UPCOMING SHOWS

Thu Aug

25

Euphoria 315 SE 3rd Ave PDX OR

$12 Adv.
Doors 10pm; 21+

TICKETS

MSTRKRFT

WOOLYMAMMOTH

ARTIST BIO

MSTRKRFT (pronounced "Master-craft") is an electronic music group from Toronto (The Beaches), Ontario, Canada who are signed to Dim Mak Records. The group was started in 2005 by Jesse F. Keeler formerly of Death from Above 1979 and Al-P (Alex Puodziukas) formerly of the Mississauga electropop group Girlsareshort. Al-P was also the producer for Death from Above 1979's album You're a Woman, I'm a Machine as well as several of (Jesse's former band) Black Cat #13's records. The duo have been close friends, as well as work partners, for a long time. MSTRKRFT also produced Die Mannequin's first EP, How to Kill, and Magneta Lane's second LP, Dancing With Daggers. MSTRKRFT have been commissioned to remix songs by such artists as Death From Above 1979, Kylie Minogue, Justice, Bloc Party, Ayumi Hamasaki, Metric, Wolfmother,Annie and The Kills.

Thu Sep

1

Euphoria 315 SE 3rd Ave. PDX OR

$12 Adv.
Doors 9pm, 21+

TICKETS

AC SLATER

DJ SLIINK

JOSH PAN

ARTIST BIO

The King of Bass-Heavy House in America AC Slater has begun a lengthy career for himself by fusing elements of house music with the dirty basslines of UK garage and drum & bass and sprinkles of old-school rave synths and breaks. AC Slater’s career kicked off with a bang in 2008, with his seminal remix of “Turn the Music Up” on Trouble & Bass becoming an instant anthem. Moby listed it as one of the best 10 tracks of the decade, declaring it a “perfect song.” AC has collaborated with influential underground artists such as Nina Sky all the way to chart toppers like Far East Movement, and has done official remixes for the likes of Big Sean, Moby, Robin S. and many more. A quick look at Slater’s Beatport page reveals well over 100 tracks and remixes over the last five years, including his best-selling Jack Got Jacked EP, a blatant declaration of the invasion of house music by all things bass (and the start of a lengthy friendship with Jack Beats). Fast forward to the present, AC has toured the globe several times and his tunes have been played at every major festival and club in the world by DJs including Skrillex, Diplo, 12th Planet, Jack Beats, and so many more. Slater’s tunes and guest mixes can regularly be heard on major radio stations across the world, including the UK’s BBC Radio 1 and Rinse FM and Australia’s Triple J. His crew Trouble & Bass and his own record label Party Like Us continue to release some of the most groundbreaking and forward-thinking bass-heavy dance music in the underground.

Sun Sep

4

Cuthbert Amphitheater 100 Day Island Rd. Eugene OR

$40 Adv.
5:30pm; All Ages

TICKETS

PRETTY LIGHTS LIVE

EMANCIPATOR

ARTIST BIO

Pretty Lights will perform in Eugene, OR on September 4th at the Cuthbert Amphitheater, complete with the live band featuring Derek Vincent Smith, Brian Coogan, Borahm Lee, Alvin Ford Jr. and Chris Karns. Special guest Emancipator will open the show.

Tue Sep

6

Mississippi Studios 3939 N. Mississippi Ave. PDX OR

$3 w/ RSVP
Doors 8pm; 21+

TICKETS

BATHS

FINE ANIMAL

OLD WAVE

ARTIST BIO

For mercurial L.A. music-maker Will Wiesenfeld, Baths has been a long time coming. The 21-year-old has spent the better part of his days living amidst "pleasant" and "unremarkable" in the suburbs of the San Fernando Valley, so perhaps it's due to a general lack of local inspiration that Wiesenfeld's own work has never fit into a prefab box of its own. Over the last six years, under the handle of [Post-Foetus], Wiesenfeld has gainfully explored the intersections and outer reaches of both electronic and acoustic music. With Baths, his eclecticism finds its greatest focus yet, in a hail of lush melodies, ghostly choirs, playful instrumentation and stuttering beats. Wiesenfeld's trip began at age 4, when he willed his parents into enrolling him in piano lessons. (The family upright, purchased that same year, sits in his bedroom today.) By 13, he'd begun artisting his own music using Digital Performer and a MIDI keyboard – a brief, ill-advised foray into Eurobeat that was set right when Wiesenfeld heard Bjork for the first time. Mind blown, he quickly boned up on viola, contrabass, and guitar and took the name [Post-Foetus], stringing together countless live configurations to execute his increasingly inimitable compositions. [Post-Foetus]' fourth album – a Dntel-ish, song-based melange dubbed The Fabric – was released on Mu-Nest in January. Though Baths represents the next evolution in Wiesenfeld's oeuvre – which also includes the excellent ambient project Geotic – it came together under nigh-opposite circumstances. Last September, [Post-Foetus] was invited by L.A. electronicist Daedelus to share a bill with a handful of local Beat Music luminaries. Witnessing a burgeoning movement firsthand sparked something in Wiesenfeld that the 'burbs never could. In a fit of inspiration, Baths was born, though not into a preexisting scene. As is to be expected, this music goes its own way: fueled by spontaneity, tempered by Wiesenfeld's background in classic songwriting. Those two influences collide in glorious ways on Cerulean, Baths' stunning debut.

