Listings

Please note: Some showtimes have been moved. Please check musicfestnw.com for latest showtimes.

5:30 PM

Deerhunter

7 PM

Grizzly Bear

8 PM

Sketchy Ted

[SKA-TINGED POP] Portland's own Sketchy Ted—which lovingly refers to itself as "the city's most eligible bastard"—offers a good, old-fashioned power-pop blend of chunky chords, singsongy choruses and catchy melodies. Combine those radio-friendly hooks with a few ska-tinged horns (think late-'90s college radio), and it's safe to say Sketchy Ted has a stranglehold on familiarity. AK.

DJ NEX REXUS

[SHOEGAZE] NYC-based DJ Nex Rexus (think anyone calls him Sexy Rexy?) mentions the word "shoegaze" (not to mention "psychedelic") roughly a gazillion times on his MySpace. And it's no wonder: The man loves him some shoegazin' psych-rock in the vein of—well, whaddya know—in the vein of pretty much every band on the Fez's bill tonight. AM.

Broadway Calls

[POP PUNK] Falling closer to the Ataris than Fall Out Boy on the pop-punk color wheel, this Rainier, Ore., band is the kind that lives in the CD collections of most early-twentysomething indie scenesters, even if it never migrated to their iPods. Catchy and melodic yet pretty formulaic, this is music for the kids to pump their fists and sing along to. BS.

Logan Lynn

[ELECTRO POP] It's obvious Logan Lynn never stopped obsessing over the Postal Service—not that that's a bad thing. Lynn, along with local producer Carlos Cortes, crafts hooky electro-pop tinged with equal parts melancholy and party-starter. Built of simple beats and straightforward emotion, Lynn's music charms its way into your skull with definite ease. MB.

Anne Montone

[DANCEABLE SOUL] Considering she moonlights as the lead vocalist for downtempo trip-hop outfit Elephonic, you'd expect Anne Montone's own music to have a beat (which it does). But this L.A.-based crooner also went ahead and dished out the soul on her solo debut,

—and she brings along a few ambient textures, to boot. AM.

GIFFORD PINCHOT

[DARK ROCK] Local trio Gifford Pinchot has the kind of thick 'n' prickly rock sound that made Sunny Day Real Estate so intriguing back in the day, but GP's led by the lilting vocals of bassist Stephanie King (rather than Jeremy Enigk's dramatic whine). Her hubby, Jesse, adds a wicked, minor-sounding guitar to the mix, and drummer Brian Netherton (a longtime member of the Portland music scene) rounds thing out with deep, thunderous drumming. AM.

Narwhal vs. Narwhal

[QUIRKY POP] Obnoxiously named bands don't always make obnoxious music—this Portland quintet confirms it. In fact, Narwhal vs. Narwhal excels at artfully crafted, massive indie-pop arrangements: Horns, funny synth noises and swooping hooks combine to make songs with enough quirk to pique your interest and enough pop to qualify as irresistible. MB.

Kurt Hagardorn

[SONGWRITER'S POP] North Carolinan transplant Kurt Hagardorn makes music you recognize but can't quite place: '70s-esque, country-tinged pop tunes you might land on after fishing through the AM radio dial. His debut,

, is full of Sunday-morning breakfast music that harkens back to the days before country was a dirty word, when expert studio musicians made everything on a record feel like home. CJ.

Dagger of the Mind

[BARD-CORE] Occasional

freelancer Jason Simms' "bardcore" band, Dagger of the Mind, is sort of a no-brainer. Shakespeare and metal, like pie and ice cream, were meant to be together. But seldom is pie so sweet, or ice cream so creamy. DOTM dresses in period garb, then proceeds to rock you with screaming guitar, prog keys and Simms' soaring (and only half-joking) vocals. Thou rockest. CJ.

9 PM

Chris Tsefalas

[ROOTS POP] The infectious, ebullient, instantly hummable tunes on Chris Tsefalas' 2004 debut,

, were almost too catchy—day-brightening nuggets that force a smile no matter how bittersweet the lyrics. Tracks from his upcoming sophomore release, while still showcasing the local artist's melodic gifts, promise a darker, rootsier take on Tsefalas' still-gorgeous pop. JH.

