Sanctuary Sunday is Ambient/Experimental 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.
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:
| Coastlands |
cathartic cinematic Post Rock
https://coastlands.bandcamp.com/
| The OO-Ray |
Erik Satie meets My Bloody Valentine
https://ooray.bandcamp.com/
| Ant'lrd|
Sun-drenched swirls
https://antlrd.bandcamp.com/
DJ set by: Mike Jedlicka
Sunday June 19th
7:00pm - 11:00pm
$5
Booking/Promotions:
Coco Madrid - djchachapdx@gmail.com
The Switch No. 35--CAConrad, fresh from Norway, and Singapore, and other world travels, along with David Buuck from Oakland, and Portland's own Emily Carr. More info: http://theswitchpdx.blogspot.com/
Bridge Club presents, CLUB DESTINY
An adventure in futurism, CLUB DESTINY is an one-night-only Pride exclusive.
CRUISING WANTED
Featuring:
Asmara aka MA DEE JAY (LA, Nguzunguzu, Fade to Mind)
https://soundcloud.com/ma-deejay/ma-mix-up-2015
Chanti Darling DJs
Hold My Hand
Troubled Youth
Casual Aztec
Prince$$ Dimebag
Visual Artists:
RAKEEM
Megan Holmes
Installation:
ANGEL THUG1
Photography:
RAKEEM
8pm // $10 // 21+
** Brought to you by Bridge Club and Destiny **
With-
Jeph Nor
Science Patrol
Polly Dactyly
https://soundcloud.com/polly-dactyly
Høltech
LoFi Freq
Ciguatera
Notingworld
https://nothingworldofficial.bandcamp.com/
---------------------------------------------
All age show
$5.00 donation at the door, 100% of the fund will go to the Kenton Masonic Educatinal Fund
Spend The Night 1 Year Anniversary!!
w/ the Detroit legend:
DJ Stingray 313
(Drexcyia, Planet E, Urban Tribe) - Detroit
https://www.residentadvisor.net/dj/djstingray
https://www.facebook.com/DJ-Stingray-182977445069234/
+ Spend The Night residents
Ben Tactic & Graintable
Sherard Ingram aka DJ Stingray has been a strong presence in the world of techno for over twenty years. Growing up in Detroit, this school friend and DJ partner of Kenny Dixon Jr. realised his Urban Tribe project in 1991 with the now classic 'Covert Action', a track released on Retroactive's seminal 'Equinox' compilation, a milestone in the city's rich technosoul history. A couple of years later London's Mo'Wax label released his debut album 'The Collapse Of Modern Culture', which featured collaborations with friends and peers such as Anthony 'Shake' Shakir, Moodymann and Carl Craig. His most illustrious work might have been as part of Drexciya's live unit - he was named Stingray by Drexciya's James Stinson. Reppin' Detroit's 313 with masked performances around the world, and three dozen releases - including records on labels like Planet E and Mahogani Music as well as collaborations with Dopplereffekt's Heinrich Mueller (also known as the other half of Drexciya) - Ingram has since turned label head with Micron Audio Detroit to release the work of fresh, upcoming talent from across the globe.
21+
Funktion One sound
The music of The Growlers is unmistakable.
Sure, you can hone in on some influences baked into the work of this California-bred band. Heck, even they’d cop to a few, like Ricky Nelson and The Clash. But once those same RIYL tags have been filtered through the minds and hands and voices of this five-piece, there’s simply nothing else like it.
The Growlers took the phrase “Beach Goth” as an apt descriptor of their music. Sunburned and salty, that term perfectly describes their distinctive melding of reverb heavy surf guitar and Bakersfield-style honky tonk with ‘80s post-punk.
This is especially true of Chinese Fountain, The Growlers’ fifth full-length set to be released on September 23rd via Everloving Records. The 11 songs found on it are some of the strongest that they’ve committed to tape yet; a byproduct not only of eight years in the trenches together, but finely honing their gypsy folk dirges and psychedelic sea shanties to fans at close to 150 shows each year. The connection between vocalist Brooks Nielsen and guitarist Matt Taylor (the principal songwriters of the group) has only grown deeper.
“The band played better than they’ve ever played,” says Nielsen. “We’ve got the process down now. There’s less screwing around to get the songs laid out and we weren’t waiting around for take after take. We knew it and we played without much time to spare.”