Fri Sep

16

Euphoria 315 SE 3rd Ave. PDX OR

$10 Adv.
Doors 10pm; 21+

TICKETS

JUSTIN MARTIN

ARTIST BIO

Justin Martin looks to the skies on Hello Clouds, his second full length album on Dirtybird. Building on the formidable foundation he established with 2012's Ghettos & Gardens, Justin invites listeners on a high-flying journey through a rich musical landscape. One of the label's most beloved characters, Martin lets his effervescent personality shine through on these 13 tracks along with an unexpected range of emotions. From the first strings of album opener "Dive In," Justin effortlessly establishes an otherworldly mood. Are we deep beneath the ocean's surface, or squinting at bright sunlight while 30,000 feet in the air? It ultimately doesn't matter, we just need to hear more. Justin delivers with a set of obsessively crafted tunes for clubs and headphones alike. For example, on title track "Hello Clouds," Justin mixes the ethereal vocals of rising star FEMME with sub-rattling lows and a chorus of singing 303s. This is only one of many exciting collaborators on the album. "I reached out to specific artists who currently inspire me," Martin explains. "Artists I think the world needs to hear more of." This impressive group of collaborators include FEMME, Charlotte OC, Lena Cullen, Kill Frenzy, Will Clarke, Ardalan, and even his brother Christian. These features introduce a veritable cast of supporting characters, adding additional stories and sounds to the ones Justin is already sharing. Hello Clouds is an impressive sophomore outing a complete work that invites the listener to float above walls, ceiling,s and any other restraints they might encounter. So lay back, look skyward, and experience the breathtaking scope of Justin's imagination.

Fri Sep

23

Holocene 1001 SE Morrison St.

$12 Adv.
9pm; 21+

TICKETS

CHROME SPARKS

ROLAND TINGS

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.

Fri Sep

23

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
8pm; 18+

TICKETS

WHAT SO NOT

TKAY MAIZDA

GRAVES

JARREAU VANDAL

ARTIST BIO

If it weren’t for its pedigree it would be ok to call What So Not an overnight sensation. From festival plays at Coachella, Pukkelpop, Ultra and Lollapalooza rubbing shoulders with Skrillex and RL Grime, What So Not has justified the hype. An ever-evolving and surprising sound that includes anthems such as Gemini (ft. George Maple), Jaguar, High You Are and Tell Me (with RL Grime) makes it impossible to pigeonhole. WHAT SO NOT: the overnight success 4 years in the making.

Sat Oct

1

Roseland Theater 8 NW 6th Ave. PDX, OR

$25
Doors 8pm; 21+

TICKETS

DJ SHADOW (LIVE)

ARTIST BIO

Josh “DJ Shadow” Davis had already been experimenting with making beats and breaks on a four-track recorder while he was in high school in the Nor-Cal college town of Davis, but it was during university that he co-founded his own Solesides label as an outlet for his original tracks. Hooking up with Davis’ few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Hip-Hop Reconstruction mix tapes in 1991, eventually catching the attention of The Source magazine and Dave Funkenklein. Shadow was featured in the magazine’s “Unsigned Hype” column in 1991, and Klein signed him to a production deal with Hollywood BASIC records. Concurrently, Shadow provided beats and scratches for Bay Area rapper Paris and was featured on his second album. In 1993, Shadow pressed his 17-minute beat-head symphony “Entropy.” His tracks spread widely through the DJ-strong hip-hop underground, eventually reaching James Lavelle of Mo’ Wax. Shadow’s first full-length, Endtroducing….., was released on the label in late 1996 to immense critical acclaim in Britain and America. The album has frequently been lauded as one of the most important works of the last 50 years, landing on countless “Best Of The ‘90s” lists and polls, including Rolling Stone and NME. Preemptive Strike, a compilation of early singles, followed in early 1998. Later that year, Shadow produced tracks for the debut album by U.N.K.L.E., a long-time Mo’ Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002, again to considerable acclaim. In 2006 he released another long awaited full-length album The Outsider, which featured rising Bay Area Hyphy rappers including Keak Da Sneak and E-40. The Outsider also featured a single with Q-Tip (of A Tribe Called Quest), which led to Shadow’s first appearance on The Late Show with David Letterman. 2010 and 2011 saw a tour throughout Europe and North America entitled “Live From The Shadowsphere.” Hailed for its visual innovations, the tour was cited by Beatport as one of the top 10 DJ shows of all time, and was capped off by two memorable performances at the Coachella Festival, one of which featured a surprise cameo by Zack De La Rocha. In 2011, DJ Shadow released The Less You Know, The Better, purportedly his last full-length album to prominently feature samples. 2012 included Total Breakdown, Hidden Transmissions From The MPC Era (1992-1996), an archival project; and Reconstructed: The Best of DJ Shadow, a greatest hits album. 2012 saw a shift in Shadow’s live persona…at the request of trendsetting LA club night Low End Theory, he returned to playing traditional, contemporary DJ sets, often eschewing his own music for that of peers. Simultaneously, the restless DJ began releasing music by himself and his contemporaries on the self-funded Liquid Amber label, garnering strong critical and fan support across over a dozen releases to date. 2016 is shaping up to be another action-packed year for the DJ, as he prepares to unveil a brand new album, embark on a supporting tour, and…tantalizingly…celebrate the 20-year anniversary of his seminal masterpiece, Endtroducing. Spending 7 months crafting his latest full-length LP, Shadow promises a dense album full of surprises. “I’ve loved every record I’ve made, but this one is special to me. It’s a culmination of everything I’ve learned, and everything I love about music.” Featuring guests ranging from Run The Jewels and Nils Frahm to UK jazz artist Matthew Halsall, The Mountain Will Fall is set for release this summer on Mass Appeal Records.

