Last Sundays of every month TENTH DEGREE will be bringing you#AllThingsClub Dive into the sounds of BMORE, Jersey, Chicago, Detroit, UK and beyond. This is a worldwide movement. Expect guest headliners, intimate atmospheres, and heavy bass.
Guests:
GANGSIGNS // Verified, Stylss
https://www.facebook.com/gangsignsmusic/?fref=ts
https://soundcloud.com/gangsignsmusic
MASSACOORAMAAN // Fade to Mind, The Cave
https://www.facebook.com/massacooramaan/?fref=ts
https://soundcloud.com/massacooramaan
Residents:
KNATE PHA$ER https://soundcloud.com/knatephaser
b2b
ALBINO GORILLA https://soundcloud.com/albinogorilla
&
EMV KUSH
b2b https://soundcloud.com/pdxmandem
SKELLI
21+ w/ID
$5 at the door
Funktion-One (Official) Sound
Regular Fantasy (Vancouver, BC)
https://soundcloud.com/regfant
Women's Beat League DJs
https://www.facebook.com/groups/1624430434469378/
Visuals: Krystal Perez
Suggested Donation $3-$7 - all proceeds go to artists.
Renee is an artist, performer, and educator. She synthesizes techniques for physical conditioning, kinesthetic and emotional awareness, and improvisation to create collaborative and evolving choreographies that seek to both express and understand questions of purpose, power and politics.www.reneesills.com for more.
Sam Pirnak is an interdisciplinary artist based in Portland, OR.
Christopher Rose is originally from Seattle by way of Subic Bay in Philippines and San Diego. His work explores the ntersection of the Filipino and Black Diasporas and he’s recently been published in Crabfat, Fjords Review: Black American Edition, The Watering Hole Anthology and The Pariahs Anthology. He teaches creative writing, composition, and literature at Portland Community College and is a Jade-Midway District Artist-in-Residence in Portland, Oregon.
+ + +
This event is free, open to the public, 21+
Celebrating the influence coffee has on mixing.
Alyssa Beers (Women's Beat League) + WAV FUZZ = Hammer/Sickle
&
Rap Class
Free
BEACON
Welcome to the world of Brooklyn duo Beacon, who explore the dark side of the sweet melody with a sound that’s as seductive as it is subtly discomfiting. The duo – Thomas Mullarney III and Jacob Gossett – met at Brooklyn’s Pratt Institute, where they were studying sculpture and painting respectively. As with many other great musical partnerships, this one involves two disparate sets of influences coming together to form a sound that’s both fresh and exciting. They fuse the deceptively sweet melodies of R&B with an intoxicating undercurrent of darkness, drawing on influence as disparate as Warp’s back catalogue and Underworld.
The fusion of these two sounds – R&B’s melody and sexuality, electronic music’s complexity and, especially, the bass-heavy sound design of Mullarney’s influences (“Bass is key to our music,” he enthuses, “big, thunderous rap bass”) – would provide a blueprint for Beacon’s own sound: there’s a duality at play here, an idea of something dark lurking beneath a sleek veneer, a sense of latent conflict and uncertain resolution. “I think the balance of inhibitions is at the core of my own songwriting,” says Mullarney. “The love songs we write are ones that have an inherent guilt implied. Inside love lives a more sinister, carnal element that is constantly being subdued or released.”
The duo’s first release is the No Body EP, four songs that deftly walk the line between seductive and sinister. The production takes as much from the world of non-vocal electronic music as it does from R&B and hip hop, setting Mullarney’s vocals against backdrops that define as much of the song’s atmosphere as do the words themselves. As Mullarney says, “We’re channeling some parts of R&B’s aesthetic, and updating them with today’s ambient, electronic instrumentation.” The result? “A kind of displaced, atmospheric pop.” Music for the 21st century, indeed.
