We Take Holocene #3!
ALL FEMALE HIP-HOP SHOWCASE
9pm | $8.00 advance $10.00 day of show
Emerging on the scene last year with her captivating flow and storytelling, cali native Alia Zin demanded that the northwest respect her tangent. Since then Alia has released a few treats here and there, most notably "Sorrows of Sandra" a vivid and heart throbbing retelling of the Sandra Bland case in which a slew of black women and young men who have been victims of police violence across the nation are given a voice. Her debut album "Wiccan" is expected to drop in October and if any of what we've heard so far's any indication, the future is looking very bright for this young woman.
Upon moving to Portland, she has developed the identity of a unique songstress. Her first serious moments of vocal talent were as a backup singer for an R&B artist in 2011 which led her to write songs of her own. Blossom's jazzy neo-soul inspired voice and meaningful lyrics have found her in the favor of Portland's underground hip-hop scene.
Vytell is a 26 year old rapper/singer from Los Angeles California. Raised in the beautiful North West majority of her life so she is the combination of concrete streets and small town dreams.
Inspired by the creative brilliance of '90s artists like Missy Elliott, Lauryn Hill, and Eve, Karma Rivera is looking to revive that era's sense of authenticity and ingeniousness while showcasing her lyrical skills as an MC to the forefront. The Chicago raised and now Portland dweller, Karma Rivera beguiling bars will land like a Mayweather jab, hitting effortlessly and continuously.
DJ Honey O (Valet / Miracles Club)
Brooding dream-pop soundscapes
8:30pm | $12.00 advance $14.00 day of show
Time and changes distance Tamaryn's Cranekiss from her earlier efforts, and for that matter, from everyone else's. Time, by way of the long period spent crafting this material, both on her own and with Weekend's Shaun Durkan, who with producer Jorge Elbrecht (Violens, Lansing-Dreiden), make up the creative team behind Cranekiss. Changes, by relocating across the country from San Francisco to New York City, by expanding the approach taken on her two previous albums (2010's The Waves and 2012's Tender New Signs), by making music that pulls you closer to it despite the enormity of the sounds within.
Tamaryn's first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren't (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that's inviting, warm-blooded, and shockingly direct. She's made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, the result of long nights grinding it out at the Brooklyn studio Gary's Electric, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars, but with Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons, recognizing the modes of musical respect and adoration flashing past as the record spins. From there, though, Tamaryn has modeled these elements into simulacra, where despite the nods and glances to the past, play as a totally new sound.
Lyrically, this is Tamaryn's most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record, elevating her presence like never before. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn's words.
Cranekiss represents a long journey, and a new phase in Tamaryn's music unfolding before you, a blood-red kaleidoscope of desire and late night abandon, a bold step forward.
School of Rock
performing Rilo Kiley's The Execution of All Things
School of Rock
performing Rilo Kiley's The Execution of All Things
5:30pm | $5.00 day of show
Join us as School of Rock Portland students join local band Genders in performing one of the group's favorite albums, Rilo Kiley's The Execution of All Things, from start to finish. Tonight's event is a benefit for PROWUS!
ALL AGES WELCOME * BAR FOR 21+
Doors at 5:30 / Show at 6pm
Everybody dance now!
9pm | $5.00 day of show
SNAP! is the brainchild of Ms. Coco Madrid, originally ignited by the musical talents and tastes of DJs Palmer "Freaky Outty" Auty and Chip "Colin Jones" Brokaw in 2007. Spawned in the dingy nooks of Branx in Portland, Oregon, the night was born out of the ferocious, crate-digging appetites of Palmer and Chip, alongside the need to establish a party for people to appreciate the early to mid-90s sounds of hip-hop, house, RnB, and bass-heavy club remixes that were in desperate need of dusting off. The music collections of Freaky Outty and Colin Jones were ready to be released upon the masses, an antithesis from the oppressive, thuggish aesthetic dominating Top 40 airwaves at the time. An arsenal of vibrant, jazzy, afro-centric, uplifting, and joyful club bangers had been amassed and was ready to resuscitate a youthful feeling of nostalgia amongst clubbers in Portland and beyond.
Fast-forward 2012: SNAP! is an institution. Having moved out of the confines of Branx and into the limelight of Holocene, one of Portland's most prestigious and popular nightclubs, the night has amassed popularity beyond capacity, powered by the razor-sharp turntablist antics and exclusive edits of Doc Adam (PDX -- Ante Up, Crossfaded Bacon) alongside the unimpeachably deep crates of Colin Jones (PDX -- Big Green Jones Show).
Main Squeeze and Holocene Present:
9pm | $10.00 advance $10.00 day of show
Marcus Marr has been releasing acclaimed records via DFA Records over the last few years, including 'Brown Sauce', named in Pitchfork's Tracks earlier this year, and 'The Music', named one of the "Best Dance Tracks of 2013" by SPIN. A regular at Berlin's famed nightclub Berghain/Panorama Bar, the lifelong music obsessive's first encounters with dance music were acid house records which augmented his vinyl collection of rock and soul, and attending all night parties under Brixton's St Matthews Church. Traveling to the south of England to watch DJ Harvey play a lengthy set, he saw the kind of power a DJ can wield over a willing crowd.
In 2015, Marcus recorded a collaborative 4-track EP with Chet Faker. Titled 'Work', the EP was released on 4 December via Chet Faker's own label, Detail Records. The EP features 'Birthday Card' (Annie Mac's BBC Radio 1 first play, #1 Hype Machine, #6 triple j Hottest 100). 'Learning For Your Love' (Beats1 first play), 'The Trouble With Us (#1 Hype Machine) and 'Killing Jar'.