Word finally got out about What The Festival this year and it did so (primarily) by the most inevitable way possible, by word of mouth. People have praised the quality of the organization, flow, and overall love that goes into the event for years and with its fourth attempt, people responded.

After three years of hovering between the three and four thousand mark, this year’s attendance rose by almost 2000 souls. By Saturday, with a grand total of 5,000 ticket holders, they were all sold out. There were new stages, tons of more art, great vendors and beautiful people, and once again, a lineup that can satisfy even the pickiest electronic music lovers (except for this hip harper who thinks Big Gigantic wasn’t a worthy headliner. Spoiler alert; They were.)

The festival started Thursday night, technically, but the majority of festival goers arrived on Friday. After a quick walk through the grounds after setting up my camp, I noticed they’ve rearranged and increased the amount of stages from the last time I attended in 2013. WTF responded to last year’s lack of late night acts by building several new stages to pump music until the sun peaked out. Most notably, the dragon stage was the most prolific new piece as it lay at the bottom of the illuminated forest and resembled a large, red, mystical dragon.

Friday night got started in local, funky fashion with Oregon’s reggae duo, Indubious (link) playing the Equinox stage. This was shortly followed by Portland’s bass loving producer, EPROM on the Effin’ Stage. Meanwhile, Keys and Krates blasted off on the main stage to set the mood for Griz, the funk rock headliner with a fresh new album to showcase. This groove continued back on the Equinox stage with Canadian DJs, The Funk Hunters featuring Chali 2na (of Jurassic 5) who delivered one of the most piognant sets of the weekend. The night was eventually closed out by fellow Canadian producer (and funk enthusiast) Stickybuds.

Saturday got off to a slow start for most people thanks to the extra doses of funk. Portland’s Vinnie the Squid got a pool party started around midday that was topped off by British producer, Ambassadeurs in the afternoon. As the night began to fall Sweater Beats got things bumping on the Effin’ Stage while Machinedrum performed their latest album Vapor City live. Many eyes were then set on Saturday night’s headliner, Big Gigantic who mashed up hip hop, blues, and funk while others made it tto Tokimonsta to see her drive an incredible set on the Effin Satge. The late night action took place in depths of the forest as Portland’s Solovox gave a dynamic performance. Deeper in the forest, the party rolled into sunrise with Fort Knox Five and Rob Garza hitting the decks on the Dragon Stage.

Sunday is when people really had to prove their dedication. It was the first time anyone has felt tired since arriving, but there was a whole day of music left to see. Canadian duo, Skiitour (complete with snowsuits) started promptly at noon at the pool. Later in the afternoon Thomas Jack was joined by a captivating fiddler and turned the splash pool into a hootenanny. The main stage was started by Portland jam and hip hop band, Device Grips in the early evening. Just as night fell, the masked drummer, Slow Magic went on the main stage his warm beats got everyone ready for ODESZA’s devine performance which included a horn section and perfectly concluded the weekend.

As you can see, there was a ton of music to be heard featuring some of the most distinguished producers and DJs from all over the world, but the things What The Festival does right goes well beyond the music. The organization is on point from the moment you arrive on the ranch, and the energy created from the design of this crew makes a fun-loving environment where everyone is your friend and dance partner. At no point are you left wondering what to do next, because everywhere you turn there’s something new to see, do, or someone to meet. And frankly, festivals like this are the only ones I’m interested in attending.

Here are three local sets that got our undivided attention last weekend:

Indubious Gets the First Night on the Right Foot

Solovox Gets Funky For The Stumbling Hippies – LOL stage at What The Festival

Device Grips Make a Crowd that Felt Good Feel Great

-Photo and story by Colin Hudson

As soon as the sun started to go down on Wolf Run Ranch, a cold breeze chilled the air initiating a rush of excitement for those who felt it. The cool wind reminded everyone that soon it will be pitch dark, and things might get a little weird. On top of the weirdness, the setting sun begins a night of incredible music for a crowd of festie-heads eager to dance.

