UPCOMING SHOWS

Thu Sep

28

Holocene 1001 SE Morrison St. PDX OR

$12 Adv.
Doors 9pm; 21+

TICKETS

SINJIN HAWKE

ZORA JONES

GUTTA

ARTIST BIO

Barcelona based Sinjin Hawke - who has recently been making liquid metal waves in a series of collaborations with the likes of Mike Q, L-Vis 1990 and Just Blaze, has been strutting his production acumen across a dizzying array of styles this year. Whether they be celestial remixes for ghetto house legends, wildly textured club machinations or space-age grime/Memphis amalgamations, his orchestral arrangements come across as monolithic as thousand-year-old statues carved out of granite cliffs. Whether he’s performing on his own or teaming up with fellow Fractal Fantasy co-founder, Zora Jones, Sinjin Hawke has the golden touch that brings technicolor to the most monochrome of clubs, creating the kind of atmosphere that brings all us a bit closer together.

Thu Oct

5

45 East 315 SE 3rd Ave. PDX OR

$15 Adv.
Doors 10pm; 21+

TICKETS

GRYFFIN

AUTOGRAF

ayokay

ARTIST BIO

Last year, L.A.-based producer Gryffin delivered two heavy-hitting singles that showcased his deeply melodic take on dance music. With both tracks built on a graceful fusion of indie and electronic elements, “Heading Home (ft. Josef Salvat)” shot to #1 on Spotify’s US and Global Viral charts, while “Whole Heart” (a collaboration with Bipolar Sunshine) hit #2 on Spotify’s New Music Friday playlist. Also known for turning out several of the biggest remixes in recent years—including his masterly reworkings of Tove Lo’s “Talking Body,” CHVRCHES’ “Clearest Blue,” and Years & Years’ “Desire”—Gryffin is now offering up his latest original track and bringing his boundary-shattering artistry to bold new heights. Emotionally charged and irresistibly high-energy, the aptly named “Feel Good” is powered by hypnotic melody, massive beats, and a magnetic vocal performance from singer/songwriter Daya. Fresh off her Grammy Award win for “Don’t Let Me Down” (the multi-platinum smash that earned 2017’s Best Dance Recording prize), Daya lends her soulful vocals to Gryffin’s immaculate arrangement of heavy synth and delicate guitar work. In crafting that arrangement, Gryffin drew equally from his edgy ingenuity as a producer and his carefully honed musicality as a longtime guitarist and classically trained pianist. “The lyrics that Daya came up with had so much intensity to them—writing about that significant other in your life who puts you in a positive, happy state of mind, even when bad things may be happening in your life or in the world. I wanted the production to reflect that intensity, but at the same time create a really positive vibe,” explains Dan Griffith, who’s made music under the name Gryffin since 2014. “My goal with the song was to find that balance, and I ended up hitting it by adding a lot of synth sounds I’d never used before, and by bringing in different guitar textures and then flipping them in a new way. That’s what the Gryffin project is about overall: making electronic music but using real guitar and real piano so that there’s this organic feeling to every song.” Originally from the San Francisco area, Gryffin began his musical journey by taking up piano at age seven. In high school he added guitar to his repertoire in addition to writing his own music for the first time. While studying electrical engineering at University of Southern California, Gryffin broadened his sonic palette by diving into the world of electronic music and teaching himself production with a downloaded copy of Ableton. “I got started during a really exciting time for electronic music—I remember thinking I’d never heard sounds like that before,” recalls Griffith, who lists the early work of artists like Skrillex and Avicii among his first influences. “It all felt so fresh and new to me, and I wanted to see if I could make music like that too.” Toward the end of his studies at USC, Griffith started posting his original productions online and soon gained attention for his inventive sensibilities. One of his earliest releases, a 2014 remix of Ellie Goulding’s “Burn” was hailed by EDM Tunes for “evok[ing] a cosmic, almost transcendental ambience with an electric guitar backdrop and airy vocal splices,” and quickly expanded his online following. “That remix was the first time I’d used guitar in a dance music production,” notes Gryffin. “All of a sudden I had all these producers messaging me to ask how I did it, which was the moment when I realized that maybe this was a direction I should keep pursuing.” As he sharpened his production skills and refined his vision, Gryffin pushed forward with releasing highly acclaimed remixes (including his 2014 take on Maroon 5’s “Animals,” which would eventually catch the attention of Interscope Records and lead to his signing). In late 2015 he made his stage debut at the SnowGlobe Music Festival, unveiling a dynamic performance that deftly introduced live instrumentation into the dance music format. With “Heading Home” arriving in early 2016—and accumulating a million plays within just a week of its release via Darkroom/Interscope Records—Gryffin next embarked on his sold-out Heading Home Tour and later played major summer festivals like Electric Forest, Camp Bisco, and Firefly. Released in August, “Whole Heart” racked up more than 35 million streams on Spotify and served as the launching point for Gryffin’s biggest tour to date: the Whole Heart Live Tour, a fall 2016 trek that spanned North America. With a highly-buzzed about set at Coachella both weekends this year and upcoming performances at A-list festivals like Lollapalooza and Governor’s Ball 2017, Gryffin thrives on creating an unforgettable stage show that blurs the line between electronic music and raw live performance. Further proving the vitality of his music, several artists have taken to performing Gryffin’s versions of their own songs when playing live. And with his name referencing the mythical half-lion/half-eagle creature and its power to soar, Gryffin aims to continue instilling a potent, uplifting energy into each of his tracks. “Part of the reason I like working with piano and guitar so much is that it adds a human element that can’t be replicated—you might not even realize it as a listener, but you feel it on some deeper level,” he says. “It builds this connection that’s really powerful, and to me that ability to make music that moves people and picks them up is the most rewarding thing in the world.”