Highway

[DESERT ROCK] Highway's "claim to fame" is that Pete Holmstrom of the Dandy Warhols plays as an active member of the group. Really, though, the group is the singer Rob Bond's project, and the name "Highway" perfectly embodies its sound: This is hazy desert rock, the perfect soundtrack for a road trip through the Southwest. DCC.

GRAND OLE PARTY

[FEMME ROCK] Grand Ole Party frontwoman Kristin Gundred openly cites ladies like Tina Turner and Grace Slick as influences, and she makes no secret of such heroes when crooning along to her trio's angular indie rock. Much like Karen O (the Yeah Yeah Yeahs), Gundred throws out her wicked alto and reels it back as if she's wielding some sort of vocal lasso. Oh, and she's the drummer, too. Say it with me now: "bad-ass." AM.

Au

[SCREWED FOLK] The little band (literally: It's centered on one person) that could, Portland's Au appeared—almost blindingly so—with a self-titled debut that easily ranks among the year's best (already!). It's absolutely captivating, blissed-to-the-clouds crumbled pop and screwed folk that finds Au main-man Luke Wyland taking on and corrupting the ethos of the Animal Collective family to marvelous effect. MB.

Drakes Hotel

[DREAM POP] Drakes Hotel, the duo of Amy Drake and Chris Y, crafts dreamy indie-pop interlaced with noisy electro and a distinct tinge of '90s alternative (maybe it's just the cute redheaded frontwoman, but Garbage comes to mind). Those ready for a college-rock flashback, strap on your seatbelts—you're in for a glossied-up, shoegaze-y joyride. AS.

Sinking Ships

[HARDCORE PUNK] There are two types of hardcore: shitty emo bullshit peppered with girly screams and occasional breakdowns (think Poison the Well), and punk-inspired anthems with political undertones (think Minor Threat). Seattle's Sinking Ships walks the line between the two. These dudes are pissed off, but instead of crying about it, they just beat the crap out of their drumsets. PR.

Riddenpaa

[DRONE POP] Riddenpaa shows are few and far between—inexplicably and inexcusably! The trio of Fryk Beat records co-founder and film director Eric Johnson (programmer, bassist and drummer here), the soaringly voiced Shayla Hason (also manning the keys) and drummer/vocalist Dana B, Riddenpaa creates lovely, drifting indie pop. Informed by both beat and drone, this compares to very few things in the indie canon. MB.

Barry Hampton & the Triple Grip

[NEO-SOUL] "Baltimore chocolate in a Portland shell": That's how Barry Hampton describes himself on MySpace. But, considering the funk-leaning soul singer and guitarist sports a serious Prince jones and counts Tom Waits, Elvis Costello, XTC and the Clash alongside Monk & 'Trane, Stevie, Bootsy and KRS as his influences, perhaps "box of chocolates" would be more apt? JR.

Hazelwood Motel

[GENTLE INDIE-POP] The trio of guitarist Ed Vierda, keyboardist Megan Pickerel and drummer Patrick Smail, Seattle's Hazelwood Motel has a penchant for haunting, gentle sounds. Pickerel's soft, warm voice leads the affair, and simple folk-pop instrumentation (chiming piano and bright acoustic guitar) fills in the gaps. This band is still working on its first record, but it already counts Herman Jolly (see listing, page 38) among its ex-members—holla! AM.

Pistola

[TRASH ROCK] At first, you'll think Vancouver, Wash., quintet Pistola has a serious penchant for the crooning, emotive hard-rock vocals of Tool's Maynard James Keenan. But Pistola songs inevitably pummel that assumption, bursting into strained screaming reminiscent of a more in-your-face Blood Brothers (if that's possible). It's a dark, combustible affair that emulates heroes of hard rock while aiming toward popular acceptance. AM.

Typhoon

[FOLK ONSLAUGHT] Portland's Typhoon, a clattering, 11-plus-member posse, arranges jangling folk and rogue instrumentals that move with glorious old-time momentum. But beware: Once engulfed in these wailing sailors' harmony-stricken ballads of the open sea and lost love, you may forget all about landlubbin'. Get your sea chanty on at your own risk! AS.

