UPCOMING SHOWS

Wed Dec

13

Holocene 1001 SE Morrison St. PDX OR

$13 Adv.
Doors 9pm; 21+

TICKETS

MARCUS MARR (DJ SET)

JUAN MACLEAN (DJ SET)

ARTIST BIO

Marcus Marr is a London-based artist, producer and DJ. Marcus was introduced to dance music via all night parties under Brixton's St Matthews Church. The lifelong music obsessive augmented his already robust vinyl collection of rock and soul with acid house records. He then saw DJ Harvey play one of his legendary extended sets, and knew that dance music was his calling. After signing to DFA Records, he released the acclaimed 2013 track "The Music" (#3 on the "Best Dance Tracks of 2013" list by SPIN Magazine) and 2015's "Brown Sauce." 2015 also saw Marcus release the Chet Faker collaboration EP "Work" on Detail Records. The 4 track EP featured the tracks 'Birthday Card' (Annie Mac's BBC Radio 1 first play, #1 Hype Machine) and 'The Trouble With Us (#1 Hype Machine, #5 triple j hottest 100). Marcus is now set to release new single "Rocketship" via DFA Records. The deep groove crowd favorite will be released May 11. Regarding the track Marcus says: "Rocketship is a tune I've been playing out for a good while now. It always gets a good reaction. It started life as a guitar and bass groove that I put together in my studio here in London. Then it received the wisdom of Damian Drammaticus (the deep voice). Then I laid on the other elements. "It's a DJs record really -- I wanted to something for the DJs again."

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

Fri Dec

29

Crystal Ballroom 1332 W Burnside St. PDX OR

$30 Adv.
Doors 6:30; All Ages

TICKETS

BEATS ANTIQUE

CLOZEE

ARTIST BIO

It’s impossible to describe Beats Antique using just a single genre. One listen to their forthcoming album, Shadowbox (released on their own Beats Antique Records imprint), and their unique hybrid of sound makes perfect sense; their ability to blend so many different kinds of music in to an incredibly vibrant, distinctive and peerless album is what this band has been doing for the past ten years. Sidecar Tommy, David Satori and Zoe Jakes make up Beats Antique, who is releasing their 10th album on October 5th to commemorate their tenth year as a band. They’ve mounted a larger-than-life cross-country tour that will take their vision to theaters across America. “Shadowbox is both the title of our new album, the theme of our tour, and our new store front in Berkeley CA. We decided to bring it all together on this release.“ Mostly recorded at their studio in Oakland (which has been around since the 50s), the Bay Area band also recorded in Russia and Israel. “We were lucky to record in both Moscow and Tel Aviv, because we had shows there and wanted to connect with the local artists. We had amazing sessions in both locations; In Moscow we recorded on the outskirts of the city in a wild Industrial complex. We ended up going through strange corridors into this plush bamboo-floored-Hare-Krishna-owned recording studio with state of the art gear. When we were in Tel Aviv, we gave a call to a local legend Yossi Fine and he helped us get time at Pluto Studios, which is one of the best in the city. We recorded with Talya Solan and her amazing group of musicians. We used elements of the Tel Aviv session to create our track “Bdna Salam,” which is raising money for Syrian refugees.” Along with Talya other features on Shadowbox include Lafa Taylor, Alam Khan, Tatiana Kalmykova, brasshouse trio Too Many Zooz (who are touring with Beats Antique), Preservation Hall Jazz Band, Dana Elle, Madoline Tasquin and Medium Troy Orchestra. Shadowbox is a retrospective of sorts, with Beats Antique pulling from all of their previous work as almost a homage to the first ten years of their career. “This will be our first full album produced in Beats Antique’s recording studio/dance performance space. We feel like Shadowbox touches on all our styles from down-temp Middle Eastern influences to cinematic orchestral arrangements. The songwriting process is also different for every song. Sometimes David will come in with a melody and Sidecar will add the bass and beats, and vise versa. One thing that always makes the songwriting process unique is that Zoe creates and arranges music based around stories she wants to tell though dance, so sometimes the performance aspect influences the creation of the music.” In June, the group premiered the first single, “Killer Bee,” featuring Lafa Taylor, on Billboard.com. The track is “about standing up to prejudices. Just because someone calls you a killer bee, doesn’t mean you need to kill. We want people to define themselves and not be defined by what people think they should be.” In addition to being a ‘killer’ track, with a compelling music video directed by Kyrian Bobeerian, Beats Antique donated a percentage of the proceeds from their July 1st show at Red Rocks Amphitheatre to The Honeybee Conservancy, a non-profit dedicated to raising awareness about the importance of bees. An enthusiastic touring band, a new album also means a new tour, and since Beats Antique is all about the ‘concept,’ Shadowbox (the album and the idea) is another opportunity for them to get the creative juices flowing for the live shows. The band plan to use shadows, light, Indonesian shadow puppetry, custom-created lanterns, dance, story telling, crowd participation and more to make sure this is an unforgettable visual spectacle for their audience. Shadowbox, an album that is an amalgamation of the history of Beats Antique, merged with a tour that will both tease and excite the senses, shows off what this band does best – transform, innovate and revolutionize what you think you know about music.