NATASHA KMETO
Born into a musical family in California, Natasha began to develop her talents as an artist from a young age. It wasn’t until almost two decades later, on the verge of becoming a career session musician, that she took the wheel and broke out in a direction that truly inspired her. Her artistic growth has vastly accelerated since her arrival in Portland and alliance with hometown crew Dropping Gems, and she shows no sign of slowing down. The string of releases since this period showcase Natasha in her most self-realized form, dealing in matters of love, independence, and a re-affirmed outlook on life. She released her sophomore LP Crisis 6/18/13 on Dropping Gems to praise from many tastemakers including NPR, Pitchfork, Fader and Spin. Her upcoming album, Inevitable, is slated to be released early 2015 on rising label Federal Prism helmed by Dave Sitek of TV On The Radio.
Natasha’s long list of notable and acclaimed live performances include a 2014 national tour supporting TV on the Radio, gigs at Coachella, Bumbershoot, MusicfestNW, Symbiosis, SXSW, Low End Theory, and Decibel Festival. She has shared the stage with a number of talented artists including Fourtet, Squarepusher, Flying Lotus, Kid Cudi, Flume, Gold Panda, Dam Funk, Kode 9 and Shlohmo. Her radio experience includes live performances on Boiler Room and KEXP, and her tracks have been played by numerous tastemaking DJs including the legendary Mary Ann Hobbes.
Join Heidi Schwegler as she discusses her 2015 residency at Bullseye Studio and the ideas behind her work in "The Emotional Life of Objects."
Queer Hip Hop Dance Party est. 2012
Residents:
II TRILL ( https://soundcloud.com/iitrill )
ILL CAMINO ( https://soundcloud.com/ill666camino )
H/IPH/OP/R/NB/T/RAP/B/OOTY/B/OUNCE
Wheel Chair Accessible Entrance & Bathrooms (No Stairs)
21+
Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre, and most recently as half of an exciting new duo with renowned saxophonist Colin Stetson.
Neufeld began developing pieces for solo violin in a formal sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music.
Neufeld's debut solo album Hero Brother, released August 20/2013 on Constellation Records, indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotiveétudes, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome.
Neufeld has recently finished a second full length album, to be released in early 2016. It is a body of work that sees Neufeld moving away from Hero Brother's classical minimalism and sepulchral ambience, and into the worldof rhythmic pop minimalism. The new album employs more emphasis on vocalizations than Neufeld's previous works; the interplay between Neufeld's voice and violin has become strongly integrated and narrative. The album also features Arcade Fire's Jeremy Gara on drums, adding greater layers to the compositions, creating an intense, dynamic atmosphere, and a captivating listen from start to finish.
In addition to touring as a duo with Colin Stetson throughout 2015, Neufeld will be touring extensively as a soloist, in support her upcoming sophomore release in 2016.
Peridot ( http://peridotmusic.bandcamp.com/)
Pedestrian Death Gang (https://soundcloud.com/user-688134982/sets/pdg-demos)
Samuel Hertz, composer and performer, received his MFA at Mills College, where he studied composition and electronic music with Pauline Oliveros, Fred Frith, Zeena Parkins, James Fei, Maggi Payne, John Bischoff and Chris Brown. Though classically trained, his studies in experimental literature and musical techniques steer his compositions and performances to include a wide variety of acoustic and electronic media such as: sensor technology, prepared guitars, piano, electro-acoustic percussion instruments, instruments of his own design, electronically modified traditional instruments, and movement.
http://www.samhertzsound.com/recent-works/
Christi Denton is a Portland based composer and sound installation artist who works with found sounds, electronics, and homemade and modified instruments. She has a degree in Music Composition from Mills College and a graduate certificate from the Centre de Creation Musicale Iannis Xenakis (France). Christi has built giant chimes as part of the Music for People & Thingamajigs Festival and amplified exhibits in the Exploratorium. She played at the Spark Festival and her music is part of the exhibit Six Seconds Around Me in the Casoria Contemporary Art Museum in Italy. In 2011 and 2012, her work was featured in collaborative performances for Ten Tiny Dances at the Time Based Art Festival in Portland, where dancers controlled music through light and flex sensors. She competed in the 2012 Guthman Instrument Competition, was in residency at Caldera in 2014, and has played in every Electrogals festival since 1995.
