Pickathon Announces 2019 Lineup

This week Pickathon announced its initial lineup for the 2019 festival, to be held in the woods of Pendarvis Farm in Happy Valley, just outside of Portland, Oregon from August 2-4, 2019. Pickathon has built a reputation over the last twenty years as it has increasingly evolved its festival experience to include groundbreaking programming focused on discovery, sustainable ethics, and a lineup that pushes the boundaries of genre. This vision is clear in the diversity of Pickathon’s initial lineup, which brings together well-loved Americana, doom metal, North African desert blues, Congolese experimentalists, as well as local talent.

About Pickathon, Eric Johnson of Fruit Bats says “You’ll never see more musicians watching other musicians. I’ve always likened it to a dog park for bands. I love running around with the other pups at this thing. It creates a completely unique unfiltered atmosphere that anyone watching can feel, even if they can’t explain it.”

Start preparing for Pickathon now by listening to the Pickathon Spotify playlist and checking the Pickathon website for information and tickets.

Pickathon 2019 Lineup

Nathaniel Rateliff & The Night Sweats
Khruangbin
Mandolin Orange
Nathaniel Rateliff
Tyler Childers
Lucius
Preservation Hall Jazz Band
Fruit Bats
Mountain Man
Caamp
YOB
Damien Jurado
Lambchop
Laura Veirs
Julia Jacklin
The Marías
Miya Folick
Sudan Archives
Bonny Light Horseman
Mdou Moctar
Courtney Marie Andrews
Lido Pimienta
Cedric Burnside
Town Mountain
Jupiter & Okwess
The Beths
B Boys
Our Girl
JJUUJJUU
Sneaks
Young Jesus
Sam Evian
Black Belt Eagle Scout
Flasher
Mike and The Moonpies
Nap Eyes
Soft Kill
H.C. McEntire
Helena Deland
The Cordovas
Lauren Morrow
Bodega
David Nance Group
The Po’ Ramblin’ Boys
Virginia Wing
Garrett T Capps
Martha Scanlan
Gold Star
Colton Turner
&more (Chill Moody & Donn T)
David Bragger & Susan Platz

The Sexbots Release The Powerful Cat-Lady Album “I Always Knew You Were A Bitch”

Some people will make the point about electronic music that anyone could make it, and I would agree: it is a span of genres that can be incredibly accessible to make music creation more available to more people so that we can have more awesome music in the world. However, I would argue that while it is, perhaps, “easier” to make electronic music, it takes a special kind of creative person to take it in a direction that is both boundary pushing and familiar at the same time. Sure, anyone can make a beat, a bassline, and slap vocals over it, but it takes someone with a real great set of visions to make a work of art that will be talked about for years. The Sexbots’ Ilima Considine is one of these minds, and “I Always Knew You Were A Bitch” is a one of a kind Album.

Vocally, she has the incredible ability to whisper with the power of seven tornados that have captured freight trains ‘Wizard of Oz’ style. Musically this album is a really interesting mix between hard hitting pop and mellow avant garde hip hop, and all dance party. The hooks are incredible, and lyrically really engaging, from the Sexbot bandcamp page:

Towards the end of 2017, The Sexbots’ Ilima Considine called her work as she walked out of the courthouse with a stalking order against a co-worker. The Sheriff’s Department was going to serve him during his shift the next day. Her workplace responded by cutting her schedule to 5 hours a week- virtually firing her, because, “You’re the one with the problem.” Ilima was so mad that she went home and wrote a rap album about losing all her fucks and becoming a cat lady. Recurring themes of violence, street harassment, choosing loneliness over sleeping with the enemy, and quietly watching one’s life disintegrate – The Sexbots’ seventh full-length album “I Always Knew You Were a Bitch” is titled after a common response to a sexually unavailable woman or one who protects other women.”

As someone who has the experience of being in art circles, music circles, or really any social scene, and being present and part of the quiet whispers & warnings between folks about dangerous men who do dangerous but “normalized” things to us, I felt a lot of things while listening to this album. It really hit home and reminded me of all those hushed conversations, all those times that I and others have tried but failed to hold someone accountable, and the times that I have entirely left music networks altogether. One would think that would make me feel bad, but instead these songs makes me feel really powerful, like screw it, I am doing my own things right now. I am not sure that is how everyone would react to it (everyone has their own reactions of trauma) but I loved this album.

Give a listen to “I Always Knew You Were A Bitch” today, buy it, and go see The Sexbots live at the CD release show on Feb 9th at Bit House Saloon!

When We Met’s New Single and Music Video are Oh So Relatable

The dynamic duo, When We Met, has been playing in Portland for several years now, and is well-known for their high energy live set. The duo, consisting of Melissa Dorres on bass and vocals and Bryan Casey on guitar and vocals, cite influences as diverse as Cyndi Lauper, Devo, and Ween. Recently Dorres became Portland-famous with an in depth article called “Getting Bass-ic” in She Shreds magazine on all the things to consider when buying a bass guitar.