Sat Jan

20

45 East 315 SE 3rd Ave. PDX OR

$10 Adv.
Doors 10pm; 21+

TICKETS

KRANE

ARTIST BIO

KRANE is known for his unique take on electronic, hip-hop & dance music, and the Northern California-native’s jazz upbringing and modern perspective has allowed him to remain an evolving musician. Born Zachary Krane, the producer has been recognized and praised by the very best in tastemaker and mainstream media, and has been featured on a number of respected radio programs. Since the start of the project, KRANE had quickly reached bigger heights than planned. After leaving his full-time job, the early days of hosting demos online grew into acclaimed singles, remixes, an album and a celebrated imprint/collaborative series, SESSIONS. The end of 2015 was met with the release of TOKiMONSTA & KRANE’s single “Put It Down” featuring Anderson .Paak. In 2016, his “Debris” album series was introduced, stabling his first packaged release (through Fools Gold Records), staged as avolume-based collection of B-Sides and Rarities from recording sessions with Kehlani, J. Cole, Bryson Tiller and others. Alongside a collection of one-off singles, this album was followed by 2017’s collaborations of “Right Here”and “Akira”, with producers Keys N Krates and Ekali. While KRANE’s needle-pushing music stands on its own, his work with notable artists from Dillon Francis to A-trak to Bebe Rexha, and recent remixes for Baauer, Jai Wolf, Vince Staples and more also showcase the demand for his productions and remixes. KRANE’s engaging live show had hit stages across the US, many times over. 2016 has seen countless headline dates across the country, performing to packed crowds at Coachella & many more major festivals; including 2016’s GUD Vibrations tour with producers NGHTMRE and Slander.

Thu Feb

1

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

TWO FEET

ARTIST BIO

At 3am in the morning and 3 or so beers deep, New York based artist Two Feet sat restlessly on his friend's couch, The same couch that had also been serving as his bed for the last few months, in an apartment in Harlem. He was putting the final touches on a song he had written earlier that day -- unapologetically titled "Go Fuck Yourself," the track was written in a three hour blur and he hadn't given too much thought too until he had sent it to a handful of friends who said differently. Switching the track to public on soundcloud, Two Feet closed his laptop and let the liquor take him to sleep. By the time he woke up in the morning, "Go Fuck Yourself" had garnered thousands of streams and his inbox was ringing with messages from new fans and prospective labels. 5 months on and Two Feet aka Bill something is reflecting on his debut EP -- the appropriately titled, "First Steps." Independently released, the EP is a collection of 4 songs born out of frustration and a knee-jerk reaction to other projects he had been working. "I kind of just put it up because I was fed up with the other music I was making for other people" Bill says. "I was really not expecting anything to come from it. And to watch it just sort of blow up and see how people have responded to it has been incredible." Since it debuted in May on independent label, Majestic Casual, the First Steps EP has crept it's way onto major tastemaker playlists on Spotify, garnering millions of streams across the platform as well as Soundcloud, where it was first discovered. Two Feet has caught the attention of the blogoshere, with "Go Fuck Yourself" sitting at the top of the HypeMachine charts on multiple occasions, with praise from the likes of Indie Shuffle and others tastemakers. For the most part, Two Feet's hazy and mellow sound is a nod to contemporary artists like Chet Faker, with a low-key beat that is as subtle as it is unshakeable, but at the core of the EP lies Harlem influences. Tracks like "Quick Musical Doodles and Sex" bleed with an unabashed blues heart, with flitters of guitar provocatively stacked against an unrelenting electronic backbone. It's perhaps in this instant where Two Feet's jazz influences come into play and realising that less can be more, as he nonchalantly and infrequently sings, "do you remember my love?," while the guitar riffs over a soft beat. "I had been producing a lot of electronic music, so that was at the front of my mind, but I was listening to loads and loads of blues music, and I always had been -- I learnt how to play blues guitar," Bill explains. "So when I sat down to make my own music, all the influences were just sort of there.... and combined," he notes. With additional hints of indie and R&B, Bill is still getting used to seeing people respond to his music. "The other day someone sent me a snap of Miguel, and he was listening to one of my tracks n the background. That was wild." Two Feet's debut, "First Steps," are just that, but since uploading that first track, he's certainly leapt off his friends couch and hit the ground running.

