UPCOMING SHOWS

Sat Mar

4

45 East 315 SE 3rd Ave. PDX OR

$10 Adv.
10pm; 21+

TICKETS

J. PHLIP

WORTHY

ARTIST BIO

Jessica Phillippe is diehard, born with true grit and skills to pay the bills. Despite her success with the dirtybird gang, she's still out there in record stores on the regular... digging, uncovering precious gems and weaving them into her dynamic sets with panache. She's a hard-working, dedicated lady who refuses to compromise and aims to rock the dance floor without relying on the most obvious tracks. Production-wise she's just as fearsome, lacing her tracks with a tough yet bouncy flavour. Her prowess in both disciplines combined with her infectious sense of fun and mind-boggling depth of knowledge make her one of the most revered DJs on the global circuit today. Ever since the purchase of a cheap set of belt-drive decks and a mixer on her 19th birthday she really hasn't looked back and, after completing her studies in Engineering, the straight-A student jumped head first into her true passion, music. She won a DJ competition in 2005, toured the USA and moved from her hometown, Champaign, Illinois, to the birthplace of house music, Chicago. In the Windy City she endured the struggle that many musicians go through on their pathway to glory but never lost sight of her dream. A move to San Francisco resulted in more hard times, but it wasn't long before her determination and natural talent won through. Phlip's refusal to give up eventually led her to connect with the dirtybird crew and make some real progress. Club and festival tours are now a regular occurrence while releases on Claude VonStroke's highly respected imprint, and elsewhere too, have established her as a reputable source of dance floor killers. People from Skream and Tiga to techno dons Surgeon and Dave Clarke and a bunch of other influential heads threw their weight behind her first truly analogue workout, 'Coefficient', while her latest tech-heavy banger 'Say My Name', which is has been doing immense damage to clubs all over the world, has peaked the interest of Eats Everything, Danny Daze and Huxley on the floor, and taking to the airwaves courtesy of B.Traits, Monki and 1 Xtra’s MistaJam . All that hard work has put her up there with the industry's female elite; Nina Kraviz, Heidi, Maya... Go hear J.Phlip in action and you can expect to experience a full booty workout and have your mind blown. You'll be surprised, energized and occasionally weirded out. $is is a lady who knows her stuff, yet continues to refine her craft. Her aim is dance floor lobotomy, all the while taking the greatest pleasure in seeing the people get loose. A DJ not afraid to put her vision out there, Jess is to thank for passing Eats Everything’s mighty “Entrance Song” to Voitek and Greg (Catz n Dogz) at Pets and the later introduction to Barclay (Claude VonStroke) and Dirtybird. She's embarked on several tours of Europe and the US, attracting an ever growing fanbase with each electrifying performance. Spending 3 years living and DJing in Berlin has helped Phlip to gain an understanding of the European market – she was only supposed to be there for 5 months, but ya know, there's some kind of time warp in Berlin that does that to people. 2014 already involves more action than a James Bond movie with another tour of Europe in full swing, dates all over the United States including three residencies: Detroit, Miami and San Francisco – plus there's plenty more production work in the pipeline. Hold tight for yet more analogue awesomeness. Don't take our word for it, go check her out yourselves... and be prepared to lose your shit. That's what's up.

Fri Mar

10

45 East 315 SE 3rd Ave. PDX OR

$12.50 Adv.
10pm; 21+

TICKETS

MK (marc kinchen)

KILL FRENZY

ARTIST BIO

MK is responsible for creating some of the defining sounds and biggest tracks of early house. He has worked with the biggest international artists from Snoop Dogg and Jay-Z to Rihanna and Beyonce, but has also retained near unprecedented levels of credibility within the underground dance music scene, with records such as ‘Burning’, ‘4 You’ or ‘Push The Feeling On’ remaining staples in the wallets and boxes of house DJs the world over. Through his timeless productions, MK has influenced a new generation of producer, with the result that his sound is more relevant today than it ever has been.