Fri Oct

7

Roseland Theater 8 NW 6th Ave. PDX OR


7pm; All Ages

TICKETS

GRIZ

HAYWIRE

LOUIS FUTON

ARTIST BIO

Today at age 25, GRiZ (or Grant Kwiecinski, to his mom) is already preparing for an active 2016. With his latest releases Say It Loud and Chasing The Golden Hour Pt. 1 (both via his All Good Records imprint), follow-ups to their predecessors, End of The World Party, Rebel Era and Mad Liberation, GRiZ has had a massive year. A sold out spring tour saw the artist headlining some of the nation’s top venues in New York, Chicago, Los Angeles, Philly, Nashville etc., the legendary Red Rocks Amphitheatre and the Detroit Masonic Temple in his beloved hometown. Just this year alone, the sax man released six singles that all claimed the coveted #1 spot on Hype Machine’s most popular charts. Up next, GRiZ is ready to tackle the next chapter as we close out 2015 and head into 2016 – but first … let’s recap. The year 2015 saw the release of the artist’s critically acclaimed studio album Say It Loud. More than a year-and-a-half of his life went into writing and recording the album + GRiZ began, of course, in Detroit, then moved to a remote cabin upstate with Exmag to escape the trappings of city cacophony and cell-phone service. From there, he landed in Brooklyn at Daptone Records’ studio, collaborating with Antibalas. And he hit Los Angeles just to work with the Children’s Chorus on the album’s opener. Says GRiZ of the album as a whole, “I want to write better songs. I want to write contemporary funk songs. I want to produce an album that kind of has the new James Brown singing on it. You know what I’m saying? Something that sounds like it was made at Muscle Shoals.” As ambitious as Say It Loud may seem, this is a natural next step for GRiZ, who thrives on bending genres. “I could’ve sampled everything. Most of my music is created for a live experience,” he notes. “But now, I really want a body of work that is 100% my own.” Critics agreed and caught what GRiZ was throwing their way. With Billboard calling the collection “brilliant” and DJ Mag projecting that with this release, the artist’s career will dominate the world of electronic music and “be much more than all good – it’s going to be great.” The album also landed at the top of the iTunes electronic charts which speaks volumes for Grant’s loyal fanbase considering he released the body of work on BitTorrent for free. Most recently, GRiZ teamed up with fellow electronic funk icons, Big Gigantic, to put out “Good Times Roll” a feel good track that took the top spot on Spotify’s viral chart and is continuing to dominate the blogosphere. The artist also released part one of a two part mixtape as a thank you to the aforementioned following of loyal fans who have been with him every step of the way. Dubbed Chasing The Golden Hour Pt. 1, the 9-songs were inspired by the golden era of hip-hop: Hi-Tek, J. Dilla etc. So what’s next? More great music, a fall headlining tour and another spring/summer return to the festival circuit in 2016. In addition to building his own brand, GRiZ will continue to develop artists as he expands his self-run record label All Good Records. Speaking of growing – if you find yourself in Denver, you might want to check out GRiZ Kush, the artist’s own strain of weed that is sold legally in the mile-high city. That said, bring on the next chapter. GRiZ is ready. Show Love Spread Love.

Thu Oct

13

McDonald Theater 1010 Willamette St. Eugene OR

$20 Adv.
Doors 7pm

TICKETS

TROYBOI: THE MANTRA TOUR

ARTIST BIO

One of South East London’s most closely guarded secrets has recently emerged from the shadows and is set to take the music industry by storm. Known only as TroyBoi, this multi-talented musician recently signed to Timbaland’s right-hand man and US Super Producer, Jim Beanz, things are heating up faster than ever! Producing a wide variety of genres, but specializing in extraordinarily unique, versatile, and highly musical trap beats, TroyBoi is without a doubt one of the top up-and-coming producers in the game right now and it’s quite clear from his composition that his influences are vast indeed. He is also one half of the Producer/DJ duo SoundSnobz with one of his best friends, icekream and together they craft the most creative and daring audio paintings you’ll ever listen to. Buckle up and get ready to be taken into the world of TroyBoi because once you are in, you will never want to get out.

Fri Oct

14

Wonder Ballroom 128 NE Russell St

$18 Adv
Doors 8pm; 18+

TICKETS

TROYBOI: THE MANTRA TOUR

ARTIST BIO

One of South East London’s most closely guarded secrets has recently emerged from the shadows and is set to take the music industry by storm. Known only as TroyBoi, this multi-talented musician recently signed to Timbaland’s right-hand man and US Super Producer, Jim Beanz, things are heating up faster than ever! Producing a wide variety of genres, but specializing in extraordinarily unique, versatile, and highly musical trap beats, TroyBoi is without a doubt one of the top up-and-coming producers in the game right now and it’s quite clear from his composition that his influences are vast indeed. He is also one half of the Producer/DJ duo SoundSnobz with one of his best friends, icekream and together they craft the most creative and daring audio paintings you’ll ever listen to. Buckle up and get ready to be taken into the world of TroyBoi because once you are in, you will never want to get out.

