UPCOMING SHOWS

Sat Nov

18

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
Doors 8pm; All Ages

TICKETS

GIRAFFAGE

SWEATER BEATS

WINGTIP

ARTIST BIO

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

Wed Nov

22

Roseland Theater 8 NW 6th Ave. PDX OR


8:30pm; 21+

TICKETS

FLYING LOTUS IN 3D

SEVEN DAVIS JR

PBDY

ARTIST BIO

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

Sat Nov

25

Star Theater 13 NW 6th Ave. PDX OR

$17 Adv.
Doors 8pm; 21+

TICKETS

THE RUSS LIQUID TEST

SWATKINS & THE POSITIVE AGENDA

MONTEL SPINOZZA

ARTIST BIO

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

Tue Nov

28

45 East 315 SE 3rd Ave. PDX OR

$17 Adv.
Doors 10pm; 21+

TICKETS

COM TRUISE

CHRISTOPHER WILLITS

ARTIST BIO

"Repetition is a form of change," reads one of Brian Eno's Oblique Strategies. Seth Haley knows the concept well, and his style of technicolour synth-wave takes the mantra as a challenge -- how much emotion can one man convey through his machines? Six years ago, Galactic Melt introduced space traveller Com Truise and his journey through far-flung galaxies, before mini-epics Wave 1 and Silicon Tare expanded the story in further cosmic detail. And now Iteration concludes this sprawling saga. True to its name, the album is built on Com Truise hallmarks: neon-streaked melodies, big drums, robotic grooves, bleary nostalgia. But Iteration is also the most elegant and streamlined that Haley's music has ever sounded. At the album's heart is an elaborate narrative, one full of longing, hope, anxiety, and triumph. Iteration illustrates the last moments Com Truise spends on the perilous planet Wave 1, before he and his alien love escape its clutches to live in peace. Album opener ."..Of Your Fake Dimension" launches the interstellar drama with its anthemic swells and widescreen sound design, before lovesick songs like "Dryswch" and "Propagation" outline scenes wrought with cybernetic pathos. In "Isostasy," the synaesthetic quality of Haley's compositions is presented in ultra-high-definition. Later, the frantic rhythms of "Syrthio" conjure images of panicked flight as Haley's gorgeous synth melodies gild the action in quiet heartbreak. Then comes the resounding "When Will You Find The Limit...," when Iteration's pain and sadness finds liberation in the vast unknown. The closing title track ends it all in a gush of majestic revelry. So goes the winding story that Iteration tells, and yet there's more behind its telling. "I try hard not to write from my personal life, but it's inevitably going to seep into the music," Haley explains. "It's basically like I'm scoring this film in my head, but that film I'm scoring is also somehow my life." There are glimpses of the difficult time the East Coast native spent adjusting to a new life in Los Angeles, fighting homesickness and burnout while also touring the world. It was a time full of uncertainty, transition, and self-realization. After a year and a half of living in California, Haley finally recaptured his creativity by finding new excitement in his work. "I put more air, more breathing room in the music -- that was the big change," he says. And once that clicked, the album quickly materialized. Such a clear refinement of the Com Truise sound took time to develop, but Iteration is well worth the patience and perseverance it cost. Some of Haley's smartest, catchiest work is here, from the weightless pop heights of "Memory" to "Ternary"'s lush synth-funk. A song like "Vacuume" somehow manages to balance massive bass swells and punishing drums with stuttering angelic gasps, and "Usurper" gracefully pairs subtle poignant melodies with uplifting dance beats. "For me, it feels like change," Haley says of his second album, and yes, this is Com Truise like never before. By embracing the music's inherent nature and peerless qualities, Iteration finds new avenues of expression in its vivid, familiar surroundings.

Tue Nov

28

McDonald Theatre 1010 Willamette St, Eugene, OR

$29 Adv.
Doors 7p; All Ages

TICKETS

BIG GIGANTIC

BRASSTRACKS

ARTIST BIO

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

Wed Nov

29

Holocene 1001 SE Morrison. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

HAYDEN JAMES

BAYNK

GRACE PITTS

ARTIST BIO

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

Thu Nov

30

Crystal Ballroom 1332 W Burnside St. PDX OR

$20 Adv.
Doors 7pm; All Ages

TICKETS

LOUIS THE CHILD

LOUIS FUTON

ASHE

ARTIST BIO

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

Fri Dec

1

McDonald Theatre 1010 Willamette St, Eugene, OR

$18 Adv.
Doors 7pm; All Ages

TICKETS

JAI WOLF

ELOHIM

KIDWASTE

ARTIST BIO

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

Sat Dec

2

Wonder Ballroom 128 NE Russell St PDX OR

$20 Adv.
Doors 8pm, All Ages

TICKETS

SLOW MAGIC

POINT POINT

QRION

ARTIST BIO

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

Wed Dec

6

McDonald Theater 1010 Willamette St, Eugene, OR

$20 Adv.
Doors 7pm; 16+

TICKETS

LOUIS THE CHILD

LOUIS FUTON

ASHE

ARTIST BIO

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

Fri Dec

8

Roseland Theater 8 NW 6th Ave. PDX OR

$25 Adv.
All Ages

TICKETS

BIG GIGANTIC

BRASSTRACKS

ARTIST BIO

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

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 (formerly known as KRNE) is a producer and DJ from Oakland, CA. Drawing upon his eclectic musical background and foundations in jazz, he melds his love of electronic and hip hop beats blurring the lines between the two. His works are at home, in the club, festivals and naturally in a pair of headphones.

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.

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.