Sun Mar

12

Wonder Ballroom 128 NE Russell St. PDX OR

18.50 Adv.
8pm; All Ages

TICKETS

Trentemøller

ARTIST BIO

Copenhagen based musician Anders Trentemøller´s talent for heart wrenching melodic moments and exceptional productions, fused with his trademark sound somewhere between indie and electronic, has established him as one of the most respected and admired artists and remixers of this century. In 2006, following a line of 12” electronic EPs, Trentemøller released his groundbreaking debut album ‘The Last Resort’. High placements in several polls for best album of the year followed and established his name to a much broader audience. In 2007 Trentemøller assembled his first full live band and since then played almost 300 shows around the world. After two more studio albums, ‘Into The Great Wide Yonder’ (2010) and ‘Lost’ (2013), artist-compilations (‘The Trentemøller Chronicles’ (2007), ‘Reworked/Remixed’ (2011)) and more releases like ‘Harbour Boat Trips’ (2009) or ‘Late Night Tales’ (2011) Trentemøller is about to release his fourth album ‘Fixion’ on his own label imprint In My Room in September 2016. With ‘Fixion’, Anders has crafted a logical successor to 2013’s ‘Lost’ - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that ‘Lost’ built on from the somber cinematic classic that was ‘Into The Great Wide Yonder’, ‘Fixion’ has embraced the Danish artist’s trademark melancholy and matured it into something uniquely atmospheric and darkly romantic. Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic - and at times perhaps more song-driven body of work. It’s a record that on first listen may seem less detailed but, as you’ll know by now, with Trentemøller, one should never be fooled by initial impressions. It’s the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen. The album is still notably driven by the producer and multi-artist’s passion for experimentation and effortlessly succeeds in transcending a swathe of influences and unassuming genres­­ - yet all the while holding true to Trentemøller’s unique, and sometimes challenging vernacular. From the cascading minimalist synth-scapes to driving electropunk, each and every track on ‘Fixion’ is bound together with a contemplative melodic complexity.

Fri Mar

17

Wonder Ballroom 128 NE Russell St. PDX OR

$15 Adv.
8pm; All Ages

TICKETS

BIG WILD

ARTIST BIO

Stemming from a relentless desire to create something new, Big Wild’s sound taps into the natural curiosity we all share by exploring beyond conventional boundaries in music. This spark was ignited when he first began creating music under the heavy influence of modern Hip-Hop producers. Since then, he has increasingly drawn inspiration from the limitless potential of electronic music, while at the same time building a style unique to him.

Thu Mar

30

Holocene 1001 SE Morrison St. PDX OR

$12 Adv.
Doors 8pm; 16+

TICKETS

ELOHIM

ARTIST BIO

An L.A. based, one-woman show, ELOHIM is an electronic/alternative act that guarantees to grab your attention and not let go. She is the entire package - Singer, Songwriter, Musician, Producer, with a unique and intriguing vision for her music. Her live show demonstrates both her musical prowess and ability to connect with fans on a deeper level. As she continues to work with teams at Deckstar Managment, Circle Talent Agency, Rock Mafia, Downtown, and B3Sci, Elohim is poised for a long and illustrious career.

Sat Apr

1

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; All Ages

TICKETS

G. JONES

THE PLASTICIAN

SAYER

EASTGHOST

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 Apr

12

Wonder Ballroom 128 NE Russell St PDX OR

$15 Adv.
Doors 8pm; All Ages

TICKETS

FKJ (French Kiwi Juice)

