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Tuesday, December 6, 2011

Tonight in Music: Copy/Onuinu, Chelsea Wolfe, Someone Still Loves You Boris Yeltsin

Posted by Ned Lannamann on Tue, Dec 6, 2011 at 12:33 PM


COPY, ONUINU

(Bunk Bar, 1028 SE Water) Portland's electronic music scene has never been stronger, and tonight's lineup is an excellent sampler of what's out there. Dry your rain-wet clothes with the super chill, videogame stylings of Copy and the sophisticated ambient house of Onuinu. WILL ELDER


THE BLACK HEART PROCESSION, CHELSEA WOLFE, DRAMADY

(Doug Fir, 830 E Burnside) With frightening album art and song titles like "Primal/Carnal," it's impossible to not be at least a little bit intrigued by Chelsea Wolfe's new release, Apokalypsis. This album is a gem among all the dark bedroom pop that has found its resurgence in the past year. The perfectly crafted moments of silence on Apokalypsis are almost as dark and effective as Wolfe's dramatic lyrics and instrumentation, and it all comes together to create a beautiful, eerie, and lo-fi result. Few songs follow the same formula, or share the same instrumentation, or are in any way repetitive in theme—yet the album flows together in a near-perfect haze of ambience, folk, and doom. ARIAN JALALI


HA HA TONKA, SOMEONE STILL LOVES YOU BORIS YELTSIN, TIGER HOUSE

(Mississippi Studios, 3939 N Mississippi) Someone still loves you, Someone Still Loves You Boris Yeltsin. And that someone is me. This is in spite of a name that seemed precisely calculated to grab attention from the blogosphere circa eight years ago and a string of shaggy, easygoing pop recordings that seemed precisely designed to turn up in places like The O.C. (which totally happened). The quartet from Springfield, Missouri—and it's still the same four guys—released three very good LPs along the way: 2005's Broom, 2008's Pershing, and 2010's Let It Sway. Now they're touring on the back of the new 26-track Tape Club album, a collection of demos and outtakes that, incredibly, sounds fantastic all the way through, despite variable instrumentation and recording quality. NED LANNAMANN

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