On Friday evening, Ashland’s Indubious was set to play just before dusk on the Equinox stage, a new one positioned at the bottom of a large hill with Mt. Adams as the backdrop. Most of the area was shaded by trees as lay right within the surrounding forest, so the cool air was rushing fluidly throughout the crowd. As soon as the reggae playing duo took stage, we were greeted with a rolling bassline and an electronic drum beat. A blistering piano riff filled out their signature sound which is grounded in reggae but branches into electronic rock and funk.

Shortly into their set, they paid homage to the forthcoming legalization and went into “Ganja Weed” off their first album. The heavy bass lines and synthesizers on this song fed right into the tribal sounds and whispering chorus that make up the more recent, “Wake the Lion.” Both of these feature a bold dub influence that comes out clearly on all their vocals and create a prominent, authentic reggae tone. If you closed your eyes you’d swear you have been transplanted onto the beaches of Jamaica, but alas you’re still in Dufur, Oregon.

As concert goers slowly filed in and packed in closer to the stage, Indubious kept the beats coming. “Live Indubiously” was played and brought out everyone’s best smiles and even better dance moves. A couple of raunchy bass lines and powerful solos on the synthesizer, they slowed down and eased into “Infinite,” a fitting song about stars.

On the beginning of this first night, Indubious provided the festival everything it needed to get things going; good music and positive energy. It was not a very high maintenance crowd, but they delivered a performance that would have satisfied the pickiest ones out there.

-Photos and words by Colin Hudson

After an enigmatic set by Big Gigantic came to a close, the crowd stumbled and scattered like a group of flying around a lightbulb that just went dud. It was now time to skip into the WTF’s signature Illuminated Forest but not before a quick omen with people holding a sign that says “We Need New Friends.”

Breathe in. Breathe out.

“Ommmmmmmmmmmmmm”

The path leading you into the forest and down to the LOL stage is steep, and full of bright distractions so we had to lean far back almost on our heels as we slowly entered. As we descended lower, the faint sounds of synthesizers and electronic beats found its way through the trees and into my ears. With each step, it got louder, and the fuzzy effects started to go straight to my brain. Eventually, I could distinguish the electric tones and piano solos. They were coming from Portland’s producer and keyboard wizard, Solovox.

He began carefully blending in layers of synths over his mixes that wrapped in hip hop, break beats, and rock and roll into a dance floor explosion. Once everything was layered he would go off on a keyboard tangent, crushing his way through his own music. Suddenly, the beat came to a rest and he unleashed a furious bluesy piano intro that fed into the Beastie Boys belting out the opening verse to “Pass the Mic.” The voices of Mike D and MCA were suddenly being overpowered by the beginning of another solo that turned the course of the set with a little prog rock.

The LOL stage is set up almost at the bottom of the forest. It’s where yoga and other classes took place and there were several platforms spotted in different locations leading down to the stage. This set up created a choose-your-own adventure format. Some plats were full and some you had all to yourself, but Solovox was reaching to all depths and delivering a transcendental performance in the middle of the woods.

A couple of songs and several more volatile keyboard solos, the set came to a close and a crowd that had to stumble its way into the set was left with that same disorientation and forced back to reality until they found their next escape.

-Photos and story by Colin Hudson

As the sun was beginning to go down on the What The Festival’s final day and all the spirits were just about in the right place, Device Grips travelled from Portland to life these souls even higher. They set up their big sound on the main stage and right around 6:30 they walked onstage and went into a slow build up with long instrumental sections and trumpet solos before diving into “Coke Infusion” off of 2013’s Year of Boomslang.

A set that hovered around the first ten minutes going in between a psychedelic jam and progressive rock grove was suddenly pulled together Tyler Jon’s rapping. Hopping around these elements usually doesn’t work for those that try it, but Device Grips experience and fluidity shined through as worked in this signature sound on such big stage. They then played some newer material and unleashed “Traffic” a vocal intense jam behind flashy drums and a solid groove soothed right into “Last Days.” Both these songs are off of Forth World, released last month.

