SOLD OUT: Shellac – Tickets – Mississippi Studios – Portland, OR – October 4th, 2018

SOLD OUT: Shellac

Legendary Chicago punk/post-rock trio featuring iconic producer Steve Albini

SOLD OUT: Shellac

Buke And Gase

Thu, October 4, 2018

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

$18 ADV / $20 DOS

SOLD OUT

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

Shellac
Shellac
It's hard not to love Shellac. More likely to play Reykjavik than Detroit, and more likely to release songs on flexi-discs in Dutch comic books than provide MP3s on their website, Shellac (or Shellac of North America) will always be known for doing it their way. Being able to operate completely outside the typical machinations of music -- independent or otherwise, their press sheets typically exclaimed "no free lunch," referring to promo copies -- the trio carved out a sizable niche in the sewage-infested gutters of underground rock & roll.

Started in an informal setting between infamous engineer and guitarist Steve Albini (ex-Just Ducky, Big Black, Rapeman) and drummer Todd Trainer (ex-Rifle Sport, Brick Layer Cake) in 1992, Shellac came into full formation after Albini invited bassist Bob Weston (ex-Sorry, Volcano Suns) to move to Chicago and employed him as an engineer at his studio. A clutch of singles soon appeared in 1993 and 1994 on Touch and Go and Drag City, somewhat following in the footsteps of Albini's Big Black, if only due to his trebly, cutting guitar work and deadpan vocals. As with Big Black, Shellac provided a forum for Albini to air his thoughts on the uglier side of humanity, though lowering the perversity and upping the humor a notch. (An early claim was that all Shellac songs concerned either baseball or Canada, sometimes both in the same song.) The odd rhythms of Trainer and rumbling bass of Weston clearly removed Shellac from any of the members' previous involvements. Laying the groundwork for Shellac's following output, their sound varied little since the initial recordings. Always featuring a raw sound, the band's recordings rarely (if ever) employed overdubs. Economy and precision are always at the top of the priority list.

They are definitely one of the best sounding bands in the world. And they still manage to be as weird as all get out. Sonically, their recordings are so loud and live sounding. The players are unbelievably tight and efficient. The drums are like a machine, way up in the mix, driving the songs, so precise and perfect, but somehow still impossibly groovy. The arrangements are simple, but manage to be intense and convoluted and confusing at the same time. Albini is the absolute master of the jagged angular riff.

Stripped down minimal math rock, no one does it better.
Buke And Gase
Buke And Gase
Buke and Gase members Aron Sanchez (him) and Arone Dyer (her) are back with their first album in six year, Scholars. In that gap, the duo have become established underground icons-collaborating with or acting as hand-picked support for fellow icons like Shellac, Battles, Reggie Watts, Animal Collective, Lou Reed & Laurie Anderson. Arone contributed vocals to the lead single from The National's Grammy-winning, Triple A #1 charting Sleep Well Beast album. And they stayed busy as live performers, earning coveted support tours with The National (2017 Europe), Shellac (2018 USA) and Battles (2015 UK + USA) while performing select headline & festival dates in Los Angeles, New York, Chicago, Wisconsin's Eaux Claires festival and Taiwan & Thailand.

Three years ago, Buke and Gase embraced electronic music and embarked on a major refinement & modernization of their instrumental creations. They developed Arx, a device that revolutionized their performance by allowing them to trigger percussive sounds, change effects on their instruments, and control vocal harmonies with the punch of an arcade button. They have largely retired the buke (bass ukulele) and gass (guitar-bass). Their new album Scholars began not as the title of their new record, but a possible-new moniker for the band. The new LP is still experimental music but it embraces electronic sound and is more emotional & concise than previous efforts-and equally full of grooves & earworms.

[OPTIONAL: Stereogum, Pitchfork, Radiolab, The Needle Drop & NPR Music have all praised the band's music while Scholars has seen them picking up support and features in the new wave of online sites like the tech-focused Ars Technica and the Kickstarter-funded arts publication The Creative Independent and the United Kingdom's 'big 3' print music magazines (Q, Mojo and Uncut). Says Pitchfork of the new music: "The melodies are huge, unfurling as multi-colored banners in the sky. ... The production here snaps with the clarity and force of stadium-sized headbangers.. With an eye toward the innovations of contemporaries working in similar modes, Scholars exists on its own proud terms-suggesting the authority of a peer-reviewed entry to the canon."]

Long-time supporters NPR Music sum up their music like so: "No other bands sound quite like the duo of Buke & Gase..."

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