Invisible Rockets

[JAZZ POP] Like the Sea and Cake, the modest, slightly jazzy pop-rock of Portland's Invisible Rockets is, overall, enjoyable and harmless. Between the intelligent songwriting and strong musical abilities lies a thinly veiled simplicity that lures you in, along with vocals that reciprocate the dynamism of Jonathan Richman, David Byrne and, not surprisingly, Sam Prekop. TR.

Eskimo & Sons

[FOLK POP] Eskimo & Sons' Danielle Sullivan has the kind of voice that's so good it hurts. It's so earnest—something akin to an indie-pop Loretta Lynn at 19 years old—that it makes you downright uncomfortable. Place it over the band's bouncy folk-pop arrangements (speckled piano, rich strings and shuffling percussion) and throw in songwriter Dhani Rosa's penchant for hip-hop-inspired wordplay, and you've got yourself something darn special. AM.

Blöödhag

[DEATH METAL] There's something endlessly charming about a literate rock band, let alone a literary metal band. You'll have to break out your Satan-gurgling-blood decoder to appreciate many of the lyrics, but Seattle's BlöödHag pays homage to everyone from Edgar Allen Poe to Aldous Huxley within its churning, doom-ridden mini-bios. Imagine a

where Ozzy's the dean and Pantera leads the band, and you're getting close. AM.

10 PM

Casey Neill & the Norway Rats

[SINGER-SONGWRITER] In addition to being a scathingly sincere folk-rock vocalist and impressively literate songwriter, Portland's Casey Neill is a heckuva nice guy. How else could he lure Decemberists keyboardist Jenny Conlee, ex-Decemberists drummer Ezra Holbrook, local fave Little Sue and sideman-to-the-stars Lewi Longmire to back him? If Portland had a folk-rock all-star team this'd be it. JR.

The Hugs

[LOVABLE ROCK] The young fellas in the Hugs play music that, appropriately, feels like having two big, warm arms wrapped around you—an embrace of pop jangles, garage-rock guitar riffs, angsty yelps and bittersweet harmonies. And this Portland troupe isn't just charming the locals: British weekly

recently plugged the band, and A&R guy James Endeacott (known for discovering the Strokes) likes 'em, too. DCC.

JOHNATHAN RICE

[SINGER-SONGWRITER] L.A. via NYC via Glasgow wunderkind Johnathan Rice has the kind of deep and lovely, deadpan delivery that makes lines such as, "An investment banker started something/ So I broke his neck" sound like bravado. But the same delivery almost makes you believe him, too—as if he might snap at any moment. If it weren't for all those poppy melodies and twinkling folk sounds, I might be a little freaked out. AM.

Goddamn Gentlemen

[GARAGE ROCK] Amid squatter enclaves, tales are whispered of a mighty garage cadre that's raucous, booze-drenched onstage im-/ex-plosions were overshadowed only by the chaotic ferocity of its tunes—freewheeling, hell-for-leather, Farfisa-fueled forays through the darker alleyways of Northwest proto-punk. One day, the legends foretold: Goddamn Gentlemen shall again rock the earth. That day, MusicfestNW-goers, has come. JH.

Tiny Vipers

[FREAK FOLK]

The Upsidedown

[SEXY SHOEGAZE] It's official: The Upsidedown is stoner-tested, Dandy-approved—no doubt thanks to its fuzzy, psychedelic rock and creepily romantic, breathy vocals. And this drone-leaning outfit should cater just as well to fans of its members' former tenures (Bella Low, Out Crowd) and the Jesus and Mary Chain. Consider it blissful music made for a good set of headphones and a loaded bong. DCC.

Shook Ones

[POST-HARDCORE] What blink-182, NOFX, etc., are to punk, bands like Shook Ones are to hardcore (and, indeed, Shook Ones' goal is to tour with NOFX). If "hardcore pop" isn't an established sub-genre, it should be. Seattle five-piece Shook Ones draw comparisons to Kid Dynamite and Lifetime—and give you a side of melodies with your shouting. BS.

