KZME is SO CLOSE to going on the air, we decided it was time to throw a party!  We have music.  We have beer.  We have Cupcake Jones.  We have a raffle with tons of goodies.  Join us in celebrating the long-awaited arrival of Portland’s premiere FM radio station dedicated to local music, arts and culture!

KZME Pre-Launch Party
8pm, Saturday, Oct 2nd @ p:ear (NW 6th and Flanders)
$10 Suggested Donation
All Ages

featuring performances by

BOY EATS DRUM MACHINE
CELILO
THE HUGS

Tickets are limited, so scroll down to get yours NOW!

Raffle Prizes by:

+ Christine Milke

about the bands:

BOY EATS DRUM MACHINE

“Boy Eats Drum Machine has become one of Portland’s favorite local acts, and for very good reason. Frontman Jon Ragel brings impressive turntable skills to a live band setting in a way that never sounds forced, gimmicky, or like those nu-metal DJs. His soulful, steady vocals weave in and out of the evolving, fluid arrangements”
Portland Mercury - 12/27/07

Boy Eats Drum Machine - Hoop + Wire

11 ratings

3,756 views

John Loves Radio

CELILO

Celilo is a five piece Indie/Americana band from Portland, Oregon whose late 2009 full length release ‘Bending Mirrors’ has been receiving praise from fans and critics alike. Celilo’s music has been described as “pushing the boundaries of Americana music”. With pedal steel and organ providing ample atmospherics, Sloan Martin writes in languid tempos with burnt molasses vocals and eagle-eyed lyrical observations. Celilo has created a unique sound with-in the Americana genre. Celilo often evokes comparisons to the classic songwriters of the 1970’s while also being recognized for pushing into new frontiers with their soundscaped arrangements.

Celilo - ‘Pleistocene’

4 ratings

2,322 views

THE HUGS

The Hugs are the underage anglophile indie-poppers from Portland, Oregon. With experience closer to the cradle then the grave, expect sugary ballads advising on the tying of laces and love songs minus the bile with shamelessly Libertines-esque “woah ohs”

The Hugs “Momma Marcee” Demo

1 ratings

142 views

Did we mention tickets are limited?  Get ‘em now!

	OR

Sound courtesy of Joshua Aragon ( Oregon Universal) and Mr. Noah Kleiman.

The brainchild of Jared Mees, “The Grown Children” are the catchall name for the current amalgamation of players collaborating with Mees on recordings or on stage. The band is wrapping up it’s follow up to their stellar album, Caffeine, Alcohol, Sunshine, Money, and heading out on tour around the Western states.

Live, the band is loose, ramshackle spectacle that’s a thrill to dance, shout and sing along with. Start, stop, start, stop, learn the lyrics, and away we go; I’ve yet to see a Grown Children show where the crowd isn’t singing along to the chorus and dancing by the end the festivities.

Click here to listen to/download Cockleburrs and Hay by Jared Mees and The Grown Children

Tour dates:

Tour Dates:
09.23.10 - Portland, OR
@ Doug Fir
09.24.10 - Ashland, OR
@ Alex’s
09.25.10 - Mendocino, CA
@ Caspar Inn
09.26.10 - San Francisco, CA
@ Hemlock Tavern
09.27.10 - Oakland, CA
@ TBA
09.28.10 - Santa Barbara, CA
@ Muddy Waters
09.29.10 - Fullerton, CA @
UC Fullerton (noon show)
09.29.10 - Palm Springs, CA
@ Ace Hotel
09.30.10 - San Diego, CA
@ Fluxx

10.01.10 - Long Beach, CA
@ El Dorado
10.02.10 - Pasadena, CA
@ Old Town Pub
10.03.10 - Chico, CA
@ Cafe Flo
10.04.10 - Eugene, CA
@ TBA
10.07.10 - Moscow, ID
@ John’s Alley
10.08.10 - Kennewick, WA
@ Red Room
10.09.10 - Boise, ID
@ Neurolux

The brainchild of Jared Mees, “The Grown Children” are the catchall name for the current amalgamation of players collaborating with Mees on recordings or on stage. The band is wrapping up it’s follow up to their stellar album, Caffeine, Alcohol, Sunshine, Money, and heading out on tour around the Western states.