Device Grips played several more songs with guitar solos, smooth bass lines, and captivating hip hop that eased a crowd with few working muscles left to begin a final night of dancing. After three days of hard electronica, it was refreshing to see a full band. Especially one with the showmanship and suave of these local musicians.

-Photos and story by Colin Hudson

Since 2012 Portland’s Havania Whaal has been making their own rules. Their ethereal sound can be likened to post-punk meets shoegaze…sort of. They call themselves “noise pop”, but when you’re forging new territory the descriptors fall short of the mark. All three members share vocal duties, which adds to the layers and dimension of their reverb-drenched domain. Stepping it up further, they recently created a live stage production with dancers and costumes, the soundtrack of which was the band performing their new cassette release “13 A.D.” Rumor has it that live productions will be a hallmark of Havaia Whaal shows henceforth. They’re touring the east coast with Portland’s Lubec for 10 days starting July 9 in Massachusetts.

See their tour kickoff show at The Know July 2nd. Buy their tape, pop it in the cassette deck of your ‘85 Volvo, and cruise around town lamenting the summer, wearing the darkest shades you can find. 

-Just Dave

What the world needs now is not love sweet love, what it needs is bands that can make dynamic music! It is not often I come across a band or album which I find myself, well, impressed with… The Sindicate impressed me. The band released their new album Sleepwalker Friday at the Star Theatre.

After having lived in California for a number of years and consequently having my ears flooded with every Sublime acolyte who could form a band I am always a bit leery of reggae bands. The first track on Sleepwalker dispelled any fears I may have had. I could immediately tell that this group of guys not only had a diverse range of influences but that they  were proficient at channeling them into their own music. The cherry on top was that they did it well. Each track has a really balanced blend on genres ranging from fairly straight forward reggae sounds to what I would say sounded like early Stones/ early punk stuff. As each track played I was quite pleased to hear very dynamic and diverse sounds in each individual song. Songs like Zombie evoke a sense of mystery and suspense almost like you’re tip toeing through some foggy graveyard at night while the very next song RB-HB feels more like a small Californian beach town on a sunny afternoon. Each song has its own vibe to the point it doesn’t feel like they took the same music and simply repackaged it with different lyrics. The work put into these songs shows. The band describes themselves as “reggae rock” and I would say that’s quite accurate. 

The overall dynamics of the album are similarly silky smooth. The placement of each track is very well done so that listening straight through the album feels like a musical journey. I was very impressed with how the album achieves a sort of roller coaster effect and does what a good album should do. It take you on a journey down through valleys and up through mountains.

The Sindicate and their team did a great job on this album on both a micro and macro level. The band shows excellent musicianship in a genre which is too often scabbed over with repetitive sounds. The band just embarked on a tour, but catch them when they return to Portland. In the meantime, listen to their new album here.

-Cory Huennekens

When asked what venue best represents the Portland punk music scene your first thought probably isn’t Black Water bar, but if you want to find the heart of punk music, Black Water is the place to be. That was especially true on May 23rd with Vexx, Chemos and The Cigarette Burns.

The Cigarette Burns started the show in a frenzy, each of their songs louder than the last, proof of entropy in action. That being said their set wasn’t gimmicky, which is a true display of how much they’ve grown in the year they’ve been together. Their sound has become more refined, growing more authentic, powerful, and driven with each show. Erik’s stage performance is feral and absolutely hypnotizing, drawing the crowd in, reminding everyone what it’s like to be young, and since The Cigarette Burns inception each member has only gotten better, growing steadily more technical and confident.

Building on the same chaotic energy of The Cigarette Burns, Chemos took the stage, showing off an array of simple and fast-paced songs that the crowded audience at Black Water seemed into. Chemos is fresh to the Portland music scene and despite being able to get the crowd moving, hopefully they can further define their sound as they continue playing together. Punk music isn’t known for its carefulness of craft, for refinement, but that doesn’t mean it can’t have a uniqueness or clarity of voice.