Tue Feb

13

Roseland Theater 8 NW 6th Ave. PDX OR

$28 Adv.
Doors 7pm; All Ages

TICKETS

CASHMERE CAT

ARTIST BIO

There’s no rulebook for pop, that’s the beauty of it. At its heart is a universality and freedom that makes it all so joyous. Someone who understands that better than anyone is Danish pop polymath Karen Marie Ørsted, aka MØ. Having established herself with the raw, DIY- tinged agit-pop of 2014’s hugely influential debut album No Mythologies To Follow, she’s since expanded her sound and artistic vision via collaboration with a broad spectrum of some of music’s most interesting characters – from Diplo to Charli XCX to Cashmere Cat to SOPHIE. In 2015 she co-wrote and sang on one of the most streamed songs of all time in the shape of Major Lazer’s global smash, “Lean On” (she’d later repeat the trick with their 2016 Justin Bieber collaboration, “Cold Water”), while these features have been peppered with hits of her own, most notably last year’s MNEK-produced “Final Song,” which topped charts worldwide and garnered MØ’s first Gold record in the US as a solo artist. As work continues on her second album, due in 2018, she’s unveiled a surprise six-track EP, When I Was Young, which aims to complete the circle that started with No Mythologies To Follow and hints at where she’s headed next. “Putting out this EP is just something I’ve wanted to do for a long time, and I just felt it was right to put these songs out before I put out the album,” she says. “I’m a super nostalgic person and so these songs, and the meanings behind them, all fit into this personal journey I’ve been on.” It’s been quite the journey. Growing up in the sleepy village of Ejlstrup to a psychologist father and teacher mother, Ørsted always knew she wanted to sidestep academia and be creative. Her musical idols were typically polarized, with the Spice Girls dominating her pre-teen years before Sonic Youth’s Kim Gordon took over as number one when she was a teenager. Early musical projects leant towards aggressive punk statements, with titles like “A Piece of Music To Fuck To” and “Pussy in Your Face,” before she started collaborating with Danish producer Ronni Vindahl in 2012 under the moniker MØ (Danish for virgin, by the way). From there, the seeds of No Mythologies To Follow were sewn via the critically adored early singles “Glass,” “Pilgrim” and “Waste Of Time.” After the album was released in March 2014, preceded by the Diplo-produced “XXX 88,” MØ launched into tour mode, traversing the globe and meeting a host of new friends and collaborators. That year saw her work with Swedish rapper Elliphant on the Joel Little-produced “One More” and then, in 2015, everything went interstellar. Having been asked by Diplo to write some lyrics over a beat he’d made for his Major Lazer project, MØ came up with “Lean On,” singing the song initially meant for Rihanna with such conviction she knew it could only be released with her voice on it. And it was. Over three billionstreams later and it’s now one of the biggest, most recognized songs of the last decade. Its success was swift and sudden, but the aftermath has been a little more prolonged. “It was a fantastic thing, but this is the first year where I can focus more on my own project,” she says. “Lean On”’s success brought with it more opportunities, including another collaboration with Major Lazer on “Cold Water,” “9 (After Coachella)” with producer Cashmere Cat, “Don’t Leave” with UK producers Snakehips and an appearance on fellow pop rebel Charli XCX’s Number 1 Angel mixtape. “It’s great that there aren’t as many rules as to what you’re supposed to do now,” she says of her varied few