SOLD OUT: HELVETIA – Tickets – Mississippi Studios – Portland, OR – December 29th, 2017


Mississippin' with Seattle experimental rock trio, playing the songs of influential band Duster


Deathlist, Floating Room

Fri, December 29, 2017

Doors: 8:00 pm / Show: 9:00 pm


Sold Out

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

Helvetia (pronounced “hel-vee-shuh") is the project of Jason Albertini, a previous member of UP Records band Duster and current bassist of Built To Spill. The band consists Samantha Stidham, Katherine Paul (of Black Belt Eagle Scout) and Jim Roth, also of Built To Spill. Having grown up in Basel, Switzerland, Albertini chose the name ‘Helvetia’ — the female personification of Switzerland — because of its lyrical and poetic sound. Between 2006 and 2011, Helvetia put out seven releases on The Static Cult Label, run by Duster’s Clay Parton, and toured with bands like Built To Spill and Meat Puppets. After running monitors and performing other roadie duties for Built To Spill for years, Albertini officially joined the band in 2012.

Known for recording most of Helvetia’s albums himself on a 4-track (except for 2008’s The Acrobats, recorded at the Seattle-based studio of Built To Spill’s Jim Roth), Albertini’s songs are raw, experimental, and psych-tinged. 2012’s Nothing In Rambling, the band’s first release for Joyful Noise Recordings, featured some of their most focused and inspired tracks to date. Shortly after its release, Albertini started recording new material that was deemed lost after a computer meltdown, but was eventually recovered and released as A Dot Running For the Dust - The Lost Sessions in early 2015. It will be followed by Helvetia’s new album, Dromomania, due out October 2nd on Joyful Noise.

“Dromomania” evokes the simplicity of ‘70s Kinks, combined with a good dose of Captain Beefheart and the randomness of The Residents. Third-wave hardcore influences meld with elements of Neu-like trance rock; Meat Puppets and Elevator to Hell come together on tracks like “Bermuda” and “Radio Shower.” Dromomania is a condition of wandering with no notice of intent nor memory of getting to where you’re going — just when you think you can get comfortable, you’re transported to a different place with a different set of ideals. Dromomania is a vague sense of feeling and dreams a-plenty.
"Deathlist is the solo recording project of Summer Cannibals bassist Jenny Logan. [Her] self-titled debut [is] six tracks of frenzied punk rock that riff wildly until they're caught in a buzzy entanglement of guitar-driven chaos. Standout track "Every Wish" plays like a slow-dance duet sung by these hyperactive electric guitar parts and Logan, who asks in a subdued tone, 'How do you know it ends tonight?'"
-Portland Mercury
Floating Room
Floating Room
"The type of sadness felt at 4 in the morning, reserved for the heartbroken and nervous, is a tender and surreal one. The world feels like the wrong size; the moment small, quiet and solitary, the rest of the day foreboding at a gargantuan scale. It’s a moment of contingency and introspection, and it’s soundtracked by Floating Room’s new album Sunless.
The record tracks the end of one relationship and the beginning of another, with lyrics and a sound that comprehend every aspect of this delicate time. Maya Stoner and Kyle Bates, Floating Room’s creators, are able to channel a heightened level of intimacy and emotional competency with their combined musical history and shared personal connections. “Kyle and I were discussing writing and recording at a house show when the idea of collaborating first game up. I had a lot of love and respect for Kyle’s project, Drowse, so I was excited to see how his brain worked,” recants Stoner. The melancholy, textured aspects of Bates’ aforementioned project meld well with Stoner’s past experimental guitar rock bands, Sabonis and Forest Park. They meet in a place of sensitivity and experimentation. With the assistance of bass player and frequent collaborator Alec Van Staveren, Floating Room has classic emotive aspects that also include electronic influences and dark beats and bass lines that work to transcend the usual bedroom tape project. With a name referencing the gloomy weather of the band’s Pacific Northwest home, the album is evocative of overcast despondency–but refuses to wallow.

“We started playing music together when we started dating, writing these short, confessional songs and capturing them with our cell phones; we quickly discovered a mutual love for artists like Mirah, The Microphones, Duster, and Bedhead.” Bates and Stoners’ gendered voices, musical compatibility and parallel perspectives of growth are audible. Stoner’s lyrics appeal to relatable feelings whilst staying specific enough to tell her story, with Bates sonically interjecting his own. Finding lyrical inspiration in conversations had with her female friends, Stoner uses unabashed dejection and candidness to create a new form of emotionally charged and empowered music, self-described as “gray pop.” On the crushing track “Fun,” Stoner proclaims her strength by using past insecurities and hesitations to detail the feeling of being silenced by oppressive systems and individuals, but finding resilience within those experiences. Stoner’s vocal power backed by buoyant guitars makes for a song set to inspire.

The intimate confines of the bedroom in which Stoner and Bates record and create together are heard in the warmth and indulgence of each song, bookmarked by personal clips of the two exchanging questions or the whimpering of a dog. But, with each track their cozy realm grows.Sunless is the sound of sharing fears, and becoming stronger as a result.

– Emma Burke"