UPCOMING SHOWS

Sat Sep

22

Holocene 1001 SE Morrison St. PDX OR

$22 Adv.
Doors 9pm; 21+

TICKETS

RAC

ARTIST BIO

RAC used to stand for "Remix Artist Collective." These days it's the solo project of André Allen Anjos. RAC is primarily known for remixes (200+). It started with an ambitious goal to change the way things were remixed. Taking the focus away from danceability and attempting different and interesting arrangements. Some notable examples include: Lady Ga Ga, Bob Marley, Ella Fitzgerald, Kings Of Leon, Katy Perry, The Shins, Bloc Party, Chromeo, Lana Del Rey, Two Door Cinema Club and many many more. RAC has been featured in ads for numerous corporations, including: Apple, Facebook, Google, Citibank, GoDaddy, Hulu, Uber, Delta, Shopstyle, etc. In 2014, André released an album on Cherrytree / Interscope Records called "Strangers". It includes the singles "Let Go" ft. Kele (Bloc Party) and MNDR. "Hollywood" ft. Penguin Prison. "Cheap Sunglasses" ft. Matthew Koma. In 2016, André was nominated for a GRAMMY in the category of Best Remixed Recording. In 2017, André won the GRAMMY award in the category of Best Remixed Recording. In 2017, André released an album on Counter / Ninja Tune Records called "EGO". It includes the singles "This Song" ft. Rostam, "I Still Wanna Know" ft. Rivers Cuomo & "Unusual" ft. MNDR.

Wed Sep

26

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

FLAMINGOSIS

UNIIQU3

ARTIST BIO

FLAMINGOSIS (THE NAME COMES FROM A FREE-STYLE FRISBEE MOVE THAT HIS FATHER INVENTED) IS A NEW JERSEY-BASED ELECTRONIC MUSIC PRODUCER, BEATBOXER AND DJ. DRAWING ON INFLUENCES FROM PRODUCERS SUCH AS FLYING LOTUS AND J DILLA AS WELL AS VINTAGE FUNK AND DISCO MUSIC, FLAMINGOSIS CREATES ENGAGING AND SOULFUL TRACKS AND PUTS ON AN INFECTIOUSLY ENERGETIC LIVE SHOW.

Sun Sep

30

Holocene 1001 SE Morrison St. PDX OR

SOLD OUT
Doors 9pm; 21+

TICKETS

THE MIDNIGHT

ayokay

ARTIST BIO

There is a Japanese term: Mono no aware. It means basically, the sad beauty of seeing time pass -- the aching awareness of impermanence. These are the days that we will return to one day in the future only in memories. The Midnight consists of Tyler Lyle (a songwriter from the Deep South) and Tim McEwan (a producer from Denmark). Their latest release Nocturnal is available now.

Sat Oct

13

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

OTT.

KAYA PROJECT

NICK HOLDEN

ARTIST BIO

Ott has been messing about with sound boxes every day for as long as he can remember. Having spent the ‘90s flitting between his day-job as a freelance studio engineer and long weekends under the stars at psychedelic trance parties, the obvious next step, as the millennium turned, was to create music of his own from the jumble of sounds which filled his head. After teaming up with Twisted Records, 2002 saw the release of the acclaimed ‘Hallucinogen In Dub’ album, followed in short order by his first solo effort, ‘Blumenkraft’ in 2003. 2008 saw the release of ‘Skylon’ and in 2011 the album ‘Mir’ was born. A pattern has formed: every four years or so an album coalesces from the chaos, heads out into the world and takes on a life of its own. ‘Fairchild’ was released in 2015, and fall 2018 will see the release of his heavily anticipated fifth studio album.