years. Which brings us to When I Was Young. Having released individual, almost standalone tracks for the last few years, this EP represents a proper body of work, covering songs written between 2014 and 2017 that pinpoint different moments in MØ’s career so far. “Making the EP has been such a nice flashback experience because I forgot about the little things; how you put the songs together, the lyrics, the song titles and the artwork,” she explains. “Just being in the bubble of that energy is so fucking awesome. It’s so amazing to be able to create a universe.” It’s a universe that opens with the gently pulsating “Roots,” a sonic throwback to No Mythologies to Follow that was actually written a month before that album came out and was musically inspired by an unfinished song she’d made as part of a trip-hop band in 2011. “I remember when I wrote that song in February 2014 I said to myself ‘this is going to be the first song from my new album’, and I know this isn’t my second album but in a way it felt so right,” she explains. Like the EP as a whole, it was executive produced by fellow Dane Vasco, who offered a unifying sound to the six tracks. “Roots’“ slow-burn build is in contrast to the title track’s cabaret-esque feel, the delicious horn breakdown drawing out the song’s playful nostalgia (“and the holidays went on and on”). “We tried a lot of different things for that instrumental break, but that was what the song called for,” she laughs of its unexpected exuberance. More sombre is “Turn My Heart To Stone,” which again utilizes brass but to create a sadder sonic soundscape. It also showcases MØ’s upper register on the melancholic chorus, which flutters elegantly over popping beats. The EP’s connection to MØ’s more recent output – created with the likes of Benny Blanco, Ryan Tedder and Noonie Bao – is the vibrant dance-pop of “Linking With You,” which reflects the EP’s experimental practices in more ways than one. “That one was done with a UK producer called FTSE,” she says. “It was started by a group of songwriters I know who then forwarded it to me and I re- worked the lyrics so they properly fit into my world. I’ve never really done a song like that before.” Either way, whoever came up with the line “I can’t come out to play, I’ll be on my phone all day, scrolling all my time away” deserves a medal. Another older one is the clanking electronica of “BB,” which was written in late 2014. “I had just started seeing someone and I was so in love with him and scared he was going to leave me, so I did this song as a tribute to if he left me. But I’m still with him so it’s fine,” she laughs. Closing the EP is the beautiful “Runaway” which sounds like one of the Yeah Yeah Yeah’s quieter moments and was inspired by a short film her childhood best friend was making (incidentally it’s the same friend who also inspired recent single “Nights With You,” a collaboration with Benny Blanco, Cashmere Cat and SOPHIE). “It’s really personal to me because it reminds me of my best friend and our childhood,” she says of “Runaway.” “It made sense for it to close the EP, with me daydreaming about my childhood and trying to figure things out.” In a way that’s what When I Was Young represents. It’s an EP that needed to be made in order to move on from that first album and the “‘Lean On’ bubble” as she calls it, but it’s also a fully realized body of work in and of itself. “These years have been a learning process about what’s important, and that’s what this EP reflects,” she says. “These songs were chosen instinctively, and by a gut feeling really, but they’re all about both looking back and forward.” The future is very exciting indeed.

