UPCOMING SHOWS

Tue Jul

5

Mississippi Studios 3939 N Mississippi Ave. PDX

$3 with RSVP
21+

TICKETS

HEALTH

PHANTOM

EASTGHOST

ARTIST BIO

Stemming from a D.I.Y. noise scene based around the downtown L.A. art space The Smell, HEALTH make mathy indie rock with tribal drums, squealing guitars, asymmetrical basslines, and a homemade guitar pedal/microphone called a Zoothorn. As a four-piece led by Jacob Duzsik, the band played its first show after practicing together for six months, and started making a go in Los Angeles, playing ten-minute sets with like-minded local bands like Ex Models, No Age, and Mika Miko. After a few tours and a slot at SXSW, they returned to home base and started recording their debut album at The Smell. Capturing the cavernous brick acoustics with vintage microphones, HEALTH featured a unique brand of aggressive and concise songs, and was released by Lovepump Records in 2007. Later, they started touring with pals Crystal Castles, an aggressive electro duo that had previously shared a 7" with the band. HEALTH also remixed their song "Crimewave" that year. To repay the favor, Crystal Castles contributed to a full album of HEALTH remixes, titled //DISCO. In 2009, the group unleashed its muscular and crunchy second full-length, Get Color. Following tradition, the songs from this album were remixed for 2010's ::DISCO2. HEALTH composed the score for 2012's Max Payne 3, which earned nominations for Best Score in a Game and Best Song in a Game (for the track "Tears") at that year's Spike Video Game Awards. They continued their foray into video game music in 2013 with "High Pressure Dave," a song inspired by the Units' "High Pressure Days" that appeared in Grand Theft Auto V. HEALTH returned with new material in 2015, premiering the single "New Coke" a few months in advance of their third full-length, Death Magic.

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

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.

Sat Oct

1

Star Theater 13 NW 6th Ave. PDX, OR

$25 Adv.
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 Dec

2

Wonder Ballroom 128 NE Russell St.

$15 Adv.
8pm Doors; 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.