That confidence bleeds through every track on Chinese Fountain, with the band assured enough to layer in shades of many new influences: the loping ska beat of “Dull Boy” and “Going Gets Tuff,” the playful disco beat behind the title track, or the Teardrop Explodes-like agitation of “Good Advice.”
Not that the band left themselves much room to second-guess anything. The five spent about three weeks writing the tracks, and about half that time in the studio recording them. That may sound rushed, but it’s not as if you can hear any strain on the finished product; Chinese Fountain is as rock solid and watertight as anything in their still-growing discography.
There’s evolution to be heard in Chinese Fountain as well, courtesy of some of Nielsen’s most pointed and poignant lyrics to date. He takes our obsession with the online world to task on the funky title track. When he drops the bomb that obliterates that most famous of Beatles’ claims with "The internet is bigger than Jesus or John Lennon” he re-contextualizes Marshall McLuhan's "the medium is the message" in the same breath. He urges positivity no matter the obstacles (“Going Gets Tuff”). Too, he reveals a tattered heart to the world on tracks like “Rare Hearts” and “Love Test.”
“This is my chance to let it all out,” Nielsen says of these songs. “I kind of bottle things up and don’t really get emotional. But I think if I don’t open up, I’d be a really stale person.”
All Ages | Bar w/ ID
SONNY AND THE SUNSETS
On previous records, the Sunsets have plundered a wide spectrum of musical appropriation (garage-rock, forgotten AM radio fodder, Modern Lovers, late-era Clash, Doo-Wop, and the Velvet Underground, to name a few.) Mood Baby Moods follows suit, and on this outing we find the Sunsets, along with producer Merrill Garbus of tUnE-yArDs,
repurposing early ‘80s funk and new wave with rap beats and collages from both sides of the ocean (be it Niles Rogers, Jah Wobble, The Gap Band, Orange Juice, Trans-era Neil Young or The Tom Tom Club.) These are songs that juxtapose the haze of today with a vibrant and colorful explosion of sounds and 180 degree turns.
Sonny’s gift for vivid storytelling is no secret. His last album with the Sunsets, Talent Night at the Ashram, was peopled by characters he’d created for scripts that never saw the light of day. He greeted 2016 with a solo LP (Sees All Knows All) that involved no singing at all — a winding tale of one musician’s quest to find himself set to music.
Moods Baby Moods is no less inventive and arguably more musically sophisticated than Smith’s previous records. “Death Cream Part 2” picks up a comic book tale started on 2009’s Tomorrow Is Alright, tracing that titular tube of heinous goop back to a grocery store/hell. “Modern Age” transfers from a party to a string quartet, with elements of
dub, while the narrator comes to grips with meaninglessness – ‘modern age/nothing to say.’ “Well but Strangely Hung Men” bridges a gap between Franz Kafka, Sigmund Freud and Richard Brautigan over a driving post disco beat.
The real life cast supporting Moods Baby Moods is fittingly rife with outsider talent. Garbus’ voice can be heard throughout. Shayde Sartin’s bass, Edmund Xavier’s drum machine beats and Smith’s guitar form the foundations, and regular Tahlia Harbour continues her back and forth banter with Smith. Cold Beat’s Hannah Lew brings a Kleenex/Young Marble Giants flavor to the songs. Shannon Shaw and Jibz Cameron drop by for a skit, and Kaznary Mutoh of Tokyo’s Boys Age lends guitars and garbles the outro of “Modern Age.”
Lyrically, Smith is playing with the grand themes of today. In his search for purpose in the cruel realities of the modern age, he’s trying to make sense out of chaos and suffering, and to find a way to live and be real. This is not an easy task in a time of synthetic feelings (“Moods”), computer created confusion (“Modern Age”), climate change
(“Dead Meat on the Beach”), civil rights abuse (“White Cops on Trial”), and the uneasy feeling of numbness in our chaotic world (“Check Out”).
But in the final moments of Moods Baby Moods, Sonny delivers a line that not only speaks truth to his philosophy as played out across his career, but to what it means to be human in any era, regardless of our relationships with technology, spirituality, authority, or art: “I’m full of love, and shit, all the time.”
