Ruby The Hatchet, Emma Ruth Rundle, Holy Grove, Black Mare
3939 N. Mississippi Ave.
Portland, OR, 97227
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
For a band who traffic in measured, unhurried riffage, Richmond’s WINDHAND have moved awfully quickly over the last few years. Founded in 2009, the VA quintet have been making waves since the release of their 2010 practice space demo, a two-track CD that garnered the band comparisons to artists like Electric Wizard, The Devil’s Blood, and Black Sabbath. That auspicious start was further realized in March 2012 when the band released their self-titled debut, which quickly became an underground hit and sold out of multiple vinyl presses in a matter of months.
A year later, the band officially signed to Relapse Records. After a steady touring schedule, the band collaborated with Richmond brethren Cough on a split entitled Reflection of the Negative, which was released on Relapse in April 2013. Pitchfork deemed the split WINDHAND’s “best music to date,” and the record’s positive critical reception helped pave the way for WINDHAND to release the highly anticipated album Soma in September 2013. Stereogum, Spin, and the LA Weekly featured Soma prominently on their overall best-of lists. The album was heavily represented in countless metal publications including Revolver, Invisible Oranges, MetalSucks, and Metal Injection. Rolling Stone, NPR, and Pitchfork all took note of Soma as well; the former considered the album the third-best metal release of 2013.
Soma was no flash-in-the-pan internet phenomenon. In 2013 and 2014, the band embarked on a series of support and headlining tours across North America, Europe, and Australia, sharing the stage with the likes of Sleep, High on Fire, Dead Meadow and Kvelertak. In addition, WINDHAND appeared at major festivals including Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. WINDHAND also took the time in October 2014 to follow up Soma with a brief two-track Halloween split alongside Swedish doomsters Salem’s Pot (released on Riding Easy Records). Noisey liked the record so much that they declared the band “must have definitely sold their souls for their new split.”
WINDHAND returned in 2015 with their third full-length, Grief's Infernal Flower, a multifaceted slab of thundering stoner doom that Noisey has called “doom metal's most anticipated album of the year.” Produced by Jack Endino (Nirvana, High On Fire, Soundgarden, etc), Grief's Infernal Flower is massive, heavy, and personal, a modern testament to the power of doom and stoner metal’s legacies. One sees the urgency the band have displayed over their career reflected in their music – long-canonized tropes are reimagined and reinvented, WINDHAND convey an irrepressible sense of motion even within the slowest of songs. Front woman Dorthia Cottrell firmly establishes herself as one of the best vocalists of the genre by perfectly balancing beauty with enormous power, and the twin-guitar attack of Garrett Morris and Asechiah Bogdan weaves together nine songs of perfect riffs and fuzzed-out bliss. That often-delicate splendor is all tempered by the colossal rhythmic mastery of bassist Parker Chandler and drummer Ryan Wolfe, whose lower-register expertise serves as the backbone of the new record. Though the first two WINDHAND albums were underground classics, Grief's Infernal Flower stands to see WINDHAND cementing themselves as one of the premier metal bands of our time.
Ruby The Hatchet
American female fronted hard/alternative rock and heavy metal band. They are especially heavily rooted in the psychedelic rock genre. Members of Ruby The Hatchet, are based in both New Jersey and Pennsylvania.
Emma Ruth Rundle
It isn't unusual for artists to glean inspiration from emotional upheaval, transcending pain through a kind of mental osmosis, so that the turmoil in their lives provides the fuel for their artistic fire. Only some, however, lay bare the open nerves of their suffering, inviting the listener to experience raw emotion with them, in real time. By exposing vulnerabilities within themselves so fragile that their music itself somehow embodies their own personal discomfort, they create an auditory experience verging on total catharsis, for artist and audience alike. Emma Ruth Rundle is just such a musician. Her second solo album, Marked for Death, mines feelings of loss, defeat, heartache and self-destructiveness to emerge with the most honest and compelling accomplishment of an already prolific career.
A more adventurous production than 2014's solo debut Some Heavy Ocean, the eight compositions on Marked for Death, helmed by engineer/co-producer Sonny DiPerri, emphasize dynamics and vocal melodies, variable tuning, and a dense layering and texturing of guitars. Nevertheless, fear and self-doubt linger in the shadows of Rundle's mind, providing an incessant counterpoint to her ambitious talent and sultry, albeit de-emphasized, allure. As she explains, "There is intentionally nothing to hide behind here, but at the same time I'm terrified of revealing myself." Clarifying this she continues, "The subject matter is largely about being defeated and shrunken into the base human themes of love and loss. It's a far cry from high art. It's very much from the dirt." Exemplified by the candid, unglamorous cover portrait, the album makes a persuasive argument for its creator's utter helplessness in the shadow of defeat. And though a potent dose of dark, hypnotic rock every bit as satisfying as her work with Marriages and Red Sparowes, Marked for Death's most resonant element is Rundle herself, settling-in to her role as singer/songwriter. Her rich voice, alternately jostled and cradled by the sounds conjured from her guitar, feels more present, perhaps even more deliberate, than ever before. Written over the space of a few months holed-up at The Farm, Sargent House's desert outpost/recording studio outside Los Angeles, the songs on Marked for Death reflect the investigative, occasionally improvised nature of writing and, eventually, recording at the site. The studio's dirty electricity necessitated going direct for most of the guitar tracks. "Because of the direct input set up," Rundle explains, "I had a lot more time to get very textural with the electric guitars, so there are many layers." With unlimited time and space, discovery itself became part of the songwriting process.
Opening track "Marked for Death" stirs quietly at first. Its past-tense treatise on doomed love and the despair of abandonment soon blooms, however, into a cascading murmuration of guitar and strings, its towering, epic presence characteristic of much of Rundle's work. "Protection", perhaps not coincidentally, constructs a wall of volume around itself. The flashes of Rundle's vulnerability and haunting melody of her vocals in turn spark great washes of guitar noise that mushroom into existence like some sonic thunderhead. Dusted with acoustic guitars, "Medusa" spins a churning landscape of reverb and shadow, a broad canvas for the impassioned brushstrokes of her voice, while "Hand of God", a resolute contemplation on living with shame, incorporates a sleepy kind of blues that flickers momentarily before fading away. "Heaven" and "So, Come" grapple with themes of suffering and yearning for the past, transforming from furtive whispers into overdriven burners, and back again. What begins as the album's most restrained moment, "Furious Angel", withers only momentarily from the specter of dying love, the quickening floor toms - present across much of the record - eventually splashing their way through a layer of crystalline cymbals. The dark thrum of stripped-down closing track "Real Big Sky" is accompanied by one of Rundle's most bittersweet lyrics, and a breathtaking performance. The only song on the album included in its original demo form, its unexpected resolve delivers an abrupt, sobering finish.
Complemented by the timeless, cinematic lens of the album's production, Marked for Death finds Emma Ruth Rundle emerging as a performer of naked intensity. She shapes vast, evocative landscapes of sound, combining them with lyrics of devastating candor. Self-determination and resiliency, disguised in this case as coming to terms with overwhelming defeat, are key aspects of her personality. Transforming pain into works of great beauty makes her the compelling artist she is.
Portland, Oregon’s Holy Grove walks in the long footsteps of tradition, pitting soulful vocals, searing guitar solos, and swinging grooves into its own Bic-flicking dinosaur stomp.
Black Mare is a solo project of Sera Timms. She released her debut "Field Of The Host" in spring 2013.
$25 ADV / $30 DOS
Mostly Standing / Limited Balcony Seats
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