Love What Survives is the third studio album from Mount Kimbie. It is a melodic yet robust electronic record for driving with the windows down and a distillation of their career to date, mixing multiple singing voices and musical personalities, flirting with freeform experimentation, pop tropes and an expansive sonic palette.
As the title suggests the record is the product of three years of intense creative development, continually honed by the duo writing and rewriting their ideas to form something wholly idiosyncratic and personal. It brings together the voices of their close friends and collaborators - who together represent a corner of the UK's young artistic talent - James Blake, Micachu and King Krule, within the immersive, unique atmosphere of a Mount Kimbie album. It's the most confident statement of intent from the boundary-pushing duo yet, and an embodiment of their career-long musical progression.
Making this album, says Kai Campos - who along with Dominic Maker is Mount Kimbie - "was about taking away everything that had been successful for us before." Love What Survives was made mostly on just two vintage synths, a Korg MS-20, and a Korg Delta. Both instruments have what Kai describes a "punk and janky, Robert Wyatt quality". With an industrial character and a direct playing style, these synths pushed Mount Kimbie toward their bold new sound.
Their continual forward motion has positioned them as one of the UK's most progressive and respected artists. Their central role in the birthing of the so-called "post-dubstep" sound initially inspired a generation of electronic producers around the turn of the decade, and has more recently crossed over to some of the biggest US artists. Their Crooks & Lovers standout 'Adriatic' found new life in Chance the Rapper and Justin Bieber's 2016 song 'Juke Jam', while Dom worked with James Blake on production for multiple tracks on JAY-Z's forthcoming album, as well as further productions on currently unannounced projects.
Despite the weight of this influence, the band are still far from categorizable. Love What Survives only adds to their reputation, proving the band are as vital as ever and offering no clues as to where their thrilling evolution might visit next.
Beth Stelling is a stand-up comedian, writer and actress based in Los Angeles, who Time Out Magazine names a Comic to Watch in 2016. Beth made her late night television debut on Conan. In 2014, Beth appeared on @Midnight, Chelsea Lately, and The Pete Holmes Show. She most recently performed stand-up on Jimmy Kimmel Live, after Jimmy saw her at UCB and approached her personally.
Beth tours extensively, performing at festivals, colleges, and clubs across the country. She is featured in THE STANDUPS series for Netflix which is currently streaming. Recent notable TV appearances include Showtime's SXSW Special, Last Call with Carson Daly, and The Meltdown with Jonah and Kumail. In October 2015, Beth's Comedy Central ½-Hour Special debuted - Vulture included it as one of the "Ten Best Stand-up Specials of 2015." Beth's 2nd album, Simply the Beth debuted simultaneously which debuted at #3 on the iTunes Comedy Charts. Beth is currently writing on the HBO series, CRASHING.
Portland's Prom: The Prom You Wish You'd Had!
Join us once again for the 9th Annual Portland's Prom, Saturday, May 19th at The Star Theater.
Dress up like you mean it, bring a date and remodel your proms of yesteryear's in an elegance and style you've come to expect from Portland's Prom.
Prom Photo Booth: DaBooth
Lighting: Lights Up Loud
The Mexican Erk Aicrag (lyrics & vocals) and Racso Agroyam (programming) two angry survivors of the physical and mental violence rising daily on the streets of Mexico City, founded the electro band "Hocico"in 1993.
A spider with six legs, which has a H on its back, is the symbol of the both cousins who share their musical experiences and interests fromtheir childhood. With a Yamaha keyboard Racso began at the age of 15 to experiment.
The correct pronunciation of the name is: "Osziko". That means mouth or jaws. "Hocico" is a pretty aggressive word.
In Mexico it has an offending affect, it's a swearword, like a kind of attack.
"We won't change something or someone. The people should find out alone. We only want to show our personal point of view. If they agree, good, if not, it's good too. It's better if people think about that themselves." HOCICO
Tribal Theory of San Diego, California has established themselves as the originals of Urban Reggae music. Formed in 2005, Tribal Theory's signature is the fusion of their Pacific Island culture with the feel good vibes of Reggae, grittiness of Urban Ska, and the soulful harmonies of R&B. This hybrid sound has the depth and versatility to span across many different genres including Reggae, Island Reggae, R&B, Alternative, Roots, and World music. Tribal Theory brings that "west coast cool" vibe all around the World. Headlining concerts all across Hawaii, Guam, and the tip of Eastern Asia. Over the years, the band has gained the respect of numerous music legends. Performing alongside artists such as The Expendables, Steel Pulse, Barrington Levy, The Wailing Souls, Fiji, SOJA, Collie Buddz, Katchafire, Common Kings, The Green, Anuhea, and J Boog; to name a few. Playing festivals such as Cali Roots, Hafa Fest, Pala Vibes, Reggae in The Hills, Shoreline Jams, and Majah Rayjah.
