Other bands who have played out in portland
| On Project Opus since: | February 29, 2008 |
| Last seen: | never |
| Biography: | With five tours under her belt, three self released albums, and another on the way, there seems to be no stopping the two-time Cammie award winning, Aubrey Debauchery. Mixing her love for indie-folk, country, bluegrass, and whiskey Aubrey is truly making a name for herself. With such bold, blunt, and upright brutally honest lyrics, you wouldn't want to find yourself the butt of one of Aubrey's songs, but instead singing along to every word, and begging for more. Her songs of heartbreak, drunken nights, sex, and young love have touched and broken hearts of all ages. Without hesitation in the constant gigging around town, Miss Debauchery picked up Marc Anderson [lap steel] in December 2006 while he quickly picked up all the songs just in time for the recording of Aubrey Debauchery's latest efforts, In May. Now, with the new album, He's a Damn Good Liar, due out in March 2008 Aubrey and Marc joined forces with good friend, Adrian Hammons [upright bass], and local bad ass, Tino Marrufo [drums] to create a new explosive folk/country sound and release what Aubrey hopes to be their best album yet. |
| Albums: | |
| Reviews Received: |
| On Project Opus since: | June 7, 2006 |
| Last seen: | never |
| Biography: | Tunes in media player are some of DG's latest projects(NIN) Current Band-Countach/Freelance session drummer www.brandonlaliberte.com Website E-Mail Just some of the different artists I've worked with..... Crank,Dirty Veck,GLC,Sons Of Dogs,Hellen Killer,David Rodgers,LENNON,Aaron Neville,Mountainside,K.H.R.T.K.D.,COMATOSE,The League Of Extraordinary Genitals,Trent Reznor,Fearless,Cory Stevens,Quincy Jones,Durango,Joe Walsh,Roger Waters,EV3,Flash,Tom Petty,Tyler Dane,Micheal Mc Donald,Turbo,David Burn,Sony Playstation,DairyQueen,Tundra Trash Radio,Fleet Farm,Wal-Mart,Down In The Valley,Payless,KQ92,Home Depot,True Value,Euphorias Emporium,Mushroom Cloud Records,Interscope Records,Rock Mafia Records............many more |
| Albums: | The Remix's,Frozen Waters,Good Looking Corpse,Sons Of Dogs |
| Reviews Received: |
| On Project Opus since: | November 21, 2006 |
| Last seen: | never |
| Biography: | Saturna is the rock ‘n’ roll band you want to listen to before, during, and after the party. Their debut EP …All Night serves up a tantalizing cocktail of ethereal guitars and riveting drums, tender harmonies and heart-ripping hooks. With a swirl of melody and a pulsing drift of guitar, the wordless beauty of “Springboard” launches your night. You sip a vodka tonic, and you’re off. You plunge straight into the city blasting “Pop Rocks.” The tick-tock drums and fuzzed-out Love & Rockets-style vocals spark something ferocious inside you. You finish another drink and drop your glass. You lose your friends, your money, and half your senses, but the sexy bassline keeps looping through your brain. It’s not enough. You want more. More. So the night gets nastier: “Just for Thrills” slashes you with dirty riffs. You sneer and smile, blurring through bars and parties. Streets and cars and clubs and shows. The song drags you snarling through an underworld of twisted love, but then the harmonic chorus shimmers above the rumble. For a moment you can think. Where are you? What did you just do with who? Forget it. Too late. You’ve passed the turning point and begun the long glide toward dawn with “Blanket of Stars.” Finally, in the melancholic “Chasing the Unpredictable,” you face the sun and try to figure out what it all meant. One thing is certain: you want Saturna’s …All Night again. Charismatic Ryan Carroll graces lead vocals and rhythm guitar; while Eric Block, the most unassuming rock god in America, manhandles lead guitar; and Steve Anderson, detail-crazed genius inventor, takes on drums, bass, and backup vocals. Mixing swagger and sweetness, Saturna soundtracks your whole night—from sundown to downtown to dawn. —Kirk Perry |
| Albums: | |
| Reviews Received: |
| On Project Opus since: | January 22, 2006 |
| Last seen: | never |