Live, the band is loose, ramshackle spectacle that’s a thrill to dance, shout and sing along with. Start, stop, start, stop, learn the lyrics, and away we go; I’ve yet to see a Grown Children show where the crowd isn’t singing along to the chorus and dancing by the end the festivities.

Click here to listen to/download Cockleburrs and Hay by Jared Mees and The Grown Children

Tour dates:

Tour Dates:
09.23.10 - Portland, OR
@ Doug Fir
09.24.10 - Ashland, OR
@ Alex’s
09.25.10 - Mendocino, CA
@ Caspar Inn
09.26.10 - San Francisco, CA
@ Hemlock Tavern
09.27.10 - Oakland, CA
@ TBA
09.28.10 - Santa Barbara, CA
@ Muddy Waters
09.29.10 - Fullerton, CA @
UC Fullerton (noon show)
09.29.10 - Palm Springs, CA
@ Ace Hotel
09.30.10 - San Diego, CA
@ Fluxx

10.01.10 - Long Beach, CA
@ El Dorado
10.02.10 - Pasadena, CA
@ Old Town Pub
10.03.10 - Chico, CA
@ Cafe Flo
10.04.10 - Eugene, CA
@ TBA
10.07.10 - Moscow, ID
@ John’s Alley
10.08.10 - Kennewick, WA
@ Red Room
10.09.10 - Boise, ID
@ Neurolux

The brainchild of Jared Mees, “The Grown Children” are the catchall name for the current amalgamation of players collaborating with Mees on recordings or on stage. The band is wrapping up it’s follow up to their stellar album, Caffeine, Alcohol, Sunshine, Money, and heading out on tour around the Western states.

Live, the band is loose, ramshackle spectacle that’s a thrill to dance, shout and sing along with. Start, stop, start, stop, learn the lyrics, and away we go; I’ve yet to see a Grown Children show where the crowd isn’t singing along to the chorus and dancing by the end the festivities.

Click here to listen to/download Cockleburrs and Hay by Jared Mees and The Grown Children

Tour dates:

Tour Dates:
09.23.10 - Portland, OR
@ Doug Fir
09.24.10 - Ashland, OR
@ Alex’s
09.25.10 - Mendocino, CA
@ Caspar Inn
09.26.10 - San Francisco, CA
@ Hemlock Tavern
09.27.10 - Oakland, CA
@ TBA
09.28.10 - Santa Barbara, CA
@ Muddy Waters
09.29.10 - Fullerton, CA @
UC Fullerton (noon show)
09.29.10 - Palm Springs, CA
@ Ace Hotel
09.30.10 - San Diego, CA
@ Fluxx

10.01.10 - Long Beach, CA
@ El Dorado
10.02.10 - Pasadena, CA
@ Old Town Pub
10.03.10 - Chico, CA
@ Cafe Flo
10.04.10 - Eugene, CA
@ TBA
10.07.10 - Moscow, ID
@ John’s Alley
10.08.10 - Kennewick, WA
@ Red Room
10.09.10 - Boise, ID
@ Neurolux

The haunting and enchanting vocals of Carolyn Berk could serve to be the linchpin to most any band’s success, and it’s easy to see her unforced song finding a home in most any pop subgenre. However, the precision synth-programming of Kerby Ferris and tight splash of percussionist Emily Kingan thoroughly wraps together in a splendidly original triumvirate of driving and melancholic pop serving as one of 2010’s choicest releases.
Berk’s earnest and seemingly effortless lyrical prowess couples brilliantly with a series of glitching robotic base riffs that teeter between organic and futuristic, Utopic and post-apocalyptic, hopelessly curt and unforcibly nonchelant. Berk never traps herself in the desperate and disparate croonings like so many other area songwriters.
Opening Dark Light is the track “Barnacle” with soft pulsing clicks, emerging snare cracks and is intervened with Berk’s subtly country-tinged vocals.”Every time the music starts/I can feel my achin’ shakin’ heart.” On paper, these lyrics might be likened to something from Billy Ray Cyrus, but in the arena of the song’s full atmosphere, the simplicity and honesty of what she says is placed in a multi-sensory experience that summates to more than anything penned or practiced. The weighted simple notions and turns of phrases are ever-present on the album. On “Peppermint” a sticking lyric warns “You sent your heart out in the graveyard/Go get your heart from the great beyond.”  Dark Light, as a whole, offers idioms of emotionality  without being emo or contrived. In fact, Berk’s storytelling manages to avoid preaching or being condescending to its audience. The workings of this three-piece blossoms in so many ways beyond words. Listening is a must, so get to it.