Sat Oct

7

Wonder Ballroom 128 NE Russell St PDX OR

$17 Adv.
Doors 8pm, All Ages

TICKETS

BLACK TIGER SEX MACHINE

KAI WACHI

SULLIVAN KING

LEKTRIQUE

ARTIST BIO

Black Tiger Sex Machine are a trio of electronic music producers from Montreal, Canada. Known for their heavy electro and bass sound, they perform a unique show in which they combine tracks, loops, drums, samples and synths into an intense barrage of sounds and beats, all while wearing their iconic Tiger Helmets. They first caught industry attention in 2012 with a series of blistering electro releases accompanied by live demos and video clips showcasing their innovative and energetic performances. After several overseas tours to Europe and South Africa in 2013 and 2014, they made their highly-anticipated US debut in January 2015. Constant touring throughout the year across North America saw them raise their profile considerably as they made high-profile appearances at festivals like Electric Forest, TomorrowWorld, Electric Zoo, Lollapalooza and Escape from Wonderland. Their dedication and groundwork has attracted an ever-growing fanbase dubbed the BTSM Church. Black Tiger Sex Machine are also the brains behind Kannibalen Records, which has quickly become one of the top independent labels in the game. Through Kannibalen, they’ve shaped the careers of breakthrough artists like Snails, Apashe, Kai Wachi & Dabin. In 2016, BTSM are primed to further consolidate their status as the standardbearers of the new electro sound. They’ll kick off the year with their debut fulllength album before going on a 3-month tour across North America accompanied by fellow Kannibalen Records artists Apashe and Dabin. With the BTSM Church attracting new faithful every day, the group shows no signs of slowing down as they strive to push musical boundaries in dance music. We are Black Tiger Sex Machine. Welcome to our Church. Our Helmets. Our Religion. #BTSMChurch

Sat Oct

14

Roseland Theater 8 NW 6th Ave. PDX OR


Doors 7; All Ages

TICKETS

RL GRIME

GRAVES

KITTENS

ARTIST BIO

RL Grime is a distinct voice in a sea of monotony. He has found a way to conquer the electronic space without compromising his identity, and therefor evokes an unrelenting independence in a world where independence is the utmost rarity. His live show has been celebrated as "an unparalleled force" and has graced the biggest festival stages across the world (Coachella - LA, Lollapalooza - Buenos Aires, STORM - Shanghai etc) With only 1 album out, over 100 million plays on his songs, rave reviews and magazine covers, he has quickly become the darling of the dance world. And at 25 years old, with his next LP on the way, he is on the verge of becoming a household name.

Tue Oct

17

Wonder Ballroom 128 NE Russell St PDX OR

$20 Adv.
Doors 8pm, All Ages

TICKETS

ALISON WONDERLAND

ELOHIM

ARTIST BIO

2015 saw her US live show debut at Coachella, her debut album Run, debuting at #1 on the US Electronic Billboard charts, a US tour taking in stops in NYC, Miami and Chicago with EDC Las Vegas, Lollapalooza, European tour and a HUGE sold out Australian Warehouse tour, 2016 is looking very bright for Alison Wonderland. The way you hear her tell it, Alison Wonderland has wanted to name her first album Run since before she knew how to play an instrument. It’s something that she’s carried with her over a diverse career spanning multiple projects, all of which have crystallised in a record that’s a twisted looking glass into the soul of one of Australia’s most promising musician/producers. Welcome to the contradictory world of Alison Wonderland; an Australian artist who has written an album during her time in Los Angeles, a public personality who privately obsesses over her music with near-­?maniacal intensity; an electronic producer who is equally proud of her pop songs and her festival bangers. She’s a chemical performer who has played cello in orchestras, rocked the bass in indie bands and graced turntables in front of thousands. From Stereosonic to Splendour and Coachella, not to mention a killer ‘Diplo and Friends’ BBC radio mix and a national run of secret warehouse shows that sold out in hours, Alison Wonderland has probably racked up more air miles in the last 18 months than hours of sleep. Thanks to the non-­?stop rotation of her breakout hit ‘I Want U’, which topped Hypemachine and its EP Calm Down, which garnered millions of plays on Soundcloud, Wonderland has become known not only as a crowd-­?pleaser, but also for her ability to craft great songs. ‘The way to be a good producer is about using your ears,’ says Wonderland. ‘If you just did what textbooks said, nothing new would ever happen.’ To help her develop this vision on her first feature-­?length, Wonderland worked with some great songwriters from both sides of the equator; Djemba Djemba, known for his work with Diplo’s MAD DECENT label and the cutting edge up and coming producers from around the world AWE, Lido, Ganz and Alexander Burnett. Run is a record that feels like the ones Wonderland bought growing up. As a DJ, if you don’t have a direction to take an audience in, what’s the point of playing a set? I feel the same about an album, she says. With its definitive opener and closer, Run is defined by its shapeliness. “Order is so important”, says Wonderand. “Even live, it’s not always about being ‘bang bang bang’; you have to have lulls, you have to bring people up again, you have to take them to another place and do it tastefully.” Running the gamut from electronica, future beats, trap, and dancehall to classical and pop music, Run, is a dance album with personality. Wonderland sings on almost every track, a decision she made while in Los Angeles, and also took lyrical control. “My lyrics and melodies come faster the more music I’ve written, and it’s easier to delve into my mind,” she says. “Especially these days, music that’s made from your soul is better than music that’s made from your brain.” The record boasts a robust rolodex of guest collaborators, all of whom Wonderland describes as close family. “I’ve never dialled in someone. I only wanted to make this album with people I fucking love,” she said of Run, which features Norwegian wunderkind Lido, New York rapper Johnny Nelson, SAFIA’s Ben Woolner-­?KIrkham and even Flaming Lips impresario, Wayne Coyne. Wonderland’s approach to writing with others, like most of her life, is refreshingly unorthodox. “The first thing I say [when someone I’ve never met gets to the studio] is ‘Tell me what’s going on with your life. I want to hear the last thing that made you cry.’ And we sit for hours and talk to each other and then we get down to the music.” Run is about striving for greatness, and never feeling like you’re quite there, which is sort of what Wonderland means she says it’s an album about her time in Los Angeles, and observations of people, love, anxiety and the industry. It’s the infectious groove of first single ‘U Don’t Know’, the crushing beats of ‘Ignore’ and the near-­?ecstatic release ‘Carry On’, the sound of the DJ who won’t leave the stage until the makeup is running down her face and she’s drenched in sweat. It’s the anthems-­?in-­?waiting, ‘Run’, ‘I Want U’ and ‘Games’, a pop number sneaking out of left field. But what Run is really all about, what you can hear and feel when you play it, is Wonderland’s very real inability to sit still. ‘I always feel like I’m never satisfied,’ she says. ‘When I get to a certain place, I’m still not content. It’s really about pushing yourself.’ Alison Wonderland dives down all manner of audio rabbit holes with Run and emerges with something unique and personal. She drives everyone around her crazy. She drives herself crazy…But her debut album is out, she’s played Coachella had two ARIA nominations and here she is, still running. The question is, can you keep up?