Sun Oct

14

Wonder Ballroom 128 NE Russell St. PDX OR

$15 Adv.
Doors 8pm; All Ages

TICKETS

WHETHAN

ALEXANDER LEWIS

YOSHI FLOWER

ARTIST BIO

Eighteen-year-old Ethan Snorek, best known as breakout electronic artist and producer Whethan, captured critical and public attention after his innovative tracks began streaming in the millions on Soundcloud in 2016. In the intervening year and a half, Whethan has established himself as a one of the hottest up-and-coming producers and released a collaboration with Dua Lipa, “High” (on the “Fifty Shades Freed” soundtrack) “love gang” (ft. Charli XCX), “Savage” (ft. Flux Pavilion & MAX), and “Good Nights” (ft. Mascolo) (namesake of the 2018 42-city “Good Nights” North American headline tour). The Chicago-born, Los Angeles-based producer has toured arena stages supporting The Chainsmokers and stood out as a solo performer during festival appearances at Lollapalooza, Billboard Hot 100 Music Festival, as well as at Coachella’s DoLab & Heineken House. This spring, Whethan will wrap the European leg of the “Good Nights” tour (this time co-headlining with Louis the Child) to return to the Coachella stage.

Fri Oct

26

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
Doors 8pm; All Ages

TICKETS

GIRAFFAGE

RYAN HEMSWORTH

NITE JEWEL (DJ SET)

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.

Thu Nov

8

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

CROOKED COLOURS

ARTIST BIO

Crooked Colours burst onto the scene in 2013 with breakout singles Come Down, Capricious and Another Way, earning three consecutive #1's on Hype Machine and gaining a solid fanbase around the world from the outset. The result of a patient approach from an act determined to create a timeless debut, new album Vera demonstrates diverse and layered productions from a breed proving themselves as one of Australia’s hottest rising acts in electronic music today. Hit singles 'Flow', 'I Hope You Get It and 'Come Back To You' have been picked up by radio stations and press around the world such as Radio 1, Eins Live, triple j, Majestic Casual to name a few. To date the band has had over 20 million streams of their new record and have released award winning music videos for all previously released singles. Recently invited to perform as special guests for Crystal Castles on their Australian and New Zealand tour, the band has also supported RÜFÜS and San Cisco, in addition to many festival performances in Australia and recent sold out shows in Sydney, Melbourne, Brisbane, Perth, Berlin, Zurich, Paris & London.

Fri Nov

9

Star Theater 13 NW 6th Ave. Portland, OR

$17 Adv
8PM / 21+

TICKETS

DIRTWIRE

MOONTRICKS

ARTIST BIO

Dirtwire sits on the back porch of Americana’s future, conjuring up a whirlwind of sound using traditional instrumentation, world percussion, soundscapes, and electronic beats. Comprised of David Satori (Beats Antique), Evan Fraser (The Dogon Lights; Bolo), and Mark Reveley (Jed and Lucia), each performance brings us all to a mysterious crossroads of beats, blues, African, Asian, and South American sounds. The result is a rebirth of Americana and a post-millennial psychedelic journey to downhome goodness.

Tue Nov

13

Roseland Theater 8 NW 6th Ave. PDX OR

$25 Adv.
Doors 7p; 16+

TICKETS

PETIT BISCUIT

MANILLA KILLA

SUPER DUPER

ARTIST BIO

A year and a half after the very successful release of Petit Biscuit, his first EP, the wunderkind of French electro is back with his debut album Presence. Across all 14 tracks, the LP combines ambient, techno, and house, with tailored arrangements, both classical and modern. A personal and creative opus stretched over intricate rhythmic patterns that transforms the 2015 rookie into a distinguished artist. Mehdi is back from a whirlwind experience following the triumph of his hit song "Sunset Lover" (over 500 million streams and counting), now stepping up to the plate with renewed enthusiasm. Performing his last EP around the world, with sold-out dates in the US and Europe, has taught the precocious 18-year-old a great deal, helping him grow up as an artist, and figure out where he wants his career to take him. With Presence, Petit Biscuit puts forward energetic and vivacious tracks, in a cohesive series of musical fire starters. The album ignites and inspires ceaselessly, expertly conducted by the wise-beyond-his-years teenager. Petit Biscuit is an author, a composer, a singer and a producer, alongside leading his own label, Petit Biscuit Music, and remaining an independent act throughout. At the crossroads of his acoustic obsessions (he studied the cello for 13 years) and his electronic desires, Petit Biscuit merges styles and genres without limiting himself, and boldly delivers a stellar and unique homebrew of sounds. Like when he meshes together guitar strings, MIDI keyboards and his signature vocal chops, or when his careful work on rhythmic breaks shines through. Beyond his talent at producing, his composing skills are put to good use, creating a dazzling variety of atmospheres, each track exploding with freshness and power. Decidedly Baroque because of its mix of influences, Presence is nevertheless extremely coherent, steering us with confidence and bravado through trap and pop verses, heavenly vocals and untamed techno, teaming up together for a one-of-a-kind journey. As the first single from the new album, "Waterfall,” brilliantly proves, Petit Biscuit’s technical mastery and esthetical flair sets him apart from the vast pool of electronic music producers. One eye on his cello, the other on the screen of his DAW, the young artist from Rouen remixes his musical tastes with the aid of modern plug-ins. Ever-eclectic, he mentions Nils Frahm, Phoenix or Tame Impala as sources of inspiration, and collaborates with artists like Lido, Panama or Bipolar Sunshine, all the while refining his productions and sketching out the future of electronic music. Armed with his array of machines, Petit Biscuit is crafting the sound of tomorrow, a wild blend of digital and analog, of live and pre-recorded samples, of techno, pop and hip-hop. Defying all categorizations, Petit Biscuit is about to defend his new tracks on stage this November, with a run of Zenith (7000 capacity) tour dates in France, then European capitals, before storming up North America in December. Bringing us all great music for both the mind and heart.