https://soundcloud.com/christidenton
Jesse Mejía (Portland, Or) is a composer, performer, engineer and educator with a cross-disciplinary, collaborative process. He received his MA from Bangor University, Wales and BA from Sarah Lawrence College with a focus on composition, generative technology and physical interaction. Mejía directs a 20+ person experimental choir (CHOIR) and is part of Acid Farm, a live Nu Acid/Balearic Beat duo with Morgan Hynson. Mejía has performed at PICA's TBA festival, Northwest New Works festival, Dance+, Disjecta, composition gallery, False Front and various dance clubs and warehouses.
LL LL is a new collaboration between performers Phull Collums and Woo Lee Allen, dedicated to living at least two moments at once. They create maps which unfold across wrinkles of time that guide split parts of self back to a place of play. As art is the home where these maps are most alive, they often appear inside the video, sound and performance work of LL LL. Most recently, Phull and Woo, performed New Dream Room, a dance party installation performance piece for this year’s Spaceness event up in Long Beach, WA.
Phull Collums aka Sean Christensen:
http://phullcollums.bandcamp.com/
http://seanchristensenabt.tumblr.com/
https://vimeo.com/109753350
Woo Lee Allen aka Lucy Lee Yim:
www.cargocollective.com/lucyyim
Recommended donation is $3-$5 - all proceeds go to the artists.
The music of Rachmaninov, Mahler and Frank Zappa
Performed by the PSU Orchestra and conductor Ken Selden
featuring the PSU Concerto Competition winner, pianist Saelin Ho and singer Harry Baechtel of the PSU faculty
All ages welcome
$15 advance, $20 day of show (students and seniors: $10 advance, $15 day of show)
Presented By: McMenamins and Portland State University
The music of Rachmaninov, Mahler and Frank Zappa
Church of Film is a weekly gathering for the reverence and worship of cinema, with the hope of bringing the long lost, forgotten, overlooked, obscure or unavailable to a hungry audience unable to get their fill from the local theater offerings.
FUNERAL PARADE OF ROSES
Director: Toshio Matsumoto
Country: Japan
Year: 1969
Runtime: 107 minutes
In the hidden dens of Tokyo's homosexual clubs, drag queen Eddie vies for the heart of club-owner Gonda. Darting between documentary and fiction, FUNERAL PARADE OF ROSES follows Eddie through the parties, drugs, and romantic entanglements, and at last into a distorted recreation of the Oedipal myth. One of the first films to seriously explore transgender culture and homosexuality, Toshio Matsumoto's masterpiece is a breathless and revolutionary work of cinema, and reportedly inspired Stanley Kubrick's Clockwork Orange!
Parallel universes, bi-location, autohypnosis, alternate dimensions, and past lives. Taking a cue from filmmaker Basma Alsharif in discussing her new film Deep Sleep, mental movement between these imagined, physical, or psychological spaces is also at the core of the cinematic experience. For the 39th annual Portland International Film Festival, Cinema Project presents an evening of short videos that explores the resonance of space and how one can be in two places at once. The program is bookended by two films shot on the same beach in Southern Morocco: In Shezad Dawood’s Towards the Possible Film is a hazy golden dream where blue-skinned astronauts emerge from the ocean waves, while in Ben Rivers’s A Distant Episode another view is unveiled that is newly mysterious and fragmentary via grainy black-and-white imagery. In between, is a “hypnosis-inducing pan-geographic shuttle” between modern sites of ruin in Deep Sleep; abstract images made from concrete ones and visualized as a strangely familiar shimmering portal of gradually changing colors in Makino Takashi’s Cinema Concret; heavily-processed video footage from 1980s and early 1990s awards ceremonies laid beneath the prophetic ramblings of an unseen narrator in Michael Robinson’s Mad Ladders; and beneath the pops of fireworks and rhythmic mechanical hums is a shuttling between two temporal realities in the collaboratively-made Bunte Kuh from Ryan Ferko, Parastoo Anoushahpour, and Faraz Anoushahpour.
