HIVE Dance Party with DJs and HIVE Go-Gos!
Star Theater, 13 NW 6th, Portland
SPOONBILL + OLOX IN PDX: Wonkadelic glitch-funk from Down Under meets Siberian neo-shamanic soundscapes for an evening of music that inspires, moves, and heals.
Intentionally bringing an Arctic blast from above to the fires Down Under, the lands of the respective artists communicate to us through their musical articulations.
Australian musician and famed sound designer Jim Moynihan “Spoonbill” is returning to the States after a ten-year hiatus with his signature Wonkadelic downtempo glitch-funk further refined and more deeply grooved into a rhythmic pocket on his newest release “Canopy.”
A gifted percussionist with a degree in industrial design, Spoonbill ventured out of the Outback with a sampler and a DIY aesthetic employing handclaps, sirens, doorbells, champagne froth, and crushed eggshells mixed with slide guitar, oboe, harp, trumpet, and whistles for glitch-hop that appeals to dancers and listeners alike.
“I wanted to write a more downtempo-based follow up to my 'Tinkerbox' album, so ['Canopy'] has some of the same flavours. It's a fusion of live recordings but electronica as well. Those 'humanous' touches, for me, add a different type of soul or feel to the music which I enjoy.”
Spoonbill is a restless sonic author constantly defying genres and experimenting with the potential of the vast sonic canvas. He has carved a unique niche within contemporary electronic music, building a worldwide reputation for his idiosyncratic sound design and richly textured high production values.
Wildly appreciated at their Beloved debut this summer, Olox performs in Portland for the very first time.
Olox is the creative union between Andreas Jones and Zarina Kopyrina which is a fusion of heart rhythms and electronic sounds mixed with ethnic songs from the native Sakha people from Siberia characterized by animal, bird and deep nature vocals.
The duo offers an “experience of the past, living in the present, and desirable future of people of all existing races, nationalities, religious and other faiths…a harmonious texture of rhythms, voice and traditional instruments with innovative electronic technologies.”
Captivating visually and utterly arresting musically, Olox crafts an experience deeply resonant with true circumpolar shamanic culture influence. This duo approaches their performance as community ritual: traversing between lower, middle, and higher realms to confront duality and transform the listener.
Join us for an unforgettable evening of cross-cultural collaboration, sound healing, and danceable grooves like you’ve never experienced before.
LDW (performing Talking Heads & Original Music)
In the summer of 2013 a group of Portland, Oregon musicians got together around the love of Talking Heads music. Especially that of the epic 1984 concert film, Stop Making Sense, which they consider to be the most brilliant concert film of all time. They began to perform with a 7-piece lineup that was inspired by that particular movie and time period. “There was so much funkiness, movement, and excitement to the music in that movie and we just knew it would get people excited and feel fresh” says Lawrence Orleck, co-founder and singer in the band.
Audiences keep coming back to see LDW. Not only for their exuberant interpretations of the legendary Talking Heads, but also for their original music, improvisation, choreography and the random experiences they deliver at every one of their shows. In a matter of 2 years they were playing to sold out shows all over the west coast and found themselves with the question: “What’s next?”
The upcoming Album – Movement in a spirited manner
For LDW, every performance matters, and, it’s that mantra, that has the band in the studio recording their first album, Movement in a spirited manner. “We were so inspired by playing David Byrne’s music for 3 years that we found ourselves in the studio writing this album and it just naturally fit into our set. That’s our evolution and trajectory. But, yes, we still play a ton of talking heads because, plain and simple, it’s fun.” We named it Movement in a spirited manner because for the last 3 years we have been enthralled with the excitement and motion of our fans. They get down, big time.” Lawrence muses.
ELDRIDGE GRAVY & THE COURT SUPREME
Eldrige Gravey & The Court Supreme is a funk juggernaut. Backed by the hot, gritty orchestration of the 13 member Court Supreme, front man Eldridge Gravy easily works dance floors to a fever pitch with his full-bore performance and smooth rapport with the audience.
In 2017, the group released their self-titled fourth studio album. Recorded by Jason Gray of Polyrhythmics & Blue Mallard Studios, mixed by Floyd Reitsma at Studio Litho.
Over the past few years EG&tCS have headlined practically every prestigious venue in Seattle and Portland, including Crocodile, Neumos, Tractor Tavern, Showbox, Doug Fir Lounge, and Star Theater. They have also ruthlessly funked thousands of festivalgoers at Bumbershoot, the Waterfront Blues Festival in Portland, and July 4th at Gasworks Park.
Left Hand Smoke's self-titled debut took the West Coast by surprise, earning rave reviews in publications like LA's Radio & Record, and newspapers around the coast. Immediately, things began to happen for the band. Within months of the album's release, four songs off Left Hand Smoke were licensed for network television, one of them, Blues Eyes Shining, eventually ending up on the hit show ER. The song Step Outside (featuring Death Cab for Cutie's Jason McGerr on drums) garnered major airplay from Seattle's AAA format KMTT 103.7 FM The Mountain, vaulting the band from club act to headliner in major performance venues. The album went on to receive many gold stars: album of the year in West Coast Performer Magazine, Top 10 in the Amazon.com rock charts, and the single Step Outside was a top 10 request for 103.7 FM (a live version of the song was featured on the station's popular On the Mountain 6 compilation alongside Tom Waits, Counting Crows, David Gray, and others). Capitalizing on this momentum, the band hit the road, building a loyal following with its now-renowned live show.
As the fanbase grew, the band continued to absorb and explore new music. In addition to the sounds of the Rolling Stones, Bob Dylan, and Van Morrison that came through on their first release, the band updated the sound with an invigorating slice of James Brown and Motown soul. With Andrew Cloutier stepping in on the drums, the band released So Many Faces, Nonsense Parade, and At the Hotel in a musical journey that took them all across the West Coast. Since the release of these records, LHS has continued to collect accolades: they headlined the Backyard Stage at Seattle's famous Bumbershoot Festival; opened for Maroon 5 in arenas during their Northwest leg of the national John Mayer/Maroon 5 tour; the band played with Eddie Vedder, Mike McCready, and Stone Gossard of Pearl Jam during a benefit show in Seattle; on a repeat bill the following year, Mike McCready joined LHS on stage for a cover of Sympathy for the Devil by the Rolling Stones; the LHS song Down the Road was licensed by Pangolin Pictures for use on the Discovery Channel; and the band was voted Seattle's Best Pop/Rock Band by readers of the Seattle Weekly.
The band went on to headline Doe Bay Music Festival and released the album Shine On Everything. The title track was used as the final feature song for an episode of the ABC-TV show Grey's Anatomy in January of 2013, which once again brought the band's music to an international audience. The album Tiny Revolution was also released that year, as the band worked for a second time with Producer/Engineer Ian Sheridan (Bassist and Musical Director for Jason Mraz) and had the album mastered by Barry Corliss. The album Seven followed in 2017.
In 2018, Left Hand Smoke finally brought all of this experience together and recorded a fresh record. The band embraced a new direction, pushing themselves to explore new musical territory. The resulting album, Drugstore Love, combines catchy hooks and soulful melodies with the straight-ahead rock and roll for which LHS has become known. Seven features a fresh sound from a band that has shown their ability to expand in new directions while remaining true to their musical roots. The album was released on December 7th, 2018.
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.
Satsang, in its few short years, has headlined or shared the stage with the likes of Michael Franti & Spearhead, Nahko and Medicine for the People, Trevor Hall, Wookiefoot and many more. The quartet is currently enjoying the success of its 2019 release, Kulture, a collection of songs representing the culmination of all the band's influences.
"In Kulture, you can hear influences from Motown to 90's hip hop to Tom Petty, but none of it was really intentional," McManus says. "It was just me finally finding my sound. It's authentic. It's the first thing we've made that feels 100 percent like us."
McManus spent most of his life trying to distance himself from his troubled upbringing in Des Moines and Chicago and its cycle of violence, abuse and addiction. McManus, though, would find his peace amid family in the Beartooth Mountains of Montana, an oasis that allows him a warm hearth to recharge from the rigors of the road and practice his other passions - painting, Brazilian Jiu Jitsu, and social activism.
"Home is my heart," McManus says. "When I'm not on tour, I'm a stay-at-home dad with four kids - one of them a baby. My music is the self-reflection of that and the touring is the mirror."
During a month-long backpacking trip in the Himalaya Mountains in 2015, McManus realizes that as part of his recovery from addiction, he must share his life journey in poetry and song to help other lost souls. Songs of surrender, vulnerability and perseverance pour out of him, forming the foundation of Satsang's 2016 debut, The Story of You, highlighted by "I Am", a fan-favorite hymn of self-love that has surpassed two million listens on Spotify.
Satsang's follow up, 2017's Pyramid(s), quickly hit #1 on the Billboard reggae charts and #2 on the iTunes charts, while In Between Another Blink, a six-song EP released in late 2017, also cracked the iTune Top 20 chart. Much of the music on both were written as Satsang toured non-stop in 2016, sometimes before sparse audiences. The songs became a testament to the struggle of sticking to a purpose and believing in the result.
"Pyramid(s) is about building a foundation and not rushing through the difficult parts of growth, accepting that you must learn from all the lessons between the start and finish of the race," McManus says. "It helped that a lot of my friends who were doing well-playing music during this time kept saying, 'You got this, man, you got this.' "
And then, all those shows sold out