The Poetry Brothel Masquerade Tour
Welcome to a unique and immersive poetry event that takes poetry outside classrooms and lecture halls and places it in the lush interiors of a bordello. The Madame presents a rotating cast of poets, each operating within a carefully crafted character, who impart their work in public readings, spontaneous eruptions of poetry, and most distinctly, as purveyors of private poetry readings on beds, chaise lounges and in private rooms. For a small fee, all of the poets are available for these sequestered readings at any time during the event. Of course, any true bordello need a good cover; ours is an immersive cabaret featuring burlesque, live music, vaudeville, aerials, visual art, magic, mysticism, with newly integrated themes, performances and installations at each event.
The November 7th event in Portland is the fourth stop on The Poetry Brothel's 2017 Masquerade Tour. Masks and formalwear are encouraged but not required. Doors open at 8pm; show runs from 8:30pm-11:30pm; doors close at midnight.
For complete event details including lineup, please visit www.thepoetrybrothel.com.
$40 General Admission (seating is guaranteed but it is first come, first serve) $75 VIP Admission (includes reserved front row seating, two private readings tokens, and a poetry brothel tote bag filled with goodies)
The Bad Plus, made up of pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King, came together at the end of the 20th century in Minnesota and has avoided easy categorization ever since. The trio has won countless critical hosannas and a legion of fans worldwide with their creativity, unique sound and flair for live performance. Based in New York City, the intensely collaborative trio has constantly searched for rules to break and boundaries to cross, bridging genres and techniques while exploring the infinite possibilities of three exceptional musicians working in perfect sync. They continue to explore myriad musical forms born of jazz along with any sonic source that forwards the music into that rarest of hybrids: intelligent music for the masses. This special 2017 tour will mark Iverson's last appearances with the group, so this will be your last chance to see the original trio in all of their spectacular chemistry and glory.
"The Bad Plus embrace sonic adventure...seething with funky new-millennium rhythms and succulent harmonic flights." - Entertainment Weekly
The original Fernando Band consisting of Marilee Hord, Dan Eccles, Clayton Jones, Joe Chiusano and Fernando Viciconte released their American-Gothic Classic "Widows" in 1997 to overwhelming critical and popular acclaim. Their passionate and explosive live performances soon made them one of Portland's most exciting live bands. This original line up is reuniting for the first time in 18 years to celebrate the 20th Year Anniversary of their landmark record. The Band will also be celebrating the first pressing and release of "Widows" on Vinyl by performing the entire record in sequence! The band has recruited their longtime friends, also recently reunited, The Old Joe Clarks (featuring members of M.Ward and Tin Hat Trio) as main support for this show! This performance will be a one-time only event that you will not want to miss so we highly recommend that you secure your tickets asap!
"Fernando Viciconte is a true believer. Like Hank Sr., Springsteen, David Hidalgo and his other heroes, he sees a bleak world out there but clings to the romantic notion that letting it out in the passion of song can ease the pain, redeem the soul or at least help make a little sense of it all." Dim Desmond, No Depression Magazine (1997)
Fernando Viciconte-the 2016 Oregon Music Hall of Famer with twenty years of local and national acclaim under his belt-crawls from the wreckage of the recent past unbowed, bruised but unbroken. He has survived major surgery for a throat condition and thus what could have been existential silence for 'that voice'. It's a voice that caused countless rags like Billboard, Magnet, Paste, The Oregonian, No Depression (and on and on) plus fellow musicians like Peter Buck from REM, Don Dixon, and Steve Wynn to rave wildly about the feeling it evokes when he's singing his songs of dark despair and faint hope. These rock n roll laments, in both Spanish and English have captured the imaginations of his hometown for seven records, countless compilations, and memorable shows. Now Fernando-and 'that voice' -has emerged stronger than ever with a full-length LP entitled "Leave the Radio On", produced with Luther Russell (Fever the Ghost, Richmond Fontaine) & Mike Coykendall (M.Ward, She and Him).
The new album features a virtual who's who of Portland's finest musicians, including Peter Buck and Scott McCaughey of REM and members of M.Ward, Elliott Smith, Richmond Fontaine and The Delines. This is a new chapter in Viciconte's ever-evolving musical trajectory, a career marked by creative integrity and an almost painful honesty which attracts fans from high and low that still believe in the redemptive power of rock and roll. And 'that voice'.
The Old Joe Clarks is the brainchild of Mike (M.Ward, Klyde Conner) and Jill Coykendall, originally based in San Francisco, their sound can best be described as Alt-Country with a strong dose of Americana. Mike's songwriting is current and timeless-though the arrangements are steeped in an inventive indie-rock, his vocals can sound at times as if they're coming from someplace deep in Appalachia. The band is now joined by famed producer and multi-instrumentalist Mark Orton, (Tin Hat Trio).
Hot Snakes formed in 2000, after the release of their first record, Automatic Midnight. They were John Reis, Jason Kourkounis, Rick Froberg, and Gar Wood. The band's sound represented a return to the unrealized past of its members. This time their musics would be direct, undraped and rock 'n' roll while still maintaining the dense and turbulent character of the members' previous work ("hard" labor). In April or May of that year, Hot Snakes found their live sound and established themselves as primo, down-stroke warlords.
