Gamelan Wahyu Dari Langit, Saloli
MOSTLY STANDING / LIMITED BALCONY SEATING
DOORS 8PM / SHOW 9PM
$5 ADV / $5 DOS
THIS EVENT IS 21+
VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
WET FRUIT’s debut self-titled release is a powerful first move for the Portland, Oregon group of DIY shredders. They have come from many different underground projects such as Tender Age, Máscaras, Sávila, Bitch’n, Sun Angle, and countless others to form this star studded super group. Papi Fimbres is a powerhouse on drums, smashing them into oblivion and then turning on a pin to delicately bring them back to life. His work in Máscaras, Sávila, Orquestra Pacifico Tropical, and Dreckig alone should have welcomed him into the drummers hall of fame, he is known to hold the throne in 16+ bands at a time. Rebecca Rasmussen matches the drums with art house slanted unpredictable walking bass lines through some otherworldly catacomb. Rebecca’s vocals blend in with Elaina Tardif’s until you can’t tell how many angels and demons are singing, it sounds like one mechanical end of days choir. Elaina and Charlie Salas-Humara’s guitar work matches Rebecca’s bass on the unpredictability scale, keeping listeners glued to their headphones with tasty little sparks and sliding stabs flickering through the field of auditory hallucinations. The result is an uncategorizable controlled chaos... Is it post punk? No, it’s too pleasant and chilled. Is it space rock? No, it’s too grounded and the song writing too mature. Is it experimental? Yes, in fact it is all of these things and more. WET FRUIT is for fans of Stereo Lab, La Luz, Slint, The Raincoats, Gang of Four and everything in between. It is well crafted, unique, genre defying magic rock music. Dig in!
Gamelan Wahyu Dari Langit
Gamelan Wahyu Dari Langit is the first Balinese Gamelan in the Pacific Northwest. The fast-paced, percussive style of Belaganjur (aka marching Gamelan) is rhythmically layered, metallically hypnotic, raucously defining a sonic ritual space.
Portland, Oregon resident Mary Sutton's solo project Saloli threads together complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into prismatic suites of contemplative melody and synthetic communion. Her songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. She writes her pieces specifically to be played live on analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands.