all profits and ticketing fees to benefit ACLU and Unite Oregon
featuring short sets by:
Stephen Malkmus and The Jicks
Portland City Commissioner Chloe Eudaly
Gregory McKelvey of Portland’s Resistance
Chanti Darling (DJ set)
Hosted by JoAnn Schinderle
5 p.m. doors, 6 p.m. show
All ages welcome
A protest concert in direct opposition to the policies of the new
administration. All profits and ticketing fees to benefit ACLU and Unite Oregon.
With short sets by:
Sleater-Kinney Colin Meloy Quasi Team Dresch Chanti Darling (DJ Set) Summer Cannibals Mascaras
and speakers Portland City Commissioner Chloe Eudaly Gregory McKelvey of Portland's Resistance
Lola's will be hosting information booths
representing many of Portland's local non-profit organizations, featuring a DJ set by Strange Babes.
PLEASE NOTE: Volunteer your way into the event! If you would prefer to EARN your ticket you can volunteer through our friends at wavePDX.org where we have a limited number of volunteer tickets available.
VIP tickets include early entry and access to VIP viewing section on the Crystal Ballroom floor.
"We sound possessed on these songs," says guitarist/vocalist Carrie Brownstein about Sleater-Kinney's eighth studio album, No Cities To Love. "Willing it all-the entire weight of the band and what it means to us-back into existence."
The new record is the first in 10 years from the acclaimed trio-Brownstein, vocalist/guitarist Corin Tucker, and drummer Janet Weiss-who came crashing out of the ‘90s Pacific Northwest riot grrrl scene, setting a new bar for punk's political insight and emotional impact. Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as "America's best rock band" by Greil Marcus in Time Magazine, and put out seven searing albums in 10 years before going on indefinite hiatus in 2006.
But the new album isn't about reminiscing, it's about reinvention-the ignition of an unparalleled chemistry to create new sounds and tell new stories. "I always considered Corin and Carrie to be musical soulmates in the tradition of the greats," says Weiss, whose drums fuel the fire of Tucker and Brownstein's vocal and guitar interplay. "Something about taking a break brought them closer, desperate to reach together again for their true expression." The result is a record that grapples with love, power and redemption without restraint. "The three of us want the same thing," says Weiss. "We want the songs to be daunting."
Produced by long-time Sleater-Kinney collaborator John Goodmanson, who helmed many of the band's earlier albums including 1997 breakout set Dig Me Out, No Cities To Love is indeed formidable from the first beat. Lead track "Price Tag" is a pounding anthem about greed and the human cost of capitalism, establishing both the album's melodic drive and its themes of power and powerlessness-giving voice, as Tucker says, to those who "struggle to be heard against the dominant culture or status quo."
"Bury Our Friends" has Tucker and Brownstein joining vocal forces, locking arms to defeat a pressing fear of insignificance. It's also emblematic of the band's give and take, and commitment to working and reworking each song until it's as strong as it can be. "‘Bury Our Friends' was written in the 11th hour," says Tucker. "Carrie had her great chime-y guitar riff, but we had gone around in circles with how to make that part into a cohesive song. I think Carrie finally cracked the chorus idea and yelled, ‘Sing with me!'" "A New Wave" similarly went through many iterations during the writing process, with five or six potential choruses, before crystallizing. It enters with an insistent guitar riff, and a battle between acceptance and defiance-"Every day I throw a little party," howls Brownstein, "but a fit would be more fitting."
The album's meditative title track was inspired by the trend of atomic tourism and its function as a metaphor for someone enthralled and impressed by power. "That form of power, that presence, is not only destructive it's also hollowed-out, past its prime," says Brownstein. "The character in that song has made a ritual out of seeking structures and people in which to find strength, yet they keep coming up empty."
Sleater-Kinney's decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band's singular chemistry demands. "Creativity is about where you want your blood to flow, because in order to do something meaningful and powerful there has to be life inside of it," says Brownstein. "Sleater-Kinney isn't something you can do half-assed or half-heartedly. We have to really want it. This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back."