An event with experimental keyboard and piano music + avant-garde sounds.
Piano Noir is a space to discuss and share relevant music history, meet new friends, and enjoy a complimentary glass of wine.
Guests are encouraged to share any "experimental" piece you have been working on - originals or works in progress are fine too! For this workshop, there will be the grand piano set up for some jamming and song-sharing.
Guest speakers:
Adam Kivisaari // on Harry Partch and his instruments
Jeremy Reinhold // on the music of John Cage
Sponsored by Vesper School of Music // vesperschoolofmusic.com
21+ Free
The collaboration between Kneebody – keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood – and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). “Often when I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio. He would knock on the bathroom door and say ‘Would you mind playing something on this track?’,” recalls Wendel. “So I ended up being on at least five or six of Alfred’s albums because I happened to be there practicing."
The pair’s early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at “Jazz A Vienne” between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.
Conceived in tour busses, hotel suites, and basement studios initially as fodder for DJ sets, Mr. Divine is the feeling of déjà vu between delirious post-show fevers and the road-torn sleep through the night on the way to the next city, driving the circumference of the Earth in nine weeks, dreams of Pangea, of forever ago and infinity from now. Imagine: impossibly, and without the recollection of flying, you're in Europe with tour manager DJ Fitz at the wheel maniacally driving a silver Mercedes Sprinter through the pre-dawn to catch the first P&O ferry to Belgium, to Spain, to Sweden. There is Dur Dur on the stereo, is William Onyeabor, Khaira Arby, and Dizzy K, is compilations and mixtapes of unknown origin and content. This too is a dream, and tomorrow you're starting over, another opportunity to bask in the irrelevance of the present moment, "all we have," while keeping one eye on the future and one on the past.
Naytronix's music is the key to this, as if the slipstream of time that our lives drag on behind could be cross-cut, altogether avoided, or drafted and overtaken. The expression of this for Brenner is simplicity. The intricate and wide-spanning production of his debut is cinched tight as a racing foil as he goes back to where it all started: his bass, his voice, the secrets of drum machines and dreams, narrowing down his songwriting style to focus on narrative and cohesive arrangements, the Song. The result was hours of music not likely to see the light of day, tracks taken to the chopping block at the now iconic Oakland studio New, Improved Recording with friend, collaborator, and guitarist Mark Allen-Piccolo. He and Brenner, along with percussionist Robert Lopez, sculpted nine songs into something resembling a compact trio album, which was then filled out with sounds and textures from fellow Oberlin Conservatory family members Matt Nelson and Noah Bernstein (tUnE-yArDs saxophones) and synth master blaster Michael Coleman (Beep!).
Brenner has digested a lot in the three years since introducing this world to Naytronix. tUnE-yArDs has turned into something of a perpetual motion machine, taking him to far corners of the Earth, as well as Carnegie Hall and the TV sets of Jimmy Fallon, Conan O'Brien, Jools Holland, and Austin City Limits. He did some recording and performing with music royalty Yoko Ono and Sean Lennon, got to collab and learn from Cibo Matto's Yuka Honda, and even found some time to take the Naytronix band around the US and across the Atlantic from London to Istanbul. And while his music keeps its characteristic reflection of the '70s of Onyeabor and Bootsy Collins, there is too a new face of the sincerity and vulnerability of the '70s of Arthur Russell he shows here amid the psychedelia, as if wishing to land the Naytronix Mothership down to stay with us for a bit. Brenner returns to his adopted hometown Oakland (he's originally from Bloomington, IN) to find friends lost one by one to the allure of New York City in "Living in a Magazine." On the track "Back in Time," he grapples with a fleeting youth, crooning, "Time is tricky 'cause you only get a single play, not like a record you can throw on every single day." As music and life become one for the touring musician living (in) the dream, the line between plays and days gets more and more blurred. And in the Naytronix dreamland, no one's there to dictate which is which.
