October 2012 by Scotty Scott Media

contents

ELEVEN PDX MAGAZINE ISSUE NO. 5

THE USUAL 3 Letter from the Editor 3 Staff Credits Columns 4 Editorial 5 Aural Fix Freelance Whales Cadence Weapon Tame Impala

new music 7 Short List

VOLUME 2

FEATURES National Scene 15 Rip City, meet Wham City. Find out what makes Dan Deacon do the wildly imaginitive acts that he does, and get ready for a costume party like no other when Dan and ELEVEN team up this Halloween!

FILM Watch Me Now 18 Film Editorial: Taped Like a True Story Instant Queue Review 16th Annual Gay And Lesbian Film Festival Reel Music 30 Zompire: The Undead Film Festival

7 Album Reviews Pinback Matt & Kim Flying Lotus Black Moth Super Rainbow

Local Local Hero 20 Revolver Studios’ Nalin Silva & Colin Hegna

LIVE MUSIC 9 Musicalendar An encompassing overview of concerts in PDX for the upcoming month. But that’s not all - the Musicalendar is complete with a venue map to help get you around town.

11 Previews 13 Review

Summer Festival Rundown

Visual Arts 21 Portland photographer Mark Galligan

PDX Paragons 23 Alameda Orca Team Symmetry/Symmetry

Neighborhood of the Month 24 Beaumont

The Local Biz 25 ELEVEN’s favorite local business directory more online at elevenpdx.com

HELLO PORTLAND! I’m typically not one to give advice, but since you asked, here it is: Begin by reading Colter’s editorial on the adjacent page. That will do wonders to get you set up for boredom-survival this month, as we transition into what I’ve taken to calling “The Gray Months” of Portland: October through April, sometimes May. Blarg. Next, following the advice there, and here, and from everyone who has ever been to, or heard of, a Dan Deacon show [p.15], go get your tickets immediately. It will sell out, and it’s going to be a night unike any other. Three words: Group costume party. I can’t reveal the prizes but they will be redonkulous. Get your friends and family together and start planning your team costume now. I’m thinking a throng of Angry Birds, perhaps? Scooby-Doo is overdone. How about a Robin-Williams-style Peter Pan crew from Hook? Bangarang! Back to business, (now that you have your Dan Deacon ticket secured), your Thursday night is covered. But we live in Portland, and we love to dress up, and it’s not Halloween here, it’s Halloweek. I was a lame-o last year and wore the same (Dr. Jacoby from Twin Peaks) costume three nights in a row. Not allowed. Even if they are silly, stupid costumes, Halloween is the one holiday, the one time a year** where you are encouraged to laugh at yourself... or go the other way, take it seriously and have a super badass costume... or anywhere inbetween! It’s about having fun with the ones you love. So, let’s do it! »

- Ryan Dornfeld, Editor in Chief ** Unless you are into the whole Zombie-Pirate-Santa thing, which is ok. ++ Random fun fact: My Dad was born on Halloween, which is pretty cool, I think.

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SENIOR STAFF Ryan Dornfeld EDITOR IN CHIEF Dustin Mills CREATIVE DIRECTOR EDITORS Charles Trowbridge Dane Johnson senior writer Wendy Worzalla GRAPHIC DESIGN Dustin Mills Megan Gex (assistant) Cover design DjM cover PHOTO Shawn Brackbill CONTRIBUTING WRITERS Aaron Colter, Billy Dye, Gabriel Granach, Louie Herr, Kelly Kovl, Jonathan Magdaleno, Aaron Mills, Kela Parker, Bex Silver, Rob de la Teja, Eric Tegethoff, Charles Trowbridge, Jeff VanVickle photographers Gabriel Granach, Michael Herman Mercy McNab, Aa Mills, Justin Cate research assistant Katherine Benedict DISTRIBUTION / PROMO The Redcoats

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P.O. Box 16488 Portland, OR. 97292 get involved getinvolved@elevenpdx.com

GENERAL INQUIRIES info@elevenpdx.com ADVERTISING sales@elevenpdx.com SOCIAL MEDIA GURU Kim Lawson kim@elevenpdx.com online www.elevenpdx.com twitter.com/elevenpdx facebook.com/elevenmagpdx eleven west media group, llc Ryan Dornfeld Dustin Mills SPECIAL THANKS Kev, Jim, Steph, Matt, Tali, Vargas fam, EastBurn fam, M.W., Tixie fam, Meeses, Pub Dom fam, Vincente’s championship softball, Skot and Karla, our partners, families and friends!

columns

EDITORIAL Take Me In & Dry the Rain October 2012 is looking like it’s going to be a pretty good span of time, and not simply because music fans will have a wealth of new albums to enjoy as a ton of killer bands released new material in September. Although, that will help. You’re going to be spending a lot of time inside starting this month. Lucky for you, and me, and everyone we know - there are some great live shows to get us all out of the house. A Radiation City show at Mississippi Studios kicks off the month, with a record release show for Weiland rounding out a nice schedule at the stellar sounding venue. The Wonder Ballroom will be graced by Rodriguez, and you can get in for incredibly cheap. Do not miss it. Although potentially a little too pricey for many music fans, Alanis Morissette puts on one hell of a professional live event. No, I’m not kidding. YouTube that shit if you don’t believe me. Normally, I’d recommend Kendrick Lamar and the A$AP Rocky & Danny Brown show at the Roseland, but the venue has a horrible track record for live sound when it comes to hip-hop. Maybe you can scalp some tickets to the sold out show for The XX? Dan Deacon is playing the Hawthorne Theater, perhaps a strange fit, but if you’ve never been to a Dan Deacon show - trust me, you have to go, even if you go alone. Don’t worry, Dan Deacon, like most nerds, is well aware of your social awkwardness and manages to get the entire crowd involved, leaving a big dumb grin on everyone’s face by the end of the show. You’d be a fool to miss Corin Tucker Band and Houndstooth at Bunk Bar. A fool, I say! Seriously though, great music and bomb-ass sandwiches - what more could you want? (Besides naked people, and you can find them in this town, yes, you certainly can.) Of the shows listed above, that’s not even half of all the amazing opportunities you’ll have to see live music this month. Don’t forget how lucky we are to be in such a musically rich city, even when the weather starts to turn. Perhaps the best part of October falls at the end - Halloween absolutely the best American holiday. Candy, scandalous clothing, creep masks, staying up all night, drinking too much and possibly more, getting to have sex with someone dressed as a children’s cartoon character - let’s face it - Halloween is a pretty fucked up and awesome way for us as a culture to supposedly celebrate and somehow respect our irrational fear of the dead, the final harvest of our bountiful Earth, and the depressing knowledge that winter is indeed coming. Here’s my advice - skip paying for tickets and going to a proper venue on that weekend. Instead, grab some friends, make some costumes, and find a house party. You’ll likely end up seeing some of Portland’s best talent covering some of their favorite tunes. Maybe it’s the precedent set by the now demolished Artistry, but Portland’s tradition of having bands play cover sets on Halloween at house shows is something we hopefully will never lose. Finally, don’t get too depressed about the rain. We’re going to suffer through the next mono-season of grey skies and damp clothes together. Just remember that it gives creative people the pressure to stay in and make new, wonderful things that we’ll all be able to enjoy soon. Plus, summer’s only 8 more months away. At least it’s not an eternity. » -Aaron Colter

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columns

AURAL FIX

(Every month, our expert team seeks out the newest and most exciting musicians in the world. After searching high and low, we’re proud to bring you the result of our concentrated efforts.)