Wikipedia says that in 2002 the band released their second album, Suicide Invoice. The album exhibited Hot Snakes slightly larger palate in mood and dissonance. People enjoyed the shows and listening to the recorded music. But, strain from controversy and fame would reveal cracks in the worn hides of these old road dawgs. Exit Jason Kourkounis to focus on other musics.
In 2004 Mario Rubalcaba joined the band and Hot Snakes released their third and last studio album, Audit in Progress. An increased attraction to dissonance surfaced as the band spiraled downward into a mid-life punk crisis. Yet, more shows were played and enjoyed and the band visited many cities all over the world. By 2005, the band had stopped performing.
2011 saw the return of Hot Snakes. The band appeared on the premier festival circuit. Both drummers performed with the band on the songs which they each recorded. The reformation proved the band to still be in the top 5. They discussed writing new material and building upon this revitalized momentum. After an additional 6 years of discussions, Hot Snakes returned to the studio in 2017 to commence recording. And, lucky for all of us, 2017 finds Hot Snakes charging back, renewed, playing shows and planning for the release of a new album in 2018 on Sub Pop Records
followed by HIVE::Goth:Industrial:Darkwave Dance Party
Since disbanding in 2002, in a surprise announcement, Chicago born industrial metal band Stabbing Westward have announced a 30th anniversary reunion show in their native town as part of the Cold Waves Festival performing in late September 2016.
The lineup will include founding members Christopher Hall and Walter Flakus, as well as, guitarist Mark Eliopulos and including Johnny Haro of Hall's other currently active band, The Dreaming, on drums. The event added that additional special guests will be a part of the performance. Stabbing Westward's set is set to perform on September 22nd, at Double Door.
Stabbing Westward formed in 1986 but haven't gained any serious momentum until the release of their first album Ungod in 1993 through Columbia Records. However, their sophomore album Wither Blister Burn & Peel, released in 1996 was the album that brought them into mainstream and reached Gold Record Status on the Billboard charts and reached Number 1 on the U.S. Heat Charts. Following that came Darkest Days, which was released in 1998, also became certified Gold. Their final album, self titled Stabbing Westward was released in 2001, to which shortly there after they have announced the band's dissolution.
Singer, Chriss Hall, has since formed his own band, The Dreaming, with former Econoline Crush drummer, Johnny Haro. The band has has toured nationally several times over and their performance has featured Stabbing Westward songs. Most recently, Hall has invited former Stabbing Westward bandmate Flackus to partake in music writing and performing [on keyboards] in which they released Rise Again through Metropolis Records.
Rich with bold brass and hypnotic percussion, Polyrhythmics' latest album, Caldera, showcases the instrumental eight-piece's impossibly tight grooves and virtuosic musicianship as they tear through a singular blend of funk, soul, psychedelic rock, R&B, progressive jazz, and Afrobeat. Calling to mind everything from Antibalas and the Dap-Kings to The Meters and Fela Kuti, it's without a doubt their strongest work to date, merging the infectious power of their live show with a sleek and nuanced studio sophistication.
Named for the smoldering crater left after a volcanic eruption, Caldera was written during a band retreat to rural Oregon, where Polyrhythmics embraced truly collaborative songwriting for the first time during a marathon session in the shadow of Mt. Hood (itself an active volcano). The resulting album is a blistering declaration from a band that's progressed beyond the sum of its influences to come fully into its own. From the downtempo, Afrobeat trance of "Stargazer" to the triumphantly anthemic, high-octane pump-up funk of "Marshmallow Man," Caldera is instrumental music at its best: emotional, evocative, mesmerizing. On "Cactus Blossoms," Polyrhythmics craft an eerie, retro gem straight out of a 70's film score, while the trippy effects and wah-wah guitar of "Goldie's Road" suggest a psychedelic journey (or perhaps a bad trip), and the shuffling "Vodka For My Goat" draws on Stax soul while hinting at BB King's merger of the blues and jazz. It's an eclectic collection, tied together by the melding of eight distinct musical voices coming together as a cohesive whole.
The record follows the Seattle band's stellar third album, Octagon, which earned them tour dates around the country along with plenty of critical acclaim. The Stranger dubbed Polyrhythmics a group to watch, hailing their "sophisticated slinkiness and expressive brassiness," while WNCW praised their "modern afro-psycho-beat blend," and the Seattle Times dubbed them "funk maestros." The band was invited to perform live on influential Seattle NPR station KEXP, shared bills with everyone from Snarky Puppy to Booker T, and played massive festival stages including Bumbershoot, High Sierra, and Vancouver International Jazz Fest.