Wed Feb

14

McDonald Theatre 1010 Willamette St, Eugene, OR

$28 Adv.
8pm; All Ages

TICKETS

CASHMERE CAT

ARTIST BIO

There’s no rulebook for pop, that’s the beauty of it. At its heart is a universality and freedom that makes it all so joyous. Someone who understands that better than anyone is Danish pop polymath Karen Marie Ørsted, aka MØ. Having established herself with the raw, DIY- tinged agit-pop of 2014’s hugely influential debut album No Mythologies To Follow, she’s since expanded her sound and artistic vision via collaboration with a broad spectrum of some of music’s most interesting characters – from Diplo to Charli XCX to Cashmere Cat to SOPHIE. In 2015 she co-wrote and sang on one of the most streamed songs of all time in the shape of Major Lazer’s global smash, “Lean On” (she’d later repeat the trick with their 2016 Justin Bieber collaboration, “Cold Water”), while these features have been peppered with hits of her own, most notably last year’s MNEK-produced “Final Song,” which topped charts worldwide and garnered MØ’s first Gold record in the US as a solo artist. As work continues on her second album, due in 2018, she’s unveiled a surprise six-track EP, When I Was Young, which aims to complete the circle that started with No Mythologies To Follow and hints at where she’s headed next. “Putting out this EP is just something I’ve wanted to do for a long time, and I just felt it was right to put these songs out before I put out the album,” she says. “I’m a super nostalgic person and so these songs, and the meanings behind them, all fit into this personal journey I’ve been on.” It’s been quite the journey. Growing up in the sleepy village of Ejlstrup to a psychologist father and teacher mother, Ørsted always knew she wanted to sidestep academia and be creative. Her musical idols were typically polarized, with the Spice Girls dominating her pre-teen years before Sonic Youth’s Kim Gordon took over as number one when she was a teenager. Early musical projects leant towards aggressive punk statements, with titles like “A Piece of Music To Fuck To” and “Pussy in Your Face,” before she started collaborating with Danish producer Ronni Vindahl in 2012 under the moniker MØ (Danish for virgin, by the way). From there, the seeds of No Mythologies To Follow were sewn via the critically adored early singles “Glass,” “Pilgrim” and “Waste Of Time.” After the album was released in March 2014, preceded by the Diplo-produced “XXX 88,” MØ launched into tour mode, traversing the globe and meeting a host of new friends and collaborators. That year saw her work with Swedish rapper Elliphant on the Joel Little-produced “One More” and then, in 2015, everything went interstellar. Having been asked by Diplo to write some lyrics over a beat he’d made for his Major Lazer project, MØ came up with “Lean On,” singing the song initially meant for Rihanna with such conviction she knew it could only be released with her voice on it. And it was. Over three billionstreams later and it’s now one of the biggest, most recognized songs of the last decade. Its success was swift and sudden, but the aftermath has been a little more prolonged. “It was a fantastic thing, but this is the first year where I can focus more on my own project,” she says. “Lean On”’s success brought with it more opportunities, including another collaboration with Major Lazer on “Cold Water,” “9 (After Coachella)” with producer Cashmere Cat, “Don’t Leave” with UK producers Snakehips and an appearance on fellow pop rebel Charli XCX’s Number 1 Angel mixtape. “It’s great that there aren’t as many rules as to what you’re supposed to do now,” she says of her varied few years. Which brings us to When I Was Young. Having released individual, almost standalone tracks for the last few years, this EP represents a proper body of work, covering songs written between 2014 and 2017 that pinpoint different moments in MØ’s career so far. “Making the EP has been such a nice flashback experience because I forgot about the little things; how you put the songs together, the lyrics, the song titles and the artwork,” she explains. “Just being in the bubble of that energy is so fucking awesome. It’s so amazing to be able to create a universe.” It’s a universe that opens with the gently pulsating “Roots,” a sonic throwback to No Mythologies to Follow that was actually written a month before that album came out and was musically inspired by an unfinished song she’d made as part of a trip-hop band in 2011. “I remember when I wrote that song in February 2014 I said to myself ‘this is going to be the first song from my new album’, and I know this isn’t my second album but in a way it felt so right,” she explains. Like the EP as a whole, it was executive produced by fellow Dane Vasco, who offered a unifying sound to the six tracks. “Roots’“ slow-burn build is in contrast to the title track’s cabaret-esque feel, the delicious horn breakdown drawing out the song’s playful nostalgia (“and the holidays went on and on”). “We tried a lot of different things for that instrumental break, but that was what the song called for,” she laughs of its unexpected exuberance. More sombre is “Turn My Heart To Stone,” which again utilizes brass but to create a sadder sonic soundscape. It also showcases MØ’s upper register on the melancholic chorus, which flutters elegantly over popping beats. The EP’s connection to MØ’s more recent output – created with the likes of Benny Blanco, Ryan Tedder and Noonie Bao – is the vibrant dance-pop of “Linking With You,” which reflects the EP’s experimental practices in more ways than one. “That one was done with a UK producer called FTSE,” she says. “It was started by a group of songwriters I know who then forwarded it to me and I re- worked the lyrics so they properly fit into my world. I’ve never really done a song like that before.” Either way, whoever came up with the line “I can’t come out to play, I’ll be on my phone all day, scrolling all my time away” deserves a medal. Another older one is the clanking electronica of “BB,” which was written in late 2014. “I had just started seeing someone and I was so in love with him and scared he was going to leave me, so I did this song as a tribute to if he left me. But I’m still with him so it’s fine,” she laughs. Closing the EP is the beautiful “Runaway” which sounds like one of the Yeah Yeah Yeah’s quieter moments and was inspired by a short film her childhood best friend was making (incidentally it’s the same friend who also inspired recent single “Nights With You,” a collaboration with Benny Blanco, Cashmere Cat and SOPHIE). “It’s really personal to me because it reminds me of my best friend and our childhood,” she says of “Runaway.” “It made sense for it to close the EP, with me daydreaming about my childhood and trying to figure things out.” In a way that’s what When I Was Young represents. It’s an EP that needed to be made in order to move on from that first album and the “‘Lean On’ bubble” as she calls it, but it’s also a fully realized body of work in and of itself. “These years have been a learning process about what’s important, and that’s what this EP reflects,” she says. “These songs were chosen instinctively, and by a gut feeling really, but they’re all about both looking back and forward.” The future is very exciting indeed.