Tue Oct

18

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; All Ages

TICKETS

STORMZY

ARTIST BIO

“I was meant to go to Oxford University,” laughs Stormzy, AKA The Problem, AKA Big Mike, AKA Stiff Chocolate. “I got the best grades at A-level, and the owner of my school was a governor at Oxford. He wanted me to go and it looked like it was going to happen. My mum thought I was going, my friends thought I was going. Then I started making videos and going on YouTube and stuff and…” his voice trails off, and then he grins and winks. Stormzy might have traded off a first class education for a life on the music grind, but it’s not working out so bad. Since releasing his debut EP, Dreamers Disease, only two years ago, the 22 year old South London artist has scooped up two MOBOs, toured the world, won Best International Artist at the BET Awards, performed on Jools Holland, become the first unsigned rapper to feature on the BBC Sound Of… list, sold almost a million records, and made history by sending two grime freestyles into the UK chart top 20 for the first time in history. You only need to wind the clock back to March 2014, to find Stormzy tweeting a freestyle at Wiley and asking if he’d watch it – so how did young Michael Omari go from spitting bars in the school yard, to packing out venues from Camden to Japan, in just eighteen months? “As a kid, my mum used to play Ghanaian hiplife, gospel and afrobeats,” says Stormzy, who grew up in Croydon, and while he insists he didn’t come from a ‘musicians household’, there were still tunes blaring out on the regular. “My sister used to play proper R&B slow jams, and that shaped my tastes quite a bit. They made me appreciate soulful sounds and songwriting. But the main music effect on me was external.” Channel U launched on British TV in 2003, opening a window into the life and times of the growing UK urban scene, letting artists like Sway, Lethal Bizzle, Lady Sovereign and more beam into British living rooms. From secondary school onwards, aged eleven, it became an obsession of Stormzy’s and his mates. “We would download instrumentals off Limewire, and play them off our phones. We’d MC over them for fun. There was no dream of becoming a superstar. But you’d hope that one day you’d get on Channel U. The MCs on there, they were the stars for us.” Stormzy had his own little crew, named DDB, and his first experiences of clashing came thick and fast. It was in these adolescent years that the themes, styles and swagger of the Stormzy you hear today were forged, the all out attack bars that mix cheeky, cocky and fiery in a formidable MC concoction. “I had proper clash bars back then. I got that style from an older MC called Charms. He was like my mentor and he used to spit like that. I clashed him once outside a youth club, and he schooled me.” While most kids spent their spare time playing football in the street or knocking out ten levels on Tekken, Stormzy was clashing. He clashed anyone and everyone. “There was a place called Rap Academy in my area. They had decks and there would be instrumentals playing all the time, and I’d just hog the mic all night and spit. I remember once, three guys walked in, and they were way older than us. I decided to clash them, and it turned into three versus one. I was ripping them, cussing their mums and all sorts of stuff. One guy got pissed, and it all got a bit messy.” Music at this point was just a hobby though, something he did with his mates. He was a one man band, doing his own promotion and taking his own bookings (“I would reply in the third person”). But, aged 20, he decided to make the leap, and do music for real. He launched a YouTube freestyle series titled “Wicked Skengman” in late 2013, in which he would spit over classic grime beats and put the videos online. A debut EP, Dreamers Disease, soon followed in 2014, showcasing a range of styles that epitomised his artistic open mind. “Forever” was a forlorn R&B track, not unlike the slow jams his sister had blasted in his youth, and “Jupa” was a bashful afrobeat song. The EP also contained “Stormtrooper”, one of his most conscious tracks to date, the lyrics of which trace a tale of salvation via the harsh realities of domestic abuse. “I wanted to show I could do big R&B records, big afrobeat records, and deep ones too,” says Stormzy. “I wanted to get all those sounds out of me, and show I’m not just grime.” The promise on Dreamers Disease was enough to win him a shock invite onto the British music television institution that is Later With Jools Holland. “That was the most nerve-wracking thing I’ve ever done,” explains Stormzy. “We had rehearsals. We did four. I messed up every single one. Then came the live bit, and I had to get it right. I was thinking in my head, ‘Get it right, or you’re fucked.’ And we did it. The adrenaline got us through. Once I’m spitting, I’m gunning.” In tribute to those Channel U dreams, he wore a skeng hat, an Adidas tracksuit, and beamed the downright nastiness of “Not That Deep” into an unsuspecting nation’s living rooms. Stormzy’s rise in 2014 might not have been an exclusively grime flavoured one, but when placed alongside his freestyles and remixes, it was enough to win him Best Grime Act at the 2014 MOBOs just a week after his Jools performance. “That first MOBO was the happiest moment of my life. But I also knew we needed to keep it moving, and keep doing what I do.” That same week, Wiley, the godfather of the UK scene, labelled Stormzy “the #1 grime don”, concluding, “Please take it where we couldn’t my brother.” Going into 2015, Stormzy was sitting pretty as one of the most hyped MCs of the past decade, raking in plaudits with no label support, no radio support and a team made up of his close friends and family. 2015 started exactly how 2014 had finished, as he became the first ever unsigned rapper to make the BBC Sound of… shortlist. And that was quickly followed by an invite from Kanye to join him onstage at the Brit Awards. “By this point,” begins Stormzy, “it was overwhelming. It was thing after thing after thing. I’m just this kid who could spit, who had put out a couple tracks and was on his way up. Now I’m standing next to all these major label acts. I thought, ‘Rah, this is mad.’ These people had become my peers but also my competition. I needed to outsell Years and Years or grab a Brit from James Bay. It wasn’t just about my rival MCs anymore.” After hearing the Z.Dot instrumental on Wiley’s “BMO Field” , and realising he needed to put a track out with all this newbuzz, Stormzy went into the studio and recorded a frenetic grime number what would become “Know Me From”, a song jammed with lyrics that had appeared in a few freestyles previous, most notably: “Peng tings on my Whatsapp and my iPhone too”. The track hit BBC Radio 1Xtra hard, and Stormzy’s team, by this point known as Team #Merky, decided to make a video. “All eyes were on me and I thought I should make a proper glossy studio video. But it wasn’t very me. We decided, let’s just hit the road and shoot a video and make it as fun and stupid as possible. We acted out each line, got my mum in it, got the Adidas creps in it.” It’s a DIY aesthetic that has informed almost all of Stormzy’s visuals since, from the subsequent “Wicked Skengman” freestyles, to the video for “Shut Up”. The only notable difference is that the crowd around him keeps growing and growing, to almost a carpark full in “Wicked Skengman 4”. Despite their DIY feel, both “Shut Up” and “Wicked Skengman 4” both went on to chart in the UK top twenty – the former beating that year’s X Factor Christmas single – breaking records as they went and transforming Stormzy from a rising star to young king. “My freestyles always seem to do well,” he explains. “Aside from my songs, they have become the gold of what I do.” He finished 2015 with his own show on Apple Radio, aptly titled #Merky, making him the youngest presenter on the roster, alongside names like Pharrell Williams, Dr Dre, Ezra Koenig and more. Now Stormzy is focusing on writing his debut album. It hasn’t stopped him from dropping a few surprise tracks here and there, like “Standard”, “One Take” and a verse on Chipmunk’s “Hear Dis”. But, as he says, “Sometimes I just need to say something right now. Things I wanted to get it off my chest. No matter what campaign I’m on, I always want to be able to drop a track whenever I want.” For many who only know Stormzy as the six foot MC who spits fire on YouTube, the debut album may come as something of a pleasant eye opener. He’s immersed himself fully in the craft of songwriting and production, gleaned from those years of growing up on slow jams. Twelve tracks of grime this ain’t. “I’m not always going to draw the emotions, soul, feelings and sounds that I want to convey, exclusively via grime,” explains Stormzy. “As a human, I feel a lot of different emotions. Yeah, I want to make a record that my mandem can play in the car and get gassed to. But I also want to make a record for the quieter times, when you’re alone with your thoughts. To make a record like that, you need different sounds and styles. Sometimes I’m pissed off, and it will come via grime. But sometimes I feel loving, and it will come out a different way.” In just two years, the cocksure Croydon MC has defied all expectations, not only of what a grime artist can achieve, but of what a completely independent artist from the streets of South London can achieve. Later this year, he’ll even make his big screen debut, starring in Brotherhood, the final instalment of Noel Clarke’s movie trilogy. His mum might still think about what could have happened if he’d gone to Oxford, but when he’s getting invited back there to give talks about his DIY music career, like Stormzy was on March 7th, then who needs first class education dreams? “For some people where I come from, what I’ve done is already unbelievable,” says Stormzy. “But we can all do it if we focus and cut out all the bullshit. You can go on the be something when all odds are against you. You can do it quick, and effectively. Just make your mark and step in the game.”

