XRAY says THANK you to Dave Cantrell for organizing this fundraiser for XRAY.FM!
Featuring Soft Kill, The Estranged, Arctic Flowers, Shadowhouse, Underpass, Lunch, Vice Device, VATS, Spirit Host and COMM.
Presented by Songs from Under the Floorboard radio show and Soundcontrol PDX as a benefit for XRAY fm
$8.00 in advance/$10.00 day of show; ticket link: http://holdmyticket.com/event/198035
DOORS: 8:00 PM / SHOW: 9:00 PM
21+
About Twerps:
"Cheeky, charming and touchingly direct, Melbourne foursome Twerps are international pop champions. Formed in late 2008, Twerps were called "the best new band in Australia" by Uncut on the basis of their debut self-titled EP and toured the US in support of their 2011 full-length Twerps including heralded appearances at CMJ and SXSW.
“Shoulders” is the gentle closer to Side A of Range Anxiety, the new full-length from Melbourne’s Twerps, out January 27 in the US and February 3 in Europe."
About La Luz:
"Seattle's La Luz recorded their debut EP, Damp Face, in a small trailer on a hot August day. But barring the inevitable "no-AC-in-the-van" summer tour calamity, La Luz runs cool. Their brand of coolness isn't about distance or affect; it's a mood, and—sue me, but I'm about to totally rip off Zelda Fitzgerald: Something about this music vibrates to the dusky, dreamy smell of dying moons and shadows. So yeah, that kind of cool.
Still, La Luz's live shows, more than most these days, are about connection. It's evident that the four ridiculously talented ladies on stage are not only playing music with each other, but for each other. And they engage their audience as well. Like a proper punk band—which they are not— they give you shit for not dancing. They convey a gritty self-possession, a sense that they've been there and back again. And, like the expert, but seemingly effortless, surf licks and meandering bass lines that rise and fall throughout their songs, their mocking is playful and dreamy and disarming enough to get most of the crowd (and sometimes the keyboard player) dancing down the center line of a soul train.
But as any half-assed Freudian will tell you, there can be no meaningful connection without first weathering some dark and lonely times. Here comes the chilly part: What makes La Luz stand out—and stand out fast—the band has only been playing together for a year and people took notice almost immediately—is that this is a band that embodies that most elusive slant on the human condition: longing, and the fleeting relief that tags alongside deep desire.
In Spanish, La Luz means "light" and that's the perfect thing to evoke when your songs give the illusion of veering in the opposite direction. But lift out most any lyric—which is a good excuse to give a closer listen to the delicate, four-part harmonies that are fast becoming the band's signature—and you'll find that the aches and pains of love and loss, of living in a world where no foothold is ever a promise—all this is delivered with a nuanced dose of perfectly timed exhilaration, like the whole thing might just be worth it in the end.
Last spring, La Luz returned to that steamy trailer park to record It's Alive – the much-anticipated follow up to Damp Face – with their friend and engineer Johnny Goss. From the first get-psyched drum roll and eerie chords of "Sure As Spring", the dinged-up pop gem that opens the album, the rest moves like a slow drive on a dangerous road, slinking and bending as the terrain shifts. On "What Good Am I?", the lead vocals, and the swirl of harmonies that surround it, recall the Spartan haze of Mazzy Star's misty-eyed super hit. Smack in the middle is the title track. "It's Alive" is a jangly rocker with a spooky refrain, oodles of ooohs, and a marauding narrative that nails down the misty logic of the rest of the album. Two instrumentals, "Sunstroke" and "Phantom Feelings", showcase the band's beach jam surf chops, and fall perfectly between the chilled out heartache that surrounds them."
About Woolen Men:
"The Woolen Men are three — two Oregon natives and a Washingtonian. They play punk influenced DIY music in the Pac-NW tradition of Dead Moon and the Wipers. More than a sound or style, that means a kind of work ethic — do-it-yourself and do it a lot. The band is happiest touring up and down the I-5 or bunkered in their practice space with the cassette 4-track rolling. And it shows. Live, the band is thunderous and energetic and the magnetic chemistry of the three of them playing together shines through in the recordings.
This self-titled album released by Woodsist Records is their debut LP, following a handful of largely self-released EPs. Instead of changing their technique of recording fast and loose to capture the live energy of their sound, they recorded and recorded and recorded until they had enough songs to make up an album only of material with that elusive spark of a great recording. The ten tracks here represent five different sessions, and as many songs made the cut as were left behind. The LP was made to endure, with little attention payed to current trends or “in” sounds — what matters to the band is that the songs are well written and executed with integrity. The whole thing was recorded to analog tape.