“...we—as audience members, spectators, readers, participants, consumers—cannot hope to ferret out injustices, protest certain forms of injury, violence, and violation, while also deriving pleasure or excitation from representations of them.” - Maggie Nelson
(we sleep) In the Seconds Between is a new media video installation that uses appropriated video content taken from popular file sharing forums on the internet. The main concern of this work is to investigate a passive/active relationship to violence in words and video while calling attention to the systems that make this content accessible ie. technology, the internet, digital forums. Through using platforms that foster community based file and media sharing such as DIGG, Reddit, Youtube and LiveLeaks, (we sleep) In The Seconds Between explores how technology functions as a stage for accessing content that has both assimilated and dissimilated into human consciousness. This video installation seeks to reframe a familiar relationship to networks while investigating the moments that are bookends to violence. By using video screens, projections, and sculpture the treatment of space leads the audience to activate the visuals, thereby forcing a relationship between viewer and video content.
Many experiences are constructed through screens and interactivity, this all encompassing dependency upon technology holds imaginations captive. Access to images, media and information drives the human need for immediacy. As computing and production speeds double and triple past the landmarks that have been documented in the past century, so do the future expectations for stimulus and efficiency. Does the immediate access to information or the act of viewing make the viewer implicit in the propagation of that content? Or can a person look safely from their screens and be free of the emotions that come along with viewing the images that exists in the world around them?
Micah Schmelzer is a new media video artist whose work looks at violence as a metaphor for systems of control that exist within the frameworks of interactivity and technology. He earned his BA from Columbia College in Chicago where he studied Graphic Design and Photography, and his MFA in Visual Studies from the Pacific Northwest College of Art in Portland Oregon. He has worked with organizations such as Ditch Projects (OR), PICA (OR), Disjecta (OR), and UPFOR (OR) as a tech consultant and preparator. He has shown his work in both Chicago and Portland at gallery’s and festivals including Duplex (OR), Disjecta (OR), HOLOCENE (OR), DESIGN WEEK PORTLAND 2014 (OR), PICA TBA at Bronco Gallery (OR), BLACK CLOUD (IL) among others. His current interests revolve around the interactive distancing and use of screens as control mechanisms for the conditioned viewing of violence.
Tim Stigliano was born and raised in northeastern New Jersey. In 2002, he graduated from Tufts University and School of the Museum of Fine Arts with bachelor’s degrees in English and Painting. Stigliano completed Pacific Northwest College of Art’s MFA in Visual Studies Program in 2012. His sculptures, videos and performances have been shown nationally at venues such as Rocksbox Contemporary Fine Art, Disjecta Contemporary Art Center, Zena Zezza, deCordova Sculpture Park and Museum, Art Basel Miami Beach, and online at Art F City. He lives in Portland, OR, and makes work
that critically engages everyday experiences with fear and desire.
A transcendent evening of chamber music by some of today's most creative composers.
WORKS
Einhorn by Eve Beglarian
Flicker by Vivian Fine
Ashes into Light by Robert Kyr
Blindsight by Michael Norris
Silent Moon by Augusta Reed Thomas
Grime by Evan Williams
PERFORMERS
Sarah Pyle, flute
Colleen White, clarinet*
Rebecca Olason, horn
Mitchell Falconer, piano*
Bryce C. Caster, violin
Andrew Stiefel, viola
Elizabeth Gergel, cello*
Milo Fultz, double bass
*Indicates guest artist
Tickets are $8 in advance. Click the link above to purchase. $5-$20 donation at the door. Credit/debit and cash will be accepted at the door.