That being said, Chemos ended their set by trashing their drum kit, turning the stage to rubble, so maybe that kind of don’t-care attitude is all they need to keep pulling in crowds.

Vexx however, is completely set apart from their peers because their music stands alone without any showmanship added to it. Their intentionality in songwriting permeates every part of their music. This is especially true in songs like “Stress” or “Clairvoyant” where rhythms build out of chaos and melodic guitar hooks snake themselves out of the tumult. Singer Maryjane Duphne, who is nothing if not unpredictable, personifies all of this. Sure, a singer can pitch themselves into the crowd, drop to their knees or writhe right off the stage, and everyone in the audience will be totally into it, but when Maryjane sings she wanders into an otherworld and she invites you to follow her, trance-like into the hysteria.

You can check out Vexx’s new release, “Give and Take” here:

-Sarah Eaton

The days are getting longer and the weather dude is telling me the temperature isn’t going to dip below 80 degrees anytime soon, so this could only mean one thing, What The Festival 2015 is right around the corner! This year marks the festival’s fourth go-around, and the folks that put this shindig together are gearing up Oregon’s Wolf Run Ranch for another successful weekend.

This festival has a little bit of everything. It takes place on a gorgeous campground about 25 miles east of Mt. Hood. There’s enough room to walk through a (glow in the dark!) forest, lounge on plush sofas, benches, and any other designated or non-designated chill zones, dance in a splash pool with a stage that pumps out beats all day long. You can attend workshops, go to yoga and all that jazz. And to top it off, you get to witness a slew of the top producers and DJs in the game.

Names like Big Gigantic, Griz, and Seattle’s ODESZA top the list of a funkafied lineup, and there is also a number of local acts and up-and-coming artists that fill out the three day extravaganza. This event is held in Oregon for good reason. There is plenty of Portland influence, especially on the music side, here is a list of local flavor:

Indubious – Electronic reggae, or reggae with electronics. Somewhere in the middle of that is the hard hitting duo from Ashland. A live bass player and keys/and synths mix beautifully in front of beats will go off in psychedelic tangents, but always find their way back to the traditional reggae songs they’ve been making for years.

Hustle and Drone – Synth pop straight outta Portland. H&D has seen a large growth of success over the past year. The songs they write have an indie rock influence and always hold a danceable beat.

Ernest Lovers w/ Pete Krebs – Quite a bit of a different pace than the majority of the lineup, but these are local legendary song writers. They will provide a nice break from the chaos and give your brain cells a minute to rejuvenate with some slow and melodic honky tonk.

EPROM – Bass heavy with a little bit of hip hop. EPROM is one of the most notable Portland acts on the list and is set to have a big summer. He makes his beats with old school drum and bass influences and touches and dabbles of dubstep and trap. It’s damn near impossible not to dance for this.

Solovox – Piano extraordinaire and beat maker. Carl Solovox knows how incorporate his refined piano skills and put them to use on a synthesizer. He’s been known to remix some classic rock and roll (Johnny Cash, AC DC, the list goes on) and always creates a dance party of epic proportions.

Barisone – Master of silk and smooth. Barisone has become a household name in the Portland community with a steady working relationship with FAK Wednesdays and Bubblin. His music is grounded in hip hop and R&B and will change what you thought you knew about the word “sexy.”

Device Grips – straight up dance funk – full band! The (relatively) new Portland band, Device Grips are making their name quickly with blues infused horn-heavy funk with a little bit of rap n’ roll to create some of the liveliest music out there. Don’t be the person that has to tell people a year from now that you missed this set because you were trying to get a burrito (nothing against burritos, but trust me on this one).

Lovebomb Go-Go Marching Band – One of the most extravagant acts you’ll see, ever. This band hails from outer space, I assume, given their space helmets and vibrant clad of silver linings that make up their uniforms. Who knows what they’re going to pull out for a festival like this?