FREELANCE WHALES

Even if you don’t know who Freelance Whales are, you’ve probably heard their music. A few songs from 2010’s triumphant Weathervanes have been used a bit excessively in television and movies. This New York gang is going to prove they’re not just another pretty band making experimental indie pop music with this month’s Diluvia. This highly interpretive, textured follow-up album is fantastic. Their plentiful instruments bang out a more individualistic sound and less Death Cab/Arcade Fire-ish than on the previous album. Using the same producer who has worked with Sleigh Bells, Vampire Weekend and Cults, Diluvia stretches the band’s legs, showing us that their capacity for change has no end. Seeking an escape from the constrictive thread throughout Weathervanes, the first obvious difference is the lead vocals from Doris on “Spitting Image.” Her voice is a lovely change from Judah’s and makes your ears perk up, commanding attention. It is easy to wonder, “What if she had sung the entire album?” Another change is an increased use of synthesizers over guitars, glockenspiels, banjos and bass. At moments, this heavy layering causes some confusion, like on “Winter Seeds” and “Emergency Exit,” almost as if two different songs are playing at once. Lyrically, Freelance Whales win again with quality words and an obvious theme of otherworldly philosophizing by Judah. Diluvia occurs when a glacier moves due to flooding, and Diluvia is just that: a realized shift in potential for Freelance Whales. » - Kelly Kovl

CADENCE WEAPON

Rollie Pemberton isn’t new to the hip hop scene, but somehow his alter ego, Cadence Weapon, always manages to sound fresh. This is partly due to his willingness to eschew the tired hip hop themes of braggadocio and hyperbolic posturing, and definitely due to the creative beats he always seems to have in troves. His newest album, Hope In Dirt City, is his most polished release yet, but he keeps his lyrical rawness while managing to focus his content into tight, coherent individual tracks. The first real track on Dirt City, “Conditioning,” sets the tone for the album: the majority of the song follows a simple beat, and Pemberton’s everyman voice makes his delivery sound casual. Don’t be fooled, Pemberton is as sharp as ever. “Small Deaths” calls to mind elements of Guru’s (RIP) work on his Jazzmatazz albums. The instrumental isn’t straight jazz, but the saxophone winds tastefully through the undergrowth, before emerging toward the end for an extended riff which gives the track an East Coast vibe that Guru’s work always personified. The penultimate track, “Crash Course For The Ravers,” is definitely the most bizarre song on the album. It’s not a dance track, but the twanging bass line and the kick drum pounding on every beat of the 4/4 propel it close to that territory. Eventually, the vocals drop out and a wild and sustained sax riff takes over to end things in a much different place than where they began. Cadence Weapon continues to put out unique and excellent work, and as long as the dude’s in the mood, it’s worth your time to keep an ear to the street. » - Charles Trowbridge

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columns

Photo by Maciek Pozoga

TAME IMPALA

So let’s pretend for a moment that you like taking acid. If you don’t, that’s no problem, just use your entire imagination and break down every mental wall that defines your conception of reality and then rethink yourself. Easy enough? Good. Now that every preconceived notion you’ve ever had has fallen by the wayside, let’s pretend you’re a musician. If you’ve even got a lick of talent, your music will be fraught with unbridled passion, disregard for structure, sweeping phasers and twists M. Night Shaymalan would write home about. At least that’s how it will sound in your head. Now the challenge is focusing the spontaneous overflow. So often in psychedelic rock, there is too much expanse, brilliant arrangements eventually fizzle and die, losing their magic. Perhaps out of necessity to captivate an audience, Kevin Parker and Tame Impala have condensed their kaleidoscopic melodies into enchanting, succinct arrangements of psych-rock groovefest that deviate at any moment and take you on a journey to a place with tangerine trees and marmalade skies. Parker, the driving force and principal songwriter of Tame Impala grew up in Perth, Australia, and began recording music at the age of twelve. As his passion for music grew, Parker continued to multitrack himself with

various tape recorders before forming The Dee Dee Dums with current Tame Impala member Dominic Simper. In late 2007, they recruited Jay Watson on drums and changed their name to Tame Impala two months before being signed to Modular records. Their debut, Innerspeaker, was beautifully dreamy and called upon the greatest of ‘60s psychedelic with a modern twist. “Lucidity” is pure ‘60s fuzz, summer jam rock made for flower power and free love. Before Innerspeaker was ever released, Kevin Parker had already begun working on the next album. Lonerism pushes the bands in a seemingly counterproductive direction but after further examination, it’s clear that everything has just been tightened. This album is uncharted territory for the band and listeners alike, and while Tame Impala’s nuance rings true, this record is infused with pop hooks, and although the electronics are more prevalent, they are engineered tastefully and in a way that doesn’t bury the band’s psych-rock essence. Tame Impala beckons you to begin the journey deep into the heart of your mind and turn it inside out with a smile. Innerspeaker takes you back to the future and rides the waves of turquoise and indigo on a pirate ship into the sunset. » - Gabriel Granach

QUICK TRACKS A “ELEPHANT” As Parker says, “It feels like an elephant shaking his big grey trunk for the hell of it.” The highlight of Lonerism begins a simple chug and mash of classic fuzz guitar, takes a turn for the awesome and ends in polychromatic pandemonium, which erases all memory of where you began. Right before piles of synthesizer take over you can hear Parker whisper in the background “Here it comes.” I came.

B “IT’S NOT MEANT TO BE” Somewhat somber guitar guided with a phaser undertone that slowly builds until all instrumentals give way to Parker’s tale of love and permissible voyeurism. Easily the premier story song of InnerSpeaker.

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reviews

NEW MUSIC This Month’s best R Reissue

L Local release

Short List Muse The 2nd Law The Mountain Goats Transcendental Youth The Wallflowers Glad All Over Coheed And Cambria The Aftermath: Ascension Ty Segall Twins Bat For Lashes The Haunted Man Earlimart System Preferences Minden L Exotic Cakes ...And You Will Know Us By The Trail Of Dead Lost Songs Fitz & The Trantrums Title TBA Tame Impala Lonerism

Buy it

Steal it

Toss it

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Pinback Information Retrieved Temporary Residence The unforgettable indie pop duo Pinback make a triumphant return with their fifth album; Information Retrieved. Their unmistakable smooth sound is back in full effect on this one. Longtime fans of the sleek and humble vocals paired with familiar drum beats and lazily bending bass lines will not be disappointed.

Matt & Kim Lightning Fader Label Those who are familiar with the pair’s previous albums can expect a similar sound from this new album, i.e. high tempo snare drum (Kim), dueling keyboard melodies (Matt), and earnest harmonizing (Matt & Kim) that anchor the songs into something pleasurable to nod your head to. Sure, it’s the same drumming from Kim on all their other albums, and it is the same Matt charmingly hollering the songs along, but that doesn’t mean one can substitute listening to Lightning by putting on one of their earlier three

This most recent hat in the ring features the classic formula that has become the band’s trademark over the years, but in a refined form that keeps it from sounding redundant. Pinback has been honing their skills, and Information Retrieved is the obvious result of very delicate fine tuning. From the classic harmonizing to the covert background sounds, everything is just that much better. The always clever lyrics weave tales both tragic and uplifting. It has always been Pinback’s style to sound emotional without whining, and this holds true for this album. Being emotional and having fun apparently don’t have to be mutually exclusive. Their unique gift of keeping things relaxed in the midst of anxious music is always amazing. Being both up and poppy while retaining low-key and unobtrusive is a rare gift, and these guys have it. It’s the kind of music you could play loud and dance to but still play in the background of a fancy cocktail party. » - Aaron Mills

albums. Don’t be quick to discredit this album; over half the indie pop songs on the radio have these two directly written into their successful singles. Plus, there are additions to this album not recognized in their earlier work. The most apparent difference in this album is the use of dance-beat textures in Matt’s keyboard work. The consequence is a larger sound. For you, this means not only bobbing your head but you’ll get to kick your legs at least a couple times (not recommended while driving or riding a bike). The obvious similarity is that the music makes you smile — and not the ironic kind. There are few bands in the alternative music scene that are more pop than Matt & Kim. The music is excited and it’s exciting. A combination of Kim’s drums and Matt’s keyboard and vocals create an illusion that something great is about to happen. Similar to when a person dreams about moving to New York and forgets about the grimy sidewalks, but rather focuses on the crazy energy one feels stepping off the plane at LaGuardia airport. It is a feeling that anything is possible. That’s Matt & Kim’s New York and that’s Matt & Kim’s music. In this regard, the album is like all their others. » - Billy Dye

reviews

Flying Lotus Until The Quiet Comes Warp Records Considering that Steven Ellison was born the grandson of Motown songwriter and Coltrane-in-law Marilyn McLeod, it’d be hard to argue that he lived for any other fate. Each of his songs feels like they’ve been excavated from some ultra-rare 1950’s vinyl collection