Velella Velella

[ELECTRO FUNK] The electro groove of Seattle's Velella Velella is about as infectious as dance music can be. With its porno-funk guitar hooks, soulful lyrics and slappy bass, it's damn near impossible not to move along to the sexy, futuristic thump. The quartet seamlessly blends classic funk and soul with a decidedly electronic edge. BS.

Redray Frazier

[ACOUSTIC SOUL] When local soul singer Redray Frazier sings about love—be it unrequited, deeply romantic or booty-callin'—you feel it. Verging on funk and reggae territories, Frazier's debut,

is full of lusty lessons, and his smooth voice and acoustic guitar skills will have you heeding its request in no time. AM.

Southerly

[INDIE POP] Portland producer, booking agent and record maven Krist Krueger has an archetypal indie-rock name, but his moody music-making moniker is Southerly. He's recently transitioned the brand from a solo project to a full band that subtly and sensitively fleshes out his soundscapes, blending bedroomy lo-fi electronica with organic instruments in a pleasant, well-balanced way. JR.

Sky Cries Mary

[NEO-PSYCHEDELIC] Sky Cries Mary's guitar-heavy gothic psych took the band well beyond Seattle in the '90s before it dissolved toward the end of that decade. Now a couple years into a welcome reunion, SCM has followed a comeback live album—which served as a reminder of its sheer sonic power—with its first studio disc in 10 years,

. JF.

Adrian Orange

[ODDBALL FOLK] First off, Adrian's a guy (regardless of his "Adrian Orange & Her Band" billing). And a seemingly odd guy at that: He lived in a van when he was 12 and once played a show in Boise, Idaho, for two people. But thanks to his similarly odd, lovely folk music, Orange—who often encourages audiences to clap along with songs that could use a beat—is also one of Portland's most precious exports. EB.

Oh Captain, My Captain

[INDIE ROCK] So there's the Whitman poem, we know that. Then there's the line from

—oh wait, that's also from the poem. Well now there's the band, just four Portland dudes, drinking the cheap shit and playing straight-ahead, Kinks-ian rock that ranges from upbeat 'n' choppy to downright sweet. EB.

Starfucker

[BLIP POP] Cut local indie-pop outfit Sexton Blake in half and you've got Josh Hodges. On his own he's Starfucker. Expect everything from lovely and tame electro-indie to gritty, lo-fi noise glazed with dreamy croons and spirited outbursts. It's one helluva pop-rockin' space odyssey, where Hodges takes to his drummer's seat, launches the prerecorded loops, and bangs along. All you have to do is enjoy the ride. AS.

11 PM

SCOTLAND BARR & THE SLOW DRAGS

[AMERICANA ROCK] Portland's own Scotland Barr & the Slow Drags belong to the same roots rock tradition as contemporaries like Richmond Fontaine and songwriter Jon Itkin (who once played guitar with the band). Laden with emotive vocals and classic bar-rock breakdowns (think E Street Band gone country), this is music for cryin' in your whiskey. But don't worry, guys: Barr belts out some tough-guy vocals à la Mike Ness, too—and you'll be wallowing in good company. AM.

Dimmer

[STONER ROCK] If you're like most of us, you've got no idea what the hell the New Zealand music scene's about. Beach raves? Barnyard soul sessions? Well, the island's Dimmer septet probably isn't going to give you a better picture, drawing its psych/stoner rock sound from a well of influences that's distinctly American—everything from passages of shoegazing wander to Queens of the Stone Age-style sludge. MB.

Rilo Kiley

[SWEET 'N' SOUR ROCK]

Red Fang

[HARD ROCK] Portland's Red Fang conjures up skull-shattering hard rock for people who would normally laugh rock into the ground. The quartet's one of the heaviest acts at this year's fest, but it's catchy and propulsive enough to snag most naysayers. Consider breakouts like the Burning Brides and the defunct Death From Above 1979, only dirtied up and hipstered down. MB.

Eric Bachmann

[DARK FOLK] Some of us never got over the '90s; most moved on. Me, I still rock out to Eric Bachmann's old band Archers of Loaf like once a week. But Bachmann grew up: first with the Tom Waitsian Crooked Fingers and now with just an acoustic guitar, reborn as a dark, brooding progeny of Cohen/Cash/Dylan. Meanwhile, my favorite Archers song is "Nostalgia." Go figure. EB.