Other notable local artists include: Chrome Wolves, Lincoln Up, Mr. Wu, Takimba, Trashcan Joe, PRSN, Tyler Tastemaker, Deafmind, Octaban, Hal-V & Space Case, Quarry, Laura Lynn, Computer Pham, Diablo, and Montel Spinozza.

Moral of this story: Get your tickets to What the Festival and try and catch every one of these!

-Colin Hudson

While it could be quite the challenge to develop your own sound within the lexicon of classic soul and r&b, Brownish Black seem both worthy and excited about the task at hand. Formed in 2010 the band has been growing in numbers and evolving their neo-soul sound that could easily be found on NYC goldmine label Daptone (home to Sharon Jones & The Dap Kings, Charles Bradley etc). With a slender and soulful white male leading the raucous r&b they could also be mistaken for pop soul darlings Fitz & the Tantrums. Yet comparisons aside Brownish Black are unique to Portland and are striving to forge their own path.

Given the somewhat challenging position of filling an empty dance floor with Portlanders who just finished a workweek, Brownish Black brought their high energy and infectious rhythms to the opening slot Friday night at the eclectic (read underrated) Star Theater. Seattle based psyche-afro-funk outfit Polyrhythmics were headliners.

Playing a mix of music from their previous EP’s as well new material Brownish Black sounded tight throughout. Performing new single “Life Lessons” lead singer M.D. Sharbatz was vocally strong although slightly distracted by the harsh lighting directed on stage. During a mid-set exit, Sharbatz returned with a black cap covering his eyes, which provided reprieve but perhaps distanced himself from the audience. While a stoic looking horn section successfully focused on taking care of business the bongo/conga player was focused on starting a party. The show continued, the floor filled, and the crowd released their weekday worries. Incorporating a cover of Portland’s very own Exploding Hearts “I’m a Pretender” along with a Brownish original entitled “Rock n Roll” as a tribute to blues legend BB King (who passed away that day) the second half of their set was climatic and cathartic.

It would be difficult not to mention the lack of female lead singer Mz. V (Vicki Porter), a once integral member and wonderful counterpart to Sharbatz’ vocals and energy, who recently left the band for other pursuits. While Porter is featured on the new album she certainly will be missed and the band is planning rotating guest appearances as they move forward with their first full-length release next month under Breakup Records.

With a charismatic, feel-good, neo soul sound Brownish Black have the talent, energy, and possible ambition to grow beyond Portland and the Northwest.

See them for their record release of Life Lessons at the Goodfoot Lounge on June 11.

-Greg LeMieux

Portland’s favorite power trio Guantanamo Baywatch has made a big leap since the days of their previous album, Chest Crawl. Most notably, there is an almost complete disappearance of their trademark surf sound. On their new record, Darling…It’s Too Late, the band has made the transition so easily it’s as if this shift of direction was where they have always been headed.

The album is a myriad of varying genres and styles, sounding like a tribute to the golden age of early Rock ‘n’ Roll. There are still quite a few instrumentals here, even the occasional glimpse of their old selves as on “Raunch Stomp” or “Mr. Rebel,” but even then they’re injected with a grittiness closer to country-fried Rockabilly.

The production is bigger and cleaner, and the band sounds more confident than ever, with Jason Powell’s vocals coming to the forefront for the first time where it had previously been buried or served a secondary role to his guitars. The guitars, as always, still play an integral part to their sound as does the thunderous rhythm section, especially shining on “Beat Has Changed” with a solo not unlike something from early Ricky Nelson.

The record feels like a glimpse into the world of pop music and Rock ‘n’ Roll in America during the late 50s and early 60s. The band explores everything from Country gospel à la Don Gibson on “Boy Like Me” to R&B torch songs on “Too Late,” and the Live at The Whiskey a Go Go swing of Johnny Rivers on “Sea of Love.” In fact, it’s like the band’s history lesson ends just before the advent of the British Invasion. The album even closes with what appears to be the sound of the Fab Four on the not-so-distant horizon with “Do What Want You Want.”