The Woolen Men are Alex Geddes, Lawton Browning and Raf Spielman. They live and work in Portland, OR. Raf previously released an album of solo material under his Polyps moniker for the Woodsist sister label Hello Sunshine.
This show celebrates the release of their live Banana Stand recording."
About Will Sprott:
"With the Mumlers, Will Sprott's penchant for conjuring the specters of haunting '60s folk butts heads with Big Easy brass and bright organs. He wears his influences on his sleeve, borrowing from heyday rock 'n' roll just enough to leave room for his own embellishments, of which his soulful voice stands as a distinct highlight. Sprott's solo work is stripped of some of the Mumlers' pizzazz, but you'll find that even more exposed, his talents are given wiggle-room to burst and bloom."
Eternal Tapestry (Thrill Jockey Recs)
Hornet Leg
***PLUS DJ Set from:***
Selector Dub Narcotic (aka Calvin Johnson of K Recs)
Nashville's JEFF the Brotherhood was dropped by Warner Brothers Records, and will now release Wasted On The Dream via their own Infinity Cat Recordings on March 24th. The band has released the following statement....
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!
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
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."
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.
It's a night of great hip hop, XRAY and Mike Thrasher Presents bring PRhyme, the new project from Royce da 5'9" and DJ Premier.
Tickets online at cascadetickets.com
Sat MARCH 7, 2015
Back Fence PDX: MAINSTAGE | Something I Cannot Unsee Or Undo
DOORS 6:30PM | SHOW 8:00PM | 21+
ALBERTA ROSE THEATRE
3000 NE Alberta St
Telling stories on the theme Something I Cannot Unsee or Undo: returning crowd favorite the Emmy Nominated Director of Six Days to Air: the Making of South Park, ARTHUR BRADFORD (PDX), Primetime Emmy Winner for Outstanding Writing — for Key & Peele, COLTON DUNN (LA), Tarot Card Reader and Spiritual Astrologer, MISS RENEE (PDX), Husband/Wife telling a story in tandem: Writer/Performer of 8 solo shows that traveled fromom the HBO/US Comedy Arts Festival in Aspen to the 2014 Summer Nights Festival in Perth. BRIAN FINKELSTEIN+ Writer/Performer for Modern Family/30 Rock/The Office , JEAN VILLEPIQUE and and Oregonian Reporter + Documentary Filmmaker, CASEY PARKS (PDX).
$15—$22.50 ADVANCE | $18 DAY OF SHOW
For $22.50 there a limited number of VIP tickets available, reserved until 7:50pm, in the front rows of the main floor.
*Storytellers subject to change without notice. Stories may contain explicit language and/or subject matter.
THE FIRKIN MUSIC FEST 2015 offers up a diverse selection of FREE SHOWS for three consecutive nights featuring some of Portland's most stellar up and coming bands including Talkative, Fog Father, Nature Thief, LiquidLight, The Hill Dogs, SamDensmoreDamSensmore, Pretty Gritty, Tango Alpha Tango, Tribe Mars, & Walking Stalking Robots. Beer will flow from genuine Firkin barrels while supplies last!
All shows are 21+
Thursday March 5, 6pm - 10pm
Talkative + Fog Father + Nature Thief + LiquidLight
Friday March 6, 7pm - 10pm
The Hill Dogs + Sam DensmoreDamSensmore + Pretty Gritty
Saturday March 7, 7pm - 10pm
Tango Alpha Tango + Tribe Mars + Walking Stalking Robots
LINKS:
Thursday March 5
Talkative - talkative.bandcamp.com/
Fog Father - fogfather.bandcamp.com/
Nature Thief - naturethief.bandcamp.com/
LiquidLight - liquidlight.bandcamp.com/
Friday March 6
The Hill Dogs - http://hilldogs.bandcamp.com/
SamDensmoreDamSensmore - www.samdensmore.com
Pretty Gritty - www.prettygrittymusic.com
Saturday March 7
Tango Alpha Tango - www.tangoalphatango.com/
Tribe Mars - https://www.facebook.com/tribemarsportland
Walking Stalking Robots - www.walkingstalkingrobots.com
Doors 8PM | Show 9PM
3939 N. Mississippi, Portland OR 97227
21+
About Psychomagic:
"PDX garage pop band signed with Lolipop Records."
