UPCOMING SHOWS

Fri Dec

16

45 East 315 SE 3rd Ave. PDX OR

$13 Adv.
Doors 10pm; 21+

TICKETS

SWEATER BEATS

ARTIST BIO

The Philippines and suburban Maryland aren’t exactly R&B or dance music hot beds, but they didn’t need to be for Antonio Cuna aka Sweater Beats to ingest both genres and spit out an exciting hybrid, melding the sensuality of contemporary R&B with the immediacy of dance music. Born in the Philippines, Cuna moved to Maryland, adapting to his new environment by engaging with music and skate culture. But it wasn’t long before R&B entered the picture, first as an obsession and later, while Cuna was at university in New York, as a creative outlet. Growing up in the 2000s, it’s no surprise that Cuna’s heroes include R&B producer mavens like Pharrell and Timbaland, as well as French dance music behemoths Daft Punk, but it’s how he’s filtered those influences into the ingenious sonic aesthetic, a sound equally fitting both the festival stage and bedroom play, that makes Sweater Beats such an unavoidably intriguing project. Since bubbling up in the dance world with the premiere of his debut single “Mlln Dllr” on Annie Mac’s Radio1 show, Sweater Beats has constantly pushed the limits of his own sound. With support from the likes of Diplo, Omarion, and JoJo, plus tours with artists like Chance the Rapper, Flume and Chet Faker, the producer has clearly caught the eye some of a wide variety of tastemakers. Featured by the likes of Billboard, Entertainment Weekly, Boiler Room and The FADER, Cuna has also received admiration from music journalists the world over, drawing almost universal praise from disparate outlets. With countless collaborations, mixes, and remixes, on top of a constant touring schedule, Cuna has garnered a reputation for his incessant work rate and willingness to push his sound into new and uncharted territory. And that’s part of the reason why Cuna connects with his fan base on such a visceral level, eschewing traditional industry methods for his own unique, intimate manner of going about business.

Fri Dec

23

45 East 315 SE 3rd Ave. PDX OR

$13 Adv.
Doors 10pm; 21+

TICKETS

CLAPTONE

ARTIST BIO

In a now long forgotten world, many generations ago, a bird like shape emerged from wooded darkness, floating and fluttering, drifting and dreaming. Backlit by a bright glow of iridescent light, the undecipherable form wore a dazzling golden mask. Its long beak swooped down like an inverted horn and since then, people have referred to the mythical being simply as Claptone. Years spending wandering medieval landscapes have informed Claptone’s view of the world, experiencing both magical mystery and muted melancholy he enchanted onlookers with occult instruments and beguiling sounds. Forever surrounded by a sense of intrigue, the world soon cottoned on to the elusive yet enchanting musical powers of this otherworldly beast. The results are that today his shamanistic sonic powers take him all around the world.

Fri Jan

27

45 East 315 SE 3rd Ave PDX OR

$15 Adv.
Doors 10pm; 21+

TICKETS

SANGO

ARTIST BIO

Sango is a Seattle based producer who is most known for his remixes of Aaliyah, Drake, Little Dragon, Nas, The Weeknd, his debut album ‘North’, and his Baile Funk EP series “Da Rocinha”. He is apart of the Los Angeles collective Soulection. At the young age of 12, Sango started producing music alongside his older brother and his friends. His work mainly focuses on hip-hop, and soul influenced beats that over the years have been able to come together as his own distinctive innovative sound. Apart from producing, Sango is a graphic designer. He has designed all of his releases up to date, which has shown that he is more than just a producer, but an artist in his own right. He has been featured on numerous publications for his self-disclosing interviews and tracks, such as Fader, Drake’s OVO blog, XLR8R, Noisey, Fader, Complex, and more. Over the last few years while releasing his Da Rocinha series, Sango has toured 50 + cities worldwide and played some of the worlds biggest festivals. His high energy live set is constantly in demand. While touring his Da Rocinha projects and live set around the world, Sango has been producing for some of the industry’s hottest acts. Sango has produced for Tinashe, Bryson Tiller, Mick Jenkins, GoldLink, Wale & more. Keep an eye on Sango, as his quickly growing fan base, and worldwide critically acclaimed music is only expanding in 2017 as he prepares to release his first major commercial record.