Thu Oct

19

Roseland Theater 8 NW 6th Ave. PDX OR

$29.50 Adv.
Doors 7; All Ages

TICKETS

GRiZ

OPIUO

MUZZY BEARR

ARTIST BIO

At age 27, GRiZ is showing no signs of slowing down. His latest release, Good Will Prevail (via his All Good Records imprint) debuted at #1 on the electronic charts while simultaneously being available for free download. Always eager to spread the good vibes, GRiZ is back for another North American fall tour kicking off with two sold-out nights at Red Rocks amphiteatre. With engines in high gear, both fans and critics alike have all caught wind what GRiZ has been throwing down. Billboard has called the music brilliantdz with DJ Mag clamoring more than all good –it’s great! GRiZ has become a champion of the live electronic landscape; effortlessly blending improvised saxophone, guitar, vocals and more over booming bass lines, hard drops, and some of the most creative transitions in the game. Show Love. Spreaed Love.

Fri Oct

20

Roseland Theater 8 NW 6th Ave. PDX OR


Doors 7; 18+

TICKETS

REZZ

CRYWOLF

ZEKE BEATS

ARTIST BIO

Though young at 22 years of age, REZZ is anything but an amateur as a producer of genre bending works, striking a sharp balance between bass heavy and minimal tech composition. With less than a handful of EPs under her belt, she just returned from her first solo headlining tour which saw sold out shows across the board. Having gotten her start in music as a local DJ in her hometown of Niagara Falls, she was still a teen when she decided that production was the path she would take. After studying sound design extensively at home and psychology as an aid to her creative process, her experimentation, dedication and hard work have paid off in paving a way for a long career ahead as a producer of downtempo soundscapes. With a strong vision and no two ways about it, REZZ's headstrong decisiveness is arguably the key to her success so far. She began to build a following on SoundCloud with a series of free releases which in a short time inevitably caught the ears of EDM golden boys Skrillex and Deadmau5, who helped bring her out to the masses with near back-to-back releases of a three-track Insurrection EP on OWSLA's The Nest imprint in 2015, followed by the Serenity EP via Mau5trap in 2016. Since running laps through festival circuits around the world and the release of the Something Wrong Here EP in October 2016 on Mau5trap, her ever-evolving and idiosyncratic electro sound is only getting stronger. With a full-length album scheduled to drop in the fall and billings on a slew of major festival lineups including Tomorrowland, Ultra, EDC, Electric Forest, Shambhala, Electric Zoo, Mysteryland, and HolyShip! amongst others, REZZ is on track and gearing full steam ahead for another big year.

Thu Oct

26

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

SNAKEHIPS

STWO

YAHTZEL

ARTIST BIO

Snakehips rapidly made their name with Hype Machine chart-topping remixes for Banks, The Weeknd, Bondax and Wild Belle. Earlier this year, the duo also released their 4-track EP ‘Forever (Pt II)’, featuring a several talented vocalists - Londoner Kaleem Taylor, The Internet’s Syd, singer-songwriter Sasha Keable and Daniella T.A.O.L. The result is a perfect example of Snakehips’ signature sound; a sensual, contemporary take on old school R&B and hip hop. “We love the vibe of 90s music – Hi-Tek, Pete Rock, that golden era of R&B with singers like Aaliyah and SWV,” says James. “We’re suckers for anything with cool soul samples and old drum beats. But we’re also influenced by living in London. We borrow from the past to make music for the future.” The pair’s first release was a remix of Chicago band Wild Belle’s ‘It’s Too Late’; their next, a remix of ‘Gold’ by electronic duo Bondax. Both used only the original vocal, topped the Hype Machine chart and revealed Snakehips’ love of ‘90s hip hop, disco and vintage soul. Then, in 2013, Snakehips heard Banks’ song ‘Warm Water’ and loved it so much that they contacted her personally, asking to remix it. She sent the acapella, they added their touch and soon had another blog hit on their hands, consequently being asked to rework The Weeknd’s ‘Wanderlust’ as a reward for their endeavours. After The Weeknd tweeted his praise, their remix amassed over 1.5 million plays in less than a month. The reaction to their own music, however, was in a different league. The lush and sultry ‘On & On’, featuring up-and-coming Australian singer George Maple, sent blogs into a frenzy, reached the Top 10 of the iTunes electronic charts on both sides of the Atlantic and caught the attention of BBC Radio 1’s Zane Lowe, Annie Mac, Mistajam and Monki, for whom Snakehips later recorded a guest mix. Like ‘Days With You’, ‘On & On’ was a song about heartbreak that sounded like summer - or as Ollie outs it, “It’s about a bloke George was in love with who didn’t love her back.” ‘On & On’s soulful blend of retro and modern became Snakehips’ trademark and was further refined on dreamy single ‘Days With You’, featuring Sinead Harnett. Further remixes for Raury and Flight Facilities have also earned the duo high praise, with each release amassing well over 1 million YouTube plays. With their production work going from strength to strength, Snakehips were therefore a natural choice as nominees for this year’s ‘Best Newcomer’ at the 2015 MOBO awards, alongside the likes of George The Poet, Sinead Harnett and Nao. Currently working on their debut album, Snakehips have also decided it’s time to reveal themselves as 25 year old Londoners Oliver Lee and James Carter. Despite a shared home city, the pair met on separate business trips to Hong Kong, where they bonded over shared musical interests. They shared a flight to Los Angeles, began talking music and booked a studio in which to work on a track. It went so well that within days of returning to London they nudged their laptops together and Snakehips was born. Notably, all releases come through Snakehips’ own label Hoffman West too, named after a fictional character Ollie created to get into clubs for free. “Put the name Hoffman West, plus five, on a guest list and no one asks questions when you get to the door,” he explains. “There’s something about that name that sounds so important that you’re always ushered straight in.” Looking ahead and despite their hectic schedule, which saw the duo support Major Lazer on their European Tour this summer, Snakehips have still found time to produce one of the most hotly-anticipated tracks of their career to date - a collaboration Tinashe and Chance the Rapper. ‘All My Friends’ evokes the spirit of future-facing Hip-Hop and R&B, with both the sultry vocals of Tinashe and witty, quick-fire wordplay of Chance The Rapper lacing Snakehips’ punchy, dreamscape-like beat with both power and purpose. The hook - both emotional and vividly infectious - grounds the record too, giving it a thoughtful, binding quality sure to lend itself well to international audiences.

