UPCOMING SHOWS

Thu Feb

1

Holocene 1001 SE Morrison St. PDX OR

SOLD OUT
Doors 9pm; 21+

TICKETS

TWO FEET

ABSOFACTO

ARTIST BIO

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

Tue Feb

13

Roseland Theater 8 NW 6th Ave. PDX OR

$28 Adv.
Doors 7pm; All Ages

TICKETS

CASHMERE CAT

ARTIST BIO

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

Wed Feb

14

McDonald Theatre 1010 Willamette St, Eugene, OR

$28 Adv.
8pm; All Ages

TICKETS

CASHMERE CAT

ARTIST BIO

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

Thu Feb

15

Crystal Ballroom 1332 W Burnside St. PDX OR

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

TICKETS

LOTUS

MARVEL YEARS

ARTIST BIO

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

Thu Feb

15

Star Theater 13 NW 6th Ave. PDX OR

$18 Adv.
Doors 9pm; 21+

TICKETS

AUTOGRAF (LIVE)

RAMZOID

COFRESI

ARTIST BIO

Combining two art students and a derivatives trader into an all-encompassing art project was surely a novel concept. Autograf -- formed by Jake Carpenter, Louis Kha, and Mikul Wing -- craft a shimmery mix of futuristic electronica with a D.I.Y. ethos that melds the skills from their former day jobs. When the electronic music scene reached a certain peak, the group wanted to bring some sexy back to the genre. After remixing a string of songs by prominent artists like Lorde and Pharrell, they released their first original song, “Dream,” through Ultra Records, followed by "Running" and "Metaphysical," featuring Autograf-designed paintings and mixed-media pieces. Autograf's future philosophy and artistic talents led them to create their own stage installations, which they hoped would revolutionize the electronic music scene. Following the release of their first three originals, the trio released their debut EP, 'Future Soup,' and continued the momentum with their Hype Machine dominating single "Nobody Knows" via Armada Music and remix of "Rockabye" by Clean Bandit and Sean Paul. Without slowing down, the trio then made their Big Beat Records debut with their jam “You Might Be” featuring Lils. Following stellar performances at Coachella, the group released their single “Simple” featuring Victoria Zaro with Spinnin Records. Autograf continue to grow in various aspects of art culture, having recently opened a Future Factory art gallery in Bangkok, featuring Joan Cornella as the opening exhibition. This side to the project will come as no surprise to fans of the band, who designed and built their own lighting rig for their last US tour. The guys just revealed their own streetwear line as well. A By Autograf combines their passion for a perfect intersection between art, fashion and music.

Thu Feb

22

Holocene 1001 SE Morrison St PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

SAINT WKND

JERRY FOLK

ARTIST BIO

Deep in the hub of Germany, the raw sounds of 21 year old Maximilian Seethaler's tycoon SAINT WKND is fusing danceable mixture of deep, tech and house beats with a subtle tropical-like inspired round of evocative chilled indie sounds. In less then a year he reached an impressive 18 million unique Soundcloud plays and scored multiple #1 spots on the all acclaimed Hype Machine with remixes for Australian future-beat boss Chet Faker, indie group Saint Motel and his first solo release "Lost(Runaway)" feat. Inglsh. Inspired by artists such as Pharrell Williams, Daft Punk, Jay Z and with his love for underground music, the SAINT WKND phenomenon is nothing short of a future and unique musical experience, which will be hard to forget. With his bags fully packed and ready to go, SAINT WKND invites you to join his world of bass infused indie music and dance the night away.

Sat Mar

10

Star Theater 13 NW 6th Ave. PDX OR

$17 Adv.
Doors 8p; 21+

TICKETS

MR. CARMACK (LIVE)

TSURUDA

ARTIST BIO

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

Fri Mar

16

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

LANE 8

ATTLAS

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.