Thu Feb

15

Crystal Ballroom 1332 W Burnside St. PDX OR

$22 Adv.
Doors 6:30p; All Ages

TICKETS

LOTUS

MARVEL YEARS

ARTIST BIO

Having built a massive fanbase over the years, Lotus tours heavily selling out headline shows across the county and playing festivals such as Electric Forest, Imagine Music Fest, Camp Bisco, and more. Whether you catch Lotus in outdoor amphitheaters, the country’s best theaters, intimate clubs or a variety of festivals, you can expect to have an experience of the senses. The band's new album, Eat the Light, is a first for Lotus - an album with vocals on every song. Guest singers appear throughout ranging from soulful to indie and electronic to rock. The tracks bubble with contagious dance energy and blast into orbit with sing-along choruses. The tightly produced yet raw grooves recall sounds of The Talking Heads, Jamiroquai, and LCD Soundsystem.

Sat Mar

10

Star Theater 13 NW 6th Ave. PDX OR

$17 Adv.
Doors 8p; 21+

TICKETS

MR. CARMACK (LIVE)

ARTIST BIO

Mr. Carmack aka Aaron Carmack is a Hawaii-based producer blurring the distinction between Hip Hop and Dance Music in a progressive way that has even the most seasoned producers scratching their heads. His current rise to fame started with the self-released Bang, Vol 3 followed by the Life/Death EP, which both achieved the #1 best selling album on Bandcamp consecutively. In April 2013, he released “Birth Control” and “Hopscotch,” an eclectic mix of hand claps, squeaky beats, and Neptunesque synths, on our Jeffree’s imprint. Supported by the likes of RL Grime, GTA, Plastician, Djemba Djemba, S Type, Elair Fifi as well as appearances on BBC Radio 1, Mr. Carmack’s global domination has only just begun.

Fri Mar

16

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

LANE 8

ARTIST BIO

With his 'This Never Happened' concept becoming one of dance music's word-of-mouth success stories, Lane 8 aka Daniel Goldstein proudly announces his second artist album, ‘Little By Little’, on his own This Never Happened label. Due for release in January 2018, 'Little By Little’ distills Lane 8's unique flair for melodic, heart-warming electronics, traversing reflective electronica, instrumental club epics and left-field pop moments alike. The album tour will see Lane 8 DJ tracks from across the album and his rich discography - including new edits, club mixes and remixes. As This Never Happened shows, Lane 8 will again ask all in attendance to connect with each other and the music in the purest possible way. As such, no phone cameras or filming will be allowed on the dancefloor. Leave your phone. Experience the moment. This Never Happened.

Sat Mar

31

Crystal Ballroom 1332 W Burnside St. PDX OR

$22 Adv.
Doors 6:30; All Ages

TICKETS

EMANCIPATOR ENSEMBLE

ARTIST BIO

A sleeping giant of the electronic music world, Douglas Appling - more commonly known as Emancipator - has quietly established himself as a mainstay in the electronic music scene since the release of his debut album, Soon It Will Be Cold Enough in 2006. Classically-trained as a violinist from an early age, Appling's organic approach to electronic music production draws inspiration from a wide range of international cultures and musical genres, culminating in a refreshingly authentic brand of electronic music that has infiltrated global consciousness. 2017 has been a busy year of touring & music writing for Emancipator. Doug’s live band, Emancipator Ensemble, headlined Red Rocks Amphitheater for the first time and made appearances at many music festivals across the globe. November 2017 will also mark the release of the much-anticipated new Emancipator album, Baralku, via his own label, Loci Records. Inspired by the astral “island” some aboriginal societies believe to be our spiritual home after death, Baralku synthesizes downtempo hip-hop beats, world music elements, and field recordings, as well as jazz, folk, and classical influences into a transcendent hybrid of lush, nuanced, and ethereal compositions.   “Music takes me to places, and each song is a spirit island on which its soul lives infinitely,” says Emancipator of the album’s title and his inspiration. “To release a song is both a death and a birth at the same time,” he adds. “The sounds contained in each song have reached the end of their life process. The once shapeshifting collage of expression has been crystallized into a final form, no longer kinetic. Yet it exists in a state of permanent potential energy, waiting to be accessed in the form of music, just as the memory of a departed soul will always have the power to move us.” Following the release of Baralku, the Emancipator Ensemble will embark on a 25-date North American tour in early 2018.