ARTIST BIO

An accomplished artist and rising star of the Parisian electronic scene, FKJ, also known as French Kiwi Juice, is one of the flag bearers of the New French House musical genre. A native of Tours, but now based in Paris, FKJ is a leading talent and one of the most emblematic artists of the Roche Musique team that he joined in 2012 via his long-time friend Jean Janin, a.k.a. Cézaire, artist and founder of the successful Parisian record label. Trained as a sound engineer for the cinema, while at the same time being a self-taught musician, French Kiwi Juice started with a first EP, 'The Twins', released by Roche Musique at the end of 2012. Then followed the single 'Lying Together', acclaimed by the blogosphere, and a second EP 'Time For A Change' (Roche Musique, July 2013), which was unanimously praised by music critics (Ofive, Trax Mag, The Sound You Need, Earmilk, Indie Shuffle...). Thanks to millions of plays and views on different media, songs such as 'So Much To Me' or 'Instant Need' have already become classics of the French house genre. With incredibly groovy loops, classy hip-hop rhythms, gloriously funky basslines and richly colorful synth sounds, FKJ's music stands up to comparison with the masters of the genre. Now established as one of the major artists of the French musical scene, French Kiwi Juice's stage reputation has soared thanks to his inspiring and original DJ Sets, but above all thanks to the driving rhythms and and dazzling improvisation that characterise his Live Sets. Apart from the quality of his musical selection when DJing, FKJ, known as Vincent Fenton to his friends, is also an eternal source of pure creativity. This young man, just 24 years old, is a multi-instrumentalist who is permanently in search of the perfect chord.