The High Violets

[SPACE ROCK] After the critical deliria surrounding its sophomore release, the High Violets seemed poised to step from shoegazer adoration toward mainstream dominion. And the supple, ethereal beauty of fave Portland chanteuse Kaitlyn ni Donovan's vocals still twirl in and around the densely layered guitarscapes of former Bella Low mainstay Clint Sargent, forging as arresting, captivating and measured a dreaminess as ever. JH.

Lifetime

[HARDCORE PUNK] Long before emo became a section in Hot Topic (and well after Bruce Springsteen), there was Lifetime: New Jersey's best dancers (or so the East Coast outfit's third and final LP proclaimed). What started as hardcore with a melodic singer—and, for the time, unusually positive lyrics—became, by the mid-'90s, a super-fun pop-punk unit that actually mattered. Then they broke up. Now they're back, with an in-the-works full-length and cred out the wazoo. EB.

Dat'r

[DANCE FUNK] Dat'r is not a typo, it's two guys, big vocals, bigger hair, and some of the sweetest beats this side of the Willamette—not that we're saying which side we're on. With click-twitchy sounds crunched beneath funkwise bass and live percussion, this shit makes its own dance floor. Press play, go crazy. EB.

Charmaine Neville, Reggie Houston & Amasa Miller

[NEW ORLEANS FUNK] Hailing from the same legendary New Orleans family as the Neville Brothers, Charmaine Neville and her compatriots are masters of the sultry, funky and wholly immersive New Orleans sound. In fact, the group is the epitome of Mardi Gras music, and it blasts through its swampy songs with horns ablazing and a distinctly Southern flair. AK.

Protest Hill

[PROG POP] The side project of System and Station founder RFK Heise, Protest Hill developed out of a S&S hiatus, and the result is something equally prog-influenced but far more subtle and catchy. Clear and lovely piano parts fuel Heise's melodies, and vocal outbursts abound, but—true to its roots—Protest Hill still pauses for the occasional dark breakdown or wailing electric guitar. AM.

Floater

[POST-GRUNGE]

Old Time Relijun

[EXPERIMENTAL INDIE] Old Time Relijun, to take the name literally, would be a weird, '70s kind of religion—you know, the Robert Bly type. Think shirtless dudes smearing mud over hairy chests, reconnecting with their inner wild man somewhere in a Forest Park of the mind. Oh, and the music? Experimental rock with an icky thump led by a throat-singing dude in biker shorts (for real)—focused on the apocalypse yet constantly evolving. EB.

Dakota Slim

[DUSTY ELECTRO-ROCK] Expatriates of Portland, Dakota Slim produces jaunty numbers filled to the brim with mumbling, hesitant electronics and sporadic desert-dusted lo-fi rock—all layered over coolly sung vocals. Live, the sound is muffled down and noisy, and instruments fight to drown each other out. But, trust me, this is an underwater battle not to be missed. AS.

Laura Gibson

[FOLK] Lauded by both NPR and

, singer-songwriter Laura Gibson has struck the right chord in the hearts of many with her brand of hushed, acoustic folk. Her somber voice and softly strummed classical guitar carries like wind blowing across the front porch. But a storm of piano, strings and haunting saw is just around the corner. You'll simply want to stay put. TR.

MIDNIGHT

The Lonely H

Brian Jonestown Massacre

[PSYCH ROCK] Last year at MusicfestNW, BJM met the expectations of anyone who's seen

with a series of onstage antics fueled by none other than loose-cannon frontman Anton Newcombe. The band members fought; Newcombe walked off, came back and continued to share choice words with his bandmates. No matter: Musically, the performance was still among the best of the whole fest's, and it's with utmost enthusiasm that we welcome this legendary psych-rock outfit back. DCC.

Birds of Avalon

[HEAVY PSYCH] The Birds of Avalon have flown all the way from North Carolina to bring us their noodle-heavy stoner punk-metal. If you had heard these kids rocking your neighbor's garage back in '72, you would've either wept for music or begged for a tab of whatever psychedelic they were on, dragging as many of frantic guitar riffs into your skull as you could. MB.