Black Moth Super Rainbow Cobra Juicy Rad Cult The enigmatic psych synthesists, Black Moth Super Rainbow, are slated to unleash their fifth fulllength on the world at the end of this month. Clocking in at a precise 39 minutes, the Kickstarter funded album (in order to self-release) is not only playable, but wearable as well. Thoughts that may be currently crossing your mind may include: “Um, wearable?” or “Badass!” Exceeding

documenting bebop’s vision of the 21st century. This trait shines true across all of Flying Lotus’ releases, but Ellison’s newest LP hits closest to the bloodline of influence by promoting atmosphere over activity. Compared with Cosmogramma — Ellison’s previous full length — Until The Quiet Comes finds him edging more towards the dark, intimate scatter of acoustic sampling that halfstyles the breadth of his catalogue. An electronic heart is still present, beating with the subtle glitches and disparate frequencies of his rhythms, but now equipped with a new love for orchestrated elegance that turns the final product wondrous instead of outwardly mystical. Beat-nostalgia, without ever being too distant or indistinct, blends beneath the more immediate textures and movements decorated throughout the album. Placed in his discography, Until feels like a natural step forward. With a lean away from the crashes

of breakbeat, Ellison finds himself creating a narrative that dialogues across dream-shroud ambiance instead of spurring tension. Not that the latter quality is completely left in the dark, but it holds itself more confidently alongside the powerful streetlight glare of his ear for quietness. There’s no form to the beauty he plasters, shapeless and constantly riveting the listener into a state of suspended curiosity. Where will the next song end up? It’s a jazz album in the context of our generation. Genre-balancing cohesiveness, attention to disarmingly lush soundscapes and acutely rhythmic patterns all help support the claim. But categorizing aside, the real take-away is that Until The Quiet Comes is one of the dynamically powerful and widely accessible releases of the past year. » - Jonathan Magdaleno

their goal by a good chunk of change, fans are in for some creative rewards -- maybe you’d like Tobacco to throw you a party for $10,000? If you’ve got the dough, you can make it happen. Besides the uniquely awesome physical aesthetics of the album, the record itself is full of sonic surprises. After scrapping the first effort in its entirety due to lack of excitement, and as Tobacco’s stated, “Not good enough in my opinion for you to spend your $ on. So I junked it for its best moments and made an album that I’m really in love with.” “Windshield Smasher,” the first single and lead track off Cobra Juicy, is not just the name of the song – it is most likely what will happen when cruising around with this disc, lost in the magical analog synth layers. For the one moment you think it’s The Black Keys on Xanax…BOOM! Following the lead, “Like A Sundae” is a sugary-sweet treat for your ears. Bright, fuzzed out guitars with an upbeat formula for which the band is known.

I honestly have no idea what Tobacco had in mind during his first attempt for this album, and frankly, I don’t give a damn. Steadily tweaking and evolving their sound over the years, Cobra Juicy was meant to happen in all its psych-synth experimental glory -- the playability on this album is through the roof! » - Wendy Worzalla Photo by Seven Fields of Aphelion

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live Want to have your show listed? E-mail listings@elevenpdx.com

OCTOBER crystal ballroom

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March Fourth | Storm Large | Tango Alpha Tango

Switchfoot

Taking Back Sunday | Bayside | Man Overboard

Two Door Cinema Club | Friends Boys Like Girls | All-American Rejects The Toadies | Helmet | Ume

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Doug fir

830 e burnside

mississippi studios 3939 n mississippi

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8 nw 6th

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Roseland Theater

AWOLNATION Ed Sheeran The XX Deftones | Scars On Broadway First Aid Kit Crystal Castles | Health | Kontravoid Matt & Kim TANK

3 5 7 8-9 13 15 16 19 20 26 27 28 30

1332 w burnside

Shpongle | Phutureprimitive Youngblood Hawke | AAN Gossip | Magic Mouth | Bonnie Montgomery Maklemore & Ryan Lewis

wonder ballroom 128 ne russell

Michael Kiwanuka | Nathaniel Rateliff | Foy Vance

Xavier Rudd Circa Survive | Touche Amore | Oâ&#x20AC;&#x2122;Brother Big Gigantic | Griz Bombay Bicycle Club Other Lives | Indians Dark Dark Dark

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live

OCTOBER holocene

1001 se morrison

rontoms

600 e burnside

bunk bar

1028 se water

7 8

dantes

330 w burnside

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House Of Floyd 6 Jeff The Brotherhood | Diarrhea Planet | Moldy Castle

kelly’s olympian 426 sw washington

The Stolen Sweets LPS | The Rotties

Pony Village | Rubedo | The Hoot Hoots | The Palisades

Sweethearts of Portland Benefit Haloween Party

The Human Equation | Hidden Knives | Year Of The Rabbit

eastburn

1800 e burnside

Halloween Party w/ Cascadia Soul Alliance | Rare Monk

THE KNOW

2026 NE ALBERTA

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Pageripper | Slatwall | ‘ol Doris 2 Native Cats | Appendixes | Space Waves 3

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live OCTOBER the know

12 2026 ne alberta

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(continued from page 10)

1939 Ensemble | The North Wind The Eeries Babysitter Green Noise Records Night

PREVIEWS THE MILK CARTON KIDS - Photo courtesy of Big Hassle

OCTOBER 7 | THE WAYPOST

There are a handful of reasons not to

13 714 sw 20th place

ella street social club

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include live classical music in your evening plans, chief among them being laughably

high ticket prices, elitist dress codes and the unspoken agreement that no one is allowed to enjoy themselves. The talented musicians of Classical Revolution PDX feel our frustration and dedicate themselves to cozy performances of all shapes and sizes, always keeping it classy and comfortable. So sit back, sip on a beer and by all means make some noise for local performers bringing classical music to the 99 percent. »

backspace 14 115 nw 5th 2 3 5 6 9 11 13

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David Everett Fisher’s Birthday Bone Sickness | Night Nurse | Disavow Iceland | Leviticus Appleton Boo Frog

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2. THE MILK CARTON KIDS WITH

LESLIE STEVENS

OCTOBER 10 | MISSISSIPPI STUDIOS

white eagle

slabtown 16 1033 nw 16th 3 14 20 27

- Jeff VanVickle

Los Angeles duo The Milk Carton Kids are set to play Mississippi Studios 836 n russell on October 10th, and the venue couldn’t Leo (every Monday in October) be more appropriate. With two albums The Nutmeggers released early last year (available for free Six60 | Beisbol The Spring Standards | Welfare | Evan Way download), Kenneth Pattengale and Joey Ryan sound similar to some of the lessNorth Head | Broken Soviet Korby Lenker poppy elements of Simon & Garfunkel. Hutson | Met City | Josh And Mer But, deep elements of traditional World’s Finest country permeate their songs — hints of Hivemind Brownish Black sadness, restrained vocals and a steady Radio Giants strum on the old six string. If you’re not a The Sale fan of folk, it’s unlikely that you’ll be won Joaquin Lopez | Amaya Villazan | Ben and Lexy Paper Or Plastic | NE NW | Felecia & The Dinosaur over by anything from the band, but if you Basketball Jones are, then you’re sure to feel right at home. » Rule Of The Bone | Mexican Gunfight - Aaron Colter

1. CLASSICAL REVOLUTION PDX

4. GRIMES WITH

ELITE GYMNASTICS, MYTHS

OCTOBER 15 | DOUG FIR This mesmerizing matriarchal weirdo is jumping the Canadian border and coming to town! The music: spectacular dream pop renowned for its progressive use of influences spanning a long and wide smorgasbord of musical genres. The show: a priority for anyone looking for something new and peculiar to add to their repertoire of concerts in 2012. For many, it’ll be a sleeper show they didn’t have highlighted, but if taken a chance on, it will be the one worth telling friends about. » - Billy Dye

3. CORIN TUCKER BAND WITH

HOUNDSTOOTH

OCTOBER 13 | BUNK BAR Known for founding one of the most influential riot grrrl bands, Sleater-Kinney, Corin Tucker has been taking it solo since 2010 with her Kill Rock Stars debut 1,000 Years. Dubbed by Tucker as her “middleaged mom record,” fans attempted to dance their pants off to the acoustic sound. Two years later, she has produced an album that reads anything but “mom.” September’s Kill My Blues scorches, and more closely resembles the Sleater-Kinney days. Tucker gives her fans rock music to move to -- so put on your red shoes and let’s dance. » - Wendy Worzalla