| Biography: | Love and Mathematics Stage lights illuminate Love and Mathematics. Squalls of effects-dappled guitar wash over an unsuspecting crowd. Swelling keyboards rise forth and create a kaleidoscope of dizzying sonics. As the lush atmospherics begin to lure listeners towards a dark place, a jubilantly melodic bass guitar intercedes. Drums join the fray, bashing out tribal beats and creating a pulsing rhythm that sets the dance floor writhing. A vocalist wracked with twitching intensity takes to the microphone and casts a hypnotic spell. A second voice chimes in. Working in tandem, they conjure a choir of celestial songbirds. Esoteric yet immediate, cataclysmic but celebratory, paradoxical Love and Mathematics play spacey psych-pop at its most apocalyptic. The Vancouver band can trace their beginnings to a longstanding partnership between Ian Somers (vocals/guitar/keyboards) and Shane Turner (bass/vocals). When the pair recruited Lucas Rose (guitar/keyboards), they found his monolithic, dissonant guitar work muddying their pristine pop stylings. Rather than reining Rose in, they embraced the opportunity to reinvent themselves entirely and explore a dynamic new direction. The sea change was complete once the three collaborators discovered talismanic drummer Kyle Koenig. Koenig’s controlled-chaos kit attack brought an urgent energy to the group. Christened Love and Mathematics, the four-piece drew from Built to Spill’s angular melodies, Mogwai’s textured mediations and Animal Collective’s spaced-out oddity to forge a sound distinctly their own. Adjourning to Vancouver’s storied Hive studio, the band worked with producer Colin Stewart (Black Mountain, Pretty Girls Make Graves) to record a four-song, self-titled EP. Rather than duplicating their oceanic live sound, Love and Mathematics opted to explore a more nuanced approach with the recordings. The final result reflects a band invigorated and inspired by the wealth of new ideas and possibilities presented to them. Out of the gates, the propulsive “Remember to Masticate” lashes into the listener with discordant guitars, lilting harmonies and rhythms that turn on a whim. “Copper Coin Bikini” brims and bristles with skittish energy as lyrics sketch out an abstract rebellion: “You are the emissary; I am the socialist; Gather the troops and rally outside the capital.” The disc’s most cathartic track, “Plan for a Better Year,” punctuates its emotion-saturated vocals with wails of buzzsaw instrumentation. Finally, the swirling “A Fight Between a Crow and a Seagull” ascends and cascades with an airy grace. At present, Love and Mathematics are at work self-recording their full-length debut. On their off-nights, they can likely be found upon a darkened stage. With a live set hailed by Exclaim! and The Georgia Straight, the band has shared the limelight with Vancouver’s finest bands – The Book of Lists, You Say Party! We Say Die! and They Shoot Horses, Don’t They? – as well as touring acts Nada Surf, Okkervil River, The Rosebuds and The Appleseed Cast. Having established themselves as fixtures of the Vancouver scene, Love and Mathematics have only begun to explore their potential as a band. The remainder of that self-discovery should prove equally enthralling for both the musicians and their listeners. |
| Albums: | Love and Mathematics EP,Love and Mathematics EP,Love and Mathematics EP,Love and Mathematics EP |
| Reviews Received: |
| On Project Opus since: | September 6, 2006 |
| Last seen: | never |
| Biography: | “Won’t you come back home? Well, I don’t think so.” This telling exchange from “Run From Safety” epitomizes the ethos of Octoberman’s Marc Morrissette. In 2003, the itinerant songwriter abandoned his Vancouver home, took a break from his band, Kids These Days, and departed for travels through Asia and Europe. When Morrissette returned to North American shores, he arrived bearing a travel journal blackened with observations and reflections. These insights would soon become the basis of Octoberman’s critically-acclaimed 2005 debut, These Trails Are Old and New. Embodying the sensibilities of Neil Young’s songcraft and Jack Kerouac’s travelogues, These Trails won widespread praise from Uncut, Maverick, The Globe and Mail and dozens of other publications. Just as Morrissette’s penchant for melancholic vocals and melodic guitar work caught the ears of critics, it won the hearts of audiences. The songwriter established Octoberman as a live institution in Vancouver, sometimes taking to the stage with a seven-piece backing band and on other occasions with nothing more than an acoustic guitar and harmonica. 