Thu Feb

2

45 East 315 SE 3rd Ave. PDX OR

$17 Adv.
Doors 10pm; 21+

TICKETS

PURITY RING (DJ SET)

ARTIST BIO

After sixty-five fortnights, Purity Ring have returned with their super-tight second album Another Eternity. The pair ventured home to the frozen industrial landscapes of their birthplace Edmonton, Alberta to document much of what was to become the album. For the first time, vocalist Megan James and producer Corin Roddick were able to create a record in the same room. Purity Ring’s first album Shrines was recorded separately in Montreal and Halifax, where Corin and Megan were respectively living at the time. Despite being a thousand kilometers apart and barely talking, Shrines was a cohesive, beguiling and wholly unique universe of what the band called ‘Future Pop’. At the center of the amniotic swirl of Shrines was an undeniable nucleus of crystalline pop which presciently suggested both indie and popular music to come. Critics were psyched: ‘Best New Music’ from Pitchfork and praise from The New York Times, Rolling Stone, and NPR, among others. They quickly amassed a rabid fanbase, toured relentlessly and sold out shows worldwide. On Another Eternity, Purity Ring trade the gorgeously claustrophobic atmospheres of Shrines for wide-open, muscular vistas of sound and luminous, up-front vocals. Crafting a lyrical universe of “sweat and dreams” populated by seacastles, rattling spines, and weeping drawers, Megan James wields concrete imagery and metaphor with increasingly direct, startling resonance. Corin Roddick’s gifts for evocative melody remain intact, but his drum work and use of space have been completely reforged: immaculately built and focused in service of the song. “begin again” rouses Purity Ring’s brooding balladry into a sky-reaching anthem while retaining its distinctive shape. “bodyache” is the kind of devastatingly infectious single that their previous work only gestured at. “stillness in woe” features a frozen, manipulated piano, dovetailing with Megan’s time suspending narrative. “repetition” finds surreal, love-lorn lyricism soaring over delicately woven synths. The emotional geography of Another Eternity is wider than ever: gloomy valleys and gleaming peaks in even measure. Though they are now working at a higher resolution, Purity Ring remain hands-on with every aspect of their project. As usual, the band produced and recorded Another Eternity entirely themselves. The pair worked to develop an innovative new live performance, and Megan designed the band’s onstage and video fashion. Another Eternity revels in its upfront melody, clarity, and confidence. With every step forward they take, Purity Ring actualize their vision while sounding utterly and undeniably like themselves.