5. AARON FREEMAN (OF WEEN) OCTOBER 16 | DOUG FIR

Aaron Freeman, the man once known as Gene Ween has shed his persona in favor of a solo debut under his given name. After twelve studio albums with one of the most successful experimental alt-rock bands of the last two decades, Freeman released his soft rock solo album, Marvelous Clouds, shortly before Ween’s separation. The album is a tribute to Freeman’s favorite poet, Rob McKuen, a songwriter and poet whose compositions were performed by Frank Sinatra, Johnny Cash and countless others. Even for half of Ween, this album is different. If you yell really, really loud he may play “Detachable Penis.” » - Gabriel Granach

live

PREVIEWS 6. KAKI KING

7. BOMBAY BICYCLE CLUB

WITH

LADY LAMB THE BEEKEEPER

OCTOBER 17 | MISSISSIPPI STUDIOS Kaki King’s extreme talent for tapguitar wasn’t present on her 2010 release Junior, but in its place was a level of songwriting sophistication that successfully demonstrated her ability to write music away from unabashed instrumentals. “Great Round Burn” is one of the first publicly released songs from her upcoming album Glow, and it hints at a return to the nonvocal counterpoint that King champions in varying degrees across her discography. Lady Lamb the Beekeeper opens the night -a shaky-voiced solo artist whose calm seems to hide behind a more fervent desire for beauty. » - Jonathan Magdaleno

8. TWO DOOR CINEMA CLUB WITH

FRIENDS

VACATIONER

OCTOBER 20 | WONDER BALLROOM If you like The Maccabees and Two

Door Cinema Club, then check out Bombay Bicycle Club. They’re bringing their London version of alternative indie rock here, and if they don’t already have fans in Portland, they’re about to make some. The sound is refined: lead vocalist Jack Steadman winds his lyrical prowess around flitting guitars, piano, bass and drums, adding in some electronic elements make their sound more danceable. Don’t hold it against them that they were on a Twilight soundtrack -- they have so much more going for them. » - Kelly Kovl

9. CRYSTAL CASTLES WITH

HEALTH, KONTRAVOID

OCTOBER hawthorne theatre 1507 SE 39th

plan b

1305 se 8th

aladdin theater 3017 se milwaukie

OCTOBER 24 | ROSELAND THEATER

These three Irish gents bring a collection of electronic beats, flourishing synth sounds, and pop punk riffs that I would challenge anyone not to dance to. That’s not to say singer/songwriter Alex Trimble doesn’t provide a pinch of melancholy to his lyrics and vocal melodies. But there will be no need to feel bad at their inevitably fun show once you see the dancing feet and feel the sounds of their electronic beats. Two Door Cinema Club’s melodies will hold on tight to your ear, if only for a night. » - Eric Tegethoff

I’m going to assume that you’ve used Alice Glass’ screaming over Ethan Kath’s electronic glitch noise synth pop to get pumped up for something before. It wouldn’t be too far- fetched to worry about your ears east end 203 se grand bleeding out or having an epileptic seizure if Zoobombs | Nostalgia | Super Rocks you watch them play live this month. Their The Shivas | Dude City | Here Come Dots vulgarly loud, dark and surreal show does Waffle Taco | Lithopedian | Rick Klaras legitimize these concerns. Attention seeker Gay Ghost | Grrlfriend | Lunge | Havania Whaal Mother Android | Coronation | Futility Glass will be all over the stage (crawling, Vises sprawled out) and all up in the crowd The Haugue | Special Explosion | Holy Tentacles (surfing, standing up on people.) Come more Andrews Ave | Montgomery Word | Volt Per Octaves Hustle And Drone | Transfer | Dead Folk for the performance art than the music. » Dollywood Babylon - Kelly Kovl

10. THE ASTEROIDS GALAXY TOUR

11. DARK DARK DARK

MILLIONYOUNG

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OCTOBER 30 | WONDER BALLROOM

OCTOBER 26 | HAWTHORNE THEATRE It’s about time to get psycho-funky up in here, courtesy of Danish sextet The Asteroids Galaxy Tour. Between the instantly memorable pop hooks and the bubbly chirps of lead vocalist Mette Lindberg, every one of their shows is a party. The band certainly didn’t start small: their first-ever live show came as an opening act for none other than Amy Winehouse. If you’re looking for a shimmying good time full of psychedelic textures, upbeat keys and the occasional horn section, look no further than this funloving crew. » - Jeff VanVickle

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OCTOBER 21 | CRYSTAL BALLROOM

WITH

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The Goodfoot 2845 se stark

While the quirky piano, galloping accordion and Eastern Europeaninfluenced folk pop of Minneapolis five-piece Dark Dark Dark may warrant comparisons to vaudevillian Tom Waits, this brand of baroque folk is a new animal altogether. As Nona Marie Invie weaves her beguiling lyrics into layers of tight instrumentation, the quintet reaches moments of swirling, dreamy escape; introspective while still driving, poetic but playful. Dark Dark Dark is a well-oiled machine, a band that has been through hell together and come out the other side, stronger than ever. Go see them. » - Kela Parker

Kory Quinn (every Tuesday) Hen House Prowlers | Renegade String Band Freak Mountain Ramblers | Jackstraw Klozd Sirkut The Hackensaw Boys Scott Law Electric Band | Damien Erskine Mark Sexton Band | Simon Tucker Group Martin Zarzar | Devin Phillips Band Dead Winter Carpenters The Giraffe Dodgers Hardcoretet | Trio Subtonic Halloween w/ The Goodfoot All-Stars

jimmy mak’s 205 NW 4TH

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live

24 13 nw 6th

5 Wax Tailor 11 IO Echo 12 Richie Spice 17 Nick Waterhouse & The Allah-Las 21 Dilana 26 Rasputina

street saloon 25 ash 225 sw ash 4 5 6 7 10 11 12 13 16 18 19 20 23 24 25 26 27 28 29 30 31

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REVIEW Summer Festival Rundown With so many new festivals sprouting up every year, and the established ones continuing to grow, it’s hard to discern which fest is most worthy of your valuable time and (less-valuable) money. Here are three of our favorite summer festival destinations, and some super raw data about them. » - Ryan Dornfeld

#A tte nde es/ Da y

OCTOBER star theater

Musicfest NW Portland, OR

Lollapalooza Chicago, IL

Outside Lands San Francisco, CA

25,000+

60,000+

65,000+

H p5

Silversun Pickups, Girl Talk, Beirut, Dinosaur Jr., The Hives Black Sabbath, RHCP, The Black Keys, Jack White, Florence + The Machine Metallica, Skrillex, Stevie Wonder, Neil Young & Crazy Horse, Beck

Revocation | A Life Once Lost | Kenmode | Southgate

Bar 28 tIGER 317 nw broadway

AC Low Ring Sideshow (every Monday) Grind House Sinner Dinner (every Tuesday) Karaoke From Hell (every Wednesday)

31 Kindom Under Fire | Separation Of Sanity | Bedlam

on hawthorne 29 jam 2239 se hawthorne

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150+

140+

70+

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Moon Duo at MFNW - Photo by Mike Herman

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Stevie Wonder at Outside Lands - Photo by Christina Campbell

features OCTOBER red room 2350 se 82nd

Lollapalooza - Photo by Justin Cate

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$75

$200

$165

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VIP

$250

$1,050

$495

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Exploring the array of venues.

Commuting to the array of venues.

Official and unofficial parties galore, including one in a car garage.

Perry Farrel’s bill curating abilities (he’s like a real life vampire).

Forced evacuation due to random downpours from inclement weather.

Mega... Mud... Pit... Wrestling.

The wooded festival grounds of Golden Gate park.

Potentiality of attacks from fog and perverts.

Choco Land(!) and Wine Land: 49 wineries corking 120 wines.