Thu Nov

2

Memorial Coliseum 1 Center Court PDX OR

ODESZA

SOFI TUKKER

KASBO

ARTIST BIO

2017 finds ODESZA’ s Harrison Mills and Clayton Knight on the precipice of a musical takeover with their third full-length album ‘ A Moment Apart.’ The relentless touring that followed sophomore release ‘ In Return’ gave way to prolific studio sessions, and the result is a 16-track album representative of ODESZA’ s growth and maturity: weighted atmospheres, shimmering synth lines and familiar feelings of nostalgia, optimism and hope. The advance releases from the album give a glimpse into ODESZA’ s dynamic range: from glittering and summery on “Line Of Sight (feat. WYNNE & Mansionair)” to cinematic and emotional on “Corners Of The Earth (feat. RY X)”. Instrumental tracks “Late Night”and “Meridian” bear trademark ODESZA synth and drum work, with the latter ushering in a subtle tone shift into slightly grittier territory. As with their previous studio output, the album’ s introspective nature belies the raw energy of the duo’ s consistently sold-out live shows. New music, live instrumentation and all-new stage production are in store for the 2017 A Moment Apart Tour, the first incarnation of which debuted to 19,000 fans over two nights in May at the hallowed Red Rocks Amphitheater.

Fri Nov

3

Wonder Ballroom 128 NE Russell St PDX OR

$17 Adv.
Doors 8pm, All Ages

TICKETS

THE FLOOZIES

THE FUNK HUNTERS

MADDY O'NEAL

ARTIST BIO

Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker’s bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most. Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors. Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now. When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites STS9 and Big Gigantic. Sold out shows across the Country, huge festival appearances at Bonnaroo, Electric Forest, High Sierra, Summercamp, Wakarusa, Camp Bisco, Summerset, Bumbershoot, and a headlining Red Rocks show have continued to cement the duo’s ascent. The Floozies are bringing the funk back, and they’re right on time. Check out the latest from the Dzundisputed kings of electro funkdz-- "Arithmetic (feat. ProbCause)", and look for the new album from The Floozies, DzFunk Jesusdz, coming September 2017. "If you’re looking for some tunes to throw on your evening summer beach playlist, electronic funk duo The Floozies has you covered." - EDM Tunes "Taking funk music to a new level."- Noise Porn "Live electronic, funked-out brotherly duo."- Live for Live Music

Wed Nov

8

Holocene 1001 SE Morrison St. PDX OR

$12 Adv.
Doors 9pm; 21+

TICKETS

PHANTOMS

ARTIST BIO

Phantoms, comprised of Los Angeles-based natives Kyle Kaplan and Vinnie Pergola, are a dance act that does exactly that. Often tough to box in... the boys' style lends itself to many elements of electronic and pop music; while still managing to always incorporate distinct synths and drum samples that have become synonymous with their "genre" of alternative electronic. Stemming from deep-seated roots in music and entertainment backgrounds, K&V put their entire beings into the project. They keep everyone continually dancing with an impressive live set of drum pads, synthesizers and midi controllers, while also keeping audiences engaged through their own style of humor on social media platforms. A full-time job for the band. Their fun and downright captivating personalities shine through all aspects of Phantoms. After releasing their first EP in 2015 to massive press like Billboard and Entertainment Weekly, the duo has been remixing some of their favorite songs of the year and playing shows and touring with the likes of Big Wild, Com Truise, Kiesza and more. The band's debut record, Phantoms, is currently out now via Casablanca/Republic Records.

Wed Nov

15

Holocene 1001 SE Morrison St. PDX OR

$12 Adv.
Doors 9pm; 21+

TICKETS

BLANK BANSHEE

ARTIST BIO

Blank Banshee is a Canadian musician based in Vancouver, BC, Canada. He began releasing music in 2012 though the streaming service Bandcamp with ‘Blank Banshee 0’, a 15 track digital album featuring 90s pop culture and tech samples layered over original work. He released his sophomore album 'Blank Banshee 1' in October of 2013. The Fader calls it 'a masterwork of the new digital psychedelia’. It is often regarded as one of the forerunners of the 'Post Vaporwave' movement. Blank Banshee maintains a somewhat elusive presence. His real name is Patrick Driscoll and he often appears masked live and in photos. In 2014 limited copies of both '0' and '1' were released through the indie label 'Hologram Bay’. Blank Banshee's music has appeared in numerous forms of documentaries and media including the Netflix series Unplanned America. In 2011, the band Shinjuku Mad disbanded after self releasing only one album and an EP. Driscoll, who was a member, had become his own artist and has used samples of Shinjuku Mad's songs in his music, most notably the use of Shinjuku Mad's Resistor in Blank Banshee's Dreamcast (Blank Banshee 0) and the use of Shinjuku Mad's Negatives in Blank Banshee's Gunshots (MEGA). In December of 2014, he announced through a cryptic Facebook post that his next album was in the works. At October 1st, 2016, Blank Banshee officially revealed his 3rd album, MEGA, through a Facebook post. It was released October 10th, 2016.