Thu Oct

27

Holocene 1001 SE Morrison St. PDX, OR

$12 Adv.
Doors 9pm; 21+

TICKETS

HAYDEN JAMES

ELDERBROOK

ARTIST BIO

Hayden James is a singer/songwriter and producer from Sydney, Australia who creates R&B-influenced downtempo electronic pop music as well as more club-minded remixes. His songs typically feature lush synthesizers, intricate melodies, and sensual vocals, while his remixes for artists such as Odesza and Basecamp incorporate elements of trap, deep house, and U.K. garage. James debuted in 2013 with the Balearic disco single "Permission to Love," released by Australian label Future Classic. The track earned extensive radio airplay in Australia, and soon became the centerpiece of James' self-titled five-song EP, which also featured the single "Embrace." Following extensive touring and remixes, James released "Something About You," which gained more Australian airplay as well as charting in several European countries. ~ Paul Simpson

Thu Nov

3

Euphoria 315 SE 3rd Ave. PDX OR

$13 Adv.
Doors 10pm; 21+

TICKETS

LANE 8

ARTIST BIO

Daniel Goldstein is Lane 8. Born in California, the Leipzig-based 27-year-old is building a strong army of fans for his melodic, emotional house sound. What sets Daniel apart from the crowded dance music scene is his ability to craft music that succeeds both in the club and on the iPod – a skill that has landed him an unusually wide range of DJ support. When you consider that everyone from The Magician to ODESZA, from Above & Beyond to Annie Mac have heavily supported his music, you can see why he was named one of the “top 25 trail-blazing producers” by inthemix.com. His first string of releases with Anjunadeep, including “Diamonds,” “Be Mine”, “The One / Nothing You Can Say” and “Every Night,” repeatedly topped the Hype Machine charts and garnered BBC Radio 1 support from Pete Tong, B. Traits, Annie Mac and Zane Lowe. Daniel is the only guest artist to ever release music on cult label French Express, while official remixes for Above & Beyond, Eric Prydz, ODESZA, Maribou State, and Icarus have shown his knack for appealing to both mainstream and indie audiences, in addition to his deep house base. ‘Rise,’ Daniel’s debut artist album, was released via Anjunadeep last year to cult and critical acclaim. An emotional 10-track journey across beautiful melodic instrumentals, leftfield pop moments and quirky electronica, the confident ‘Rise’ represented a bold, bright coming of age for Lane 8. The New York Times, SPIN, Billboard, and VICE’s Noisey all premiered tracks from the album. With regard to the release of ‘Rise’, DJ Mag stated Lane 8 has “created a lane all to himself, free of comparison and full of resilient independence.” After yet another Hype Machine #1 track with his stirring remix of Maribou State’s “Wallflower”, Daniel released his ‘Midnight EP’ in January of 2016 on Coyu’s esteemed tastemaker record label, Suara. The 3-track EP reached the top spot on Beatport’s Deep House release chart, further intensifying the momentum behind the Lane 8 name. Most recently, Daniel has introduced a new label and events concept called ‘This Never Happened’, removing the distractions of phones and photos and encouraging fans to experience the music and moment in its purest form.