Polyrhythmics are: Ben Bloom: Guitars, Grant Schroff: Drums, Nathan Spicer: Keys. Lalo Bello: Percussion, Karl Olson: Percussion, Jason Gray: Bass, Scott Morning: Trumpet, Elijah Clark: Trombone, Art Brown: Sax and Flute
Pere Ubu's new album '20 Years In A Montana Missile Silo' opens the doors of the avant-garage to reveal the hardworking mechanics hammering away at the fundamentals of blue-collar rock. A three-guitar revision spans the state of the art for guitar-based rock in the year 2017. Keith Moliné is joined by Cleveland guitar legend Gary Siperko and Kristof Hahn in the now familiar orchestra of analog and digital synths, clarinet, drums and Thomas' unquestionably unique vocals.
It follows on from their release in 2015 of 'Carnival of Souls,' which was widely praised by the media, confounding the usual clash of critics' sensibilities, and chosen by cult series 'American Horror Story' to provide two soundtracks for characters Mordrake and Twisty, in Season 4. David Thomas says 'To my way of thinking, the new album is The James Gang teaming up with Tangerine Dream. Or something like that. The Chinese Whispers methodology we worked on the last two albums, now that everyone has gotten comfortable with it, has been replaced by the Dark Room. Put a bunch of musicians in a lightless room and by feeling one small section of an unknown object have them figure what it must be.'
It would be easy to suppose that the album is about being in a Missile Silo... in Montana... for 20 years or so, but this is Pere Ubu and they're not about to make things easy. Thomas confirms, 'I wanted to call it 'Bruce Springsteen is an Asshole,' then changed that to 'Robert DeNiro Is An Asshole,' then decided maybe that wasn't a good idea either. It's not my job to explain.' The album was recorded and mixed at Suma, Painesville Ohio. Engineer Paul Hamann, and his father before him, have been part of almost every Pere Ubu album since 1976. Thomas and Hamann have explored innumerable production methods over the years, establishing the unique Ubu sound that pre-dated punk and still stands proud of the forced genre defined clichés of the music world.
Over the years, Kristof Hahn had become a regular visitor to the Ubu dressing room during his time-off touring with The Swans. He was given access to the songs from the new album as works-in-progress. "I was just listening to 'The Healer' again today and it gave me goosebumps," he wrote to Thomas. "The whole album sounds amazing already, I would be really proud to be part of it, however small my part might be." He was brought on board immediately. The touring arm of Pere Ubu will be heading out on tour with the new album later this year; first-off in the USA, with a full European tour and further USA dates in 2018.
Known the world over as a vocalist, songwriter, and founding member of the one and only B-52s, Cindy Wilson has made a truly extraordinary solo debut with her new CHANGE (Kill Rock Stars). The album – which arrives just in time to celebrate the legendary singer’s fortieth anniversary in the musical spotlight – marks a milestone for Wilson, abounding with pop creativity, ingenious production, confident songcraft, and deeply felt emotion.
“This music is beautiful,” she says. “And I love beautiful.”
CHANGE began for Wilson nearly a decade ago upon her part-time return to her hometown of Athens, GA. She first encountered local musician Ryan Monahan when his Beatles tribute band was hired to play her son’s birthday party – “One of the best parties ever,” says Wilson. The veteran vocalist and talented young musician began teaming up for gigs, beginning with R.E.M.’s star-studded 30th anniversary event.
“Ryan and drummer Lemuel Hayes and I put together a few songs and it was fantastic,” Wilson says. “That started our own musical relationship.”
Wilson and her new bandmates continued performing together, first playing classic garage and psychedelic covers but ultimately deciding to create new music all their own. They hit the studio in 2014, with local producer-musician Suny Lyons manning the board. The songs and sonic concepts flowed like the Broad River, leading Wilson to invite Lyons to join her fast developing combo.
“We went to Suny’s studio to kick around ideas and see if we can do anything interesting,” Wilson says. “We wanted to see how our styles would blend. He comes from a totally different place than I do but I was great. It also became immediately clear we had to bring Suny in to be part of the band, he also had wonderful ideas. I had a really great team.”
Backed by her gifted collaborators, Wilson developed a distinctive sound that is both utterly contemporaneous and also rooted in her long history of kaleidoscopic pop reinvention. A pair of EPs – SUNRISE and SUPERNATURAL – introduced the world to Wilson’s modern vision, with both EPs acclaimed by PopMatters for possessing “an undeniable sense of adventure.”
Produced by Lyons at The Space Station in Athens, CHANGE is as bold as anything in Wilson’s groundbreaking four decade canon, melding future pop, disco drama, American standards, electronica, and more into her own distinctive creative vision. New songs like “Mystic” and the transformative title track are intricate and inventive, lush and luminous with strings, synthesizers, harmonies, and Wilson’s utterly distinct vocal magic.
“Our sound is both consistent and still evolving,” Wilson says. “All these ingredients come together from left field to create something really interesting.”
Further album highlights include a pair of unexpected covers: a widescreen orchestral rendition of New Colony Six’s soft rock classic, “Things I’d Like to Say,” and “Brother,” written and originally performed by Athens’ own beloved Oh-OK.
The Flesh Eaters featuring John Doe & DJ Bonebreak of X, Dave Alvin & Bill Bateman of The Blasters, Steve Berlin of Los Lobos and legendary poet Chris D.