Grizzly Bear

[EXPERIMENTAL FOLK]

DJ Gregarious

[PORTLAND DANCE] As host, maestro and celebrant No. 1 of Portland's biggest and most beloved dance party seven years running, DJ Gregarious ensures the acolytes of Shut Up & Dance do just that. How, you ask? With a rotating playlist of '80s, Brit-pop and indie floor-fillers as stylish and eclectic as his night's eterna-capacity crowds. JH.

Copy

[LAPTOP DANCE-POP] Just go ahead and try to resist breakin' out the moves for Copy. Do I even need to spell out the laptop-lovin', keytar-tastic magic that is our hometown hero? The albums of Marius Libman, a.k.a. Copy, are downright dance-athon masterpieces jittering with synth and infectiously catchy beats. If you've got any blood in those veins, you'll be boppin' off the walls the minute he cracks open the laptop. AS.

The Valiant Arms

[POWER ROCK] The Valiant Arms' MySpace clearly states: "Rock, yes please, a double helping." And the combo of Diane Rios' bass 'n' vocals with the high-energy, straight-ahead rock stylings of guitarists Rob Jones (of Jealous Butcher records) and Kevin Walters, as well as drummer Eric Jensen (also known as Tractor Operator), gives listeners seconds and then some. The local foursome even boasts Rachel Blumberg (Norfolk & Western, M. Ward) as its "spiritual advisor." AM.

Anders Parker

[FOLK ROCK] Once known as alt-country artist Varnaline, Anders Parker (who's also collaborated with Jay Farrar as Gob Iron) still has a homegrown twang about him, but the bearded troubadour's self-titled sophomore release finds his lovely folkscapes traversing territories from Crazy Horse-style rock breakdowns to soft 'n' jazzy shuffling pop. And his rich, earnest voice ties the whole affair into one transfixing package. AM.

Horse Feathers

[SOARING FOLK] Next time Grandpa curses "horse feathers" instead of "bullshit," simply respond: "You'll love 'em, Gramps!" The pleasantly yearning, timeless sound of Horse Feathers' indie-folk musical-chairs cadre flits between cellos, violins, acoustic guitars, banjos, tambourines, mandolins and drums—recreating music from way back when, today. And all thanks to a couple of young bucks: core members Justin Ringle and Peter Broderick. TR.

1 AM

Iceage Cobra

The Fucking Champs

[HESHER METAL]

Dan Deacon

[ELECTRONIC] Wham City wizard Dan Deacon is sure to whip you into shape with a jolting blend of spazz-tastic, mantra-mad electroshock sound therapy. Expect to walk/limp out donning post-sex hair, sweat-soaked clothing (I mean every inch of it!) and a grin more crooked than Deacon's unlawful, art-as-fuck, noise-infested rave orgies. AS.

We're From Japan!

[MELODIC ROCK] We're From Japan! is an epic band. Every song from 2005's

,

is a symphonic opus of sad violins and serious drums. Every measure feels like the opportunity for a huge breakthrough that never comes, so you're always left wanting more. You don't listen to We're From Japan! (which is actually from Portland but recently returned from a Japanese tour)—you experience it. PR.

The Builders & the Butchers

[FUNERAL FOLK] Blues, folk and gospel songs about death by drowning, hanging and more, hammered into your ear canals by two drummers and a bunch of acoustic instruments—that's what the Builders and the Butchers has in store. Frontman Ryan Sollee wields an old bullhorn, and the group's fans sing the backup vocals and play instruments handed out during the show. It's a procession, that's for sure. BS.

Dolorean

[SAD INDIE] Al James, godhead of longtime Portland indie project Dolorean, doesn't overly orchestrate his bittersweet folk-pop, but masterful songcraft doesn't require much beyond a slow-building piano line or subtly intricate guitar figure. Stark but never bland, eternally pleasant but able to wound, James' tuneful evocations of loss (most recently found on the aptly titled

) inspire despite themselves. JH.

WWeek 2015