Recently, Tribal Theory released a steamy single Part Time Lovers in 2017. A new EP titled Reclamation in 2016, which, includes hit songs "Burnin" and "My Roots". They have laid the foundation of their discography with releases that includes Love You Down (single), released 2015. Full-length albums Cali Love and Hell of A Night, both released in 2013. With popular songs, "Stuck in the Middle", "Simple City", "Mr.2Nite", and "Cali Love". Their very first EP was released in 2011 and self-titled.
The band has received several accolades over the years; most notable are 2011 champions of VANS Warped Tour Battle of The Bands and winners of Orange County Mai Tai Rumble 2013. As well as, receiving "Best World Music Album of Year 2013" at San Diego Music Awards (SDMA) and returning in 2017 to receive "Best World Music Artist".
Tribal Theory is not just music, it's a lifestyle.
Going strong for 30 years, Suicide Commando have not only been pioneers of the harder Electro genre, but continue being innovators up to this very day.
Formed in summer 1986 by Johan van Roy, the band made a name for itself through a series of self-released tapes from the late Eighties to the early Nineties. When the group released its first full-length CD "Critical Stage" in 1994, it soon would evolve into one of the most popular and important acts of the scene.
On this and all of the subsequent releases, Van Roy explores the dark side of humanity with lashing beats, haunting atmospheric electronics and an addictively psychotic and relentlessly aggressive vocal style. With eternal club hits, such as the seminal "See You In Hell" or "Hellraiser" and an impressive roster of successful album releases, from the classics "Mindstrip", "Axis Of Evil", "Bind, Torture, Kill" and "Implements Of Hell" to the apocalyptic 2013-masterpiece "When Evil Speaks", Suicide Commando continue to be genre-defining while always evolving their very own trademark sound of synthetically-induced mayhem.
They are a regular guest at the biggest scene-related festivals around the world and are renowned for their energetic stage performance. With an ever-growing rabid fan base at their back, Suicide Commando are one of the most popular live acts of the entire scene.
The band is currently working on the next album and, judging from the sold-out advance single "The Pain That You Like", it will be nothing short of another Hard-Electro-milestone.
When asked to describe the title track from his new record, Kyle Thomas--aka King Tuff--takes a deep breath. ͞It͛s a song about hitting rock bottom,͟ he says. ͞I didn't even know what I wanted to do anymore, but I still had this urge--this feeling--like there was this possibility of something else I could be doing... and then I just followed that possibility. To me, that͛s what songwriting, and art in general, is about. You͛re chasing something, there is something out there calling to you and you͛re trying to get at it. ͚The Other͛ is basically where songs come from, it͛s the hidden world, it͛s the mystery. It͛s the invisible hand that guides you whenever you make something. It͛s the thing I had to rediscover--the sort of voice I had to follow--to bring me back to making music again in a way that felt true and good.͟After years of non-stop touring, culminating in a particularly arduous stint in support of 2014͛s Black Moon Spell, Thomas found himself back in Los Angeles experiencing the flipside of the ultimate rock and roll cliche--that of an exhausted musician suddenly unsure where to go or what to do, held prisoner by a persona that he never meant to create, that bore little resemblance to the worn out person they now saw in the mirror. Thomas was suddenly at odds with the storied rock and roll misfit mythology that he͛d spent the past ten years, four full-length albums, a handful of EPs, and multiple live records, unwittingly bringing to life.