"The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band," adds Tucker. With No Cities To Love," we went for the jugular."
Frontman for Happy Cactus, Tarkio, and the
Decemberists, Portland-based Colin Meloy's first foray into solo work came in 2005 when he hit the road in support of the six-song EP Colin Meloy Sings Morrissey. He toured again the following year with fellow singer/songwriters Laura Veirs and Amy Annelle, where he hawked another self-released limited-edition EP of covers, this time from the canon of lauded British folk legend Shirley Collins. In 2008 Meloy released his first "official" solo album, Colin Meloy Sings Live! on the Kill Rock Stars label, followed by a tour (where he sold his third installment of self-made tribute albums, this time of soul legend Sam Cooke) with fellow Portland, OR, singer Laura Gibson
the title. new album called Wig Out at Jagbags. Jagbag is a great word. A smeared aspersion, not profanity, but derived from one..... watered down for the airwaves, or the assembly line. To Wig out--we've all been there. We ARE there, at least i Am.
And the "I" on a record is speaking for/as/to you, so If you're not wigging out, go no further, dear reader... (and then there is Dag Nasty, which I wont bother justifying , just a first flourish of the unstoppable need to name drop).
the album. produced by the band and Remko Schouten, the Dutch soundman of Pavement fame, and owner of IJland studio in east Amsterdam.
I don't know where to start... again. This record is inspired by Cologne Germany, Mark Von Schlegell, Rosemarie Trockel, Von Spar and Jan Lankisch, Can and Gas. Imagined Weezer/Chili Peppers, Sic Alps, UVA in the late 80's, NYRB, Aroma Charlottenburg, inactivity, Jamming, Indie guys trying to sound Memphis, Flipper, Pete Townshend, Pavement, the Joggers, The NBA, home life in the 2010's...
We (Remko) found a studio over in the Ardennes with a" farmhouse vibe". It was isolated, rural Belgium... near Luxembourg, the cradle of morbid Tax relief. It went very well cuz the band is quite good....We were (are?) pretty psyched with results.
I've spent the last couple years in Berlin. Berlin, while very hip and in some ways the "center" of Europe, is still isolated. At least if you are an American Dad. Pretty amazing place as you probably already know, and so easy to disappear into. Perhaps any " big" city has this quality-- but a New one (to me), where they speak German(mostly)....well, you can almost cease to exist. Which is of course a liberating fantasy.
But after two years there, we were Starting to Exist. It was like an average birth, without pain. I worked the lyrics/chords out on a computer on someone else's table in someone else's apartment. And This is what you get: Projected Imaginings of ROck and ROll from the freezing north, rendered by West Coast stalwarts and a Dutch Uncle.
And we feel compelled to share it with you. -- SM (& Jicks)
(Stephen Malkmus, Joanna Bolme, Jake Morris, Mike Clark)
Quasi was formed in Portland OR in '93 by Sam Coomes & Janet Weiss. Their first album was self released in '95. They released three albums between '97 & '99 on Up Records. They moved to Touch & Go Records in '01 & released three albums with them, & additionally T&G reissued the first album. The band moved over to the Kill Rock Stars label in '09. Quasi albums are licenced by Domino Records outside North America & P-Vine & Hostess in Japan. Throughout this time they have also toured &/or recorded either individually or collectively with Sleater-Kinney, Elliott Smith, Wild Flag, Stephen Malkmus & the Jicks, Built to Spill, Bright Eyes, Heatmiser, the Go Betweens, Pink Mountain, Blues Goblins, Jandek, the Boston Spaceships, Crock, Slang, Portland Cello Project, Deep Fried Boogie Band, IS, numerous other less recognizeable names. Prior to to Quasi, SC was in the San Francisco band Donner Party (c.'83-'88) & both SC & JW were in the Portland power trio Motorgoat (c.'90-'92). Joanna Bolme (Jicks, The Minders, Calamity Jane) joined the band in c.'06 & left the band after the recording of "American Gong" & numerous tours in '11. Quasi is still in the new, gentrified Portland.