Mon Apr

17

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
Doors 8pm; 21+

TICKETS

Róisín Murphy

ARTIST BIO

"The music is wild and free to go where it damm well where likes, the older I get the more I realise there's zero point in struggling against the natural flow of things. Eddie Stevens and I have been making glorious fools of ourselves on stage and exploring musical worlds together for 20 years. The main ingredient in both these records is intimacy and it’s that intimacy that allows for such creative freedom. " “Monto (Take Her Up To Monto)” is an Irish folk song, written in 1958, later popularised by the Dubliners –  it's etched into Róisín Murphy's musical being. “Me Da used to sing it to me when we were walking down the street – still does actually – because it's got a walking tempo, and I still sing it to myself when I'm walking along. So it's a little postmodern fragment, a bit of history. But also it's me. It's my way of saying 'How're ya lads? Here I am. Warts and all, this is me.' It's me and my rhythm. It's very simple, really – but very complicated.”   Very simple but very complicated: that's Murphy all over. Someone who writes songs that hit you direct in the pleasure centres, but possessed of unending, disconcerting complexities that unfold out of every phrase and snippet the minute you begin to look into them. The Take her up to Monto album has got everything she's always done – flights of disco fancy, dark cabaret, the sonorities of classic house and electronica, the joy and heartbreak of pure pop, torch song drama – but seen afresh, made into new, strange shapes.    It's an album which crackles with wild invention, daring you to work out its puzzles and paradoxes, throwing out whipcrack surprises just as you think you've got it worked out. In songs like “Ten Miles High,” “Romantic Comedy and “Mastermind” it's got hooks as instant and addictive as anything in her career, Moloko included, but they're part of some of her most architecturally magnificent song structures yet, and woven together with a complete and vivid visual and narrative world too: this is Murphy going further out in all directions than ever before.   This album is part of an ongoing process of re-emergence that began with the Italian language Mi Senti EP and then the Hairless Toys album. Mi Senti was made in 2014 with former Moloko keyboardist and musical director Eddie Stevens and Murphy's partner Sebastiano Properzi. Murphy took time out after her 2007 album Overpowered and this was the first time that she had been back in the studio for a major project – rather than just lending vocals to someone else's record "I suppose Mi Senti seemed a bit of a curve ball, certain people expressed exasperation at my choice to sing Italian songs, like I was deliberately trying challenge or test people's patience when nothing could be further from my mind. In my mind Mi Senti was a love letter to my creative life, a thing of joy and the most natural thing for me to do at that point. It was technically challenging and highly invigorating" – it was like she'd never been away. After  Mi Senti , she and Stevens returned to the studio for a five week session, working production-line style, after which they ended up with easily two albums' worth of songs: what would become both  Toys  and  Take Her…   There was then a deliberate process of sorting, with the subtler songs ending up on ..Toys, as if to ease the audience in to this new phase of Murphy's career with a rather more gentle taster, before hitting them full force with what would become Take Her... That's not to say ..Toys was exactly an easy listening album, mind you. It's certainly smooth sultry – just look at the poise and elegance of Murphy's performance of the autobiographical “House of Glass” from that album at the 2015 Mercury Awards (for which the album was nominated) –  it too had all kinds of turbulent undercurrents and dark emergent themes. It was clear that this is no longer the mischievous funk of Moloko, or the concise pop structures of her 2000s solo albums Ruby Blue and Overpowered, but something altogether more expansive and involved.   Between ..Toys and Take Her.., Murphy and Stevens left some of the remaining songs almost as they'd initially demoed them, and radically reworked others as the character of the album became clearer. Some, like “Mastermind”, the breathless disco epic that opens Take Her.., got a boost in scope from Murphy's rekindled love of kicking out the jams and the high drama of live performance thanks to touring ..Toys. But something else changed between the two records, too, something that would cement the new way that Murphy saw her creative process and the roles she inhabits as an artist: she became a film-maker. Or perhaps, she muses, she always was one. She has always been a natural dramatist and her expression has been visual as much as musical "as a child I fully expected to grow up to be a visual artist, the singing I just took for granted as everyone around me sang. So right from the beginning of Moloko I have embraced any opportunity to express that visual sensibility".  The simultaneously baffling, beautiful and hilarious video for  Toys  lead single “Exploitation” was her directorial debut, and from there, she has gone through “a hell of a steep learning curve” making films for each single that follows. “Each video was a study-fest,” she says, “each one was about me watching the greats, copying how they set each shot up, it was truly like going to film school. The first one was influenced by Cassavete, the second was Bergman, the third was Fassbender... with all sorts of bits from other people I was studying finding their way through into it too. Looking back at  Hairless Toys  I see all sorts retrospectively, but it feels like the a esthetic was frozen time of no-time – was it in the eighties? Nineties? Seventies? Some lost place in the memory of my generation?” But for   Take Her the visual language has changed "This will be very different though, less reference, a more aggressively modern aesthetic, I hope people are ready for that. Its  about the London that I live in, it's a lot about architecture, it's about building and the future coming, its about here! it's a bit fizzier and more present tense, irreverent, with guerilla filming, montage and crazy shit. I hope it's a realism that makes you feel good about being alive”. It's telling that as Murphy starts to describe it, the words come spilling out: the enthusiasm, optimism and excitement of her artistic vision and her intense love of the process are palpable. And it's this that defines the Róisín Murphy of 2016. "Ive taken on the creative direction across two campaigns now and it's tough, it's hard work and a lot of responsibility, yet all I can say is the last couple of years, going around the city with my big phone and its camera, taking pictures of everything, watching, writing: this has been the happiest time of my life and that's all that matters"    And this is what we get on Take her up to Monto. Not just a personal document, not just a cutting loose and letting free of the wilder songwriting instincts from her and Stevens's sessions – but a statement of the artist finding her feet in all the media she inhabits. "It's true I've taken a lot of creative control but I'd be loathe to define where all this is leading , Im not calling myself a film-maker/director/artist or anything like that for the moment. Right now I'm a performer who is fascinated with performance on any platform, I'll just continue to explore."  The studio, the live stage and the world of costume and fashion – these were all Murphy's natural habitats from the beginning of Moloko. But now with Murphy bravely taking creative control the vision is more complete, one clear voice. You don't have to be a psychoanalyst to see the significance of the leap from Toys's meditative, memory-laden “frozen time of no-time” and Take Her's art being “about now, about building and the future coming.” Murphy has never been an artist to stand still, and every record she's ever made has been a creative year zero in some sense – but even by these standards, this is a record overflowing with possibility. “Here I am,” it says, simple as you like, yet complicated enough to spend lifetimes decoding. “Here I am.”

