Dead Meadow – Tickets – Mississippi Studios – Portland, OR – April 21st, 2018

Dead Meadow

Stumpfest VII

Sold Out: Dead Meadow

Sumac, Dommengang, Future Usses, Rajas, Däs Mortal

Sat, April 21, 2018

Doors: 6:30 pm / Show: 7:30 pm

$25 ADV / $30 DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seats

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Dead Meadow
Dead Meadow
Dead Meadow’s unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss, and singer Jason Simon’s high-pitched melodic croon have won over psychedelic pop/rock and stoner rock fans alike. Although the band’s members met while attending all-ages shows in and around Washington, D.C.’s punk/indie scene, the trio draws more of its sound from such classic rock legends as Pink Floyd and Black Sabbath. The trio formed in the fall of 1998 with singer/guitarist Simon, bassist Steve Kille, and drummer Mark Laughlin. The three members set out to fuse their love of early-’70s hard rock and ’60s psychedelia into their distinct sound.

They released their eight song debut album in 1999 on Fugazi bassist Joe Lally’s Tolotta Records and a joint vinyl release on D.C. indie label Planaria Records. In 2001, the band released its second and third albums, Howls from The Hills and Dead Meadow, on Tolotta. Within a relatively short period, the D.C. trio received offers to tour with everyone from local D.C. hipsters The Make-Up to seedy psychedelic rockers Brian Jonestown Massacre; eventually, they landed the opening slot for high-profile indie veterans Guided by Voices. The group was also invited to record live for longtime cutting-edge British radio personality John Peel for BBC Radio One. Got Live If You Want It! arrived in 2002; that year, the band lost Laughlin and found a new drummer in Stephen McCarty.

The band moved to Matador Records for 2003’s breakthrough Shivering King and Others. Cory Shane joined the band in time for 2005’s Feathers. Their fifth studio album, Old Growth, followed in 2007. In 2010, Dead Meadow released Three Kings, a live album and concert film in the tradition of The Song Remains the Same. Later that same year, an Australian tour was announced that would include original drummer Mark Laughlin, eventually developing into a full-on reunion tour of the U.S. and Europe and Laughlin’s permanent return to the band as 2011 began. The group spent a long, patient time self-producing and recording 2013’s epic double-album-length release Warble Womb, the first Dead Meadow album made by the all-original lineup since 2001.
Sumac
Sumac
The seed of SUMAC was planted somewhere around the end of 2010 or the beginning of 2011, sown upon the smoldering ashes of guitarist/vocalist Aaron Turner’s former band ISIS. Turner had seen his prior project reach full fruition over the span of thirteen years, and it had reached the end of its lifecycle. ISIS had come to define an entire genre of architecturally meticulous and sonically nuanced metal, but at some point all the corners had been mapped, all the fortifications constructed. There was nothing left to build. Turner continued his musical path contributing to the deconstructed panoramic soundscapes of Mamiffer, the misanthropic crowd-baiting sludge of Old Man Gloom, the exploratory electrical whirr of House Of Low Culture, and a slew of studio projects running the gamut from slow-crawling minimalist pop (Jodis), to fiery d-beat punk (Split Cranium). In the midst of all these endeavors however, Turner tended to another venture, one that germinated slowly, its DNA already charted but its flesh still to develop.
SUMAC finally began to bloom in 2012 when Turner caught a set by Vancouver’s raging crust band Baptists. Drummer Nick Yacyshyn stormed through the songs, supplementing the band’s blitzkrieg energy with dexterous idiosyncratic fills and modulating drum patterns. Turner realized the rhythmic underpinning had been found, and shortly thereafter made contact with Yacyshyn. With this duo now comprising the core of SUMAC, the band developed quickly. Their debut album sprouted from a set of carefully composed guitar demos, a string of intensive days holed up in the forests of Vashon Island for writing and rehearsals, and a quick recording session booked while the songs were still growing. Turner recruited Brian Cook (Russian Circles, These Arms Are Snakes, Botch) to fill in on bass duties, hammering out the low-end lurch and cementing the foundation to the songs. The Deal was born.
With SUMAC, noting the members’ prior accomplishments isn’t an indirect excuse for The Deal’s existence; it’s a road map through the briar of their jagged labyrinthine compositions. Across the span of the album’s six songs, SUMAC takes multiple turns through unexpected territories: textural hums, math-metal, harsh noise, Caspar Brötzmann-inspired free-jazz. But all roads lead to a destination that epitomizes the members’ passionate dedication to heavy multi-deminsional music—bludgeoning riffs, tension-building structures, disorienting seismic shifts in tone, timbre, and tempo. If there was a simple way to summarize The Deal, it’s that it’s an incredibly smart and emotionally sophisticated record, which may initially appear as a single minded brutish assault. SUMAC is not suited for cursory listening.
Dommengang
Dommengang
Dommengang’s music is expansive and driving. The band’s songs are propelled by a killer rhythm section and fronted by Sig Wilson, a mainstay of the Pacific Northwest psych scene. He is joined by Brian Markham and Adam Bulgasem, themselves life-long musicians and connected to the DIY scenes on the West and East coasts. While the trio’s affection for electric blues and proto-punk bombast is clear, their music abandons traditional song structures and replaces their recognizable tropes with progressive frameworks.
Future Usses
Future Usses is a new band consisting of Intronaut guitarist and vocalist Sacha Dunable, ex-Bereft drummer Derek Donley, and ex-Mouth Of The Architect guitar player Dan Wilburn.
Rajas
Rajas
Rajas (Sanskrit) is a philosophical principle that promotes or upholds the activity of action, change, mutation, passion, excitement, birth, creation, generation in Nature.

Rajas have just finished their second full-length LP "INFIDELIC" to be released in Spring 2015. Rajas' current lineup consists of
Ben Sherazi on guitar/vocals, Gino Barboni on drums, Paul Jones on keys/bass, and David Timnick (Intronaut) on bass/guitar.
The new record features guest players including Danny Carey (Tool), bassist Jimmy Earl (Jimmy Kimmel), and tabla master Aloke Dutta.
Rajas started in 2010 with songs written by Los Angeles composer Ben Sherazi—unorthodox harmonies woven through driving, hypnotic rhythms. Dissonant guitar-scapes with a chaotic underbelly. The debut record features guest drummers James Maxwell and Aaron Harris (Isis, Palms), and Co-producer Gino Barboni. When the time came to play the material live, Paul Jones came in on bass, along with Gino Barboni on drums, and longtime Timothy Leary associate Vince DeFranco on analog synthesis and a ‘69 Fender Rhodes.

Rajas’ live performances garnered attention for their dynamic range and unpredictability. The strength of the live show led Tool to add Rajas as the support act on their 2010 North American summer tour.
Däs Mortal
Formerly known as Elektro-boy, Cristóbal divided his music into two distinctive projects. Das mörtal is the more uplifting electro, new wave and techno side of his work. While Buttonsinker encloses an experimental, ambient and minimalistic sound.