SARAH BETHE NELSON
Ms. Nelson doesn't exude the brassy confidence of a chanteuse; nor does she wear the mask of false naivete favored by some of her "indy" musical contemporaries. Rather, Nelson and her plaintive, unforced voice seem to hang in the balance, and the source of her songs seems a mix of genuine heartbreak and stark resolve. Her music is reflected in that not-extreme dichotomy; in it there is warmth and beauty, as well as a genuine mean streak, softened barely by her well-crafted melodies.
As a long-time member of San Francisco's close-knit rock and roll community, Nelson has obviously inherited her peers' sense of pensive melody. Most striking, though, is the seeming simplicity of the songs; the two-word chorus of "Impossible Love", repeated over and over, not to bore the listener, but to key us in to her sense of educated hopelessness, a "been-there, done-that" kind of boredom, followed by a gorgeous, unexpected chord-change turnaround, which paints a wholly different picture of elevation and release. The songs are simple, but they throw these great surprises at us. Recorded at the home studio of song wizard Kelley Stoltz there is a sense of sonic adventure creeping throughout the record. With a crack engineer and a who's who of great musicians giving life to Ms. Nelson's weary yet inspired observations Fast-Moving Clouds is a beautiful, mysterious journey to heartbreak and back.
-Tim Cohen
GONZO
Poetry Press Week aims to radically change the way poetry is presented, publicized, published, and perceived.
There will be presented new works of poetry by established and emerging PNW poets to an audience of publishers, the press, and the general public.
All work is available for publication the moment it is presented.
Doors: 7pm
Show: 7:30pm
Suggested Donation: $5
Come align your chakras with the DUG fam at the first open mic//art mixer of our summer series @ Service.
Snugsworth
Open mic
Closing with a ~ guided discussion ~
As always, sign ups upon arrival, so get in there before 7pm if you'd like to perform.
With his second non-soundtrack album, Lost Themes II, set for release in April, horror master John Carpenter will perform his first ever live shows this summer, including a date at Portland's Arlene Schnitzer Hall on June 15.
John Carpenter will be performing a musical retrospective of his work, his first solo record of non-soundtrack music Lost Themes, plus brand new compositions. The Horror Master will also be joined on stage by both his son Cody Carpenter, and his godson Daniel Davies (both of whom co-recorded Lost Themes), in addition to a full live band and spectacular stage production.
John Carpenter has been responsible for much of the horror genre's most striking soundtrack work in movies he's both directed and scored, such as Halloween (1978), Escape from New York (1981), Big Trouble in Little China (1986), Prince of Darkness (1987) and They Live (1988) to name a few.
Composers before him had used minimalism to create terror, whether it was two piano notes for a killer shark or the stabbing strings of a mother-obsessed psychopath, but it was Halloween's brilliantly interwoven synth melodies that truly took genre scoring to a new, more sinister level.
Carpenter’s first recording of non-soundtrack work achieved numerous international milestones, including NPR First Listen; features in dozens of press outlets including the Los Angeles Times, Vanity Fair, Rolling Stone, The Wall Street Journal, The New York Times and The Guardian; three magazine covers; and Top 200 chart success in the U.S. and the U.K.
So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.
Keep your eyes peeled for John and his co-writers to hit the road this summer performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Lost Themes II will be released on April 1st, 2016 on Sacred Bones Records.
Get Tickets: http://bit.ly/JCarpentPOR2016
Tickets on sale Friday 2/19 at 10am
All Ages • Reserved Seat show
LEAD BY LORENE BOUBOUSHIAN
As an interdisciplinary, improvisational performer and workshop facilitator, I am captivated by the underlying motives for any action. In workshops and lab-based environments, often it is assumed that we should follow our “interests” or “intentions,” when in fact our in-the-moment actions are a result not of clear-cut decisions but our relationship to the organism of bodies, room and objects around us colliding with what’s inside us. What do we want and why? What if we derailed ourselves, worked with our own insincerity, faked ourselves out, played tricks? Is it possible to create a realm where all is valid and nothing is right? For anyone interested in performing, from any discipline. Bring objects you are interested in.
here is a more general description and some video of past classes. this refers to more sonic based stuff i've been doing with matthew gantt, but it's still nice to watch i think:
https://lorenebouboushian.org/teaching/
SUGGESTED DONATION (snackz provided!)
photo credit ying liu
SONG OF LAHORE
Wednesday, June 15 at 7:30pm | $9 | Buy advance tickets here.