Thu May

4

Wonder Ballroom 128 NE Russell St PDX OR

$17 Adv.
Doors 8pm; All Ages

TICKETS

CASHMERE CAT

ARTIST BIO

The cat isn’t entirely out of the bag yet…but he’s getting there. Cashmere Cat has been happy to remain mostly behind the scenes, up to this point, focusing his efforts more on his collaborative work with some of the top names in pop, R&B and hip-hop rather than toot his own meow. But even that board work has threatened to make him a household name, at least among the kinds of households that obsessively scan Yeezy album credits. As Fader wrote, “The introverted producer—who’s lent beats to Kanye West, Ariana Grande, and Tinashe—is pop’s new not-so-secret weapon.” He’s about to get even less clandestine, with his first full-length album under his own nom deplume. It’s too soon for Cashmere Cat to reveal just which vocalists he’s enlisted for his feature debut, although you could make a good guessing game would naturally include some of the marquee names who’ve previously enlisted his producing efforts. But there’s already a significant cachet of fans who would sign up for pre-orders with or without featured artists. Cashmere Cat is a destination producer-DJ-writer-maestro. The artist formerly known as Magnus August Høiberg previously released a pair of allinstrumental EPs on cult labels Lucky Me (Hudson Mohawke, Lunice, TNGHT) and Pelican Fly (Sinjin Hawke, Lido), which were acclaimed for vast dynamic soundscapes that transcended any tropes associated with his dance music roots. Bringing in some big-name collaborators for his debut album was a welcome relief from his previous X-treme auteurism. “I was used to making music on my own, having to deal with my own thoughts and my own computer, and that was it,” he says. “Now there’s a spectrum of artists and emotions and places and times involved, and it’s a lot bigger than what I’m used to. But I don’t mind. It feels better. I prefer to have other people involved in my songs. It got boring and lonely to do music by myself. It’s kind of like playing a videogame alone. It can be awesome, but you can also feel like a loser, if you’re playing a game and it’s ‘Yeah! I fucking killed this game! And, I’m sitting alone, and I’ve also not had sex for three months.’” Collaborative game on! He took inspiration for his own full-length album debut from the work he did on Kanye West’s most recent album. “I feel like the music I did for him set the standard for what I want to do with my own music,” he says. “I’m the biggest Kanye fan in the world, and when they premiered ‘Wolves,’ it was one of the most exciting days of my life.” So exciting that Cashmere Cat instagrammed a photo of himself in his lawyer’s office, prostrate on the floor in grateful awe. “‘Wolves’ is really one of my favorite Kanye songs, and I can’t tell if it’s because I produced it or it’s because it’s actually good. But the way that record came out set the standard for what I want my own music to sound like. It was a new sound for me, and it made me feel like I can do really beautiful, weird music that sonically still fits within everything I’ve done, without it being just banging rap songs or even big-feeling pop music.” Any of this would have seemed like a pipe dream not that many years ago, when Høiberg was a fledgling DJ in his native Norway and began doing remixes for famous artists like Miguel and Lana Del Rey…many of them not officially authorized. His skills attracted an American audience that eventually grew to include multiplatinum super-producer Benny Blanco, a mentor who encouraged him to come to New York and took him under his wing. Their sensibilities meshed, with Blanco “bringing me in because he believed that the weirder shit I was doing could work in a more poppy sense.” At the beginning of 2014, the man now known as Cashmere Cat had his first solo production credit on Ludacris’ “Party Girls,” which also featured Wiz Khalifa and Jeremih. With Blanco, Cashmere Cat moved further away still from slamming hip-hop into quirky pop with their co-production of Ryn Weaver’s “Octahate.” With Stargate, he worked on Charli XCX’s “Break the Rules” and Tinashe’s “All Hands on Deck.” Ariana Grande not only used him on record but took him out on her tour as the opening act. Even when he was working on hiphop records, a critic at Resident Advisor found the production style he was developing to be “elegant and pristine,” His own two solo EPs (2012’s Mirror Maru and 2014’s Wedding Bells) also won the hearts of reviewers at outlets like Pitchfork, which enthused:. “Blending technical sensibility with pop playfulness, his debut EP communicates a fully realized artistic persona.” They haven’t heard anything yet. When the new album comes out in late 2016, — on Blanco’s Friends Keep Secrets label, in conjunction with Interscope — “a lot of my old sound will still be in there,” he promises, “but I think I’m influenced by a lot of different music that I wasn’t before— like, I’ve been listening to a lot of Arca” (the Venezuelan producer/DJ who’s worked with Bjork). “I hope and believe that I’m doing something that’s worthy of an album and not just something that will bang in the club.” Is he ready for a greater limelight? Cashmere Cat’s shyness was such that, even after his name became known, his gender was less so. “When I would play a show, there would be a picture of me DJ-ing with my head down and my hair in front of my face, and I would kind of look like a really weird-looking girl. And the music sounded really soft, too, so people would just automatically assume it was by a girl. But I don’t mind if people think there’s something feminine about it.” He eventually added to the mystique by covering up his face with his hand in photos. “When people would come up with cameras, because I’m awkward and shy, I would just start automatically covering my face. It wasn’t really an aesthetic choice and it’s not necessarily trying to be mysterious. And then it became a thing.” Such a thing, in fact, that now, when he’s approached by fans for selfies, “people put their hands in front of their faces to do the picture, too! But I’m not as scared anymore. There are pictures of me now where you can see the contours of my weird Norwegian face. I think that’s also part of me finding out what I actually want to do. I’m revealing more of myself.” That includes doing interviews, something he literally shied away from for a while. “I feel like I have stuff to talk about now, whereas before it was ‘Yes, I’m in my bedroom in Norway, and I’m trying to send beats over email to the guy who knows the guy who works at Roc Nation.’” No shortage of stories now: With a full dance card extending to having some of the world’s hottest artists eager to appear on his record, the cat no longer has his tongue. Even when it’s the biggest names in pop doing the literal singing, Cashmere Cat has found his voice.