Sat Nov

5

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; All Ages

TICKETS

CLASSIXX

PHANTOMS

HARRIET BROWN

ARTIST BIO

Music comes naturally to L.A. duo Classixx, childhood friends who began recording together in 2007, united by their mutual appreciation for shimmering melody, punk rock, disco and French house. When Classixx DJ, they do so with exceptional comprehension, a clear affinity for the music they play. There’s a kinship between the songs they select and their own original works, at once beaming, breezy and wistful, descendent from similarly pop-minded melancholics like Fleetwood Mac, Prince, and Alan Braxe. Now one of the world’s most universally respected DJ duos, Classixx have headlined everywhere from the famed Paris Social Club to New York’s Webster Hall, touring constantly since releasing their exuberant 2009 single “I’ll Get You,” which featured Lady Gaga songwriter Jeppe. Following their breakout single with acclaimed remixes for Phoenix, Holy Ghost, Mayer Hawthorne, Groove Armada, Yacht, Major Lazer, Gossip and others, for the last two years Classixx have been intent on their debut Hanging Gardens, whittling the LP down from hundreds of sessions to a svelte 12 songs. Their musical background is substantial. Michael David fronted a major label-signed rock band in high school, and he and one-time Berklee School of Music student Tyler Blake play a wide array of instruments on Hanging Gardens. “It’s a very gear-heavy record. We pretty much played everything in here on it,” Tyler says, surveying their Venice beach studio, a cottage which houses six or seven guitars, a piano, various analog synths and a drum kit. One of their favorites is an indigenous Central American drum with a fuzzy hot pink mallet, which was used frequently throughout the album. “We used a lot of Prophet ‘08, Voyager, Juno-106, a lot of [Yamaha] DX-7, the Vermona drum synth, we have a LinnDrum, a [Yamaha] CP70, which is a famous stage piano,” Mike adds. “Tyler’s dad has an old American Fender Telecaster that was played a lot, and then my old man, that’s his Ibanez Stratocaster.” The album begins with nostalgic title track “Hanging Gardens,” a reference to the Seven Wonders of the World, one of which was the Hanging Gardens of Babylon. The opening song’s reverie continues on haunting collaborations with Active Child on “Long Lost,” Superhumanoids singer Sarah Chernoff on the ethereal “A Stranger Love,” and the coastal, dreamy “A Fax From the Beach.” Hanging Gardens concludes poetically with “Valley Vacation,” a reference to their late-night escape from their old studio, nestled in the seedy heart of L.A.’s porn industry, to their current Venice beach sanctuary. If the quieter moments of the album are inspired by the beach, then the upbeat tracks are clearly primed for the dance floor, from churning slapper “Relight My Fire” and gleefully catchy Nancy Whang-featuring “All You’re Waiting For,” to the French Touch-inspired anthem “Holding On” sublime chords of “Dominoes” and grooving bass and live drums of “Supernature.” Classixx excel at cutting impossibly sunny grooves, blithe melodies bred by the coast, coaxed out by the surf, expertly crafted for road trips, pool parties and dance clubs. “I really think this is a product of the Los Angeles experience,” Mike says. “Which is also part of the reason we called it Hanging Gardens. For some reason that image just reminds me of Los Angeles.” “I feel like most people would agree that it sounds like California,” Tyler concurs. “When we’re working on a song and I look out the window it just seems like the soundtrack of this city. This beach.”

Wed Nov

9

Roseland Theater 8 NW 6th Ave. PDX OR

$30 Adv.
Doors 7pm; 18+

TICKETS

FLOSSTRADAMUS

SLUSHII

TOWKIO

GENTS & JAWNS

ARTIST BIO

Flosstradamus spent the last 8 years breaking new sounds around the globe and becoming club kings in the process. But how do they keep doing it? J2K and Autobot’s knack for flipping your favorite tracks in unexpected new ways (from their earliest DJ blends to high-energy hybrids like the duo’s hit remix of Major Lazer’s “Original Don”) certainly helps. So does having a catalog of original bangers on Fool’s Gold, Green Label Sound and Mad Decent/Jeffree’s. Yet the real reason Floss has been able to reinvent party rocking for close to a decade is because these Chicago boys bring an irresistible sense of fun to every single set, whether it’s a sweat-soaked nightclub or in front of thousands at Lollapalooza. Armed with a gang of new tunes straight from the studio and a brand new, extra-hype stage show, Flosstradamus is coming back to a town near you… get ready to juke!