Sun Mar

18

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

BONDAX

ARTIST BIO

"There's an old saying" says George Townsend, "that it takes years of work to be an overnight success." Wise words indeed, but startling too. Indeed, it's hard to believe that Bondax, the duo of George Townsend and Adam Kaye, have had the years to put into their work. After all, both are 18 years old and barely out of sixth form – surely theirs must just have been a lucky break, a couple of fluke big tunes that got spread on a wave of internet hype? Well no, they really have put the hours in to get where they are now. "We met properly in year 11" says Adam, "when we were doing our GCSEs. George had been producing for ages, I'd been in bands playing indie and stuff, and he asked me in to try and make some tunes. It was just fun at first, but the more we did it the more we realised... well, that we could make something quite decent!" So that's several years of George tinkering with computers and Adam learning his chops before they started working together, then another two years of learning to work as a duo before their tracks started gaining buzz online and being picked up by DJs and labels. When the first buzz began to explode George took the bold step of dropping out of his A-levels to dedicate himself full time to building connections and setting the stage, so that when Adam finished his exams, they'd be able to leap in to promotion and songwriting with both feet. Already they've played across Europe, rocked festivals and clubs and met some of their musical heroes, but they know it's only just begun. "We want to do this" George says. "I knew I had a choice, to do my exams and do what everyone else does, or take a chance on doing something I love, going to parties, maybe building a totally different life." And they're not just looking to the next dancefloor hit either, as Adam makes clear "we're really conscious of not wanting to repeat ourselves" he says, "and we want to do new things. We're only just writing our album now, but we're going to have songs, but songs treated differently so the structures aren't what you expect. It's got to keep the interest and not just be trying to do what's current." That's the same sense of perspective which George displayed in pointing out the work they needed to get where they are – and they both know there's a lot of work still to do. It's unusual to find any act who are so clear about what's needed to go where they want to be, let alone an act that's just out of school. But Bondax are a very unusual act, and one that's arrived just at the right time. Though they may have all the hallmarks of "bass music", the newest production techniques, tweaks and club rhythms, there's something deeper underlying all their tracks which gives them both pop appeal and the possibility of the longevity they clearly want. It's early days, of course, but there's every chance that in years to come, they won't be looked at alongside the hip club producers of the time, but in a category with Moby, Gorillaz, LCD Soundsystem and other such acts which have taken dance grooves to the biggest stages and the widest audiences.

Wed Mar

28

Holocene 1001 SE Morrison St. PDX OR

$15 Adv.
Doors 9pm; 21+

TICKETS

BRASSTRACKS

ARTIST BIO

Brooklyn-based duo Brasstracks has delved deeper into the inclusion of brass instruments in electronic music. Made up of Ivan Jackson on trumpet and Conor Rayne on drums, Brasstracks emulate the current state of many musicians in their age bracket who are caught between their trained musicianship and their personal love of a multitude of musical sounds. Read more at https://earmilk.com/2016/09/06/brasstracks-on-live-music-and-the-success-of-their-debut-album/#3Kjss35whAsRM4s3.99

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.

Sat Apr

14

Star Theater 13 NW 6th Ave. PDX OR

$18 Adv.
Doors 8p; 21+

TICKETS

CHROME SPARKS

MACHINEDRUM

ARTIST BIO

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

Thu Apr

26

Holocene 1001 SE Morrison St. PDX OR

$12 Earlybird
Doors 9pm; 21+

TICKETS

KASBO

ARTIST BIO

2015 marked the start of a breakout two years for Kasbo – the 22-year-old Gothernburg-based Swede also known as Carl Garsbo. The release of his own productions – a debut EP, “Umbrella Club”, and standout single ‘World Away’ released on ODESZA’s Foreign Family Collective – combined with a string of well received remixes for the likes of Vance Joy, Big Gigantic and Mutemath have seen him rack up over 50 million streams in that time alone. Continued support from the likes of Billboard, Stereogum, THUMP and Stoney Roads, and invitations to tour the US with Glass Animals and ODESZA have further signalled the rapid rise of this young producer. Kasbo’s new single, “Bleed It Out feat. Nea,” is released on 24th October 2017 via Foreign Family Collective x Counter Records. Before announcing a full Spring 2018 North American tour, Kasbo joins ODESZA on the road again this fall, and also plans to hit the road with Slow Magic and San Holo.