Team Dresch helped
grow the legendary queercore and feminist music scenes of the 90's. Their album Personal Best has been
called one of the finest debuts in punk-rock
history. In addition to releasing their own records, their record labels,
Chainsaw, Candy-Ass, and Mr. Lady, released seminal albums from Sleater-Kinney,
The Need, Free to Fight Self-Defense Project, Le Tigre, and many more radical
and brilliant bands.
Influenced by groovy danceable R&B in all of it's facets; funk, disco, boogie, house, freestyle, New Jack, 90's and beyond, and named "Best New Band 2016" by Willamette Week, Chanti Darling creates "All Day All Night Jams."
Led by guitarist/vocalist Jessica Boudreaux, the Cannibals initially cut their teeth on the local circuit, sharing the stage and receiving encouragement from peers such as The Thermals. Along the way, they released a pair of fantastic full-lengths -- 2013's No Makeup and 2015's Show Us Your Mind - on their own label, New Moss Records. Show Us Your Mind was recorded by legendary NW engineer Larry Crane and was recently named one of the best of 2015 by Sound Opinions co-host Jim DeRogatis. The band has since spent an unhealthy amount of time on the road, earning accolades and adding plenty of fresh converts to their highly-charged, no frills attack.
It seems only logical that when the band decided to sign to a label, they chose a label like Kill Rock Stars, which has a long history of putting out fearless, female-led bands like Bikini Kill and Sleater-Kinney. "Summer Cannibals take us back to our roots," says KRS President Portia Sabin. "Jessica is a great songwriter and the band is super exciting live, it's a perfect fit."
The new album Full Of It is the band's defining statement to date. Recorded at the amazing analog recording studio The Dock with producer Chris Woodhouse (Thee Oh Sees, Wild Flag), the LP is one of those massive leaps forward that every band hopes to achieve at least once in their career. Aided by rhythm guitarist Marc Swart and a new powerhouse rhythm section of drummer Devon Shirley and bassist Jenny Logan, the 11 songs spark with that perfect mix of snotty attitude, unbounded energy, and window rattling volume.
MÁSCARAS IS A MOVEMENT. IT'S A FRIENDLY GAME OF BALANCED, ELEMENTAL FORCES THAT PUSH, PULL, AND TURN TOGETHER IN AN UNCANNY DISPLAY OF SYNCHRONICITY AND UNBRIDLED ENERGY. THIS IS WHAT YOU LOOK FOR IN LIVE, LIVING MUSIC.
Máscaras is the band that revived the Portland basement show scene. This is soul music, but not that kind. NO, this triple-headed hydra of pummeling instrumental prowess comes on with quickness; surf leads riding on polyrhythmic crescendos and unbridled fuzz bass freak outs that resolve in lock-step dance rhythms that get the whole house moving.
A pillar of Portland, Papi Fimbres (Sun Angle, GALLONS, Paper/Upper/Cuts, and 20 other bands) assembled the trio after witnessing T-KRAY and DC's dynamic guitar/bass interplay at a party. The three found "LA ZONE", creating instrumental songs that lack nothing in passion, energy. In the ensuing year, the band has risen to become a house show and club favorite, often playing multiple sweaty, packed rooms a week and reminding audiences what live music can be.
JOANN SCHINDERLE is a working stand up comic, actress, and writer based in Portland, OR. She has been seen on VICE, LaughsTV on Fox, and her comedy is regularly featured on Rooftop Media - Audible Radio. Locally, you can catch JoAnn's charming snark at Helium Comedy Club, or every Sunday at Alberta Street Pub where she hosts her weekly stand up showcase called 'Control Yourself', which has been voted 'Top Five PDX Comedy Shows' 3years running by the Willamette Week.