Fri Feb

10

Crystal Ballroom 1332 W Burnside St. PDX OR

$18 Adv.
7pm; All Ages

TICKETS

LOTUS

ARTIST BIO

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

Sat Feb

11

45 East 315 SE 3rd Ave. PDX OR

$10 Adv.
Doors 10pm; 21+

TICKETS

FELIX DA HOUSECAT

ARTIST BIO

In a world obsessed with labeling an ever-evolving genre, Felix da Housecat is dedicated to making the people dance. He is one of those rare, charisma-oozing characters, whose musical and mental eccentricity come from a genuine place. He’s never afraid to take a risk to reach new ground. It’s this blend of qualities that has kept him in such high reverence in the electronic field for two decades now, and which has ensured that his music has been a consistently captivating force. An ever-moving target, his various incarnations have seen him morph from resolute acid and techno warrior to avant-garde nu-skool electro-disco pioneer to the man who gave one of the world’s most famous rappers a new lease of house-infused life long before major labels were putting every urban artist on their books over anemic 4/4 beats. “My dad played sax and he got me onto clarinet” he recalls of his beginnings in making music, “so it was more of a discipline thing. It was never like, I was this passionate kid who wanted to be a… superstar. Or a superstar DJ, or a rock ‘n’ roll star. I was quite shy in school.” First seduced by electronic music when house music first emerged in his native Chicago in 1984, the young Felix soon found himself getting caught up in a musical paradigm shift that fostered a lifelong obsession and helped to bring him into his shell. “It was like a culture movement. So everything I heard on the radio – from Farley ‘Jackmaster’ Funk to Mike ‘Hitman’ Wilson – that was the sound I was exposed to. Coming from a family of music, I was able to replay and recreate that stuff.” But it was too late for classical training to keep a hold on this burgeoning young talent and dance music aficionado. Da Housecat took over. Felix began re-releasing music back in 1993. He landed, as a cat does, on his feet with some of his earliest productions picked up by seminal progressive and techno imprints Guerilla and Bush. “When the people started getting into my sound, that’s when I started taking it serious” he explains. He grew to become one of techno’s most sought-after names, with a sound influenced heavily by collaborator, mentor and acid house inventor DJ Pierre’s ‘wild-pitch’ style and drawing as much on the raucous bite of acid as it did on the intensity of techno. He was catapulted from the overground into the wider dance music consciousness at the start of the millennium when he reinvented himself as a purveyor of future retro, high-camp grooves with his ‘80s-inspired album Kittenz (And Thee Glitz). Club and crossover hit Silver Screen Shower Scene particularly, with its kitsch Miss Kittin vocals and raucous sound, remains a stone-cold classic to this day. He survived unwittingly spearheading an entire new genre with that album – “I just hate the word electroclash and don’t want to be affiliated with it”, he says today – but continued unfazed throughout the noughties to bring the world more of the magical music that lives inside his head. Albums Virgo Blaktro & The Movie Disco and He Was King received critical acclaim before he made history and released his next LP, Son Of Analog, as a free Mixmag covermount CD. Collaborating with the man then known as P. Diddy in the interim (2006) on the groundbreaking Jack U was just another move that was way ahead of its time. about page image on felix da housecat's official website But despite all this success, an increasingly wild lifestyle (including a fierce mezcal habit) combined with the pressures of unrequited hyperbole forced Felix to hit the reset button a few years back. “I became sober and got in touch with my spirit, I saw everything clear. Some promoters book me because they think they are getting the Mezcalateer. Some are afraid of the Mezcalateer. Some find I’m sober and will try to test me by offering me shots but I fight them off. I am Thee Former Mezcalateer. Retired. I found myself literally dancing with the devil. No joke. The four years off was due to personal life, spirit, booze, you name it. I had to find my way back. I survived and I went through my 9 lives over 10 times.” The devil’s loss is the world’s gain: Felix is back in a big way, brimming with hunger and passion for music once again, and some incredibly hot new material. Returning with a slew of new material in 2013 via his label No Shame/Rude Photo, his rampant electro/disco concoctions will pave the way for a hotly anticipated new album later in the year. On top of all this fresh new music, a huge remix for Katy B is on the way, plus a global tour, a live BBC Radio 1 Essential Mix and his own signature headphones. This is the year that Felix Da Housecat reclaims his position amongst the upper echelons of dance music.

Thu Feb

16

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; 21+

ON SALE
Dec 10

THUNDERCAT

ARTIST BIO

THUNDERCAT is the alter ego of virtuosic bassist / singer Stephen Bruner. The South Los Angeles-native has released two critically acclaimed full length albums on Brainfeeder Records since 2011, and last year saw the release of widely praised mini-album The Beyond / Where the Giants Roam. The album features appearances from the legendary Herbie Hancock, fellow Brainfeeder family members Kamasi Washington, Miguel Atwood-Ferguson and Mono/Poly and production work from Brainfeeder head, Flying Lotus. 2015 also saw Thundercat make outstanding contributions to landmark albums by Kamasi Washington (The Epic) and Kendrick Lamar (To Pimp A Butterfly). His work on Lamar’s recently netted him his first Grammy. Bruner found his instrument at the age of 4. That made him a late-bloomer in the house of Ronald, Sr., who drummed with the Temptations among others. His first bass was a black Harmony, and he practiced to the Ninja Turtles soundtrack until pops played him Jaco Pastorius. He joined thrash legends Suicidal Tendencies as a teenager, and spent road and studio time with everyone from Stanley Clarke to Snoop Dogg to Erykah Badu. Eventually the name Thundercat stuck, a reference to the cartoon he’s loved since childhood and an extension of Bruner’s wide-eyed, vibrant, often superhuman approach to his craft.

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.

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.

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”.