2006’s seven-song, live-recorded Laguardia EP ideally encapsulated the intimacy and immediacy of these solo Octoberman performances. However, employing a full band to expand upon his spare arrangements had opened Morrissette’s eyes to the possibilities for Octoberman’s second full-length album. Between March and August 2006, he retreated to three studios in Vancouver with co-producer and engineer James Henderson and captured his musical musings. Along for the ride were his regular backing band: Rob Josephson (drums), and Graham Christofferson (bass); as well as other common collaborators: Peter Doig (guitar), Leah Abramson (vocals), Shaun Brodie (trumpet), Kris Hooper (lap steel), Jason Starnes (keyboards), Mike Morrissette (vocals), Ryder Havdale (vocals) and C.L. McLaughlin (vocals). Upon first listen, it’s evident that Run From Safety is not only an album title but also a bold statement of intent. It sublimely captures the sound of an artist abandoning the tried and true and striking out in unknown directions. While still fuelled by wanderlust, Octoberman’s music continues to remind us that not all journeys can be measured by distance alone. Run From Safety brims with inspired instrumentation, accomplished orchestration and newfound urgency. Furthermore, it sees Morrissette bringing the indie pop sensibility of his Kids These Days material back to the fore. Fans of Stephen Malkus’ wordplay, Bright Eyes’ earnestness and Elliott Smith’s tunefulness will find themselves readily enthralled with Octoberman’s latest offering. “I need some inspiration in my life,” Morrissette confides in “By The Wayside.” Such motivation manifests itself with Calexico-like southwestern cinematics complete with brass flourishes. Such atmospherics resurface later with the tumbleweed menace of “Cisco Kid.” Meanwhile, a gift for clever turns of phrase is evidenced on “Run From Safety” which evokes lovelorn gypsy boys, grandmotherly gifts and jurisdictions that “bleed with conviction.” “No Qualms” attempts to offer assurances in the face of insecurities. “Elbow Room” provides an autobiographical account of helplessness. Elsewhere, the loping “Impossible Way” channels Bob Dylan while “Shit Just Falls Apart” offers astute indictments sugared by rousing pop. “Chasing Ambulances” brings proceedings to a heartfelt, whisper-quiet close. Morrissette proves exceedingly skilled at conjuring both the wariness and weariness of a man who’s seen the world. Yet, despite intense explorations, he’s come away with little in the way of certainties or answers. Instead, every discovery begets further questions. It’s these quandaries and conflicts that continue to drive the man and his music. Once Octoberman made the decision to run from safety, turning back was not an option. Upon mastering his new album, Morrissette quit his job and embarked on a European tour that lead him through five countries in five weeks. He next crossed the Atlantic, climbed into his Volkswagen and toured the continental United States. One can only imagine the inspiring questions that were raised along the way. |
| Albums: | These Trails Are Old and New |
| Reviews Received: |
| On Project Opus since: | April 25, 2006 |
| Last seen: | never |
| Biography: | Johnny Katchoolik is an independent musician & recording artist of many colors, personalities, sounds, and eccentricities. His sonic adventures began with the guitar but quickly progressed to include the bass, keyboard, percussion, synthesizer, various software & electronic instruments, and who knows what else Katchoolik will fancy next. Katchoolik thrives on breaking the rules, chopping up the conventional elements, inventing new concoctions, and exploring as many sonic dimensions as possible. For Katchoolik, an artist who inhales and exhales music 24/7, music is a way of life and an expression of the self. Although Katchoolik has performed with various progressive and alternative rock bands during the days of Seattle grunge, the Katchoolik of today composes and records solely in the Ghetto Sound Studio - his true playground and sanctuary, and that’s where quirky ideas and offbeat creations are surgically extracted from his cerebral cortex. Color your life with music! |
| Albums: | |
| Reviews Received: |
| On Project Opus since: | March 10, 2007 |
| Last seen: | never |
