We are giving away a pair of tickets to “Desert Daze Caravan” @ Crystal Ballroom on February 24. To win, comment on this post why you’d like to attend. Winner will be drawn and emailed Friday, February 24.
From our sponsors:
“Desert Daze Caravan” featuring
February 24, 2017
7 p.m. doors, 8 p.m. show | $25 ADV, $30 Doors | All Ages
More info: crystalballroompdx.com
1332 W Burnside St, Portland, OR 97205
British neo-psychedelic band Temples make trippy psychedelic pop that combines the experimental sound of bands like the Move and mid-period Byrds with the classic song craftsmanship of the Beatles. Formed in Kettering, Temples centered around the talents of songwriting duo vocalist/guitarist James Bagshaw and vocalist/bassist Thomas Warmsley. After adding drummer Sam Toms and guitarist/keyboard player Adam Smith to the band, they released their debut single, “Shelter Song,” on Heavenly in 2012.
Night Beats play pure psychedelic R&B music that spikes the punch and drowns your third eye in sonic waves of colour. Theirs is a bastard blues, contorted and distorted into new shapes for 21st century wastoids – once tasted never forgotten. This is music to melt your sorry little minds.
Make no mistake: their new album Who Sold My Generation sounds like it has been created against a backdrop of burning Stars and Stripes flags and with the whiff of napalm hanging in the air – an alternative universe where ‘Helter Skelter’ is the national anthem and Charlie Manson is still on the loose. Acid-test heaviness is Night Beats’ currency, but this is no out-right nostalgia trip either. Instead of Nixon and Vietnam, Night Beats have their own epoch of God and guns and bombs and drones to rail against…or flee from. Besides, bad vibrations, blues jams and id-shattering explorations are timeless pursuits – why shouldn’t today’s young generation be allowed to take a ride down the slippery spiral that sits within the centre of each of us?
Deap Vally landed in ‘2013′ with their rock debut ‘Sistrionix’. The LA duo bombed down the Transatlantic speedway, lighting psych-blues fires throughout the US and Europe. Lindsey Troy’s whiskey-soaked vocals and killer guitar riffs were chaotic, but found a degree of order in the heat of Julie Edwards’ drumming. After several loops around the world, they returned from their travels and decided it was time for a gear shift. The change was inspired by the pair’s need to create their vision on their own terms, without label input. Lindsey and Julie needed to be able to operate in a way that didn’t suck the living joy out of their creations, otherwise that blues synergy of rock’n’roll (forged between them at a knitting club in Echo Park some five years ago) would simply not be able to reach its pinnacle.
So the two-piece took a risk, parted ways with their label (amicably so), and wielded the time they needed to reassess matters by themselves, even doing short stints as touring bass players: Lindsey in White Lung and Julie in JJUUJJUU. “We were given this gift of time to make the record,” explains Julie, optimistically. “We kept writing, recording, exploring all these flavours. It was a real luxury.”