UPCOMING SHOWS

Tue Aug

2

Wonder Ballroom 128 NE Russel St PDX, OR

$20 Adv.
All Ages

TICKETS

AlunaGeorge

ARTIST BIO

AlunaGeorge is George Reid and Aluna Francis. They met on the internet - while both working on separate projects - and united musically when George remixed 'Sweetheart', a song featuring Aluna's vocals. The track went on to gain love from the likes of Rob Da Bank at Radio 1. George's busy electronic production and Aluna's signature sweet vocals met physically at George's home studio in Hampton Court, after endless ideas being sent back and forth via email. The first song to be born was 'Make No Mistake', which was originally intended for use by a different band - but Aluna and George were so keen on it, they decided to keep it for themselves. AlunaGeorge had arrived. Together - with influences ranging from Flying Lotus, Hudson Mohawke and Chris Clark to the more late 90s US RnB pastures of Aaliyah, Destiny's Child and Mariah Carey (the first CD Aluna ever owned) - they'd honed the precise art of creating a new brand of pop music. They began to combine glitchy, wonky sounds, blinding hooks and throbbing basslines into a traditional pop structure. Take a listen to pick apart the elements; the unusual megamix of house-style build-ups, vocals that could easily have been the beating heart of of UK garage's poppiest moments and intonations from the finest RnB singers of the '90s. With these facets and the addition of some great big choruses, AlunaGeorge's songs sound fresh and ever-demanding of the repeat button. 'We Are Chosen' mixes two-step and dulcet RnB vibes, bringing memories crashing back to T2, Tina Moore and Shanks & Bigfoot, while the infectious hooks and dancefloor-pop basslines on 'Make No Mistake' aren't easy to ignore; 'Bad Idea' combines sleek hip-hop with rhythmic pizzazz and an in-your-face refrain, and there's plenty more twisted pop to come.