| Biography: | My name is scott b. and I am the Worthing. I live in San Francisco, but thanks to sites like Insomnia Radio, LastFM, and of course Myspace I have found friends and fans in places as far away Germany & Japan. I hope to find new friends/fans here as well... Thanks for stopping by. Full bio below: "In a world that's full of wholes…" So states one of the lines in the Worthing's song 'The Picture Show.' To singer/songwriter Scott Basta that line means much more than just the irony it evokes. "I write songs about acceptance... And often times accepting things for how they are is a painful process. Like existing just outside the whole of life." While the Worthing's music is rich in dark expression of emotional turmoil, upon further exploration the listener finds the songs are really more about the life within us and innocence in a world that does it's best to take it from you. Scott traveled extensively across America in his late teens and early 20's trying to find the place that he could best fit into to. "No matter where I was I always had at the very least an acoustic guitar to keep me sane. I have always felt like the odd man out in most social situations... I think my songwriting reflects that." Indeed, most of The Worthing's songs are works that anyone who has ever felt lost in life can relate to. They are songs are about dealing with a world that we truly don't understand but are doing the best we can to adapt as we move along day to day. Scott first began writing songs at an early age and ultimately ended up in San Francisco where he met other like minded individuals and formed a band called The Innocents. As often happens in the early stages of a musical group, members came and went, but all the while Scott was writing music with the same insistent sound... After a time the name of the group changed to The Worthing but the sounds remained the same. Now, with The Worthing at a full creative throttle Scott feels he just may have found a 'Whole' that he can fit into. |
| Albums: | The Worthing Demos |
| Reviews Received: |
| On Project Opus since: | April 11, 2006 |
| Last seen: | never |
| Biography: | |
| Albums: | |
| Reviews Received: |
| On Project Opus since: | May 24, 2006 |
| Last seen: | never |
| Biography: | We have survived |
| Albums: | Yeah Whatever,Suffer,Dusk & Desire,Rotting Geraniums,Head Down |
| Reviews Received: |
| On Project Opus since: | April 26, 2006 |
| Last seen: | never |
| Biography: | RECENT 2006 STUFF@NIGHT, BOSTON INTERVIEW! http://www.stuffatnight.com/rd0405/partying/documents/05211973.asp DJ Dale Charles started DJ'ing around 1983 at some infamous Summer Beach House parties, playing mostly New Wave including B-52's, The Romantics, Elvis Costello, Rockpile, Buzzcocks, The Beat, The Pretenders, 999, Depeche Mode, The Go-gos and Prince. New Wave was it, a funner, fresh new scene and lifestyle had emerged, the birth era of synth-dance and the 12" remix single. Connected by fate to the few important New England DJ's including Ed Fritz and Kevin Fennelly, Charles' interests grew stronger as the music grew more interesting. DJ Ed Fritz' "Baptism" and its parties in 1986-88 introduced Dale to the European and US' Techno, Industrial and House scenes. Kevin Fennellys excellent Summer Of 86 club "Level Vibes" also paved the way and inspired those who were lucky to be there. But it was DJ Ed Fritz who schools all in attendance how to mix three different styles of music on three turntables (SL-1800's) at the same tempo at the same time. This was essentially the definition of "House Music", before it was so called - and the Baptism had taken place. DJ Dale Charles was formally reborn. Then in 1987, seeing it all in action again in Montreal at Club "Business" on St Laurent changed everything. This was it. The calling was about to be answered. The East Coast residencies began in 1988 - in the small New England towns, on off nights, at first Decadence in Dover, NH, then Zoots Thursdays with Portland Maines Kris Clark. Then south to Bostons Hub Club in 1990-91, now club Felt, for a huge 1000 capacity International Night on Fridays. On to a big move way out west in the fall of 1991 to San Diego, and the birth of the legendary SoCal and US Rave movement, at first pure in all its forms, joining music lovers together to experience exciting new music, advances in lighting technology, fine-tuned sound systems, and an uninhibited gathering