Sat Nov

18

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

GIRAFFAGE

SWEATER BEATS

WINGTIP

ARTIST BIO

San Francisco-based producer Giraffage (Charlie Yin), whose dreamy synth-pop productions have appointed him as one of electronic music’s most refreshing and innovative producers among the landscape, takes a sonic leap forward with his forthcoming record Too Real, out this October on Counter Records. Yin grew up in San Jose, California to two Taiwanese immigrants and was raised in a traditional Asian upbringing. A self described “music nerd since day one,” his initial interest grew into something larger after his parents bought him a drumset in eighth grade. “I was always the one passing music suggestions to my friends”, he says, “and the more time I spent working on music the more I knew that’s all I really wanted to do.” His wide range of musical knowledge acted as a launching pad for his own productions, which he began making on a now defunct software program called Tabit. From there he began posting songs online and started gaining traction among online music communities. He quickly advanced to more sophisticated programs and after a handful of releases under the moniker ‘Robot Science’, he introduced Giraffage midway through his final year in college with his self-released synth-pop debut mixtape, Comfort. By the time he graduated in 2012, he was regularly playing shows across the globe. “I didn’t have any high hopes for the Giraffage project,” he recalls of his early days diving into music full time. Like many American kids born to immigrants, his parents disapproved of a career in music and hoped he would pursue a more auspicious path in law or medicine. “They told me I could give it a year after graduation and if nothing came of it then I needed to reassess my plans.” Lucky for Yin, his success raced ahead at lightspeed following his 2013 Needs mixtape, a release that showcased his versatility as a producer and “omnivorous music lover,” as noted by Pitchfork. It wasn’t until his world tour supporting Porter Robinson-- an experience he considers one of the most pivotal points in his career-- that he was able to see the panorama of his rapidly growing fan base. He continued touring with names like Phantogram, Flume, XXYYXX, and dropped his No Reason EP with Fool’s Gold in 2014-- his first release that featured all sample-free productions. For the last year and a half, Giraffage has continued to tour and play major international festivals while writing his forthcoming LP Too Real. The album, which takes sonic and stylistic cues from such groundbreaking acts as Yellow Magic Orchestra, Haruomi Hosono, Soichi Terada, Interpol, and Radiohead, “is a return to my musical interests and roots,” he explains. Indeed, Too Real, sounds like just that-- an authentic return to the music he’s believed in from the start.

Wed Nov

22

Roseland Theater 8 NW 6th Ave. PDX OR


8:30pm; 21+

TICKETS

FLYING LOTUS IN 3D

ARTIST BIO

You see, no one likes talking about death. But Flying Lotus has never been one to lead the people on a simple journey. With You're Dead! he has managed to create a shamanic pilgrimage into the psychedelic unknown of the infinite afterlife. At once reflective, restless, heart wrenching and joyous, this is a melodic ode to those who have died young, suddenly and unexpectedly -- those who have passed away into another realm completely -- while also existing as a comfort to those mourning the loss of a loved one, those left behind in our here and now. You're Dead! serves as an exploration, a eulogy and a portal between these parallel domains. "My perspective comes from having lost a lot of people. A lot of my family members passed, but a lot of my colleagues passed away too soon," says Flying Lotus. "I felt like in my own experiences, I wanted them to have this same sense of self." Musically, the album treats death as a transition from one experience to another, from one dimension of sound to another. Masterfully, Flying Lotus bathes death in the sensitive, affectionate light of a storyteller. Flying Lotus takes listeners on a consciousness-fracturing journey as they follow those who've passed away as they embark on their tender new existences "on the other side." This life in the new dimension is rife with excitement, adjustments and reconciliation for some who are struggling to make sense of how they got to the other side in the first place. "The album isn't about the end," says Flying Lotus. "It's really the beginning. It's the beginning of a new experience," he says. "It's not hey you're dead," he says somberly. "It's hey you're dead!" he says with an uptick of enthusiasm. "To me it's a celebration of the next experience. Also, it's the transition and the confusion," he adds. You're Dead! is a hefty undertaking, but Flying Lotus aptly creates an engaging sonic delight, part spiritual carnival, part melancholic symphony, all the while coaxing listeners out of their fears of the unknown -- and sometimes indulging those same fears. This aural procession through the afterlife does not trade on our clichéd catalog of pop-culture references to extinction. You won't find grim reaper-referencing rote drama, or the pallid somber palette of reverential muzak. This is a sonic, visual and metaphysical fusion of technological innovation and technical virtuosity that amounts to a transcendent, mind-expanding plasm that could only exists between our world and another. Land of History & Future Always existing simultaneously as an insider and outsider in the great lineage of jazz, here Flying Lotus has taken up the mantle of a generation. "I really wanted to do something that came from the jazz spirit instead of a beat record," he says. In thus in the spirit of the great fusion collectives of the 1960s and 70s, so has Flying Lotus' universe of supporting cast expanded and evolved to encompass incredible musicians, visual artists and personalities, young and old. "I recorded every instrument individually. There was never a set band," he says. "I can't write sheet music, so it's better for me to work with each person and perfect each part." "I had so much fun making it because I got to try different techniques. I got into all kinds of techniques; I tried to bring in techniques from old jazz records and psychedelic rock records into how I mixed things and arrange things." Flying Lotus credits his work with Thundercat on previous work for opening him beyond the more solo work of the beat producer to collaborative work with musicians. "I've never been so open to the process as I was with this album," he says. Thundercat co-produced several songs and wrote the eerie "Descent into Madness." The gravity of this musical utopia has been growing ever stronger over time, and so it attracts very powerful travelers. Here, this includes Kendrick Lamar and Snoop Dogg. These living legends provide a recognizable lifeline from the hallucinatory turmoil of the afterlife back to present-day Los Angeles. In fact, when Snoop, Kendrick and the cunning Captain Murphy are present you're privy to an evolutionary triptych of the history and future of Los Angeles hip-hop mould-breaking. Speaking of history and future, the pairing of jazz legend Herbie Hancock and Flying Lotus is a supreme highlight of You're Dead!. Playing the Fender Rhodes, the iconic electric piano that Hancock himself popularized over myriad essential recordings, the meeting of two generations of jazz fusion innovators is a historic occasion. It was the coolest," says Flying Lotus of working with Hancock. "In the middle of a take he'll tell you a story about Miles Davis for 20 minutes. I was really flattered that he wanted to be a part of my music." The twosome challenged themselves. "We were trying to figure out how to make a jazz record that feels new. We said, what if Miles came and they showed him all the jazz records made today. We wanted to have a jazz record that would fuck him up." Eternity Trip The album's opening piece is a pure sonic manifestation of the moment of ending. This wrenching into a new and unfamiliar setting quickly ushers in "Tesla," a searching for equilibrium in new and impossible surroundings. "Cold Dead" finds metaphysical eternity and futuristic fusion jazz locked in an acid-fried shredding match for the prizes of minds and souls. "Never Catch Me" is a sprint through a netherworld as Kendrick Lamar flaunts death with equal parts world-beating confidence and introspective conviction. "Life and death is no mystery and I've won against it," raps Lamar. "Dead Man's Tetris" plays with the pogo stick harmonics of the nostalgia-inducing video game and features Snoop Dogg and Captain Murphy trading verses about flirting with death and those musical legends who now reside in the hereafter, in which they find themselves upon the mic. "Stirring" maintains this sense of vertigo as it slips into "Coronus, The Terminator." This screwed soul dirge drags itself past the ghosts of ATLiens and Soulquarians while splicing the DNA of the classic sci-fi film with the saga of You're Dead!. "Siren Song" sees Angel Deradoorian lead a wordless incantation over a chiming mystical backdrop, seamlessly morphing into the fourth-world tumble of "Turtles" and onto "Ready Err Not" a creeping radiophonic transmission which marks the mounting curiosity of the journeyer around the idea of death. "Descent into Madness" features Thundercat and highlights the heavier side of this exploration with a heavy dose of kaleidoscopic soul operatics, while on "The Boys Who Died in Their Sleep" Captain Murphy scours prescription meds for the right cocktail to "take the pain away." Slipping into the album final suite of songs there is much resolution and yet much that is left to the listener to internalize, questions to be answered by looking inside. You see, no one likes talking about death. But Flying Lotus has never been one to lead the people on a simple journey.