A soul-stirring profile of Pakistani jazz band Sachal Studios as they venture to New York City to perform their sitar-and-tabla reinterpretations of jazz standards with Wynton Marsalis at Lincoln Center.
With its ancient palaces and stately gardens, the Lahore of Pakistan’s 1947 independence was a haven and a muse for musicians, artists, and poets. The city came alive to the beat of a tabla drum; with a musical culture passed down over centuries and a thriving film industry, opportunities were great for the legion of musicians that called Lahore home.
Today, this vision of Lahore exists only in myth. Islamization, ethnic divisions, war and corruption have torn apart the cultural fabric of Pakistan, and the sounds of the tabla no longer drift through the old city’s bazaar.
In 2004, Izzat Majeed founded Sachal Studios to create a space for traditional music in a nation that had rejected its musical roots. After convincing a number of master musicians to pick up their instruments again, they quietly released some classical and folk albums. But it is an experimental album fusing jazz and South Asian instruments that brings Sachal Studios worldwide acclaim. Their rendition of Dave Brubeck’s Take Five becomes a sensation, and Wynton Marsalis invites them to New York to perform with the Jazz at Lincoln Center Orchestra. After a groundbreaking week of rehearsals fusing the orchestras from Lahore and New York, the musicians take to the stage for a remarkable concert.
Despite their rising international acclaim, Sachal Studios remains virtually unknown in Pakistan. The ensemble is faced with a daunting task; to reclaim and reinvigorate an art that has lost its space in Pakistan’s narrowing cultural sphere. Watch trailer here.
- See more at: http://hollywoodtheatre.org/sonic-cinema/#sthash.PIDsXw7a.dpuf
Ziemba is the performance moniker of René Kladzyk, a NYC-based artist and musician. She has performed original and collaborative work at art, music, and dance spaces throughout NYC, including: Issue Project Room, The Museum of Art & Design, Glasslands Gallery, Trans Pecos, Gina Gibney Dance, Panoply Performance Laboratory, Silent Barn, St. Marks Church, Secret Project Robot, and Momenta Art. She was artist-in-residence at the French Institute and Culture Vultures in Fez, Morocco, and is curator of performance art series “Casings and Treatments.” She has composed original scores for Lisa Parra Dance and Karen Harvey Dances, and has recently had several songs featured on season 2 of Comedy Central’s Broad City. Her debut full- length Hope is Never is set for digital/tape/vinyl release via Lo & Behold records on June 24th, 2016.
AS I AM: THE LIFE AND TIMES OF DJ AM
Sunday, June 12 at 7:00pm | $9 | Buy advance tickets here.
A retrospective look at the life and work of influential electronic music DJ, Adam Goldstein, known as DJ AM.
DJ AM experience meteoric success through raw talent and sheer determination, overcoming what for others might have been staggering adversity, before tragically succumbing to the demons that dogged his life and career. The film’s pacing and style captures the frenetic speed and dynamism of DJ AM’s life as well as introspective moments of candor and insight. Watch trailer here.
- See more at: http://hollywoodtheatre.org/sonic-cinema/#sthash.PIDsXw7a.dpuf
M
The history of tape music begins alongside the dawn of electroacoustic music and predates what we would recognize as the first electronic synthesizers. This class will lead students through a brief history of this groundbreaking musical artform, and allow students the opportunity to create their own tape loop. Students will be given a collection of prerecorded analog tape, cassette players, and splicing tools, and will be given time to cut, tape, and perform their tape loop. The basic mechanics and varieties of tape equipment will be presented so that students may continue to explore the materials later outside of the class.
David Chandler is a native Oregonian who has been making and organizing experimental dance music in Portland since the early 90’s as Solenoid and Mr Pharmacist. Chandler’s music is distributed internationally, and his expertise in sound and art have found him working in almost every facet of performance from film scoring and sound design to theater arts.
In 1995, Chandler released a hand-built series of 100 cassettes with spliced loops marked “open-source”. These tapes and their construction method became an underground secret-weapon among touring bands in the 90s, and were given the nickname, the “Chandler Loop”. The legacy of that tape among his many other accomplishments in the world of electronic music have made Chandler an authority on the art of the tape-loop.
Enrollment
The Tape Loop Workshop is a one day, 3 hour course. Cost for enrollment is $35, and includes components necessary to create a tape loop. No supplies are necessary for this course, however students may bring their own found sounds on cassette tape if they choose.
