On new album Reassemblage—recently given a coveted Best New Music tag by Pitchfork—it’s often hard to tell if you’re hearing a synthesizer or vocoder.
LP3 is the sound of Alto finding greater success creating unworldly sounds out of humble basement jams, offering something for anyone who appreciates bearded men playing the triangle in one breath and a stoner-rock power-chord slam the next.
The 23-year-old mixtape phenom has matured to the level of a conductor, dynamically belting and whispering vocals and orchestrating the audience as a literal chorus to complement the cult figure-as-legend idolatry on stage.
The 10 songs on Orchid Milk have an Enya-like quality, an artist’s call to the heavens and ancestors past through looping delay-drenched harp and Björk-style vocal manipulations.
With 11 guest vocalists and 11 producers coming together for 14 tracks, it’s not only a testament to the rapper’s range as an MC but a nod to the diversity of collaborative talent in Portland—and a singular statement presented by the multimedia collective Futro Records.
Paul Dickow has employed many guises over the years, but none wears his sonic environment quite as well as his latest, “Information Pollution.”
To the underground dance music community, 1080p opened up a new channel for expression.
If you want to see how club culture in Portland has evolved, look no further than Verified. Once a scene defined by the dready massacre of Groove Suite and the lurid bro-scape of the Crown Room, the 2-year-old monthly event has created an all-encompassing party, drawing a diverse roster to rave out for a stacked crowd.
Inspired—and funded—in part by the large-scale industrial sound design of the tour, Lopatin holed himself up in a windowless basement studio somewhere in Brooklyn last winter for up to 17 hours a day, working on his seventh studio album, and second for Warp Records, Garden of Delete.