About Bed:
"In late 2013, Alex and Sierra Haager quit their jobs, escaped their lives in California and headed north to start Breakup Records. Although they spend most of their time working with some of their favorite bands, they still found time to create a new music project for themselves.
bed. spent the last year releasing a steady stream of singles and videos, slowly creeping into brains, near and far. This year marks their first foray into the festival scene, with an appearance at Treefort Music Fest scheduled for March 27th.
With their fourth single - Fremm - the band returns to the sonic land of their forefathers. Joined now by Andrew Meininger (ex-Wampire) on drums and recorded in Portland with Jared Brannan, this pop-heavy track trudges along at a gentle 86 BPM. The accompanying video was created by Jess N Pierson."
Doors: 7:00 pm / Show: 8:00 pm
$20.00 ADV/DOS
21 + | minors with parent or legal guardian
About Stars:"Stars have announced their fall North American tour in support of their sixth full-length album, The North, which will be released on September 4th via ATO Records. Fans who purchase tickets for any of the US headlining shows will receive a digital copy of the album on release day and an instant download of "The Theory of Relativity". Tickets go on sale Friday July 13 and can be purchased on www.youarestars.com.
The North was recorded in Montreal's historic RCA Victor Studios and was produced by Stars, Graham Lessard and Marcus Paquin (Arcade Fire). Stars shared the first album track "The Theory of Relativity" last month, and is still available as a free download via www.youarestars.com and can be streamed at http://soundcloud.com/youarestars/the-theory-of-relativity."
About Leisure Cruise:
"Leisure Cruise is Dave Hodge and Leah Siegel. Hodge—the Canada-born musician (Broken Social Scene & Bran Van 3000..who has also performed with Macy Gray, Feist, Brazilian Girls, and Basement Jaxx), arranger (Janet Jackson/Neptunes, Carly Simon), and composer; and singer and songwriter Leah Siegel (a fixture on the New York scene known for her solo project Firehorse and for performing with The Citizens Band) were brought together to do a tv spot in '09. Four years later, they ran into each other on the street. Dave was working on a record, his own, "finally" he said, after years of making them for other people. He invited Leah to participate. His vision was to have his friends each co-write a track and end up with a beautiful monster of a record. Leah was happy to take part. It was a wonder that they even recognized each other at the time.
It took all of one studio day in April 2013 for them to know they should just keep writing. Two months later they had written half an album. Siegel says, "Dave was really modest regarding the 'friends' he had slated to write and perform on the record. They were all busy on tour doing the major festival circuit. I was embarrassingly available at the time. We worked so well together in the studio, it just made sense to keep going back every day, keep writing, even though we had no real reason to, no deadline." Hodge realized that his plans for his record were changing and over the course of the next several months, the two created their band Leisure Cruise—and their self titled debut album of darkly hypnotic, danceable synth-based anthems.
The band name: During the early days of their writing together, astronomers had discovered three new planets in the Lyra constellation that appeared capable of supporting human life. What if we had to leave earth and colonize a new planet? They imagined "a final leisure cruise for the human race,"—and the fledgling musical project as a sort of soundtrack for it. "We're sort of living our lives in a state of leisure," Dave says, "with regards to using up resources and knowing what's happening and not really doing much about it." Not that Leisure Cruise is all doom and gloom (or that it could be, with a name like that). "It's not this apocalyptic thing," says Siegel, of the concept. "We'd elect to make a purposeful and exciting exit. Try something new. In my head, I see it as a natural progression in the hopefully delayed inevitable."
So what would play on this spaceship's sound system? Something sounding like the future as imagined in the past—yet rooted in the now. Imagine the music of a John Hughes film if it had been written by Bowie, remixed by Johnny Jewel, and fronted by a female Prince, and you'll start to get the idea. Rounding out the sound is an impressive roster of guests (Metric's Jimmy Shaw, Blondie's Tommy Kessler, Liam O'Neil from the Stills, Justin Peroff of Broken Social Scene, and Drake's Adrian Eccleston). It's at once dark and light, serious and fun, melancholic and euphoric. Ask Hodge and Siegel about their sound and process, and the answer sounds a lot like what happiness researchers call flow. "We weren't trying to emulate anything," Hodge says. "We were just making music."
In fact, Hodge and Siegel see Leisure Cruise as the product of two musical soul mates meeting at just the right moment in their careers to truly savor it. "I've worked with some great singers, but it's really very effortless with Leah," says Hodge. Chimes in Siegel: "This is just the truest collaboration I've ever experienced—it's a rare pairing."