of all races, religions, thinkers and do-ers, perhaps not experienced since the late 60's. It was a cultural phenomenon, a time to meet new people and stay up all hours and experience new music and expressions. DJ Dale Charles was a leading SoCal DJ in 1991-92, headlining most major events with residencies at the famous MicroRaves, Narnia, Opium, Playskool, Rubber, Evar, G.U.N. and countless other one-offs. News of west coast Raves and its DJ's spread quickly across the US and Dale Charles started booking nationally, then to Mexico, Canada, Asia (sadly cancelled) and nearly every major US destination. Producing several releases since 1992 as Sedona with Benny Blanco on OHM Records, Boston, and Rampant records LA, Dale Charles has maintained a MIDI synth studio since the late 80's, producing today under the names Too (Element Recordings), Sedona and Time Beings on both Syncopate and most recently Reversible Records. DJ Dale Charles has DJ'ed with and has DEEP RESPECT for: Evar SD, Wicked SF, Primary UK, Benny Blanco, 333, Mgee, Gatherings SF, Sasha, John Digweed, Frankie Knuckles, Danny Howells, Derrick Carter, Moby, Tiga, Luc Raymond, Micheal Thomas, Tony, Paul Grogan, Barry Weaver, David Morales, Josh Wink, Anne Savage, Luv Dup, Doc Martin, Scott Hardkiss, Dominic UK, Marcus Wyatt, Dmitri from Dee-lite, Lil Louis, Frankie Bones, Adam X, Justin Johnson, Debo, Jellybean Benitez, Mark Farina, Pete Moss, Fred "kooky" Gianelli, Hector Romero, Jimmy Van M, Tin Tin, Taul Paul, Carl Cox, Rick Preston, Daeman, Mark E Quark, Jon Bishop, Thin e thin UK, Q-Bert, De La Soul, Primal Scream, Jonas Temple, Hipp-e, Armand Van Helden, Jeno, Garth, Marky, Joeski, Onionz, Ryde, Chocolate Factory NY, Felix Da Housecat, Brother Cleve, DJ Dan, Kevin Saunderson, LTJ Bukem, DJ Trixie, Misstress"... wanna come to my room and for some Kokanee...?" Barbara, Overload, Chicken Leg Crew, Caseroc, Shalako, Scott Bliss, Skye, Larry Love, Manolo, Pauloo, Deshaies, Sergio, Arturo, Mike Walsh, Pat Fontes, EB, dPl, Eli Wilkie, Steve Porter, Chris Reavey, Chris Micali, Hush & Bons, Paul Dailey, Charles Feelgood, Donald Glaude, Prima DJ and more. Currently projects include a full Time Beings Concept LP, Sound Design, Film and Advertising scoring, along with a lifetime ahead of music production. |
| Albums: | Time Beings |
| Reviews Received: |
| On Project Opus since: | April 24, 2006 |
| Last seen: | never |
| Biography: | The Monolith was nominated for Best SF Pop Band of 2004 by SFWeekly, along with Rogue Wave and Citizens Here and Abroad. "The Monolith created one of the catchiest indie-pop records to come out of San Francisco in 2004, Here Comes the Monolith... The record covers a grand range of tempos, styles, and emotions. On songs like the opener, "43," the Monolith is all upbeat '70s rock. Elsewhere, as on "Heart Like a Diamond," the band spruces up Sgt. Peppers ' '60s psychedelia with a dash of Elton John's lounge tinkling. And on "Never Mind What You Heard," the Monolith pays homage to Simon & Garfunkel's introspective folk. Regardless of the style employed, these musicians always seem to find the perfect melody and arrangement. It's no surprise that everybody loves them." - SF Weekly Drawing on the Beatles, the Rentals, and Blondie, San Francisco's the Monolith are more than just some easily digested underground pop group. Synth purveyor Dahlia Gallin Ramirez gives the band the same kind of vocal power that Neko Case lends to the New Pornographers during her turns at the mic, with tunes like the set opener "43" and the irresistibly upbeat "Dandelion Storm." But the group's other vocalist, guitarist Bill Rousseau, is caught by the same new wave bug on the hook-drenched "10 X Infinity." Still, other influences diversify the album, keeping these nine tracks from ever feeling redundant as Rousseau contributes the fabulous, Lennon-esque "Ruby" and the lilting, tech-trickled "Alpha," the latter one of so many songs here that find his pipes blending effortlessly with Ramirez's. By the time the disc wraps with the adventurous "Trilogy" — which glues three tunes into one — it becomes apparent just how well conceived Here Comes the Monolith actually is. With the advent of this indie pop troop, enthusiasts of the style have one more reason to be cheerful. Rating = **** |
| Albums: | Meet You At The Monolith |
| Reviews Received: |