Fri May

19

The Cuthbert 601 Day Island Rd. Eugene OR

SOLD OUT
Doors 7pm; 16+

TICKETS

ODESZA

ARTIST BIO

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention. Released September 9th 2014, In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on ͞Sun Models,͟ expertly worked into ODESZA’s trademark, mood-altering uplift. ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution has resulted in sold out headline tours of North America, Europe and Australia, in the biggest venues they’ve headlined to date. Never ones to settle, ODESZA’s ambitious live production continues to expand, with ground-breaking visuals and live instrumentation.

Thu May

25

45 East 315 SE 3rd Ave. PDX OR

$10 Adv.
Doors 10pm; 21+

ON SALE
Feb 24

SAM GELLAITRY

ARTIST BIO

Sam Gellaitry is an 18 year old producer from Stirling, Scotland. He began working on creating tracks when he was 12 after hearing his older brother and friends creating sounds using Acid Pro. Sam continued to experiment with making music on his computer at home in Stirling and decided to leave school at 16 in order to focus more intently on it. This decision was supported by his family who recognised his talent, enthusiasm and commitment to composing his own music. Sam attended a music course at college for a short time and there gained more insight into the music business and how it works. Sam has been working exclusively on creating music and playing shows since then. He has toured widely within Europe performing in Paris, Milan, Vienna, Basel, Bern, Brussels, Stuttgart, Freiberg, Bordeaux, Amsterdam and London. Sam has wide ranging tastes in music and is influenced by a variety of different genres. He has created a range of different tracks with his signature sound embedded in each and has over 100,000 followers on Soundcloud. Sam’s debut EP “Short Stories” was released in February 2015 on Soulection. The EP was well received by all of Sam’s fans, as well as acquiring great reviews from many industry publications/blogs, including thissongissick who wrote: : “Gellaitry’s progressive sound is displayed in his debut Short Stories EP as his hard hitting bass sits perfectly alongside dreamy, atmospheric melodies to create his unique contrasting sound that is truly genre-defying. Each song on this project takes many unexpected turns as the producer constantly surprises with the shifting of a variety of instrumental layers.”