Thu Nov

10

Wonder Ballroom 128 NE Russell St. PDX OR

$20 Adv.
8pm; All Ages

TICKETS

GOLDROOM

AUTOGRAF

ARTIST BIO

Born from the simplicity of emotive choruses and lush electronic ornaments, Goldroom has transformed into a fascinating tale of modern music culture; a nostalgic romance of tropical textures and soulful rhythms. After the success of his single “Fifteen”, which found itself with over 300,000 plays on Soundcloud, the top spot on the Hype Machine charts, features on Pitchfork, Spinner, MTV, and spins on BBC Radio 1, few can say that they’ve had a year quite like Goldroom. In less than that amount of time, Goldroom’s travels have seen him touring on stages in Asia, Europe, South America, Central America, Australia, and of course across the USA and Canada. His follow up original single, “Sweetness Alive” features the luscious vocals of SLL (formerly known as Saint Lou Lou), a track that both beautifully compliments his debut, and begins to set the stage for the upcoming debut of Goldroom’s live band performance over this spring’s SXSW Festival in Austin, TX. As an established remixer in his own right, Goldroom has gone on to work with such buzz-Worthy acts as Niki & The Dove, Atlas Genius, Alpine, Poolside, and Gigamesh. Most notably, his remix for Niki & The Dove has been streamed more than 3 million times on YouTube and has been supported by The Magician, Aeroplane, Alex Metric and more. Be on the lookout for even more from one of this year’s greatest success stories, both on the road and in the studio. With a full length album already in the works, you can rest assured that this remarkable tale will find you on a steady hunt for the dance floor.

Thu Nov

17

Euphoria 315 SE 3rd Ave. PDX OR

$15 Adv.
10pm; 21+

ON SALE
Aug 26

SNAKEHIPS

AbJo

ARTIST BIO

Since forming only 18 months ago, Snakehips have made their name with Hype Machine chart-topping remixes for Banks, The Weeknd, Bondax and Wild Belle, which between them have notched up more than 30 million plays on Soundcloud and YouTube. Last May, the mysterious production duo built on their early acclaim with On & On, a Radio 1-championed debut single that set out their signature sound, a sensual up-to-date take on old school R&B and hip hop. In time to usher in another summer and ahead of appearances at major festivals across the UK and abroad, Snakehips are ready to release their glorious, second single, Days With U, featuring Disclosure and Rudimental vocalist Sinead Harnett. With the vibe of long, hot, hazy days coursing through its veins, Days With U sounds both retro and fresh and as dreamily laid-back as it is dancefloor-friendly. Driven as much by melody as by hip hop beats and shimmering synths, it’s a song about heartbreak that, somehow, sounds resolutely life-affirming. With a debut album well underway and due out early next year, Snakehips have decided it’s time to reveal themselves as 24 year old Londoners Oliver Lee and James Carter. Despite a shared home city, the pair met on separate business trips to Hong Kong, where they bonded over shared musical interests. They shared a flight to L.A., began talking music and booked a studio in which to work on a track. It went so well that within days of returning to London they nudged their laptops together and Snakehips was born. The pair’s first release was a remix of Chicago band Wild Belle’s It’s Too Late; their next a remix of Gold by electronic duo Bondax. Both used only the original vocal, topped the Hype Machine chart and revealed Snakehips’ love of ‘90s hip hop, disco and vintage soul. The reaction to their own music, however, was in a different league. The steamy, sultry, lushly-produced On & On, featuring up-and-coming, Australian singer George Maple, sent blogs in to a frenzy, reached the Top 10 of the iTunes electronic charts on both sides of the Atlantic and caught the attention of Radio 1’s Zane Lowe, Annie Mac, Mistajam and Monki, for whom Snakehips recorded a guest mix. Like Days With U, On & On was a song about heartbreak that sounded like summer. Or as Ollie outs it: “It’s about a bloke George was in love with who didn’t love her back.” On & On’s soulful blend of retro and modern became Snakehips’ trademark. “We love the vibe of 90s music – Hi-Tek, Pete Rock, that golden era of R&B with singers like Aaliyah and SWV,” says James. “We’re suckers for anything with cool soul samples and old drum beats. But we’re also influenced by living in London. We borrow from the past to make music for the future.” Last year, Snakehips heard the Banks’ song Warm Water and loved it so much they contacted Banks, asking to remix it. She sent the acapella, they added funky disco music, had another blog hit on their hands and were rewarded by being asked to rework The Weeknd’s Wanderlust. After The Weeknd tweeted his praise for their version, it received a million and a half plays in less than a month. In between official singles, Snakehips have put out a handful of sample-based tracks, among them the Annie Mac-premiered Make It and Miss U Always, a love song posted for fans on Valentine’s Day. They sold out a tour of Australia, shows across the UK and were in demand to play clubs and festivals everywhere from Paris, Vienna, Warsaw and Berlin to the Netherlands. The pair’s debut London date, this May, at Village Underground, sold out so quickly a second show had to be added. Most of 2014 so far has been spent working on their as-yet-untitled debut album, which will be preceded by a third single, Falling, featuring Meleka. All releases are on Snakehips’ own label Hoffman West, named after a fictional character Ollie created to get in to clubs for free. “Put the name Hoffman West, plus five, on a guest list and no one asks questions when you get to the door,” he explains. “There’s something about that name that sounds so important that you’re always ushered straight in.” It’s a busy summer ahead for Snakehips with appearances lined up at festivals such as Glastonbury, Reading & Leeds, Love Saves The Day as well as European jaunts at Outlook in Croatia and Pitch in Amsterdam. With a debut album also in the pipeline, there’s certainly a lot more of exciting things in store from the London based production duo.