Classical Revolution Mikah Sykes Presents Tess’ Music Series Tess’ Music Series

berbatis

221 sw ankeny

1 3 4 5 6 7 8 9 10 12 13

7 13 21 28

Jeremiah Birnbaum DJ Misha Wild Child | W.Z. | Mighty | Aaron O’Bryon | El Raffa De Alaska

Cars & Trains (CD Release Party) Oreganic | Dusu Mali Band European Halloween w/ DJ Kypros PopCycle Presents: The Fuck Yeah Party

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features national scene

Watching live music

comes with a certain set of expectations: performer(s) on stage, instrument(s), set, encore, et cetera. This enjoyable, yet predicable cycle does not apply to Dan Deacon, an electronic virtuoso of Baltimore fame who dashes many conventions of performing against a wall of unexpected antics. A composer of electronic beats, orchestral sound collages, and curator of childlike madness, he has risen to the top of the “experimental” genre through his euphoria-inducing albums. The latest, America, is an ode to his love of the American Rode and the homeland’s beauties. Merely listening to Dan’s numerous albums on repeat will not do the music justice, as what sets Dan Deacon apart from the rest is his wholly unique style of performance. Part standup act, part group improv, all dance party; a Dan Deacon live show is an experience of which you can expect the unexpected and live for a week off of the collective energy created. Participation is not an option, it is an obligation. Even the most stubborn anti-dance Portlanders will sway to the commands of Dan as he enacts martial law on the dance floor from his table of pedals, switches, and sound manipulators which he always refuses to set up on a stage; he insists the crowd gets up close and personal. ELEVEN spoke with Dan at the start of his European tour to discuss the finer points of Pee Wee’s playhouse and what makes Dan one of the furthest out and most engaging performers encounterable. 11: How is the America tour going in Europe thus far? DD: It’s going well. Last night we had our first show, in Prague, and that was fun. [The] first night of tour is kind of like learning your first steps. My pedal board isn’t set up yet. TSA always likes to break at least one thing when they ransack my bag, they don’t like to put anything back, and it’s a wreck of containers. So, we had kind of a rough start. We always forget to tell the sound guy to compress the drums, blah blah blah... but, halfway through the set it felt like we reached our groove. 11: Has your touring and gear changed much with your new album? The sound is certainly different this time around. DD: Yeah, it has changed. You know, when I play solo, everything is premixed track-wise, so the drums are always a set level, and it’s always the same drum sound. In the States it will be a four piece. For the Portland show, there will be two drummers [with] myself and Chester Gwazda on electronics. The drummers will be Jeremy Hyman and Kevin O’Meara. And on this leg of the tour it’s two drummers, Dave Jacober and Denny Bowen. Just removing the drums from my monitor and putting them in a separate one, drastically changes the sound because so much of my sound requires ducking. Even though most of the recordings are live drums, they are mixed very much like synthetic drums. So we try to achieve that sound in a lot of contexts. Night to night that’s the trickiest piece. In Europe, I’m not touring with a sound guy. In the States I’m touring with a sound guy, and that’s a very different thing. We go in with our own mics and we have our own compressors, and we know we can get the drum sound just the way it should be. The sound guy knows the mix. Over here, the sound guy doesn’t necessarily know the mix; doesn’t understand it.

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Like, the tambourine, it’s one of the most important instruments in our drum kit, not the crash symbol. We use the crash symbol almost never, but we use the tambourine on almost every single track. We hardly ever use the high-hat, but we use the woodblock endlessly. And the toms have to be louder than the snare drum in the mix. So it’s a peculiar mix for drums, and I never realized that because when I would play solo, I mix it myself and I would just show up and it would be there. Now that we’ve taken the drums out and forced them onto the sound guy in a way they are not used to, it just shows me how I interact with the sound differently, and think about the sound differently. I think after this tour I will write drums differently and take certain things into consideration. I like things like that, you know? I’m fascinated by how difficult it’s been to get the drums the way I want [them] to sound. As much as it’s stressful at first, it’s become this thing that I’m really happy about, because it’s part of that learning experience. 11: Has your ideal venue changed with your sound? DD: My ideal venue has lots of subwoofers. That’s about it. And no fluorescent beer signs hanging anywhere. 11: How have you incorporated older pieces you’ve played solo into your current set as an ensemble? DD: Well, for example, “Trippy Green Skull” (Spiderman of the Rings), which we do maybe half the shows, we do it as it’s written, but we remove the drums and the drums are played live, and we augment it, beef up the parts, you know, change it slightly. We let the drummers make it their own. And I think for most of the tracks it goes like that. Now that we’re playing with two different sets of drummers, one pair over here and one pair in the States, I can really hear the difference. Even though the parts are the same they’re divided differently. After weeks of practicing and playing, the drummers have started to mesh the parts I’ve written into their own particular styles. At first, it drove me insane, but now I really love it, and I love the idea of these multiple persons in the same song existing based on how these sick drummers interpret them. 11: How have you coped with letting go of some of the control (that you were used to exercising over your music as a solo performer)? DD: If the drummers weren’t totally sick, there’s no way I could do it. They are excellent musicians and I love the decisions they make musically. I know my music very well, so the changes that they make I wouldn’t have made myself, but I’m happy that they did them because it’s just another way of hearing that rhythm that I otherwise wouldn’t Photo by Josh Sisk

features national scene have seen. I think that’s the whole point of playing with humans, they add that human element, that human quality. 11: How’s Wham City and Baltimore? Have you gotten to spend any time there recently? DD: I was there for a little bit. I had a nice stretch at home which was cool. Wham City’s good. I feel like the main group project we are working [on] are these comedy tours. We’ve unfortunately never made it out west yet. But, I think there are plans in the works for a 2013 full US comedy tour. I’m really excited [for] it, it’s one of my favorite tours we’ve done, it’s just so different from a music tour. I would love to bring it out to Portland, I think it would be fun. We’re working on a TV show, and individually everyone has a lot of projects going on. Baltimore seems good. I always think fall is when Baltimore goes through another little renaissance. New people come and older people either decide if they like or hate youth culture and then they make that decision and it’s just like a reshuffling of all the cards. I feel like there is a lot of newness in the city...When you’re playing some warehouse space in Baltimore and you realize there’s some college freshman who has never been there before and they are looking around going ‘Woah, I didn’t know this existed,’ it makes me remember how I felt when I first saw those places, it’s an awesome feeling. I feel like a lot of people get jaded and almost dislike youth cultures because they get older, (but maybe it’s because I started going bald when I was so young), but I don’t understand why people dislike getting older. 11: Baltimore is a very peculiar city, how has it influenced you, and you it? DD: If you listen to Beetle Mice or Silly Hat (Eagle vs. Silly Hat) which are the records I made prior to Baltimore, and then listen to Spiderman of the Rings there is a marked shift. My whole approach to life and performance has changed. I was living in a warehouse space, Wham City, we were having shows and they were really crazy and intense. I had never played shows like that and I wanted to make music that tries to evoke that energy everywhere I went. That drastically changed my sound and the way I approached audiences and performing. And the fact that it is such a small arts community, it has different vibes from other cities. When I lived in New York everything was competitive. When I moved to Baltimore everything was cooperative. Maybe I was naive and am exaggerating that feeling but it definitely existed. It still exists. People aren’t making their art to prove anything, people are just making art. There is nobody going ‘Ooo, this gallery guy is gonna come, or oh there’s labels here.’ None of that. It’s like a