Tickets: http://sndofl.at/1m35iKj
More about Sound of Late: https://www.soundoflate.org/
Please join the 3 year anniversary of Sanctuary Sunday, bringing Ambient/Experimental to every third Sunday of the month at various Portland haunts. The monthly line-ups represent varying genres of electronic music, from Glitchy IDM to Ambient, Drone and coolly Experimental soundscapes.
Come out for a night filled with delicately blended electronic sounds, samples, and live instruments guaranteed to bring the electronic heads out of their basements and into this cozy sanctuary.
This month welcomes:
| Opaline |
Kaleidoscopic New Age
http://opaline.bandcamp.com/
| Soul Ipsum |
Emotional Glo-Fi
https://soulipsum.bandcamp.com/
| Glas + Schneider |
Academic Computer Music
https://soundcloud.com/sound-portfolio/live-shortspace-glasschneider-10242015
| HOM vs Anthony Bisset |
Nü Myth / Dream Gender / Multi Flesh
http://soundcloud.com/hom
http://soundcloud.com/anthony-bisset
Visuals by: Krystal Perez
Tape Jockey: No Lunch
FREE
Booking/Promotions:
Coco Madrid - djchachapdx@gmail.com
ARTISTS
Richard Aldrich
Elizabeth Bishop
Louise Bourgeois
Robert Creeley
Jimmie Durham
Melvin Edwards
Gaylen Gerber
Robert Grenier
Rob Halverson
Bill Hayden & Sam Pulitzer
Gareth James
Yuki Kimura
Nevine Mahmoud
Christoph Meier
Jean-Luc Moulène
George Oppen
Nathaniel T Price
Sara Greenberger Rafferty
Anne Sexton
Jack Spicer
Sue Tompkins
Dinah Young
Stefan Tcherepnin
THE LASTING CONCEPT
Translation from one language into itself.
An inquiry as to the nature and purpose of images and words entwined.
Our reasons both slender and unreasonable, we proceed with the greatest urgency.
For the preservation of certain inalienable rights.
A life which is lifelike. Pursuit rather than attainment.
Free speech and the right to remain silent.
There are times when rage and matter simply … collide.
Our belief in free association, well trampled though it may be, perhaps the greatest path to reason.
We will amend you. This is the enforcement of law.
A human certainty …
Is every life interesting enough for a play?
A song heard in the distance, familiar even as the record turns hazily.
m a t e r i a l … o b j e c t s … p o s s e s s i v e … u n r e a l c i r c l e s … g a m e s …
c o n t r a d i c t i n g l i e s … w h y s e e y o u r s e l f …
as it comes to an end, the voice stutters in the dust …
y r e g o … y r e g o … y r e g o …
After all, the difference between a groove and a grave is only … a matter of depth.
A desiccated hand shudders to lift the arm and the needle.
All the untidy activity continues, awful but cheerful.
The lasting Concept will prevail.
- – Above excerpt from Bob Nickas
what a mess everything is,
a group show points at a “human certainty”.
the end that is the dot in the distance and all bumps on the way there.
what a mess everything is
- -
notation
proof
skill
incomplete thoughts
touch
mark
reportage
name in fragments
the list grows longer and strangely less intelligible
alternative to the facts of lived experience
territorialize
so abstract
would it not be
- above some words plucked from description of scorched earth journal project.
death at the end of that dot in the distance
Love
never exhaustible filling than refilling
every month or so?
next up a dog shitting in the streets
digestion
a pointing system of stored moments
help help
they heard the new fruit drop
the waves keep at it
furniture is moved
it’s all overlapping
and look for it
images_file
all repeat or you could say
big smiling face this is everyone
what a world it is when the center is that
tangle
With light refreshments. Free + open to the public.
rock show
Post Moves ~ http://postmoves.bandcamp.com/
Cool American ~ http://cool-american.bandcamp.com/
Drunken Palms ~ http://drunkenpalms.bandcamp.com/