Sat Aug

20

Holocene 1001 SE Morrison St. PDX, OR

$16 Adv.
9pm; 21+

TICKETS

GOLD PANDA

BABA ALI

ARTIST BIO

The story of Gold Panda’s journey from an acclaimed debut record to now, as he prepares to release his third full length album, is an entirely circular one. Hailing from Chelmsford Essex in the UK, in the six years since the release of his genre-defining debut album ‘Lucky Shiner’, the electronic artist most comfortable with the moniker Derwin Panda spent the subsequent years splitting the majority of his time between London, Berlin and countless excursions to Japan. As he created his third album ‘’Good Luck And Do Your Best’ he ultimately found himself back where he began, in the East of England. Origin stories can be fundamentally boring by nature, packed with non-essential details and overly stressed homilies to roots and influences. But the core nature of an artist that has produced some of the most beloved and emotionally-infused electronic music of this decade is deeply rooted in the constant desire to return to where his musical world began. Gold Panda’s first album ‘Lucky Shiner’ was written in a matter of weeks in the Essex countryside and titled after his impossibly-brilliantly named Grandmother, who is Indian by birth but a resident of Chelmsford since the late 1960s. Along the way she even ended up gracing the cover of a music magazine with Gold Panda in 2010. His second album ‘Half Of Where You Live’ was written while living in Berlin for a couple of short years, but became to be a record that was about everywhere except that place he never identify as home. Gold Panda’s third, and, for the sake of adhering to both truth and biographical tradition, his best album so far, squared the circle. Inspired into being while visiting Japan, the music was once again composed and recorded back in Chelmsford. This time, he was living with his Grandmother, Lucky Shiner, having created a small studio area in their house. Derwin set about spending 18 months piecing together ‘Good Luck And Do Your Best’ from the hundred or so tracks that he would begin composing and then either discard, keep or repurpose. As a musician that has enjoyed both the acclaim and also the cognitive confusion of touring the world and selling out shows in LA, New York, Tokyo, Shanghai, Paris, London and many places in between, The past few years have seen Gold Panda concluding that the core of his life and resulting comforts are rooted at home. Driven by destinct desire for normalcy and structure, it’s something that he feels he achieved while making this record. “I mean, probably most 35 year old people don’t live with their Grandmother”, he laughs, “but I could lead a somewhat normal daily routine. Which I really missed.” Stepping back two years though, the inspiration for the record and its creation are two distinctly different things. “Good Luck And Do Your Best’ was initially planned to be something else entirely. Early in 2014 Derwin set out back to Japan for the first of a pair of trips – the latest of many visits to the place he holds most dear. This time a photographer, Laura Lewis, accompanied him as Derwin’s plan was to collect both audio – field recordings from his trip across the country – and visuals, with Laura tasked to capture what they saw and encountered together. The idea was to be able to put together something other than a traditional record; a sight and sound documentary of his time there, but the expedition ended up being the basis of a new record. It began with an album title. “Halfway through the first trip we bought rail tickets and rode across the country and went to Hiroshima”. Derwin explains. “One afternoon we had taken a taxi, and as we got out, the Japanese taxi driver’s parting words to us as we left, in English, was ‘good luck and do your best’. “It was [the driver] speaking in English. He didn’t know English that well, but there’s a Japanese phrase called ‘ganbatte kudasai’. And roughly translated, it basically means ‘do your best’, or it can also mean ‘good luck’.” As a result of that chance interaction, Derwin says, he had the title for an album as well as a starting basis. “once you have a title, for me, things come together a lot easier for what it’s going to be.” Struck by the phrase, he ended up being led by the experience to make a record that was, to him “quite motivational, quite positive.” Sonically, Derwin characterised the record by way of the visual inspiration he took from his Japanese trips. “I went over twice. Once in April, once in October, and they’re the best times to visit, because the weather is calm – it’s not too hot or too cold. In April the cherry blossoms are out so it looks beautiful, and there’s lots of festivals and places to go. October is great because the leaves are starting to change. It’s just a good-looking country.” “The album was recorded at home in Chelmsford, but I had that visual inspiration or documentation from Japan. So it was a look back. If you go in those months, Japan has this light that we don’t get here. It’s hard to explain. You know how LA has this dusk feeling? – that orange light that makes the place glow, and the neon signs? Well, Japan has this… at certain times of the year, It has this filter on stuff. So when we went the first time, there was a lot of pink and green colours – pastel-y pinks and greens. Mainly the buildings and cars and the people, and I think Laura captured those colours really well. Those sights and colours translated to a record that differs notably from his previous album, ‘Half Of Where You Live’. Whereas that record was occasionally taut, perhaps harder and more piecing, the 11 songs that comprise ‘Good Luck And Do Your Best’ have a distinctly warmer palate, one that echoes ‘Lucky Shiner’ a little more, albeit with a clearer range of sounds, and also, to Derwin’s mind, one where “the tracks aren’t popping out against each other. It’s a [complete] record.” “I was initially worried about not having that connection between the tracks”, he confides. “I made the last two albums in a fairly short period of time – the first one was a couple of weeks, the second one was a couple of months. This was made over the period of a year or maybe more.” The longer recording period lead to his concern that “I wouldn’t be able to make tracks that went together, but actually it was better, because I could find the ones – maybe that one in every ten – that fit, because you would always return to a certain style.” “You don’t control the music you make, he continues. “The tracks need to reveal themselves, or something needs to reveal itself to you, by making the track. So over the course of making 100 tracks, eventually the album you’re going to make is revealed through listening back to them and finding the ones that go together. You get a sound that reveals itself to you.“ Derwin pauses to consider the process, before adding, “personally I don’t think I can choose to make records how I want.” But you’ve tried? “I always try to”, he smiles wryly. Having finished recording his album, Derwin took the songs to fellow musician and producer Luke Abbott, wherein Luke “made it sound good, he put it into his magic smelter”, Derwin laughs. Mixing it at Luke’s studio, which similar to Gold Panda’s place of work, resides in his parent’s house in Norwich, reinforced the nature of the record in Derwin’s mind. “It has a homely feel. The tracks were made at home and they were mixed at Luke’s studio, so throughout the process, there’s always been access to family and your local surroundings. And banana bread.” An artist’s desire to change or reinvent themselves and their sounds, or to work beyond their original musical scope is a time-honoured tradition amongst musicians and no differently, is something that Derwin has considered and ultimately, had to make peace with. “It’s a curse and blessing because, your music always sounds different to you in your head and you think it’s going to sound great. And then you have to face what you’ve made”, he grins. “But then you look at in another way – no-one else could make the music I’ve made, I don’t think. I’m not sure anyone else would make those tracks in the way that I’ve made them. In that way it’s good. After seven years of trial and error, and having discovered that the best way he could make music was by doing so rooted in the place where he always felt most familiar with himself, does Gold Panda see his long term future where he is now? “I don’t think so”, he muses. With Chelmsford. I don’t love it, but I do feel really comfortable there. I don’t know if will ever be ‘gentrified’ it’s already too expensive to be gentrified. I don’t think it can be rescued. It’s fucking dull. You’d think somewhere so close to London would be more affected by that, but I don’t know how it’s avoided it. It’s in it’s own cultural bubble.” “I don’t think I’ll be there when I’m sixty, but then I’m assuming I wouldn’t want to live in London anymore either… but maybe not. Perhaps I could live in Soho. I could live out my last years in vice. Full of sin and drinking”, he laughs, shaking his head.

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.

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

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

Star Theater 13 NW 6th Ave. PDX, OR

SOLD OUT
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.

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.

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

Sat Nov

5

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; All Ages

TICKETS

CLASSIXX

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.”

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.

Sat Nov

26

Wonder Ballroom 128 NE Russell St. PDX OR

$18 Adv.
8pm; 21+

ON SALE
Jul 29

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.

Fri Dec

2

Wonder Ballroom 128 NE Russell St.

$15 Adv.
8pm; All Ages

TICKETS

LOUIS THE CHILD

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.