Sat Nov

26

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; 21+

TICKETS

RÜFÜS DU SOL

ARTIST BIO

A lot can change in two years, and for a band selling out shows in places they’d never visited two years ago, a lot certainly has changed. What hasn’t changed for RÜFÜS is a unique approach to their song writing that has seen them gather an ever increasing swathe of fans all over the world. Two years after their platinum selling debut album, RÜFÜS return with their follow up record, Bloom, and as the title would suggest, the band have blossomed into the tour-de-force that Atlas hinted at. Bloom picks up right where Altas, left off, it’s dreamy vocals, moody synths and driving kicks. This time delivered with the confidence of a band who understand their place in the world; as musicians and as people. There is a maturity in Jon, James and Tyrone’s production work that comes from spending two years on the road testing new songs. They’ve figured out what works and more importantly, why. Written between Sydney and Berlin, Bloom, is the product of isolation and saturation. The songwriters either being alone and away from friends and family, or at home soaked in familiarity. The only constant in the writing process was the three songwriters spending each day writing with the goal of creating a feeling. They start each project with an idea of a feeling, a setting, a location or a scene in their minds, and try to soundtrack that moment. Hunt says, “We were writing feelings more than songs. We were ready to cut a lot of the parts or elements to make sure there was this sense of exercising restraint, you don't want everything to sound big. If something goes down to almost nothing it makes the high points sound 20 times higher. And if you over-think something it can kill the spark sometimes." While making the album the trio found themselves dipping other mediums, filling their screen savers with underwater photography of animals. "That inspired the production, in some abstract way," Hunt says. "You get that feeling of floating underwater, the way water is darker the deeper you get." A bit of aqua-Googling later, they fell down an online sinkhole that told them a group of jellyfish is called a 'bloom' - and the trio found their album title. "The double meaning for Bloom felt perfect, things that can grow and flourish and open up over time," Hunt says. As the release of Bloom approaches it feels as if RÜFÜS have already broken the shackles of 2ndalbum syndrome. Early single You Were Right, is already certified Gold in their home country and has just won the ARIA award (Australian Grammy) for Best Dance Release. While the 3rdoffering Innerbloom, at 9 minutes 38 seconds, is an ode to everything the band love about dance music and everything Bloom means to them, Lindqvist explains; "For us personally, we were each drawn to electronic music because of the euphoric nature of it. At its core, it brings people together to dance. I’m sure I’m not the first person to say this, but our favourite artists are our favourite because we’ve shared moments listening to them with friends or family that you can’t recreate. Moments that stay with you. We really wanted to create those moments for other people with the songs from BLOOM. Innerbloom is probably the most personal song we’ve ever written in terms of where we are at as people. Hopefully, it can create for other people, some of the moments we’ve shared with each other and friends listening to our favourite songs...…" Using layered synths, drums and warm vocals, Jon, James and Tyrone have built a soundscape and aesthetic that is instantly familiar, yet distinctly their own. Written between Sydney & Berlin and completed in hotels in Montreal and New York, Bloom is Written, recorded and produced by RÜFÜS. Available worldwide January 22.

Thu Dec

1

Euphoria 315 SE 3rd Ave. PDX OR

$12 Adv.
Doors 10pm; 21+

TICKETS

GIRAFFAGE

ARTIST BIO

Giraffage is San Francisco-based producer and beat guru, Charlie Yin. His signature sound of electronic pop has won him praise from musical tastemakers Pitchfork, FADER and XLR8R. He burst onto the music scene with his debut Pretty Things EP. It was immediately followed by his dreamy synth-pop debut album, Comfort, which XLR8R called “[an] ebullient slice of electronic pop … [with] pleasantly ambient and sample-laden instrumentals.” In February 2013, he released his lush Needs mixtape via Alpha Pup Records, showing his versatility as a producer and “omnivorous music lover,” as noted by Pitchfork. Giraffage’s staying power was fully cemented when he remixed one the sexiest albums of the decade, The-Dream’s Love/Hate, and turned it on its head. FADER backed the project saying, “Trying to remember a moment of anticipation right before hitting the play button as happy as the one I just experienced.” He most recently dropped his No Reason EP via Fool’s Gold, the first release to ever feature Charlie’s original work. He has toured with Phantogram, Flume, XXYYXX and served as the main support on Porter Robinson’s massive “Worlds Tour.” He has performed at staple music festivals such as Outside Lands, Treasure Island Music Festival, HARD Day of The Dead,Mysteryland, Tomorrowworld Hard Summer, CRSSD, Splash House, Lightning in a Bottle, What The Festival, Roskilde in Europe, Mad Decent Block Parties in India along side Major Lazer.

Fri Dec

2

Wonder Ballroom 128 NE Russell St.

$15 Adv.
8pm; All Ages

TICKETS

LOUIS THE CHILD

BEARSON

ARTIST BIO

Hailing from Chicago, Louis The Child is an electronic music duo with the simple goal of creating music that makes people happy. Their single, “It’s Strange”, has been played on BBC, Triple J, and KCRW, and racked up over 5 million plays on both Spotify and SoundCloud. In 2016, SnapChat listed Louis The Child as one of 3 EDM Artists to Watch, and Mix Mag ranked LTC as the #1 Artist Taking Dance Music to the Next Level. 2015 involved numerous tours supporting Madeon, Kaskade and The Chainsmokers. Currently embarking on their first headlining tour, LTC is on the rise.

Fri Dec

16

Euphoria 315 SE 3rd Ave. PDX OR

$13 Adv.
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.