Sunday June 12th 12:00 pm – 3:00 pm
Please Visit www.s1portland.com/workshops to register
21+ & $5 BEFORE 10PM
==============================
THIS MONTH'S VERIFIED LINE-UP FEATURES ALL STYLSS AFFILIATED ARTISTS:
⇉ ⇉ EASTGHOST
[STYLSS]
Portland, OR
https://soundcloud.com/eastghost
⇉ ⇉ ONHELL
[STYLSS]
Humbolt, CA
https://soundcloud.com/onhellmusic
⇉ ⇉ KOOLTRASHER
[STYLSS]
Paris, France
https://soundcloud.com/kooltrasher
⇉ ⇉ SHMUCK THE LOYAL
[STYLSS]
Nashville, TN
https://soundcloud.com/shmucktheloyal
⇉ ⇉ IG88
[STYLSS]
Seattle, WA
https://soundcloud.com/ig88
⇉ ⇉ ECHAVOX
[STYLSS]
Los Angeles, CA
https://soundcloud.com/echavox
⇉ ⇉ TYLER TASTEMAKER
[STYLSS]
Portland, OR
https://soundcloud.com/tylertastemaker
⇉ ⇉ JVNITOR
[STYLSS]
Portland, OR
https://soundcloud.com/jvnitor
⇉ ⇉ GANG$IGN$
[STYLSS • VERIFIED]
Portland, OR
https://soundcloud.com/gangsignsmusic
⇉ ⇉ QUARRY
[STYLSS • VERIFIED]
Portland, OR
https://soundcloud.com/quarry
==============================
www.STYLSS.com
www.VERIFIEDPDX.com
www.HOLOCENE.org
DJ Deeon, Tha Low End Legend (Dance mania)
DJ Deeon is a Chicago dance music legend. Hailing from the Windy City, he is one of the original producers behind the now well established ghetto house sound. Starting on the streets by selling his mixtapes, he soon moved up the ranks and became a taste making selector and producer who has had many cult hits and released on the most respected labels in the scene. A child of the late 60s and early 70s, Deeon experienced a big change in the ethnic make-up of his homeland, and this is something which has always informed his enviable catalogue of work ever since.
Using real drum machine hardware—Roland 808s, 909s and 606s—to make his beats he fomented a gritty, raw, streetwise style that was quick in tempo and robust in attitude. This minimal ghetto style was a spark that ignited the Chicago house and Detroit techno scenes and offered a getaway from the realities of life for those in the Midwest and beyond. Working under many different names, the man born Deeon Boyd had hits like ‘Accelerate’ and put out no fewer than three full length albums as well as many singles and remixes. They came almost exclusively on the Dance Mania label—one of the most legendary of them all—and in all numbered more than 45 EPs. Although health problems led to him to spend some time away from music, nowadays he is back where he belongs and is touring Europe playing all the finest nightclubs with his expressive and energetic DJ sets.
Lincoln Up (Alchemy/Portland)
DJ Rafael (Ecstasy)
Dj Bear and Alex Marine (RCU/One Wub)
10$ before 11, 15$ after
21 and over
Doors open at 9
Bar open until 2.15, venue will stay open until 4
V I O L E N C E - Baltimore MD
A multi-instrumentalist, Olin Caprison composes, produces, and performs for all of VIOLENCE's output. Their compositions are known for their complexity, shifting between and combining multiple styles of music in single songs. This complexity comes from a desire to dissect these styles of music in search of a syncretic narrative of human sound. Lyrical themes resonate from earlier experiences growing up in Baltimore, MD, to meditations on life from primary viewpoints of the intersections between various cultures.
https://soundcloud.com/vilentsiolence
Cameron Shafii is a San Francisco-based composer practicing generative and systems music. His compositions are inflected by software processes involving spectral analysis, convolution, recombination file handling, and stochastic elements. His works do not impose upon the listener any temporal scheme - 'engagement/disengagement' in Greimassian terms - refusing to form what we call a narrative tension. But his music has kinetic movements and climaxes; a functional exploration of sounds that range from microscopic and minimal, to macro and maximal.
https://soundcloud.com/ge-stell
Chemtrails - https://soundcloud.com/sequel-label/sq03-chemtrails-seismic-excerpt
tastesweet - Kathleen + Felisha