little pocket, the same way accents emerge or musical styles emerge. We make choices that are different based on our geographical location because there is a certain condition in a city, like Baltimore is an insanely dangerous place thats crime ridden and largely vacant, but because of that it’s insanely affordable to live. I can’t image the New York of the 70’s, being in New York today and having the same artistic outlets, and I feel affordability and a constant reminder of the filth of society is important for an artist to make something that rails against that, and so they don’t have to work multiple jobs to just have a house and a studio. 11: I hear you, that’s why we all like Portland so much. As a performer you have great command of your audience. That creation of energy you mentioned earlier, is that what you are trying to invoke when you perform? Is that something that comes naturally, or have you developed that skill? DD: It evolved slowly over time, but for some reason I have the tough talk. When I’m on stage I find it very comfortable for me to talk directly to the audience and engage with the audience, and dissolve that wall-like barrier between the audience and the performer. And because of that I think that’s how it became such a focal point of the performance. Going back to when I was playing solo, night after night I was playing to the same sequence, and it was driving me crazy, so the one thing that I had that was different each night was the audience and the venue. So, I would pick weird spots in the room to play and the main thing that I would try to improvise with would be the crowd and the room and try to re-contextualize those as much as possible, you know, make that as much [of] a performance as the overall composition. 11: Is that where the human tunnel and group visualizations and Simon Says sprouted from? DD: Oh, definitely. 11: As for new tricks up the Dan Deacon tour sleeve, Wham City released a Dan Deacon app, what is that all about? DD: I wanted to make an app that would synchronize all the phones and make them into a unified light source and sound source. I was writing these “classical” musical pieces for a seated audience and I was thinking I wanted the audience to be a major aspect of the piece and be the only performers. I was going through the list of things that I could feasibly get the audience to do without showing up for any rehearsal and showing up and giving them a sheet of instructions as they walked in. Then I started thinking about phones and how the majority of the people have phones and a growing majority of those people have smart phones and what you could do with that. The first time we did it, I just had people set an alarm, so our alarms went off at the same time, call the person next to them on speaker phone so it made feedback, call other people on speaker phone... it was very rudimentary. It sounded awesome! It created these soundscapes of spatial endowment that I had never heard before because there were so many different points where sound was originating and coming from. I started thinking how much I wanted to work with space and if there was another way I could engage the audience but on a much larger level. And work with the audience now, not only in a theatrical term, but in an actual sonic way. I started thinking only exclusively of the lights because creating a lighting environment like that would be crazy. That hadn’t currently existed without giving the audience thousands and thousands of dollars worth of equipment. So I brought the idea to my friend Keith Lea, who is a programmer, and he liked the idea and he was like ‘yeah, I think I can make this.’ We realized we needed to make it in a way that would work anywhere. We looked at wireless servers, the most we could get on that was 100 computers at a time, but if we were playing a festival we’re gonna want thousands, and

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features national scene

Photo by Gabriel Granach

even most venues we would want at lease 500. We didn’t know if that was going to work. Then Keith had the genius idea to use sound, in the same way an old modem would interpret sound and turn that into data. Our app would do the same thing, we would send out a calibration tone that would then trigger things within the phone to tell it to react a certain way or go through certain sequences that were synced up to the music, and it worked! Now we are in the process of doing our first tour with it, seeing what it can do and how we can do it, tweaking it as we go, and adding new elements and discovering new things about it. The audiences seem to really react well to it, and I’m very excited for this technology to exist, a lot of my work in 2013 is going to be about spatial movement and how an audience can interact with both the sound and the light on both an individual and group basis. 11: Do you think you will be dressing up for your show in Portland since it is so close to Halloween? DD: Maybe if I find something while I’m there. I’ll try my hardest but I’m not leaving till close to Halloween so I won’t have time to make anything. 11: What if we made you a costume, subject to approval? DD: [laughs] Maybe. We can talk about that closer to when the time comes. I went to my first costume party outside of the United States in Malaga, Spain, and Halloween is relatively new out there, I mean in the grand terms of relatively new, anyways, a group of friends will go as the same costume, and I think that’s so awesome. People would show up in super weird costumes, like flip-flops, and it was just crazy. When you think Halloween, people are dressed very differently, maybe there is a couples costume or a group of pirates or something, but never ten of the same thing. I thought it was awesome and I would love to see something like that. » Mike Thrasher and ELEVEN PDX Presents DAN DEACON @ The Hawthorne Theatre 10/25/2012 tix at http://www.cascadetickets.com

Win prizes for Best Group Costume

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film

WATCH ME NOW FILM EDITORIAL

TAPED LIKE A TRUE STORY

Horror is a fascinating genre. In Hollywood, it is the only genre whose franchise potential rarely gets bogged down by low box office returns or bad reviews. If a movie proves to be an unexpected hit, you can guarantee a higher-budget sequel. If a horror sequel flops, rather than killing off the franchise and ending its misery as they should, studios pump out incrementally lower and lower-budget knockoffs of their original formula. The latest franchise to find itself with an annual slot in the Halloween release lineup is Paranormal Activity. The original, while a tad scant on actual scares, reached audiences because the characters were genuine enough to care about. The sequel, released a year later, decided to amp things up by throwing in more cameras and better special effects, but in the realm of “found footage” horror, this is a recipe for disaster. Throwing in more cameras may give a cinematic edge to filmmakers, but it only shatters the hyperrealism that found footage horror relies on for scares. Take, for example, the first film in found footage horror: Cannibal Holocaust. Ruggero Deodato’s 1980 exploitation classic was so exceptionally crafted in the way it presented the found footage aspect of its narrative that in spite of the high production value of other scenes, Italian authorities became convinced they were watching an actual snuff film and arrested the filmmaker until he could produce his actors—alive. Cannibal Holocaust gave us many of the tropes that today have become cornerstones of the genre; in particular, the “documentary film crew” theme that has been used in staples like Man Bites Dog, Rec and the mother of all found footage horror, The Blair Witch Project. The effectiveness of the Blair Witch narrative is debateable, largely because the protagonists could be shrill to the point where you gleefully anticipated their (anti-climactic) demise. Meanwhile, the characters of Cannibal Holocaust were such amoral scum that not only were their deaths anticipated, they were relished. This year, moviegoers will be getting an alternative to the increasingly vapid Paranormal Activity series in the form of the much-hyped V/H/S. The film takes a new-ish spin on the genre with its anthology structure. The premise is simple: several thugs are hired to retrieve a VHS tape from a dark house with a dead body in the armchair. Each VHS tape they watch contains another camcorder horror vignette ranging from over-the-top splatterfest to understated and unsettling. The characters are often just as real and relatable as those from the original Paranormal Activity, but with even less time to flesh themselves out, an impressive feat. Viewers are probably getting tired of found footage horror because there are few places for it to go from here. Sure, it has been co-opted by Hollywood, guaranteeing we’ll be seeing more in the future, but in terms of originality, V/H/S is both a breath of fresh air and the final nail in a long overdue coffin. » - Rob de la Teja

Instant Queue Review October is the month where studios dump a bunch of sequels and reboots into theaters to draw the Halloween crowd. It’s not worth it. Stay home with these twisted cult classics on Netflix. » - Rob de la Teja

SANTA SANGRE

(1989)

Alejandro Judorowsky’s horror classic has been called one of the best. Mental institutions! Radical Christian sects! Circus performers! Amputees! Murder! Acid genital mutilation! Elephant funerals! Fresh fruit! Santa Sangre has the balls to be a truly original experience.

SOMEONE’S KNOCKING AT THE DOOR (2009) Few movies can claim a line as great as “They’re fucking us to death,” and Someone’s Knocking at the Door lives up to it in spades. It’s a simple tale of psychopathic ghosts raping and murdering a group of hot med students. Worth it for the “head sucked into a vagina” scene alone.

DUMPLINGS

(2004)

Bai Ling thinks she was born on the moon (no, really, she does) but it’s perfect casting because who else but this moon goddess could play a back alley abortionist who cooks delicious fetus dumplings for her clients to keep their skin smooth and young? [insert Chinese food joke here]

PARENTS

(1989)

Have you ever looked at your parents across the dinner table and wondered what kind of fucked up secrets they were keeping from you? In Michael’s case, the huge meat platters his folks (Randy Quaid, Mary Beth Hurt) have been serving up might not have been cow. You see where I’m going.

SEVERANCE

(2006)

When defense contractors get abandoned by their bus driver on a teambuilding retreat in Eastern Europe, they quickly fall victim to a deranged killer. Severance is a crowd-pleaser packed with enough gore to scare you and humor that hits the nail on the head—or impales it.

UPCOMING FILM EVENTS 1

GAY AND LESBIAN FILM FEST SEPTEMBER 28 - OCTOBER 6 | CINEMA 21

Showcasing work by, about, and in the interest of gay, lesbian, bi, and transgender members of the Portland filmmaking community, the 16th annual Portland Gay and Lesbian Film Festival brings over 20 films by local filmmakers to Cinema 21. Watch out for films like Jon Garcia’s The Falls, a film that embraces the challenges of sexual identity in the Mormon community.

REEL MUSIC 30

OCTOBER 12 - 27 | NORTHWEST FILM CENTER

The 30th Reel Music Festival will bring Portland another tidal wave of awesome music docs (ones not on Netflix!) that cover every musical genre from Paul Simon in Under African Skies dir. Joe Berlinger, to the pop mecca Sunset Strip, dir. Hans Fjellestad’s opus to the changing musical scene on Sunset Blvd from the 20’s-80’s. Get ready for 35 films that will accommodate even the most avantgardes of taste.