Sat Nov

25

Star Theater 13 NW 6th Ave. PDX OR

$17 Adv.
Doors 8pm; 21+

TICKETS

THE RUSS LIQUID TEST

SWATKINS & THE POSITIVE AGENDA

MONTEL SPINOZZA

ARTIST BIO

Redefining the possibilities of modern music, The Russ Liquid Test fuses the raw vitality of classic funk and the inventive sound design of electronic production. Songwriter/producer and renowned brass specialist Russell Scott heads up the New Orleans-based band. Guitarist Andrew Block and drummer Deven Trusclair round things out, with each providing a distinct musical background deeply rooted in the New Orleans jazz scene. Their debut EP 1984 featured an eclectic array of guest collaborators such as Mr. Lif and Ivan Neville—successfully creating an auditory canvas to forge The Russ Liquid Test’s irresistibly soulful future-vintage stylings. A kinetic energy infuses each track on 1984. Giving way to a mixture of funk/jazz/electro, The Russ Liquid Test evokes a kaleidoscope of textures, senses, and moods. Featuring Ivan Neville on keyboards and the Funky Meters’ Russell Batiste Jr. on drums, the effervescent and synth-heavy title track “speaks about the current state of America from the perspective of an outsider,” as described by Scott. Lead single “Honesty,” meanwhile, finds The Russ Liquid Test slipping into a woozy psychedelia, offset by a brilliantly structured dichotomy introduced in its second-line-inspired groove. At the heart of The Russ Liquid Test is an improv-driven musicality that began with Scott’s taking up classical piano. After spending several years playing in a jazz quintet on cruise ships and touring with psychedelic ska band Uprite Dub Orchestra, his one-of-a-kind artistry was unveiled in the genre-busting musical performance group MarchFourth Marching Band. Capable of playing the trumpet and saxophone, Scott quickly began experimenting with electronic music, eventually adopting the moniker of Russ Liquid. As his full-length debut, 2013’s Foreign Frequency showcased a forward-thinking mentality and fearless vision, anchored by an incomparable knowledge of music as a whole. “I wanted new colors to paint with,” says Scott of his foray into electronic music. “I kind of look at the electronic world as this whole other color palette, compared to the traditional sounds we’ve been working with for the past however many years.” While on tour with Gramatik in 2014, Scott crossed paths with Block and discovered the duo’s shared musical tastes and philosophies. A South Florida native, Block grew playing guitar in his local Pentecostal church. “I wasn’t religious, I just wanted to play at that church because the music there was amazing,” says Block. He later relocated to New Orleans, pursuing his dream of becoming a full-time musician. The guitarist’s legendary endeavors reached fellow purveyors of soul/funk/R&B, ranging from Pretty Lights to New Orleans icon Dr. John. Capable of collaborating and working as a solo artist without missing a beat, Block released his 2014 debut You Can Only Go Up From Here on Gramatik’s independent label Lowtemp. In the making of 1984, The Russ Liquid Test compounded their potent chemistry by bringing in a lineup of equally impassioned musicians. “Coming from a background of playing in bands and then getting into electronic music, I’d really missed having that interaction with other musicians,” says Scott. “The most rewarding thing for me is being able to bounce ideas off other people, so that the music ends up having more than just one person’s vibe to it. Ultimately it lets you give the audience even more to connect with.” The studio workhorses have already begun working on a sophomore EP. The Russ Liquid Test also presents a joyful sense of synergy in their high-powered live shows, with recent appearances including Shambhala Music Festival, Lightning in a Bottle, Summer Camp, and Sonic Bloom, among others. No matter the setting, a clear multidimensionality can always be heard in The Russ Liquid Test’s projects. “We want to make people feel good but also give them something to reflect with,” says Scott. “It’s not about just making party music or music that’s more introspective—it’s for the full gamut of human expression, and we want it to be just as dynamic as life itself.”

Wed Nov

29

Holocene 1001 SE Morrison. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

HAYDEN JAMES

BAYNK

GRACE PITTS

ARTIST BIO

After 3 short years since releasing his first track, Hayden James has created his own imprint on the global music community with a sound like no other. Straight off the mark Hayden’s music circulated through Australia’s electronic dance music populace accumulating tens of millions of plays across SoundCloud and YouTube. His individualistic approach to producing delicate yet uplifting summer anthems featuring euphonious and evocative vocals quickly allowed him to find his niche. Today, Hayden leads the way for Australian musicians with a sound incomparable and inimitable to any artists before him. Hayden’s first single ‘Permission to Love’ received admiration across the globe when it sky rocketed to #1 on Hype Machines charts, shortly before being dubbed the most played track on Australia’s widely respected and reputable national broadcasting giant, Triple J. From here, Hayden launched his debut EP through tastemaker label, Future Classic which only further proved Hayden’s ability to capture the hearts of his audience through his take on modern day love ballads. However, nobody was prepared for the monumental success brought on by the release of his hit single ‘Something About You’ after it dropped in early 2015 via the labels annual compilation album. ‘Something About You’ threw the world into a state of exhilaration and reached certified Gold Sales within Australia by the end of 2015. The track accelerated through top 40 charts across Europe, particularly within Germany, France and Italy. Meanwhile back in Australia the iconic track surged through the charts and went onto secure The Best Dance release at the AIR Awards, Stoney Roads Awards and the InTheMix awards. The track added an ARIA nomination for the Best Dance Release to its numerous accolades. The next Summer, Hayden James covered all corners of his home nation on his sold out ‘Something About You’ tour. This tour subsequently pushed Hayden to journey across the globe for his debut headline tour across Northern America where he was able to perform to tens of thousands of adoring romantics at the acclaimed Coachella Festival and an additional support tour with Odesza. Late 2015 Hayden undertook his debut European tour performing at incredible events such as Lollapalooza (Berlin), Lowlands and Reading and Leeds festival on top of a collection of other festival slots. With no intention of slowing down anytime soon, 2016 has been yet another whirlwind of a year for Hayden as he returned with his single ‘Just a Lover’. The track revisits Hayden’s passionate romantic side and extends out an androgynous vocal referring to a temporary lover who has a strong hold over someone. With beautifully crafted harmonies and a feeling everyone can relate too, the subliminal lust and desire within this song extends out to audiences and once again pulls at their adoring heartstrings. Since its release, ‘Just A Lover’ has reached almost 3 million plays on Spotify alone, not to mention the hundreds of thousands of plays and downloads on SoundCloud, YouTube, Shazam and iTunes. The widespread excitement that stemmed from the release of ‘Just A Lover’ sent Hayden back on the road for his World Tour shortly after headlining Australia’s most distinguished festival Splendour in The Grass.

Thu Nov

30

Crystal Ballroom 1332 W Burnside St. PDX OR

$20 Adv.
Doors 7pm; All Ages

TICKETS

LOUIS THE CHILD

LOUIS FUTON

ASHE

ARTIST BIO

Louis The Child consists of Freddy Kennett and Robby Hauldren, who have taken the music industry by storm in recent years. With over 50 million Spotify streams, LTC provides their fans electronic bliss through stadium-ready anthems such as "It's Strange," featuring K. Flay and their Icona Pop collaboration “Weekend.” On the most recent release, "Love Is Alive" (ft. Elohim), their versatility and emotional range shines through brightest, showcasing an understated tenderness, which Billboard praised as "soft and soothing." Citing influences ranging from James Blake to Robert Glasper, Hauldren & Kennett blend musical complexity and sonic experimentation in an individual strand of future bass that defies pop formulas, catching the ear of outlets such as Chicago Tribune, Pitchfork, BBC, Rolling Stone, and Billboard. Since supporting the likes of Madeon, Porter Robinson, and The Chainsmokers, Louis The Child has embarked on 2 headline tours totaling 37 sell outs and over 25,000 tickets sold in less than a year. Mixmag's #1 artist taking American dance music to the next level has quickly risen to headliner status. Currently in the midst of a rigorous touring schedule, Louis the Child is fully prepared to bring smiles to the crowds of people across the globe.

Fri Dec

1

McDonald Theatre 1010 Willamette St, Eugene, OR

$18 Adv.
Doors 7pm; All Ages

TICKETS

JAI WOLF

ARTIST BIO

Jai Wolf is an alias of Sajeeb Saha, a producer of melodic, dreamlike EDM who previously recorded under a handful of names, including No Pets Allowed. Actively involved with music since the age of five, when he took up the violin -- in high school, he was a New York all-state performer -- he started making tracks during his teens. In his early twenties, as Jai Wolf, his style stabilized as he gained notice for his remix work. An unauthorized version of Skrillex's "Ease My Mind" impressed the original's maker enough to facilitate a partnership with the OWSLA label. Saha's own track, the bubbly "Indian Summer," was issued on Foreign Family Collective in 2015 and reached number 31 on Billboard's Hot Dance/Electronic Songs chart that December. The wistful "Drive," featuring the Chain Gang of 1974, followed in 2016. Saha's notable remix credits also include Melanie Martinez's "Dollhouse," ODESZA's "Say My Name," and Mocki's "Weekend." After signing with New York's Mom + Pop Music, Jai Wolf issued his debut EP, Kindred Spirits, in 2016.

Sat Dec

2

Wonder Ballroom 128 NE Russell St PDX OR

$20 Adv.
Doors 8pm, All Ages

TICKETS

SLOW MAGIC

ARTIST BIO

A DIY project with worldwide scope, Slow Magic is universal and inclusive. It's cosmic electronic music culled from the ether, yet crafted with human hands. It's joyous, escapist, multi-disciplinary art that mixes transcendent performance with the nostalgic intimacy of two teenagers staying up too late on the phone. After the release of 2012's beloved and critically-acclaimed Triangle, Slow Magic became an international movement after touring with artists like Gold Panda and XXYYXX. Crowds found a masked man in their midst, bathed in fantastic light, with electronic triggers and a drum. The future-primitive combination infused the project's electronic compositions with new life. How To Run Away, Slow Magic's debut with Downtown Records, reflects this growth, oozing both otherworldly beauty and a mastery of production. Lead single "Girls" is deconstructionist house with an organic pulse and collaged, handcrafted samples. "Hold Still" sculpts elastic organs and jazz piano into an emotionally-pummeling finale, while the melancholy "Let U Go" merges watery dub with spectral piano and "Closer" plays like a '90s R&B fever dream. Slow Magic is music by your imaginary friend.

