UPCOMING SHOWS

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

DF TRAM

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

BLEEP BLOOP

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

SOLD OUT
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

SOLD OUT
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 Nov

30

Roseland Theater 8 NW 6th Ave. PDX OR

SOLD OUT
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!

Wed Jan

30

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

CHROME SPARKS

ARTIST BIO

Chrome Sparks is the solo project of Jeremy Malvin, a Brooklyn transplant from Pittsburgh by way of Ann Arbor. In 2014, after having self released a small handful of singles and two EPs on Bandcamp, Malvin signed to the taste making Sydney based label Future Classic. Under the new label, he rereleased Sparks EP and released the Goddess EP. His next EP, Parallelism is slated to be released with Future Classic on November 6. Inspired by a background in classical percussion and an obsession with synthesizers, Malvin creates dazed, melodic beat-centric tunes that loosely hang between down-tempo head nodders and up-tempo club bangers. FADER has described his music as 'form-shifting beats [that] seem to resonate with spaced-out chillers and hyperactive party kids alike.' In 2012, while on Warped Tour as the drummer for Stepdad, Malvin released the slow burning, bass heavy single "Marijuana" on a Bandcamp compilation highlighting music from he and his friends in Ann Arbor. It quickly rocketed to #1 on Hype Machine and has since become an internet-stoner anthem. It has subsequently been rereleased by Future Classic and Kitsuné. His upcoming release, Parallelism, was made using sounds from three analog synthesizers, vocal samples from friends, and a tambourine.

Sun Feb

17

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
Doors 8pm; All Ages

TICKETS

GRYFFIN

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.”

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.

Fri Mar

15

Roseland Theater 8 NW 6th Ave. PDX OR

$20 Adv.
Doors 7pm; All Ages

TICKETS

BIG WILD

ARTIST BIO

As Big Wild, producer Jackson Stell crafts lush soundscapes and sweeping melodies that challenge the status quo of electronic music. Formerly a hip-hop beat producer, known as J Beatz, in his native Massachusetts, Stell switched creative lanes following a life-altering trip to Big Sur, California. He adopted influences from the state’s natural glory and open spaces to create the atmospheric and wide-spanning Big Wild sound, which today traverses electronic, indie, pop and beyond. Since officially launching in 2012, Big Wild has become one of the fastest-rising dance/electronic artists in recent years. He first broke out in April 2015 with the incendiary track “Aftergold” (Foreign Family Collective), which topped the Spotify Global Viral Chart upon release. He followed the success of “Aftergold” with his debut EP, Invincible, in February 2017 (Foreign Family Collective). As the next progression, in February 2019 Big Wild will release his debut album, Superdream, on Counter Records. The new album sees Stell pushing the boundaries as a producer and artist like never before, as he serves as the primary lyricist, singer and songwriter for the first time ever. Each song is diverse in sound and scope and represents the full spectrum of emotions and experiences that are central to the essence of being: in one moment, you’re dancing out of your seat, only to find yourself in joyful tears seconds later. The album title, thus, reflects this amalgamation: a super dream combining all of life’s curious, inspiring occasions. The album’s first two lead singles, “Joypunks”and “Maker,” are out now, with additional tracks to be released in the coming months. “The album was inspired by a need to create music that was a greater reflection of who I am now,” Stell says of Superdream. “This led me to feature my voice and songwriting as the main focus for the first time ever. I wanted to create a personal record that people could relate to using my own life experiences. When I listen to Superdream, it feels more like me than any of my other music.”As a performer, Big Wild is one of the most progressive live acts on the electronic circuit today. His live show has him switching between multiple instruments (drum pads, synths, keyboards & live vocals) to deliver unique energetic performances every night. Coinciding with the release of Superdream, Big Wild will kick off a 17-date 2019 headlining tour across the US, which will bring the Superdream album experience to the stage via a brand-new live show. www.bigwildmusic.com—John Ochoa, October 2018