The ten tracks that would eventually become The Other represent a kind of psychic evolution for the King Tuff. No less hooky than previous records, the new songs ditch the goofy rock and roll bacchanalia narratives of earlier records in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and reconnecting with that part of yourself that feels childlike and creative and not corroded by cynicism. The soulful and cosmic new direction is apparent from the album͛s first moments: introduced by the the gentle ringing of a chime, acoustic guitar, and warm organ tones, ͞The Other͟ is a narrative of redemption born of creativity. As Thomas sings about about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of ͞the other,͟ a kind of proverbial siren song that, instead of leading towards destruction, draws the narrator towards a kind of creative rebirth. Elsewhere, tracks like ͞Through The Cracks͟ and ͞Psycho Star͟ balance psychedelia with day-glo pop hooks. ͞The universe is probably an illusion, but isn't it so beautifully bizarre?͟ he asks on ͞Psycho Star,͟ providing one of the record͛s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try?
Named after a powerful but obscure Head on the Door b-side, it's not surprising that Portland, Oregon, USA-based Cure tribute theXplodingboys deliver more than a collection of best-of singles--live shows are the full experience of the Cure in their prime.
The band is comprised of die-hard Cure fans whose knowledge spans every song ever to hit stage, vinyl, analogue tape, or binary code. Dynamics, nuances, and an occasional twist or mash-up are carefully thought out, and set lists are crafted to enhance the impact of every song. Personas are also dead on, down to the eyeliner, big hair, and lipstick.
Whether you know one Cure song or you know all of them, you will come away impressed by the breadth of catalogue and the caliber of the musicianship of theXplodingboys. So pull on your face, pull on your pout, and get a little piece of the Cure close to you. You'll fall in love with somebody else, again, tonight...
WILL HAVEN's sixth full-length album and first for minus HEAD Records, the aptly titled Muerte (Spanish for "death"), feels like the beginning for the Sacramento quartet--Grady Avenell [singer], Jeff Irwin [guitar], Adrien Contreras [bass], and Mitch Wheeler [drums]. However, the band's origins can be traced back to 1995 when they first emerged as a staple in their hometown's storied underground. For the past two decades-plus, they've existed on the fringe of extreme music championing an apocalyptic amalgam of metal, noise, hardcore, and alternative all their own.
Along the way, they unleashed a string of seminal and influential albums kicked off by 1997's El Diablo and WHVN two years later. Between tours with everyone from Slipknot to Deftones, Carpe Diem proved an influential milestone in 2001, while avowed fans and scene compatriots Chino Moreno and Far's Shaun Lopez co-produced The Hierophant during 2007. Slipknot percussionist Chris Fehn assumed bass duties on the 2011 opus Voir Dire, which landed among Metal Hammer's "Top 50 Albums of the Year."
It’s been a long three years since WITCH MOUNTAIN’s fourth album Mobile of Angels was released. That was the band’s third disc for Profound Lore, and the last with vocalist Uta Plotkin, following an action-packed five year run of critically acclaimed albums, festival appearances, and tours that took the band around North America and Europe.
The musical partnership of Rob Wrong (guitars) and Nate Carson (drums) began in 1997 with the founding of Portland, Oregon’s first doom metal band. The first time High on Fire and Electric Wizard played in town, they shared the stage with Witch Mountain, and slept on Nate’s floor after the show. The first time YOB played in Portland was also supporting WM. Same goes for Agalloch. Friends and peers all.
With as much history and pedigree as WM had developed, Carson and Wrong were loathe to shelve their project, especially considering that the core duo was still intact. Many bassists had spontaneously combusted over the years, but early 2015 brought Justin Brown to the fold. His low end tone and tasteful swagger only solidified the band further. And then there’s vocalist Kayla Dixon.
Uta left big shoes to fill, and the tours over the last three years have cemented Kayla’s uncanny ability to sing, perform, and write with the band. It was key to Wrong and Carson not to rush back into the studio with a new group. Instead, a family unit began to develop during the 2015 tour with Enslaved and YOB. Then Glenn Danzig called, requesting WM for support on his Blackest of the Black tour. WM fan and supporter Phil Anselmo had a hand in there somewhere too...
After the Danzig tour, Witch Mountain set to work writing a new album, interrupted once more by another full US tour with Saint Vitus and the Skull. By this time, Rob Wrong was also playing guitar with the Skull, holding down double duty with two of America’s most classic traditional doom bands, proving that his pyrotechnic hybrid of Hendrix and Iommi is a force to be reckoned with.