ZOMPIRE: THE UNDEAD FILM FEST OCTOBER 12 - 27 | NORTHWEST FILM CENTER

It’s October, therefore it is mandatory that you scare yourself silly (or at least laugh at) a host of classic vampire and zombie films interspersed with local shorts of the same genre. It all kicks off with a dance party of horror/goth music and reel of shorts at The Lovecraft Bar October 12, followed by two full days of every classic from Dracula to the king of cosmic horror himself, H.P. Lovecraft. » - Bex Silver

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local

LOCAL HERO

Nalin SIlva and Colin Hegna of Revolver Studios

Photo by Mercy McNab

11: Could you tell me a little bit about how you first connected and hooked up and started thinking about Revolver? Nalin Silva: Well, we met in the dorms of University of Oregon. He lived in the dorms. I didn’t live in the dorms. I lived off campus. When we met, I think we started playing in a band together, and I think that led to us making music together and making recordings. Colin Hegna: We also were in the same program at the U of O school of music, which was the music technology program. So we had a lot of classes together where we were learning about music technology and composing electronic music, and we just wound up becoming friends and collaborating on things together, and I think that is kind of where our partnership grew from as far as our recording partnership. 11: When did you start to talk about putting together a studio? And your studio previously was above Kelly’s, is that right or near Kelly’s Olympian? CH: Yeah, actually, it was directly above Kelly’s, one floor up. Yeah, and it was kind of a weird space, and it was a nice space, but we couldn’t make any noise during the day, and there was a lot of stuff going on in the evenings, so it wasn’t exactly a quiet place. It was cool in that we were around a lot of bands, and we were downtown and a lot of exciting stuff, but I wouldn’t say it was necessarily conducive to a good recording environment, which is why we eventually moved to where we are now. Where we are now is a really nice space. 11: So when you were starting off Revolver and starting off at Kelly’s what do you remember about those early days? You know, just the beginning of getting started and just having a professional space of your own? CH: You know, being a recording studio requires you have a lot of gear. We didn’t have as much gear then as we do now, so a lot of what we were doing was using what we had and kind of pulling things together on a shoestring budget because we funded the whole thing ourselves. 11: I believe in 2006, you moved to your current location. What can you tell me about your current space versus your previous space? How is it different? NS: Well, yeah the building we are in, it’s a great building; we have

our practice space building out of the building next door to it. The building that Revolver is in, we’ve heard, is the oldest building on the East side, and the owner of the building was telling us that it used to be the old Ferryman’s house, just to ferry people across the river. So our building is just really cool and old, and we have high ceilings and super old fir floors, which is very much in line with our studio. CH: We definitely need to do some construction and some modifications to the building to have, like, a sound-isolated room or an isolation room. We use the basement as a reverb chamber as well. 11: Could you tell me about some of your favorite features, beyond those? NS: Well, I think we’re both really proud of the sounds we are able to get in the room, the natural sounds. You know we get great drum sounds, you know, guitar amps. Yeah, it’s all wood, it’s all high ceilings. What are they 16 foot ceilings? CH: Yeah. You get a really nice, soft room sound. It’s not too slappy. It’s not too bright. It’s a nice sort of wooden, roomy sound. NS: It’s sort of more like those ‘40s and ‘50s and ‘60s studios,where it’s a room and not necessarily highly tuned, engineered, and designed recording studio.It’s just a room that sounded good with some mics and the good old gear, which I think goes along with our aesthetic of what we try to do. 11: What are some of your favorite pieces of equipment? What are some of the things in the studio you love to use and get really excited about? CH: Well, we have this really awesome-- I really love compressors. And we’ve got one that is an Allen Smart C2, and it’s just a beautiful compressor. It makes sounds that are just beautiful. Very pleasing. It’s really versatile. NS: There are some other things, like there is a Sony P38 mic which can do a really beautiful job of capturing instruments or just like other sources of amps and stuff. Colin and I are both kind of guitar nerds, and we have a bunch of really cool old guitar amps and pedals and old microphones that are good for recording guitar amps. New microphones that are created like old microphones. So I think that is kind of our thing. It’s getting the sounds you want before you hit record and the ability to use really simple, quality gear to sort of capture that and be able to capture those beautiful parts of that music. 11: Can you talk about some of your favorite projects to come out of Revolver,[ either earlier in the studio’s history] or some of your more recent work? NS: Wow, I’ve been most happy with some of the recent ones. The We Shared Milk just came out. The record comes out this month. I really enjoyed working with those Tiger House kids. CH: I recorded a band called The Shivas. They have a record coming out on K-Records. I think they are a great band. I think they are going to do really well. I also recorded a solo project by a guy named Matt Chow; (I think) he is from Sydney. So he flew out from Sydney to record here, and that record is coming out on Zenu Records. We’ve also started doing commercial work. We recorded the music for that recent Clint Eastwood Chrysler commercial -- the Super Bowl halftime commercial. That’s been really successful. That was actually nominated for an Emmy. 11: Could you guys talk about some of your other projects around Portland? CH: Yeah. Well, my band that I have is Federale. We have a new record coming out in early-December. I feel really happy about it. We have a bunch of guest musicians. I’ve got one song with Alex Moss from The Black Angels singing, and another one with KP from Spindrift. So, I feel really good about that recording. Nalin, actually, engineered a lot of it, so we kept it all in-house here. I play bass in Brian Jonestown Massacre. NS: I play in a band called Donovan Breakwater, and I do the booking over at Kelly’s Olympian. I’m also head of sound at Mississippi Studios and play in a country band called Brush Prairie. » - Louie Herr

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local

VISUAL ARTS Portland photographer Mark Galligan

Photo by Mark Galligan

Delicious breakfast Locally roasted coffee Famous jam by the jar

HOURS:

ja m on

7:30AM - 3:00PM 4:00PM - 12:00AM

HAWTHORN E

CAFE & art h o u s e

happy hour for parents AND kids daily 4pm-7pm

2229 SE HAWTHORNE 503 234 4790

Mark’s photos are featured on the following page (“Mt. Hood”) and within the advertisement for Modern Man on the exterior glossy.

facebook.com/jamonhawthorne

Find more professional images from Mark at www.markgp.com

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11: How do you prepare for your shoots? Mark Galligan: Anymore, it’s second nature. I’ve been in the industry for six years. It’s all kind of the same recipe so if you know what you’re doing you don’t necessarily prep too much. Clean my gear. Professionally, I have encountered just about everything other than someone getting left at the altar. For more personal work, I usually just got by what’s speaking to me; I go out and shoot whatever grabs me. That’s my escape. Time is big for me. Nighttime photography. 11: How is photography unique to visual arts? MG: It is like painting, honestly. I went to an art institute for a while (for animation, not photography). And there you have a lot of different mediums, whether it’s a type of paint, type of brush, type of material... all those options. In photography it’s the same with picking a camera, picking a lens, picking a destination, and you manipulate the photo into whatever it is you are doing, then [you] go home and develop it — where you have even more options. I’m not a fan of over developing a photo... or making them look unnatural with effects. I like having photos look how they are supposed to look per se. 11: Is there anything you won’t shoot? MG: Porn, I guess [laughs]. I don’t know. There’s a lot of stuff I don’t want to shoot, but there’s not really anything I wouldn’t shoot if the price was right. 11: Was becoming a professional photographer difficult? MG: It’s a business. There is a big difference between someone who takes pictures and a professional photographer. It has a lot more to do with marketing, web presence, and stuff like that than it does with taking a quality photo. I know photographers I would never hire that make good money, they have a lot of business. And I know photographers that I would hire in a heart beat to do something who don’t make a lot of money but take amazing photos because they don’t have good business sense. Good art doesn’t always translate into good business. » - Billy Dye

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local Photo by Gary Isaacs

PDX PARAGONS Local bands on the radar

ALAMEDA

OCT 19 | MISSISSIPPI STUDIOS One of the nicer trends in the music boom as of late has been the returned attention to musicianship. This attention comes in the form of complex song structures and layered, impeccable instrumentals. Alameda, the self-described “chamber-folk collective,” is a fine example of exactly these things. Their newest release, Procession, takes both the “chamber” and the “folk” to heart. The string work by cellist Jessie Dettwiler is nuanced and grounded, lending an element of continuity throughout the album that exemplifies the soulful restraint that is Alameda’s hallmark. Stirling Myles’ vocal

