Whores – Tickets – Mississippi Studios – Portland, OR – April 19th, 2018

Whores

Stumpfest VII

Sold Out: Whores

Helms Alee, Pushy, C-Average, Marriage + Cancer

Thu, April 19, 2018

Doors: 7:00 pm / Show: 8:00 pm

$18 ADV / $23 DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

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Whores
Whores
Founded in 2010 in Atlanta, Georgia, Whores has established themselves as one of the most successful and motivated bands in the genre today. Elements of Helmet, Melvins, and the Amphetamine Reptile roster can be heard throughout their catalog, but Whores are no regurgitated throwback act. Through intense, cathartic live performances and the perfected aggressive tenacity present on their recordings, the band has gained a fervent following sure to do nothing but grow in the years to come.

October 28, 2016 saw the band's first full-length album and their debut on eOne records, "GOLD."

The album was widely praised, garnering spots in the top ten on album of the year lists through publications such as Rolling Stone, MetalSucks, Heavy Planet, Invisible Oranges, Shiny Grey Monotone, and more. The band is currently recording the follow-up to "GOLD."

Prior to their signing with eOne, Whores' output included two now-classic EPs. "RUINER." released December 20, 2011, put the band on the noise rock map and is now on its fourth pressing. They followed this up with the even-more popular "CLEAN." released October 29, 2013 and now on its sixth pressing.

Between these and "GOLD." the band released a split of covers by The Cure with Rabbits and contributed the song "Bloody Like the Day You Were Born" to Amphetamine Reptile's "Dope-Guns-'N-Fucking in The Streets, Volume 13". Whores also just contributed the track "Flag Day" to Amphetamine Reptile's "Bash '17" alongside acts such as The Melvins, Mudhoney, Lydia Lunch, and Cherubs.

In their short career, Whores have received much critical praise. Some highlights include:

• "Ten Artists You Need To Know" - Rolling Stone

• "11 Metal Choruses That Will Get Stuck In Your Head All Day" - Alternative Press

• "Best of 2016: Metal" - Apple Music

• "Top 20 Best Noise/Post-Punk & Goth Albums of 2016" - Music & Riots Magazine

Whores have shared the stage with acts such as Red Fang, Torche, Big Business, Melvins, Mudhoney, Retox, Deafheaven, Iron Reagan, Metallica, Slayer, Kylesa, Black Tusk, Royal Thunder, Floor, Lamb of God, Tombs, The Sword, Baroness, Dillinger Escape Plan, Chelsea Wolf, Youth Code and many more.
Helms Alee
Every music nerd has gotten roped into the desert island conversation. You know—what’s the one record you would bring with you to some remote location to provide solace for the rest of your days? Or better yet, what’s the one band whose catalog would always remain fresh to your ears, even after years and years of isolation? Of course, the ideal candidate would be a band who has a significant body of work, a band who’s songs span a variety of temperaments and timbres, and, obviously, a band that just plain rules. With their fourth album, Stillicide, Helms Alee prove that they might be the only group you would need for the rest of your life. Hyperbole? Perhaps. But the Washington state trio of Ben Verellen (guitar, vocals), Dana James (bass, vocals), and Hozoji Margullis (drums, vocals) delivers the kind of expertly crafted, dynamic, nuanced, and diverse songwriting that is both instantly engaging and—as evidenced by their previous albums Night Terror (2008), Weatherhead (2011), and Sleepwalking Sailors (2014)—increasingly gratifying after years of repeated listens.