Dear Most Esteemed Guest,
You are cordially invited to join Mrs. Prudence Elizabeth Stanley for an evening of "lectures" dedicated to the Womens Hospital of Melbourne. While Mrs. Stanley cannot guarantee her relation, the Honorable Miss Fishnet, will be attendance, your host will most certainly become distracted from the fundraising goals of the evening to enlighten you with stories of her utterly unladylike niece. What could possibly go wrong?
Step back in time for a sizzling night of burlesque without even smearing your lipstick. By popular demand, Miss Fisher Con has partnered with Jo Jo Stiletto to present an extravagant closing night event: the world's only burlesque tribute to Miss Fisher's Murder Mysteries.
Lead actress Rebecca Mmm Davis reprises her role as Aunt Prudence, guiding the audience through a madcap night of elegant fan dances, saucy humor, and dapper detectives. We suggest guests arrive early and dressed to the nines to the historic Star Theater, established in 1911, to enjoy classic cocktails, delightful conversation, and a Miss Fishnet themed photo booth.
Featuring: Al Lykya, Amara Strutt, Ava DJor, Bolt Action, Eva Vivacia, Flora La Fenice, Hyacinth Lee, Mahria Zook, Peter Whimsy, Pinkie Fingers, Sailor St. Claire, The Shanghai Pearl, Tamara the Trapeze Lady, Verity Germaine. With assistance from Miz Melancholy, Scarlett O'Hairdye, Karmen Sutra, and Mandy Flame. Hosted by Rebecca Mmm Davis as Aunt Prudence (note: cast subject to change based on availability). Poster artist: Pau Norontaus and Margaret Darcher.
Home. Where the heart is. For Bombino and most other Tuareg, there's only one place that can be. In recent years, the rest of the world has largely written off that home as a hot and savage wasteland, a bolt hole for religious extremists and terrorists, a geopolitical video nasty with little to offer apart from the oil, gold and phosphates that lie beneath its soil. But Bombino would like us to take a closer look and think again. His feelings are beautifully summed up in the song "Tehigren" ('Trees'), from his brand new album 'Deran': 'Do not forget the green trees / In our valleys in the Sahara / In the shade of which, / Rest the beautiful girls / Radiant and lovable'. How to celebrate that desert home, how to protect it, develop it, unify it, respect it and, above all, never forget it, are the salient themes of 'Deran.' They're dressed up in ten songs of rare maturity and power that mark a turning point in the career of a guitarist and songwriter who was born in the shade of an acacia tree about eighty miles north west of the ancient town of Agadez, and has since risen to forefront of the new Tuareg guitar generation. It's a turning back the source of everything that makes Bombino who he is. "My mission for this album was always to get closer to Africa," he says. Not surprising then that the decision was made to record 'Deran' as close as possible to his native Niger in the southern Sahara. The ideal venue emerged in the shape of Studio Hiba, a top flight recording facility owned by King Mohammed VI (he loves his tunes, apparently) located in a fairly drab industrial suburb of Casablanca in Morocco.
There Bombino and his steady long- term band - fellow Tuareg Illias Mohammed on guitar and vocals, American Corey Wilhelm on drums and percussion and the Mauritanian (living in Belgium) Youba Dia on bass - slept, ate and made music in blissful isolation. Their circle was widened by Moroccan percussionist Hassan Krifa, and by Bombino's cousins Anana ag Haroun (lead singer of the Brussels-based Tuareg band Kel Assouf), and Toulou Kiki (singer and star of the film Timbuktu), who dropped in to add some 'gang' vocals. After Casablanca, the tapes flew to Boston to be embellished by Sudanese friend and keyboardist Mohammed Araki. Whatever emerged at the end of the process had to be fresh and powerful. Yes. Bombino and crew have conjured up a roving mystery tour of contemporary Saharan sounds, from the raw diesel rock of the opener 'Imajghane' ('The Tuareg'), to the camel gait lope of 'Tenesse' ('Idleness'), the tender lilt of Midiwan ('My Friends') and the 'Tuareggae' style that is Bombino's unique contribution to desert music on the song 'Tehigren'. All the desert is there, harsh and gentle, tragic and playful. But more than anything 'Deran' had to be honest and true. The pressure to be the authentic voice of his culture and his home on the world stage weighs heavy on Bombino. "You have to begin with the question of who you are," he says. "You're a Tuareg. With all the travels, all the experience of world, it's as if I'm making myself remember where I come from. Where I come from will always be my home, my memory." Simple, raw, true, that was the brief.