SYMMETRY/SYMMETRY OCTOBER 12 | ASH STREET

Formed in 2006 by Daniel Jones and Joel Uram, Symmetry/Symmetry are an eclectic bunch, to say the least. Hectic drums and guitar clash with a background of smooth keys and vocals to form an altogether interesting sound. They are almost reminiscent of many beloved bands from the mid-to-late ‘60s but with a distinctly modern, even futuristic, twist. Unintimidated by experimintation, their unique and creative sound sparks the imagination. They seem to have relentless momentum towards

work fits perfectly into the album’s humanistic ethos, and his finger picking ensures that the music never becomes too precious, rooting firmly in the “folk” element that propels each track. All of these elements are best represented on the album’s fourth track, “Summer Dharma.” The opening features nice contrapuntal exchanges between cello and guitar, evolving into a layered, multi-instrumental mini-crescendo before giving way to nice two-part vocals. Alameda seems to always be in some kind of perpetual motion, each album and track building on the last, always improving and expanding, making it one of the true gems of the Portland area. » - Charles Trowbridge

undiscovered, alien terrain. Upon arrival, instead of passing over these strange new areas of sound like passing tourists, they hunker down like archeologists extracting and studying each artifact. The music is challenging to listen to, but with a little extra effort, one can see what their ultimate idea is and really appreciate it. If you take the time to give these guys a serious listen, it’s well worth the extra energy. It’s genre stopping scientists like this that make the Portland music scene so great. If more musicians today took the same approach, the world would be a much more fun place to listen to. » - Aaron Mills

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ORCA TEAM

Photo by J. R. Furbush

OCTOBER 4 | BUNK BAR Co-captains Jessica B. and Leif Anders formed the TEAM in Portland, and although they have migrated north to Seattle, ORCA TEAM still has their hearts in Oregon. They have style, they have grace, and they have black blood on their face (you will have to check out their video for “Night Moves” to catch that reference). The threepiece delivers early ‘60s popinfused surfy beach party tunes with a healthy dose of reverb and a post-punk attitude. Anders croons about topics of love, loss, and retainers over his melodic bass lines with effortlessness – you can almost always find this sharp-

dressed man in a fine-fitting suit. Sometimes they play fast, sometimes they play slow, and sometimes they play shoeless. Regardless, the TEAM is tight, energetic, and ripe for the picking. Do yourself a solid and pick up a copy of their latest, Restraint, on the Happy Birthday to Me label. » - Wendy Worzalla

local

NEIGHBORHOOD OF THE MONTH:

BEAUMONT Location photos by Mercy McNab

NE 51ST AVE

NE 50TH AVE

NE 47TH AVE

NE 46TH AVE

NE 45TH AVE

NE 44TH AVE

NE 55TH AVE

NE 54TH AVE

NE 51ST AVE

NE 50TH AVE

NE 49TH AVE

NE 48TH AVE

NE 45TH AVE

NE KLICKITAT ST

NE 52ND AVE

NE. FREMONT ST. NE 43RD AVE

NE 43RD AVE

NE 42ND AVE NE 41ST AVE

2. A LITTLE CHEESE WITH YOUR WINE

1. THE BLACK TIGER’S DEN

Blackbird Wine - 4323 NE Fremont

Jim & Patty’s Coffe - 4951 NE Fremont

1. Best brunch - Bumblekiss 3517 NE 46th Ave 2. Best wine selection - Blackbird Wine 4323 NE Fremont St 3. Best beer on tap - Bottles 5015 NE Fremont St

5. Best bagels - Bagel Land 3. ADULT BEVERAGES, CLAP YOUR HANDS 4118 NE Fremont St Bottles - 5015 NE Fremont 6. Best buffalo wings ever!!! Fire on the Mountain 3443 NE 57th Ave 7. Best espresso - Ristretto 3520 NE 42nd Ave 8. Best heart attack on a plate - Stanich’s 4915 NE Fremont St

BEST OF BEAUMONT

4. Best place to try on the Pendleton Portland Collection - Shop Adorn 4120 NE Fremont St

9. Best spot to stock up on dog treats - Green Dog Pet Supply 4327 NE Fremont St

4. LOCAL STYLE

Adorn - 4120 NE Fremont

5. BAGEL LAND

Bagel Land - 4118 NE Fremont

6. THE BEST WINGS IN PORTLAND

Fire On The Mountain - 3443 NE 57th

7. ROAST WITH THE MOST

Ristretto - 3520 NE 42nd

8. BIG ON BURGERS SINCE 1949

Stanich’s - 4915 NE Fremont

9. PETS WHO LOVE THE ENVIRONMENT

Green Dog Pet Supply - 4327 NE Freemont

10. Best way to pretend you’re on vacation - Noho’s Hawaiian Cafe 4627 NE Fremont St 11. Best place to get dolled up - Sparkle Beauty Bar

10. ALOHA!

Noho’s Hawaiian Cafe - 4627 NE Fremont

11. GET DOLLED UP

Sparkle Beauty Bar - 4435 NE Fremont

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local

THE LOCAL BIZ EXTRACTO

At Extracto Coffeehouse & Roastery each coffee is carefully selected, craft-roasted in small batches, and brewed with love by friendly people who are crazy passionate about your cup of goodness. MAGIC CORNER | NE PORTLAND 2921 NE Killingsworth | 503.281.1764 1465 NE Prescott, Ste B | 503.284.1380 www.extractocoffeehouse.com

HOVERCRAFT AMPS

The TLE shop houses handmade gifts from Portland’s thriving DIY scene. It is also the record label headquarters, a screen printing studio and art gallery—fostering TLE’s love of art and music through community exchange and good ol’ conversation.

DOWNTOWN 412 SW 10th Ave (97205) 503.243.5859 | tenderlovingempire.com

LOUNGE LIZARD

Unused, unloved music gear with great potential, rebuilt into ICONS OF TONE. Available at Old Town Music for a lot less than you’d think! Each amp is uniquely tailored with components and cosmetics to make them very special. No two are alike!

We buy and sell VINTAGE FURNITURE, LIGHTING as well as OTHER COOL CONTEMPORARY furniture and lighting. We strive to keep our prices affordable and realistic for our local market. We love what we do!

SE PORTLAND hovercraftamps.com info@hovercraftamps.com

SE PORTLAND 1310 SE Hawthorne Blvd 503.232.7575 | twitter.com/loungelizardpdx

BEACON SOUND

Carrying a broad spectrum of new and used vinyl including classical, folk, soul, jazz, indie rock, psych, as well as an excellent selection of contemporary electronic music. They pay well for your used vinyl (cash or trade), host in-stores, and generally rule. MAGIC CORNER 1465 NE Prescott (97211) 503.360.1268 | beconsound.net

MOLOKO

Taste the nightlife of Mississippi. Over 40 house infused liquors. Specialty absinthe cocktails. Open until 2am every day.

N PORTLAND 3967 N Mississippi (97227) 503.288.6272 | molokopdx.com

BEECH STREET PARLOR

Offers a cozy environment, tasty drinks, nightly DJs, an amazing selection of beers, delicious food, a lovely porch, The New York Times... and allows minors until 9pm. Open Monday-Saturday, 5-Late Happy Hour 5-7pm NE PORTLAND 412 NE Beech St (97212) 503.946.8184 | beechstreetparlor.com

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TENDER LOVING EMPIRE

THE FIRKIN TAVERN

Located on the west side of Ladd’s, the Firkin Tavern features an astounding selection of craft beers to enjoy inside or on our patio. Art enthusiasts will enjoy a variety of local artwork on display and sold comission-free! SE LADD’S 1937 SE 11th Ave (97214) 503.206.7552 | thefirkintavern.com

PUBLIC DOMAIN

Expertly grown Carefully Harvested Seasonal and fresh Skillfully roasted Cupped and scrutinized GREAT COFFEE IS PUBLIC DOMAIN SW PORTLAND 603 SW Broadway (97205) 503.243.6374 | publicdomaincoffee.com

HOLLYWOOD THEATRE

A not-for-profit organization whose mission is to entertain, inspire, educate and connect the community through the art of film while preserving an historic Portland landmark. NE HOLLYWOOD 4122 NE Sandy Blvd (97212) 503.493.1128 | hollywoodtheatre.org Paid Advertising

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