Dark Light releases on Badman Records on October 12, 2010.

Fol Chen releases the Holograms EP and announces more tour dates
free EP features contributions from Teen Daze, Hard Mix, Primary 1, and FUR

With quite a busy year so far with the recent release of their sophomore album “Part II: The New December”, Highland Park’s Fol Chen announce tour dates going into the fall and offer up an EP for their “The Holograms” singles with excellent remixes from Teen Daze, Hard Mix, FUR, and Primary 1 which you can download for free HERE via Bandcamp.

The band begins their residency at the Echo LA tonight. They will only be playing full sets as a band on the first and last Mondays in August. The middle three Mondays will be given over to things like a metal band called Viscera playing their set for them, holding live auditions for a new singer (with people who responded to a Craigslist ad), and a night where people come up on stage and record live samples that will end up on the next FC album.

Fol Chen will also be on the East Coast for a handful dates this week with the rising glo-fi/future pop beatmaker Baths. They will also spend a few weeks on the road with dance party instigators !!! and later with The Apples In Stereo. For a taste of their awesomeness live look no further than this KEXP session just recorded HERE.

August 3rd will bring three classic songwriters together at Mississippi Studios — performers who are no less compelling for the fact that you may not have heard of any of them. Catherine Feeny, Chris Pierce and Jim Bianco met in Los Angeles early in their careers while plying their trade at the then-unknown Hotel Cafe, which has since gained a reputation in singer-songwriter circles for helping launch the careers of Gary Jules, Alexi Murdoch, Meiko and Greg Laswell, among others. The three forged differing paths — Feeny moved to England, where she signed to major label EMI, Pierce started his own successful record label, and Bianco embarked on an endless touring schedule that marks him a troubador in the truest sense of the word.

And it’s no wonder that they diverged — while all three are deeply-rooted in the traditions of American songwriting, each brings a unique hand to the table. Feeny’s songs are exercises in vulnerability and Pierce’s in earthy spirituality, while Bianco’s strengths are humor and tantalizing sexuality. The dire state of the music industry and the school of hard knocks has sent many from their class in search of greener pastures, but lucky for us, these three are made of stronger stuff. If you are a fan of Joni Mitchell, Otis Redding or Tom Waits, this is a night you will enjoy.

About the artists:
Catherine Feeny www.catherinefeeny.com
After being dropped from her label (EMI/Charisma) in 2008, Catherine Feeny drove 12,000 miles with her husband-to-be in a 1990 Mazda 323, playing more than 40 shows in livingrooms all over the United States. She has since re-located to Portland, self-released her third solo album (”People in the Hole”) and formed unconventional protest-folk outfit Come Gather Round Us with her husband Sebastian Rogers and local virtuosos Jon Neufeld (Black Prairie, Jack Straw) and Mike Danner (Trashcan Joe). Feeny tours in the US, UK and Europe, both as a headline act and supporting artists such as Wilco, The Indigo Girls, Suzanne Vega and the legendary John Prine. Her song “Mr. Blue” was featured in the film “Running with Scissors” and reached the A-list at Radio 2 — Britain’s most listened to radio station. Feeny recently teamed with Seattle indie director Keith Rivers to make a shockingly realistic zombie short in support of her single “People in the Hole.”

Chris Pierce www.chrispierce.com
Chris Pierce who is known for his powerful and “never the same” live shows continues to tour worldwide in 2010.  Chris is in pre-production for the highly anticipated follow up to his 2008 independent soul album “Walking on the Earth” which was picked by KCRW’s Nic Harcourt as one of the top ten albums of the year.  The music and performance of Chris Pierce crosses over age, race, and gender as evidenced by the diverse artists he has opened for which include B.B. King, Seal, Colbie Caillat, Al Green, Jamie Cullum, Toots & The Maytals, Robert Cray and Brett Dennen, among others.  He has received worldwide notoriety for song placements on the Oscar award winner Crash and T.V shows like Brothers and Sisters, What About Brian, Lincoln Heights, Army Wives and a national Banana Republic ad campaign.  Chris Pierce is often described as an old soul with fresh music and is often compared to greats like Otis Redding, Bill Withers and Van Morrison.

Jim Bianco www.jimbianco.com
Jim Bianco is a regular performer at the Hotel Café and his residencies are a popular favorite.  Usually playing with his full band, Bianco’s sets have a reputation for being sold-out, high energy and sexually charged events.  On occasion, Bianco has rented a catwalk and invited his burlesque dancer friends to perform and throw feathers during his set.  Bianco is also known for eliminating the traditional fourth wall between audience and performer by leading his band into the center of the audience during his song “Sing” encouraging audience participation, which culminates in a sing-along.  Bianco averages between 150-200 shows a year, performing in major markets across North America, Europe and Japan. Depending on the tour, Bianco performs solo or with multi-instrumentalist, band mate and co-producer Brad Gordon. He also tours as a trio and with his full band.  Bianco has shared billing with many notable acts including: Squeeze, Gary Jules, Shelby Lynne, Amy McDonald, Tift Merritt, Loudon Wainright III, Jenny Own Youngs and many more.

It takes a minute for a band to hurdle growth spurts and become the eloquent ensemble it hopes to be. But striving for a truly individual sound, one that depends on the contributions of each member is a noble goal. After three years as a quintet with two saxophones up front, Blue Cranes have achieved such a victory. They prove it with Observatories.

On its third album, everything gels for the acclaimed instrumental outfit from Portland, Oregon. Working that thin line between prog-jazz improvisation and indie rock catchiness, the band arrives at a unique spot. Like forebears such as The Ordinaires and The President, and contemporaries like Todd Sickafoose’s Tiny Resistors and John Hollenbeck’s Claudia Quintet, Blue Cranes have found ways to make exploration seem like the most enjoyable process around.

The songs and performances on Observatories are all about rewards of collective articulation. Reed Wallsmith, the group’s straw boss, saxophonist and main composer, says the new album finds them putting their best foot forward.

“Homing Patterns, the record before this, was a quintet with two horns; Sly Pig joined us on tenor saxophone a year before we made it.  But, I had conceived of a lot of the music originally for quartet.  Since then, with more time under our belts, I think our compositions more fully incorporate all five of us.  For Observatories we wrote more contrapuntal lines, not just melodies and support riffs.  I hope that the entire group unity comes through. It feels great to hear it happen.”

Blue Cranes is comprised of drummer Ji Tanzer, bassist Keith Brush, keyboardist Rebecca Sanborn, tenor saxophonist Joe “Sly Pig” Cunningham, and Wallsmith himself. The alto saxophonist says that the camaraderie of gigging on the road has bolstered the band’s unity.

photo credit: Jason Quigley

“We’ve done seven tours now, and gone out for a week and a half at a time. That kind of continuity is such a great way to get tight as a band – performing every night and being able to talk about the music every day. We have fun on the road. Sharing music on iPods, hanging out, laughing about everything. It’s such a blast to get to know each other better. It’s not just my vision driving the action anymore; it’s all of ours – which has always been my goal.”

Blue Cranes’ music is refreshingly diverse. They may be a left-of-center instrumental outfit, but their book has lots of room for old-fashioned beauty. Wallsmith’s “Grandpa’s Hands” is a bittersweet anthem with a luminous theme that boasts echoes of Steve Reich. Cunningham’s “Broken Windmills” is an evocative lament that could easily snuggle up to an Ornette Coleman ballad. Waxing rustic isn’t forbidden with Blue Cranes, and that decision widens the record’s emotional palette. On “Yellow Ochre,” the group sounds like The Band sauntering its way through The Beatles’ “Let It Be.”

“Tim Young, the guitarist from Wayne Horvitz’s band, made a comment I liked,” says Wallsmith. “He said ‘You guys aren’t afraid to just play melodies.’ I think that’s true. ‘Yellow Ochre’ feels old fashioned to me. ‘Maddie Mae,’ too. I’m proud of that tone. But the album wouldn’t work if it was full of tunes like ‘Yellow Ochre.’ We wanted to make it flow, to have the pretty stuff move right into the in-your-face stuff.”

Indeed, Observatories does strike a balance between genteel and rambunctious. Crescendos crop up in all sorts of places, and the physical thrust of the rhythm section gives several moments a wonderfully vicious clout. “Richie Bros.” has an intricate pounding intro, a dreamy head, and an explosive middle. “We don’t get super mathy, but ‘Richie Bros.’ is aggressive,” Wallsmith concurs. “I like the power of it, but I also like the fact that it’s followed by the softness of ‘Maddie Mae.’

Sly Pig also played and recorded with indie rock superheroes, The Decemberists. It seems he and Wallsmith have found the perfect formula for cogent abstraction.

“From the first day we started playing, I felt unexpectedly in-synch with him,” says Wallsmith. “We started at an all-improvised gig, and when we played together, I had this feeling that we were long lost brothers.’ I’ve never really met another sax player who approaches music like me. Wherever we’re coming from, it’s a similar same place. We work as a team.”

The Blue Cranes have received kudos from a few key contemporaries. They’ve shared bills with keyboard icon Wayne Horvitz (his “Love Love Love” is part of Observatories) and he’s now a fan.  Wallsmith was a Happy Apple zealot when he was in college in Minneapolis and when drummer Dave King, now of The Bad Plus, posted a “don’t miss John Hollenbeck’s tour” missive on the The Bad Plus’ blog, Wallsmith made a point to catch the drummer-composer. “After the gig I gave someone at the venue a CD to give to John.  He later contacted me out of the blue to say that, although he didn’t expect to, he really liked it.  What an honor!”  Blue Cranes have since shared the stage with bands as diverse as Hollenbeck’s Claudia Quintet, the dub/hardcore Mi Ami, trumpeter Cuong Vu and violinist Michael White.

Ultimately Observatories is about breadth. Blue Cranes is a band that sees things from various perspectives. A toy piano is the first sound you hear on the disc; a baby’s voice is the final. Variety is central to the action. Tanzer is the go-to guy when it comes to album titles; he’s named the previous Blue Cranes albums. But it was the band’s friend and Tanzer’s band mate, Spinanes leader Rebecca Gates, who came up with the current moniker, and one thing’s for certain: Observatories is dead on, because the Blue Cranes are here to show us all sorts of things.

RELEASE DATE: SEPTEMBER 14, 2010

This summer Filmusik is turning a local movie theatre into a Hollywood Soundstage.  A team of 30 Portland professionals from the field of movie soundtracks create the sound for a classic animation live in the pit.  As the movie plays on the big screen, 4 cartoon actors give voice to the on-screen characters, sound effects artists create the noises from over a hundred foley props and the Filmusik Chamber ensemble performs the music from the film including many musical numbers and several sing-a-longs.  For cartoon buffs, family, new music lovers and anyone who’s ever wanted to know how they make that funny noise when Daffy Duck falls over.  Filmusik: Gulliver’s Travels is a new way to experience movies and sound.  Incidentally, it’s also the only place in town where you can sing along to a bouncing ball with a live orchestra and chorus backing you up!

Fresh off the unparalleled success of their “Heartbeat Song” video, The Futureheads present their new video for “I Can Do That.” You won’t want to miss a minute of the animated, comic book style clip. To achieve the perfect portrayal of each band member, they actually filmed footage to be used as a template for the cartoon version of themselves. While most animated videos are done in a wholly digital environment, this video has the feel of real action and an even truer human element.

In typical Futureheads fashion, “I Can Do That” has infectious, singalong lyrics that vocalist Barry Hyde delivers with an anthemic energy. The track is from The Futureheads’ latest full-length effort, The Chaos, which was released in the US in early June by Dovecote Records.

Futureheads