airplay on podcasts such as Anton Newcombe’s Dead TV, “Sideways Through Sound” out of Sydney, Australia, KZME in Portland, and “When the Sun Hits” on Strangeways Radio. Daydream Machine started with momentum and does not plan on letting up any time soon."
Covering Your Assets: Negotiations
Learn how to effectively negotiate with anyone: clients, collaborators, bosses, and adversaries. You’ll learn how to ask for what you want, how to figure out what the other side wants, how to take control in a negotiation, and how to say “no.” Designed especially for people who are intimidated by negotiation and conflict, this class is useful no matter what your current negotiation comfort level is. You'll walk away with easy to use tools and the confidence to negotiate your rate, handle a demanding client, and get what you need in any creative situation.
Cost: $25
More info: http://www.racc.org/resources/31715-racc-workshop-covering-your-assets-negotiations
Grant Writing For Success
Are you planning on tapping into the world of grants? It starts with a plan - grant writing for success may be a great first step. This hands-on session will expose artists to the strategy, planning and goal setting steps of preparing to write a successful grant proposal.
Presenter: Kimberly Howard
Cost: $30
More Info: http://racc.org/resources/31515-racc-workshop-it-starts-plan-grant-writing-success
With an extensive and amazing track record of unique and imaginative performances featuring his curious instrument and copious amounts of originality, Mike Silverman, a/k/a That1Guy, has set himself apart as a true one-of-a-kind talent that rivals any other artist currently in the entertainment industry. Averaging 150-200 shows a year all over North America and Canada, he has been a consistent favorite at such festivals as: Wakarusa, Electric Forest, Big Day Out, All Good Music Festival, Bella, High Sierra Music Festival, Summer Meltdown, Montreal Jazz Festival, and many more. Mike is also renowned for his legendary collaborations with Buckethead, performing as The Frankenstein Brothers, which has helped to cement his standing as a creative visionary.
Along with his pioneering main instrument, The Magic Pipe, a monstrosity of metal, strings, and electronics, That1Guy facilitates the dynamic live creation of music and magic in ways only he can conjure. Expect also to see magic seamlessly integrated into the already innovative performance. With the addition of magic in his live shows, he has legitimately achieved an all-inclusive audio/visual performance unlike anything experienced before. “So much of my music has miraculous qualities to it because it’s hard to tell what’s going on. There are lots of sleights of hand and sonic misdirection. It feels like I was meant to do magic”.
Such is the force of magic within his world, That1Guy will again be offering limited access to unlimitless wonderment by reuniting the Magic Mustache Club. A select number of fans in each city will be offered the opportunity to purchase tickets for a hour long magic show that will commences privately before doors open at most venues. Inclusive of the membership is a limited edition tour poster, VIP laminate, meet and greet, photo and autograph opportunities, and the chance to watch a masterful display of magical sleight of hand genius.
For ticketing information and all other information on That1Guy please visit his website: www.that1guy.com.
presented by Fellowship for Performing Arts
From the producers of the stage hit, THE SCREWTAPE LETTERS comes the highly anticipated theatrical adaptation of C.S. Lewis’ THE GREAT DIVORCE. In this dantesque celestial journey, lost souls take a bus ride to Heaven. Will they choose to stay? Or will they return to a life divorced from it?
Performance includes after-show talkback about the play with Max McLean.
“World class theatre!” -- World Magazine
“A rare and welcomed treat!” -- Broadway World
“If wit and wisdom, style and scholarship are requisites to passage through the pearly gates, Mr. Lewis will be among the angels." --The New Yorker
Run Time: 90 minutes, no intermission.
price: $37.25 - $104.35
more info and tickets: http://greatdivorceonstage.com/portland