Photo Credit: Roderick Allen Photography

The duo released a brand spanking new single and music video on January 13. It’s the third cartoon-style video that they’ve done with cartoonist/director/actor Zachary Whitmore. Melissa explained that the song, Falling Apart, was “inspired by depression, the hopelessness and acceptance of it all.” She described the song as “an ode to social anxiety.”

The song starts with their characteristic guitar riffs, blissed out vocals, and the lyrics “I don’t know. I don’t care”. The following verses become more driving and the lyrics describe what it’s like to be a recluse and hiding from reality- “I just live my life. I don’t go outside.” Whitmore’s interpretation and cartoon skills are a highlight of this new must-watch music video.

When We Met’s next gig is at the Hawthorne Hideaway on Saturday March 9. Check out their website for more info and links to their albums and videos. If you’re still enjoying this music review, please consider clicking on the sidebar to listen to the Portland Notes on-line stream and subscribing to the Portland Notes music blog so you can stay in tune with Portland’s amazing local music.

The Colin Trio at McMenamins Grand Lodge

The Colin Trio is songwriter Colin Hogan on vocals, guitar, and piano; Brian Link on bass; and Matt Ramsdell on drums and percussion. The Trio combines jazzy, country blues with Southern soul, led by Colin’s sultry vocals. In early December, they played the middle set of the evening, as a guest of Tara Valarde, who enjoys a once-a-month residency at The Grand Lodge, and often has guests in tow. The trio’s music is being played on the radio stream, and Colin was interviewed by Kelly Jones in early 2017.

This being Colin’s first visit to The Grand Lodge, there were a couple of things she didn’t know. First, the “Garage Door” location actually *has* a garage door. Knowing this would have made trekking in the gear much easier for her and the band. Second, there is an outdoor soaking pool down the hall, so it is commonplace to see people wandering about in white bath robes. With those wandering robes in mind, let’s join The Colin Trio on stage doing “Simple Sweet Something”.

Link to video

Dakota Slim’s “Cactus Crown” is Incredible, Artistic, and Astral

I have read a lot of reviews about Dakota Slim’s most recent release, title “Cactus Crown”, which came out over this past summer. I have taken that summer and the proceeding fall to exist within its haze, letting it weave a tapestry of astral environments for me to meditate around, a map that corrects itself somewhere between it’s original intentions and my own perspectives and paradoxes. It is easy to see where many folks get visions that produce reactions to “Cactus Crown” like: “Spaghetti Western”, “Cinematic”, and “Psychedelic Folk”. But there are some other reactions that my body has when I consume it’s creation. It is intentional. It is painstakingly crafted and recrafted. Dakota Slim has placed so many intelligent incracisies into this great work that every listen has a different dimension to it. Beyond all that it sounds professional: every part of this album is exactly as it should be, finding its way somewhere at the perfect intersection between overdone and creatively interesting. At the bottom of those waves it finds its home as a wonderful piece of artistic integrity: of someone finding themselves and sticking to their guns, and becoming exactly who they want to be. A lifelong process, surely, but albums like these are very nice waysigns, guide posts, and rest stops which can help us along the way.

That last paragraph had 222 words in it, which I decided was a neat enough looking number to look up the Occult Meaning of. I don’t know this kind of information off hand, because my memory is awful, but I came up with a ton of awesome information: “Serpent’s Eye”, “Good Mountain”, and many more. I have not taken up the time to decide which one of these I like, but I get a good feeling like I am on the right track when I see or hear something that gives me a fuzzy feeling on the back of my neck, somewhere below the backside of my crown and just in between the bottom of my shoulder blades. I am not %100 sure of the rituals that lead to the creation of “Cactus Crown”, but I do know that when I listen to this album I receive that sort of “ASMR” feeling that lets me know I am somewhere on the right path. These Eight Songs come together, in my listening experience, as a sort of meditative and forward moving ghost opening up that which is closed. The rhythms are just the right cradle between odd and familiar, the vocals are a whispering secret that can be heard voiced both in sands and alleyways. Spirituality aside, there is a lot of ambiance and alchemy between genres in this record, combining what sounds like a mixture of electronic beats on some songs, sampled drums, sampled horns, sampled everything. As a creator myself, I can feel certain parts that build and jive on themselves, and I can visualized the sort of cheshire smile that might have appeared on the songwriters face before a nod that signifies a “yeah, I got it that time”. This album, despite being artsy as hell, transcends being too pretentious because it sounds like it was extremely exciting to make. When music is just plain FUN to create, you can hear it when the record eventually comes out.

So pick up this indie-acoustic-spaced out but rhythmically interesting album soon, and support Dakota Slim’s other projects: such as the Open Source Art Religion & Collective We The Hallowed and Podcast “Pragmagick”. He always has something interesting up his sleeve, and I for one, am always interested to see just how deep those magicians robes go!

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