Mick Learn Benefit Show, Tango Alpha Tango, Portland Cello Project: Dance Party in Purple – Tickets – Doug Fir Lounge – Portland, OR – September 6th, 2015

Mick Learn Benefit Show, Tango Alpha Tango, Portland Cello Project: Dance Party in Purple

Mick Learn Benefit Show

Tango Alpha Tango

Portland Cello Project: Dance Party in Purple

Brandon Summers (of Helio Sequence), Like a Villain, Sama Dams

September, 6th, 2015

Doors: 6:00 pm / Show: 6:30 pm (event ends at 1:00 am)

Sliding Scale $5-25

This event is 21 and over

Tickets are $15 in advance and a sliding scale of $5-25 at the door. 

Read More about Mick and make a donation to support him at the Jeremy Wilson Foundation.

Mick Learn Benefit Show
Mick Learn Benefit Show
Mick Learn has been a self employed full time sound engineer for over 25 years. From behind the mixing console he has helped to shape Portland music into the vibrant and diverse community that it has become.

On one of Mick's rare days off he fell while trying to fix his lawn mower and broke his right arm – both radius and ulna snapped in half. A complicated surgery installed a metal plate and screws in each of the bones.

Mick is a humble person who has never depended on anything or anyone. He has always relied only on his own self motivation and hard work ethic to get by. But he could use his community’s support today. He needs just a small positive push to get back on his feet and fully recovered so he can get back to work doing what he does best; making musicians sound amazing and in turn making our town rock!

Doug Fir will host two nights of music from some of Portland's most prominent artists to help raise money to cover Mick's medical expenses. 100% of the ticket sales will go to Mick and his family.
Tango Alpha Tango
Tango Alpha Tango
Tango Alpha Tango is a four-piece Portland, OR rock & roll outfit lead by virtuosic guitarist, singer/songwriter, Nathan Trueb. He is joined by his wife Mirabai on bass guitar, Joey Harmon on drums, and Daniel Jones on keys and guitar. These northwest natives have been honing in on their fusion of blues and rock on stages from Portland all the way to Austin, TX for SXSW and everywhere in between since 2008. The quality of their music will reel you in with memorable melodies and catchy guitar hooks peppered with funky bass-lines, driving beats, and psychedelic keys. You'll want to catch their live show any time you can because the group's energy is infectious and leaves audiences in a sweaty frenzy screaming for more.
Portland Cello Project: Dance Party in Purple
Portland Cello Project: Dance Party in Purple
Portland Cello Project will be performing a special edition of their yearly Extreme Dance Party to honor Prince!

Although it's no longer an anomaly for popular musicians to work with an orchestra, it tends to be on the symphony's terms, in the symphony's concert halls, and for the symphony's exclusive rates. The classically trained cellists of The Portland Cello Project are working to reverse that tradition by making their talents accessible to their guests wildest dreams, while bringing the instrument into venues where you wouldn't normally see cellos. With this in mind, the group will be touring throughout 2009, bringing their collaborative philosophy to a dirty punk club near you!
Brandon Summers (of Helio Sequence)
Brandon Summers (of Helio Sequence)
The self-titled sixth album by The Helio Sequence began with a friendly competition. Several of the duo’s friends within the Portland, Oregon music scene had been playing “The 20-Song Game.” The rules were simple, playful and ambitious: Songwriters would arrive in their studios at prearranged times and spend all day recording 20 complete songs. When they were finished, they’d have a party, listen to the results and talk about the process—of taking the good with the bad, of letting creativity push past constraint, of simply making music in the moment. Brandon Summers and Benjamin Weikel took the spirit of the “The 20-Song Game” to heart, and forged ahead writing a new record.

“Negotiations was a very long, introspective process,” remembers Summers of the band’s 2012 Sub Pop LP. “We shut ourselves off from the world and disappeared down the rabbit hole. That’s how we tend to work, but we wanted to try something new, open and immediate.”

In a sense, The Helio Sequence had spent their whole career preparing for this record. They’d sunk entire recording advances into studio purchases, collaborating with local engineers to build custom gear and a space where they could blend high fidelity with kaleidoscopic sound. In 2013, the pair took on their first full-scale production project, the Brazilian rock band Quarto Negro, after the group inquired about their space and availability through Facebook. As producers, they’d remixed Shabazz Palaces, picked up mixing sessions with Portland acts and earned representation from Global Positioning Services. Summers and Weikel discovered just how adaptable and powerful their studio could be.

