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Red Bull Sound Select Presents: Rubblebucket

Red Bull Sound Select Presents: Rubblebucket

Candace, Thick Business

Thu, February 23

Doors: 8:00 pm / Show: 9:00 pm

Doug Fir Lounge

Portland, OR

This event is 21 and over

Admission to this show is first come-first served with RSVP! Arrive Early!

Rubblebucket
Rubblebucket
RUBBLEBUCKET: A BIOGRAPHICAL SOMETHING
Rub-ble-buck-et
[ru-bul-buck-it] Noun

1. A vessel in which workers collect waste materials on a construction site; We need a rubblebucket for all this rubble.

2. A wild art‐pop band from Brooklyn, NY; I'm jonesing for the
new Rubblebucket album ‘Survival Sounds’.

3. The condition of havinghard nipples, or riding a mean yes wave;
He has great Rubblebucket.

Verb
4. The act ofuncrossing one’s arms and letting loose, while strange, new feelings and sounds floodmind and body, leading to uncontrollable dancing, possible injury and definite sweat; Man, we really put the rubble in the bucket last night.

My experience with Rubblebucket goes way back – to the summer of 1987, when I was born and first met lead singer and baritone saxist Kalmia Traver, then four. Kalmia was already well on her way to being a multi-instrument prodigy (penny whistle, recorder,
alphabet burping), and I was already drowning in the ginormous shadow that she cast just by breathing. When she put our brother in a dress, blonde wig and heels, let me put on his lipstick, then forced his elastic micro-limbs into a diva pose, I knew she was a natural performer. Kalmia met Alex Toth (band leader, trumpeter, guy, brother-from-another-mother, Jersey) in a latin jazz combo in Burlington, VT. I’m assuming she also dressed him in drag,
because he liked her and they became friends, painting the town with their loud horn playing. In 2006, they moved to Boston, where they did respectable things for money.

Kalmia nude modeled for art classes, and Alex was hustling marching band gigs at $50 a pop, for which he was required to wear a black shirt and march around for six hours at a
time OR NO PAY NO WATER NO DINNER. It was like that scene in Oliver Twist.

Naturally, out of this hot, tarry, magical, broke-ass time, Rubblebucket emerged like a huge, slippery, post-afrobeat baby. Alex had met trombonist Adam Dotson at one of these marching gigs, and the three began composing and playing the first songs in Rubblebucket’s repertoire. Soon, they were joined by three more friends – guitarist Ian Hersey, drummer Dave Cole, and 15-seater van Puppy – and started taking the Rubblebucket show on the road. The first time I heard Rubblebucket perform live, two things happened: I realized this
was the coolest thing on earth, like the lovechild of a unicorn and the Tom Tom Club, and I asked them if I could sell their merchandise at shows. You know what they say – those
who can't do, sell merch. Night after night, standing behind that table of CDs, thongs and beer cozies, while Rubblebucket transformed the crowd from a skeptical wall of people into one big, happy, silly, jiving, open-hearted mass was an unforgettable experience. Their music does that – it just does. You can’t know it until you see it. And everyone who sees it, knows it. Like
Paste, who said it best: “music that will make anyone with a pulse
dance.” (I’ll annotate this by extending it to you pulse-less readers.
You, zombie. I know you’re out there.) The Rubblebucket condition has spread, melting cares in its way. It barges in like an escaped rhino and triggers everyone, everywhere, to let loose and feel.
Arm-crossing be damned! I’ve been to many Rubblebucket shows. But it wasn’t until I was mid-crowd in NYC’s Bowery Ballroom and heard a guy in front of me say to his friend “the singer looks so hot
tonight” (but? Gross? That’s my sister?) that I knew Rubblebucket had made it. The experts will tell you that, actually, this was when they released their 2011 album OmegaLa La, with its headlining tracks “Came Out of Lady” and “Silly Fathers,” and reached a
whole new, larger audience. Or, when they flew out to LA to play on Jimmy Kimmel Live, and got free pizza and Alex almost puked backstage. Or, when their song “Came out of a Lady” appeared in the movie Drinking Buddies, and I was suddenly one giant
leap closer to meeting Anna Kendrick (that’s when I knew
I had made it). Or, when their green rooms started stocking guacamole. Or, when their 2012 and 2013 EPs Oversaturated
and Save Charlie introduced fans to the next and the next evolution of Rubblebucket, and more and more people fell in love. Now, much to my drool and dire impatience, the band is hovering on the knife’s edge of their next highly anticipated album release, Survival Sounds (Communion Records, Aug. 2014). Prepare yourself,universe. Rubblebucket is many things and nothing at all; it’s a mindset, a legend, a feeling, a mystery; a mischievous, playful, boundary-smashing blast of sound that you can sit still
and wonder at, or turn off your mind and move wildly to. Or both at the same time. As Kalmia said, when she handed me one of her now-famous peanut butter, cheddar cheese, cabbage, honey tacos, “This is the weirdest, most delicious thing you will ever taste.” And if you won’t take it on my authority, take it on the authority of a small, but reputable publication called
Rolling Stone reporting from Bonnaroo: “Rubblebucket revved up like an indie-rock Miami Sound Machine, dancers, horns and all.” And if you won’t take it on Rolling Stone’s authority, cleave to the words of guitarist Ian: “Our music is like being at a raging party, but in the center of it, there’s this beautiful painting that you’re staring at, trying to wrap your mind around.” Or the words of our dad, Tim Traver: “Kids these days.”
- Mollie Traver
Candace
Candace
Candace (formerly Is/Is) infuses their music with a sense of mystery and brooding atmosphere. Psychedelic and shoegaze influences emerge throughout the catalogue: the atmospheric tones of early Verve, a droning pulse reminiscent of Loop. Some songs bounce gleefully forward with a pop sensibility, while some keep a cool distance and move with a language distinctly their own.

Candace began as Is/Is in late summer of 2009 with Sarah Rose, Sarah Nienaber, and Mara Appel DesLauriers. The early days brought about "This Happening" EP (2010) and the "Vowel Movements/Blackest Beat" 7" (2011). Mara moved cross-country to Portland, OR, and in 2012 the band released their debut full-length LP "III," so named for the three drummers who played on the album. The two years following found the band cycling through drummers, with every lineup feeling more like an approximation of what the band was supposed to be, and never what it was. "Is/Is (Manimal Vinyl, 2014) would be the last to feature any drummer but Mara. During the coldest and darkest Minnesota winter that nobody wants to remember, Sarah and Sarah recorded the wistful, ethereal bedroom-pop tape "Shadow Days" (Moon Glyph, 2015). The following spring, they also moved to Portland OR.

The reunion was nothing short of propulsive. Writing and demoing became life. In the spring of 2015 the band spent a week at Jackpot! Recording Studio with longtime friend and co-producer, Neil Weir of The Old Blackberry Way. The following fall, three of those songs were self-released on a limited-edition cassette, "Return to Zero," coinciding with a West Coast tour and brief stint opening up for King Khan & The BBQ Show.

2016 brought about another transition, as necessary as any. On the surface, it's an update of a moniker. But beneath the surface, the band's maturation has been constant. Sarah, Sarah, and Mara are ready to debut Candace. "New Future" is due March '16 on Found Object Records.
Thick Business
Thick Business
LOCAL BOISE SWEET TARTS THICK BUSINESS TURNS ON THE SMALL CLONES AND TURNS UP THE SEXY. AN INTROSPECTIVE DANCE PARTY FOR TRIPPY SAD SACKS AND PARTY GOERS ALIKE.