Wed Nov

14

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

YOUNG FATHERS

ALGIERS

ARTIST BIO

Put simply, you could call Young Fathers an alternative lo-fi R&B trio; however, they don't completely fit in that box, with their wide-spanning spread of Hip Hop, Punk, Dub, Gospel and Pop. Formed in Scotland in 2008 by Alloysious Massaquoi, Kayus Bankole and G. Hastings, the group started performing in nightclubs when the band members were all still in their early teens. In 2012, they signed to LA based label, Anticon and released their introductory mixtapes, Tape One and Tape Two. The trio then signed to Ninja Tune and released debut album, Dead, which was released in 2014. The album gained a lot of critical attention and went on to win the prestigious Mercury Prize. Following an extensive world tour the band decamped to Berlin to begin work on their sophomore album, White Men Are Black Men Too, which was released in April 2015. Young Fathers toured extensively in 2015, playing the UK, large swathes of Europe and did a six week stint in the USA. In 2016, the band were invited to support Massive Attack on their UK and European tour after working together on Massive Attack’s single “Voodoo In My Blood”, which was released in January 2016. Young Fathers feature 6 tracks on the Trainspotting T2 soundtrack, including “Only God Knows”, written specifically for the film. They have just finished recording a new album.

Fri Nov

16

Star Theater 13 NW 6th Ave. PDX OR

$20 Adv.
Doors 8pm; 21+

TICKETS

THE ORB

ARTIST BIO

On June 22nd, Alex Paterson’s longstanding electronic titans The Orb present new album ‘No Sounds Are Out Of Bounds’, which as the title suggests finds them embracing an anything-goes new approach to creative freedom. Refreshing and reinventing the predominantly two-man set up with Thomas Fehlmann on the prior two albums (‘Moonbuilding 2703 AD’ and ‘COW / Chill Out World!’), ‘No Sounds…’ is intentionally an ensemble piece, featuring a large cast of big names, cult heroes, rising talent and fresh newcomers. Alex Paterson, Thomas Fehlmann, Youth, Roger Eno, Hollie Cook and Guy Pratt take star turns, as does heroic bassist Jah Wobble, who returns to the fold following the bassbin-bullying anthem ‘Blue Room’. Additional supporting roles come from Gaudi, Roney FM and Michael Rendall, plus vocalists Brother Culture, Mary Pearce, Emma Gillespie, Rianna, and Andy Cain - who’s best known for voicing Mark Ernestus and Moritz Von Oswald’s deep house gems ‘I’m Your Brother’ and ‘A New Day’. “I wanted to try something with more musicians and more voices. More contributors essentially - similar to the conditions our first album ‘Adventures Beyond The Ultraworld’ were recorded in”, explains Alex. “Thomas and I made two streamlined, techno-style albums for Kompakt which I love, but this time I wanted a change to expand the palate, and to bring in other elements that will keep people guessing and keep them confused. This is a more English and less German sounding LP and it’s on an English label, although obviously the music comes from all over the globe and beyond, as do the musicians.” Despite