With Stillicide, Helms Alee continues their sonic tradition of blending heavy riffs, dark guitar pop, and math rock into songs that are at turns brutal, anthemic, and cerebrally engaging. Starting with the syncopated poundage and epic piano line of “More Weight”, Helms Alee demonstrates that they’ve fortified every angle of their attack. You want amp worship? Try to find a more barbaric chug than the riff in the appropriately titled “Galloping Mind Fuk”. You want melodies so powerful you break out in goosebumps? Try to quell your follicles during the final crescendo of “Tit to Toe”. You want one of those proggy odd-time signature moments where you can flex that you know where the “1” falls while banging your head? Listen to “Bullygoat” and bask in the knotty introductory guitar line that sounds like Duane Denison fucking with Depeche Mode’s “Personal Jesus”. Relish the brutalage of the title track. Savor the minor-key jangle of “Andromenous”. Ride the tumultuous tug-of-war between savagery and serenity in the album closer “Worth Your Wild”.

After nearly a decade of existence, one can only assume that a band is either entering their sunset years or striding with such artistic strength and confidence that they are creating a whole new legacy for themselves. With Helms Alee, it is obviously the latter scenario. The band set a high bar for themselves with their spectacular debut album Night Terror, but every subsequent release has trumped their previous endeavors. Bolstered by the recording and production expertise of Kurt Ballou at God City Studios, Stillicide is not only the group’s strongest collection of songs, it is arguably their best sounding release to date. The heavier moments are that much more oppressive; their melodic angles are that much more beguiling, and the juxtaposition between Verellen’s patriarchal roar and the siren song vocals of James and Margullis is that much more exhilarating. If there was only one band you could listen to for the rest of your life, Helms Alee would satiate most every emotional yearning. And if you could only pick one of their albums, you’d gravitate towards the best document of their textural range and songwriting chops. You’d gravitate towards Stillicide. - by Brian Cook
Pushy
Good time rock and roll for river doggin', hot doggin, grillin, chillin, bangin, chooglin, booglin, makin out, hangin out, catchin trout.
C-Average
C Average is made up of two heshers who seem capable of defending any hamlet or bog from the vilest evil, so swift are their punishing riffs spraying forth like a hail of poison-tipped arrows, so sharp are their hooks tearing at the flesh like the claws of falcons. The medieval-themed fantasy world of Dungeons and Dragons registered profoundly with these two chaps, causing them to invent a metal band that goes well beyond Iron Maiden in its obsession with all things chivalrous and regal. Sounding like a herd of galloping oxen with a dragon at their heels, C Average uses a simple guitar and drums assault to create a virtual battlefield of dueling knights, headless dwarves, and demented wizards. "American Jim" is a sludgy Sabbath-like beast which eventually launches into an early-Metallica-like, super-fast-paced, knock-over-all-the-Marshall-stacks-style mosher, while "Genericube" is about an unhappy robot or something like that, but in a minute's time dives into shark-filled moats and scales impenetrable towers. Songs such as "Usurper Girl," "Dr. Laura," and "Forged in Birmingham" rock with the heaviness of an anvil landing on a warlock's foot and the speed and agility of a bat nabbing a baby. Also, the covers of the Sonics' "He's Waiting" and ZZ Top's "Beer Drinkers and Hellraisers" will kick your elfin ass from here to Narnia.

-All Music Guide
Marriage + Cancer
Marriage + Cancer
Marriage + Cancer sounds off from the jagged recesses of domestic landscape, their self-titled debut letting out a bellicose & harrowing howl into today’s political & social voids. Rising from the ashes of K Records band Nucular Aminals, vocalist/guitarist Robert Comitz reformed the band under its new moniker, shedding the former’s organ grinding & jaunty goth riffs for a heavier approach ranging from the thumping bass of album opener “Command + Comply” to the early-Sonic Youth-esque riffing of “Gound” to the rhythmic expanse of “View From A Cross.”

FFO/RIYL: Metz; Drive Like Jehu; The Jesus Lizard; Young Widows; Nirvana; Multicult; Vaz

Recorded at Stop/Start Studio in Portland OR, the album was engineered by legendary producer Billy Anderson and mixed by Brent Asbury, mastered by Brad Boatright at Audio Siege, with Robert (guitar/vocals), Jay (guitar), Christian (bass) and Chase (drums).