While their albums and singles have always been stellar, Guantanamo Baywatch up until now has always been best experienced as a live band. But Darling…It’s Too Late is a statement, proving they can be just as potent of a force in the studio. Every second of the record feels like it was handled with care and made with a deep enthusiasm and love for music. Darling…It’s Too Late is out now on Suicide Squeeze. 

-Cody Alexander

Today marks the beginning of WhiskeyFest NW’s Whiskeytown USA festival–which pairs whiskey with a natural friend: music. Tonight catch Jackson Boone for a hot, psychadelic mixer. Tomorrow, Blitzen Trapper brings their seasoned folk rock to the stage, a perfect soundtrack to your sippin’. Check out the full schedule and band lineup here.
NW 17th & Front Ave, doors at 4 p.m. Friday and 12 p.m. Saturday, 21+, tickets

Start your Saturday night early with Catherine Feeny, Chris Johnedis, and Big Haunt at Tender Loving Empire. Catherine Feeny and Chris Johnedis will cool you down with their soulful, compelling tunes. Feeny and Johnedis are celebrating their new release with airy, dark-pop outfit Big Haunt.
Tender Loving Empire (3541 SE Hawthorne), 5:15 p.m., all-ages, free

If you’re in the mood for something a bit more bloodthirsty, head to Double Barrel on Saturday to catch a free show from Roselit Bone. Their haunting, chaotic Western music will leave you with whiplash–and they’ve added an accordian player to the lineup. The band embarks on a West Coast tour this month, and won’t be playing in Portland again until June.
Double Barrel (2002 SE Division), 5:30 p.m., 21+, free

Walking in to Mississippi Studios last Sunday, it felt like the three band pairing of Cambrian Explosion, Jackson Boone and Wishyunu would be a strange one. Based on their recordings, it appeared that there was very little to tie all the music together aside from the fact that each band identified with psych music in some way. What seemed to be an evening of mismatched artists turned out to be an ideal sampler of all the variations that psych-rock can take. 

Cambrian Explosion played first, their set a dark dreamscape. Members of Cambrian Explosion appeared introspective on stage, incredibly invested in the music, which didn’t leave the audience with much to look at. However, the intricacy and unpredictability of the music gave the audience plenty to focus on: songs exploding surprisingly into sound, heavy distortion, and instruments blended so expertly it was difficult to decipher who was playing which part.  

Playing second was Jackson Boone whose take on psych is both dreamy and jazzy. Their set seemed like a fitting middle-ground between the dark vibes of Cambrian Explosion and the more pop-centric focus of Wishyunu. Jackson Boone’s specialty seems to be creating psych-pop lullabies that develop quietly into full psych-rock cacophony. “Open” was decidedly the most experimental song they played, straying away from the easy rhythms and soft melodies comprising most of their set. The crowd was receptive and seemed more willing to nod their heads along as the night progressed.

Wishyunu’s set started with some technical difficulty, probably in part because the duo is so busy on stage, with Bei Yan filling the role of guitarist, synth-player, and vocalist. As Yan sorted out her issues on stage, dropping in an out of sound, drummer Tony Bertaccini remained solid on the drums, helping the audience stay engaged as they waited. Wishyunu’s songs are progressive, layering beat on top of beat and then dreamily disintegrating melodies into new ones, catchy hooks giving way to unexpected drum fills. The energy of their set was frenetic, unlike Cambrian Explosion or Jackson Boone, their music made your blood move faster, catapulting you forward with them as they played.

Their new single “Photoplay” is a dark electro-pop song that seemed to show a new direction for the band, less ambient than their older songs and more driven. The other song off of their 7-inch, “Summer Suit” was ethereal and focused, especially compared to the older songs they played surrounding their new releases, again proving that Wishyunu has started refining their vision and sound. You can catch them next in Portland on June 21st at the Holocene. 

-Sarah Eaton

Photos by Lena Knofler