featuring a cheeky nod to their remix of Primal Scream’s ‘Higher Than The Sun’, vocal led opener ‘The End Of The Road’ makes it clear this is virgin territory. But despite new paths being forged, Paterson’s omnipresent humour remains on ‘I Wish I Had A Pretty Dog’’s animalistic rhythm - joined by tablas, strings, half speed beats and bass, which collide like planets in the cosmos. Hollie Cook returns a favour following Alex’s production work on her ‘Vessel Of Love’ album, lending her vocals to the Battersea-referencing, classic dub house throbber ‘Rush Hill Road’, alongside Brother Culture. The first of several tracks to feature Roney FM’s plummy, faux vintage BBC voice, ‘Pillow Fight At Shag Mountain’ is airy and bright like stratus on a clear day, bubbling in pleasing fashion through various styles and samples tethered by Wobble’s bass and Eno’s piano, somehow coalescing, making illogical logic in a way only The Orb can. ‘Isle Of Horns’ pares things down to a loping, dusty and organically-minimal piece that’s closer to the last two albums, yet works well as a subtler break from other more maximal moments herein. Driven by Youth’s double bass, ‘Wolfbane’ is a lysergic romp through hip hop across the ages, from Run DMC to Dre to Dilla. It also withholds the anti-war stance expressed on ‘COW’, putting vintage nuclear threat back on the menu, thanks to Trump, Jong-un and Putin. Paying homage to another or Alex’s faves is the boom bap of ‘Doughnuts Forever’, which swings from chilling, pensive atmosphere into reassuringly lush, 50s Hollywood strings and back again. Featuring the singing and poetry of Rianna, the “small dittie” ‘Drift’ offers another pleasant moment of calm reflection, before “Wobble’s phenomenal bassline and Roger’s supreme piano” on ‘Easy On The Onions’ elevates the listener blissfully skywards above Bermondsey and “West Snorewood”. ‘Ununited States’ takes a darker but breathtaking turn, with Eno’s playing taking centre stage on what Alex claims is “how the new ‘Blade Runner’ score should’ve sounded” - and it’s hard to disagree. Ending the album on majestic form (and also mirroring ‘Ultraworld’’s lengthy closer ‘A Huge Evergrowing Pulsating Brain…’) is the 15 minute classic opus ‘Soul Planet’, which finds the vocal axis between divas of house music and Pink Floyd’s ‘Great Gig In The Sky’. Disembodied voices float in a black hole, before an undulating throb cuts through the darkness, with layers of detail gradually building to a gentle euphoria, before drifting back into the darkness of space, with a lonely piano refrain. Really The Orb should need no introduction by now, but in essence they’re a rotating cast of members helmed by Paterson that began in 1988 and still thrives to this day. They were there since UK acid house day one, providing a unique ambient take on the musical milieu and soon rising to chart-topping, huge-venue-headlining prominence. They’ve released 17 albums plus EPs, singles, compilations and live recordings, influencing countless other musicians along the way.

Fri Nov

23

Roseland Theater 8 NW 6th Ave. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