In May of 2014, inspired by the “20-Song Game”, they began arriving each morning in their Portland space—housed in the cafeteria and break room of an old warehouse— with the mission of making as much music as possible in one month. They began exploring and capturing, recording guitar riffs and keyboard loops, drum patterns and bass lines. One piece documented, they quickly advanced to the next idea. Summers and Weikel didn’t discuss what they were making or the reference points that informed it, though such discussions had once been central to The Helio Sequence’s more self-conscious process. They just played. Created. In time, they returned to each fragment, broadcasting it over the studio PA, jamming and recording the results. Mistakes didn’t matter, and second chances didn’t exist. After two weeks, Summers and Weikel began cutting those loose takes into rough shapes, steadily building songs from their cavalier sketches.

Although making records can be a laborious and tedious process, Summers delights in the memory of making this one.

“We were coming to the studio on these sunny mornings everyday with an open mind,” Summers shares. “We said, ‘I’m just going to do what feels good in the moment.”

“We worked so quickly that there was a running optimism,” he continues. “There’s this sense of striving for perfection where you can actually take momentum away. But we wanted this record to be momentum in and of itself.”

When June arrived, the duo gathered their 26 finished songs and sent them to 31 friends, fans and family members. They asked each person to rank their 10 favorite tracks. By summer’s end, they had arrived at the brisk 10 tracks that shape the breathless and magnetic The Helio Sequence—a record so named because it’s a kind of clean restart for the longtime pair, a revamp of their process and a revitalization of their results.

The Helio Sequence is a renewed push forward for the band: From the cool wallop of “Deuces,” where guitars snarl and harmonies soar, to the stuttering anxiety of “Upward Mobility”, where pianos pound and drums race, this collection depends upon an effortless kinetic energy. Lyrically, “Stoic Resemblance” is a study of existential anxiety, but musically, it’s a beguiling burst of pop, Summers’ vocals rising over and sliding off of Weikel’s big, irrepressible beat. The bittersweet “Leave or Be Yours” evokes the easy twinkle of romance and the smoldering sadness of losing it. Crisscrossing vocals and cross-talking guitars and drums map a broad swirl of emotions.

With its easy acoustic jangle, “Inconsequential Ties” might be one of the most surprising, light moments within the bombastic Helio Sequence catalog. But considered within the band’s history, it points to the pop that’s bound Summers and Weikel for so long. Indeed, there’s a delightful candor to The Helio Sequence, an openness that is a rare and special feat for a band about to enter its third decade.

“It’s less about curating yourself or trying to put yourself across how you want to be perceived,” says Summers. “It’s about having a conversation with people and giving them something that’s who you are.”
Like a Villain
Like a Villain
Holland Andrews (AKA Like a Villain) is an American extended technique vocalist, composer, and performer based in and Portland, Oregon. By weaving a multitude of dense vocal layers and textures, Andrews forms sprawling emotional tapestries to foster a space for self-examination and exploration through beauty and dissonance.
Sama Dams
Sama Dams
Sama Dams may have started as an internal exploration for frontman Sam Adams to challenge his traditional music education with avant-garde compositions and unexpected instrumentations, but the now three-piece has built the band into a beast of its own. Since 2014’s “Comfort in Doubt” release, the band has been writing more collaboratively, and Sam has been joined by frontwoman Lisa Adams. While Sam's storytelling is more subdued, depicting the kind of bruised idealism that fractures from one moment to the next, Lisa's songwriting inhabits a more confident Annie Clark-like approach to darkness, often gleefully taking the predator's role in her narratives.

In this evolution since the band’s first EP in 2011, the dynamic has become more experimental and complex with each release. You’ll hear Wurlitzer electric organ playing an active role in their sound, but the multi-instrumentalists will often highlight this with a passionate guitar riff, distorted bass, dirty synth or bright ukulele. Alongside, drummer and percussionist Chris Hermsen employs electric drum techniques playing acoustic drums, pulling inspiration from James Blake or Ian Chang.

Overall, the trio’s brilliance is the vital interdependency between the vocals and the music; in each song, they create an energy which builds slowly from a hum to a howl, that lingers even in the silence.