Wed Dec

6

McDonald Theater 1010 Willamette St, Eugene, OR

$20 Adv.
Doors 7pm; 16+

TICKETS

LOUIS THE CHILD

LOUIS FUTON

ASHE

ARTIST BIO

Louis The Child consists of Freddy Kennett and Robby Hauldren, who have taken the music industry by storm in recent years. With over 50 million Spotify streams, LTC provides their fans electronic bliss through stadium-ready anthems such as "It's Strange," featuring K. Flay and their Icona Pop collaboration “Weekend.” On the most recent release, "Love Is Alive" (ft. Elohim), their versatility and emotional range shines through brightest, showcasing an understated tenderness, which Billboard praised as "soft and soothing." Citing influences ranging from James Blake to Robert Glasper, Hauldren & Kennett blend musical complexity and sonic experimentation in an individual strand of future bass that defies pop formulas, catching the ear of outlets such as Chicago Tribune, Pitchfork, BBC, Rolling Stone, and Billboard. Since supporting the likes of Madeon, Porter Robinson, and The Chainsmokers, Louis The Child has embarked on 2 headline tours totaling 37 sell outs and over 25,000 tickets sold in less than a year. Mixmag's #1 artist taking American dance music to the next level has quickly risen to headliner status. Currently in the midst of a rigorous touring schedule, Louis the Child is fully prepared to bring smiles to the crowds of people across the globe.

Fri Dec

8

Roseland Theater 8 NW 6th Ave. PDX OR

$25 Adv.
All Ages

TICKETS

BIG GIGANTIC

BRASSTRACKS

ARTIST BIO

Big Gigantic established themselves as pioneers of live electronic music with the band’s inception in 2008. Now, almost 10 years later, they continue to shape the genre by moving it forward with each new release. The Colorado-based saxophonist/producer, Dominic Lalli and drummer, Jeremy Salken, are veterans of blending electronic dance music with their live instruments to create Big G’s truly unique sound, that is as thoughtful as it is danceable. Big Gigantic mixes musically mature melodies with addictive beats and samples, that are familiar to a Kanye West or LCD Soundsystem single, and crosses all styles of music from jazz to hip hop, funk to dubstep. After graduating with a master’s degree in jazz from the Manhattan School of Music, Lalli relocated to Boulder and began performing with Salken, experimenting with the idea of interpreting traditional DJ-based music with live instruments. The duo built up early hype in 2008 with local shows and one-offs and have since toured the country countless times enjoying a 90% tour sell out rate. Big Gigantic’s transcendent live shows are a showcase of brilliant improvisation and the tightly-‐knit bond between Salken and Lalli, who breathlessly alternates between keys, sax and laptop, building a contagious sound that keeps the crowd on its feet. Over the years, the band has cemented themselves as a must see act on the US festival circuit, having performed at every major festival including: Coachella (where a local Indio, CA high school marching band joined them on stage), Lollapalooza, Ultra Music Festival, Hangout, Austin City Limits, Governors Ball, Electric Forest, Outside Lands, and Bonnaroo (where they’ve appeared both on their own and as Musical Director of Skrillex’s 2014 Superjam performing alongside Damian “Jr. Gong” Marley, Robby Krieger from The Doors, Lauryn Hill, and Janelle Monae, among others). Big Gigantic has also appeared internationally at such festivals as Lollapalooza Argentina and Brazil, and Mad Decent Block party India. In 2014, the duo made their debut at the famed Madison Square Garden in New York City supporting Bassnectar. Big Gigantic have released five full length studio albums to date and recent singles that have taken the band to new heights including “The Little Things” feat. Angela McCluskey which is receiving national acclaim, with over 1 million downloads and 20+ million streams and landing sync placements everywhere from Fox’s breakthrough show ‘Empire’ to ESPN’s Wimbledon 2016 & NBA coverage. Beyond their five-year-running, two-night festival, Rowdytown, at Colorado’s famed Red Rocks Amphitheatre, Big Gigantic is known for giving back to their community and created the Big Gigantic Difference Foundation. With strong partnerships that include local non-profits such as Conscious Alliance, The Kitchen Community, and national organization Electric Family – the band, in coordination with their fans, have given back both monetarily and with their time through various their #ABigGiganticDifference events. Big Gigantic’s most recent album, Brighter Future, reflects their commitment to working closely with the community to make the world a better place.

Thu Dec

14

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
Door 8pm; All Ages

TICKETS

EKALI

MEDASIN

JUDGE

ARTIST BIO

Ekali is a Canadian instrumentalist and producer from Vancouver, BC. He started making electronic music in 2014, and since has been making big waves in the electronic community; from his visceral, captivating original work and collaborations to his thundering club remixes. Ekali was accepted as Canada's sole participant in the Red Bull Music Academy in 2014. Since then, he's gone on to receive over twenty million streams, toured every corner of the world & received a writing credit on Drake's "If You're Reading This It's Too Late." His unique sound has earned him a loyal following worldwide, and cemented him as one of electronic music's most promising artists. In 2016, Ekali was tapped for an official remix of Flume's "Smoke & Retribution feat. Vince Staples & Ku ka" and his Flux Pavilion "I Can't Stop" remix was officially signed and released by Big Beat. Ekali was also recently featured as a new & developing artist in HITS magazine. Over the summer of 2016, Ekali released a much anticipated official collaborative remix with Gravez of Jack Ü's "Mind (feat. Kai)." This was quickly followed up by an official remix on Australian label Future Classic for Ta-ku & Wafia's "Meet in the Middle" single. Ekali's 2016 headline fall was a huge success, selling out most shows throughout North America. In 2017, Ekali has hit the festival circuit with performances at Electric Forest, Hard Summer, Shambhala, Buku, Forecastle, and Life is Beautiful, to name a few. Additionally, Ekali released a viral remix of "Don't Leave" by Snakehips, an original collaboration record with KRANE, debuted his season mix series called "Awakening," and was featured as a Diplo & Friends guest mixer on BBC Radio 1. Ekali's debut original EP is set to be released in fall 2017