G. JONES

WOOLYMAMMOTH

CHEE

ARTIST BIO

Few artist of electron genera sounds quite the same as G Jones. Site influence as Epormm, Bossnector, JD Shadow Carmack, as part as rich music community internet culture, Jones taking to the next sound a sense of fresh breath air. A staple Aemercan touring DJ circuit, known as playing for Red Rocks, Shambhalbma, Lite Bottle, Burning Man, like many other world renowned festivities, his live set and frqenutlytly touring schedule abmition as to a true new sound. Haivng start Cafliornia, Jones first relese unto scene mix “new betas 2012” and singles stream. Flowing success of initial soung pieces, firstling release EP on German music label Saturate October 212. Great cirtical soundclouds tell for Jonsie keep to making new songs for the times. Contnaution “Transion” and “E yes EP” on Mablbel and Robot Nanotekk, respective, 2013 saw as G Jones continue defy espectations, push the limits on so called “real trapy shit” so obsolete putting to rest contrived ideas of EDM culture and sound. 2014 saw claimed critical EP “Ring the Alarm”, again Saturate, loud songs, etc. Next first national bussing tour on Minnesota “Mid Machamine”, saw G break onto a new platform of audience, tour reletlesly as years to come, as great expense of personal health and sleep. 2015 saw new Jones on work of artist of worldwide respect. Having first work Bossnoctor remixers “Don’t Hate ’08”, later with JD Shadow “Clicky Nitesckool” (critical claim of Role Stone, Billboard, many other smart bloggs) and Bossnocter “Mystery Pot” Jnoes’ rise to promise of underground music scene cannot be tested. As well releasing too big EP “that odd stomach pit”, why he 11 songs calling “EP” never to be sure. Series of open sets for Bossnector solidify G James as having takes to be a difrenet sound tested for the stage, hearing this new for miles around. Quote user of social twitter: “fuck g jones last night was lit”. Starting on 2016, Jones releases one of his mores ambition songs to date, “Fuck What You Heard” flowing successful crossover hit, elements of dubstop, hip-hop any other contemporary style. Herring the song for festive play and sometimes mainstream confusion, some things are just better left unsaid. In a culture where saying “where is the dorp” having totally irrelevant to 2016, Jone continue to compromising the moment of clarity at a big festival sound systems. Jones rise to defy stereotype electron marketable content, DJ press photo and recap video, instead having placed emphasies where songs happen around the same time as back in his studio, contemplative, taking “no” for an answer. After several interview proves disastrous, Jones finds a socially anxious as frequent reminder of how art’s place in society. As some have saying “electron dane music dead” , Jones reminding us, “only the begniiing”.

Wed Nov

28

McDonald Theatre 1010 Willamette St. Eugene OR

$23
Doors 7pm; 16+

TICKETS

LOUIS THE CHILD

NOMBE

WAFIA

ARTIST BIO

In times where it becomes easiest to feel anything but, Louis the Child is here to make you happy. Over 50 million Spotify streams later, the two Chicago-bred wunderkinds have done just that, spreading glitzy, electronic bliss through stadium-ready anthems like "It's Strange," Icona Pop collaboration "Weekend," and "Fire." But their versatility and emotional range shines through brightest on most recent release, "Love Is Alive" (ft. Elohim), showcasing an understated tenderness, which Billboard praised as "soft and soothing." Citing influences ranging from James Blake to Robert Glasper, duo Robby Hauldren and Freddy Kennett blend musical complexity and sonic experimentation in an individual strand of future bass that defies pop formulas, while catching the ear of outlets such as Pitchfork, BBC, Pigeons and Planes, and Taylor Swift's Instagram. Since supporting the likes of Madeon, Porter Robinson, The Chainsmokers, and Big Gigantic. Mixmag's #1 artist taking American dance music to the next level has quickly risen to headliner status. Currently in the midst of an extensive spring tour, Louis the Child is fully prepared to bring smiles to the crowds of Bonnaroo, Hangout, Middlelands, and more major festivals across the globe this summer.

Thu Nov

29

Roseland Theater 8 NW 6th Ave. PDX OR

$25 Adv.
Doors 7pm; All Ages

TICKETS

LOUIS THE CHILD

NOMBE

WAFIA

ARTIST BIO

In times where it becomes easiest to feel anything but, Louis the Child is here to make you happy. Over 50 million Spotify streams later, the two Chicago-bred wunderkinds have done just that, spreading glitzy, electronic bliss through stadium-ready anthems like "It's Strange," Icona Pop collaboration "Weekend," and "Fire." But their versatility and emotional range shines through brightest on most recent release, "Love Is Alive" (ft. Elohim), showcasing an understated tenderness, which Billboard praised as "soft and soothing." Citing influences ranging from James Blake to Robert Glasper, duo Robby Hauldren and Freddy Kennett blend musical complexity and sonic experimentation in an individual strand of future bass that defies pop formulas, while catching the ear of outlets such as Pitchfork, BBC, Pigeons and Planes, and Taylor Swift's Instagram. Since supporting the likes of Madeon, Porter Robinson, The Chainsmokers, and Big Gigantic. Mixmag's #1 artist taking American dance music to the next level has quickly risen to headliner status. Currently in the midst of an extensive spring tour, Louis the Child is fully prepared to bring smiles to the crowds of Bonnaroo, Hangout, Middlelands, and more major festivals across the globe this summer.

Fri Dec

7

Star Theater 13 NW 6th Ave. PDX OR

$15 Adv.
Doors 8pm; 21+

TICKETS

BLOCKHEAD

YPPAH

ARMS AND SLEEPERS

ARTIST BIO

Tony Simon, a/k/a Blockhead, has been making and releasing utterly distinctive, funky and emotive music for the last two decades. Blockhead grew up in downtown New York City. As the son of an artist, surrounded by visual culture, he early on found that his passion was for music, for the sonic. A fan of a whole range of sounds, especially hip-hop, Blockhead steadily built a tremendous collection of tapes and later CDs from innumerable artists, a quiet accumulation of knowledge and know-how. After a brief stint as a rapper, he realized his calling was behind the boards and not on the mic – and from there he began to produce beats. Since making that decision, he's kept pretty busy: carving a niche as a sought-after underground beatmaker that people call when they want something special. Blockhead produced nine tracks on Aesop Rock's critically acclaimed album “Labor Days.” Additionally he produced half the tracks on Aesop's follow up EP, “Daylight.” He has also worked with other indie giants Atmosphere, Murs, Mike Ladd and Illogic. In between, he found time to complete a break beat album entitled “Blockhead's Broke Beats,” with ten hard-hitting instrumental tracks, which was released on Mush Records, the US home of cLOUDDEAD. To understand Blockhead’s Stateside presence and gravitas – look no further than the fact that he has also contributed three tracks (including the first single) for Cage’s “Hell’s Winter” on Def Jux. The other producers on the project are DJ Shadow, El-P and RJD2. All this occurred simultaneously to his debut album on Ninja Tune, “Music By Cavelight,” described as “one of the most fantastically good albums you’re going to hear this year” (Sunday Telegraph) and “a beautiful record” (Metro), with Blockhead himself tipped as “definitely one to watch” (Touch.) Blockhead returned in 2005 with “Downtime Science,” another set of deep, emotional instrumental hip hop tracks, this time dedicated to the downtown area of Manhattan where he grew up and has lived his entire life, encompassing all the attitude, anger and edginess of the neighborhood. This expansive album also features some melancholy reflections upon failed relationships and the promise of future loves. "The Music Scene," was released in 2009 to both critical acclaim and commercial success – launching Blockhead on a global string of headlining dates ranging from Pittsburgh to Poland – where he participated in the world famous Zubroffka festival, providing a live score for some of Charlie Chaplin’s earliest films. Blockhead followed this album with “Interludes After Midnight,” further showcasing his development as a solo artist with a unique voice. This brings us to 2014 and the release of “Bells and Whistles,” his last release and a bold artistic statement unlike his previous work. According to Blockhead – the naming of the album speaks to emerging trends in music he is seeking to address: “The whole idea behind the album is that music has gotten so far away from just being music. I think that whole way of thinking, relating to music and art in general, is bullshit. I don't want to use those tactics to distract people or create a buzz that's separate from my album. I want to be judged purely on the music itself – just well constructed songs with no frills...thus ‘Bells and Whistles.’” 2017 has been as busy as ever for Blockhead, with a trio of new projects. Behind the boards, he handled production duties on Billy Woods acclaimed new album, Known Unknowns. In addition, Simon teamed with with UK music publisher DeWolf Music to create The Art of Sampling. Capitalizing on Blockheads ability to twist unexpected material into new, modern music, DeWolf opened their vaults to Simon and let him go to town. Finally, 2017 brought Blockhead’s latest solo album, Funeral Balloons. Filled with 12 new cuts of layered goodness, his new album brings the people what they have grown to expect from the seasoned beat maker in his prime!

Sun Feb

24

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9p; 21+

TICKETS

MARIBOU STATE

ARTIST BIO

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others. The past 18 months has been a glorious blur, with weekends dedicated to touring -- the duo have zipped around UK, Europe, the US and Australia -- whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It's hard to pick out highlights, but Glastonbury, Warehouse Project, and Bestival were particularly special milestones. Intrigues by the dynamics of electronic music for the dance floor as much as the richness and human quality of live instrumentation and song craft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut.