News

  • Blankstairs at Moloko
    12.22.14 / / 10pm - close 
    3967 N Mississippi Ave
    PDX, OR 97227
    (No Cover)

    We have a lot of exciting material in store for 2015 and we wanted to take this opportunity to celebrate 2014 while looking forward to the new year.

    Music will be selected by Nathaniel Young and Warren Mattox as well as other Blankstairs affiliates.

    Facebook Event

  • The next installment in the Blankstairs saga marks our first venture away from our typical cassette format. We are overjoyed to announce the 10” Lathe Cut Record, ’Pop Awareness’ from Asheville’s kuxxan SUUM set to release October 28th, 2014.

    The piece consists of a dense 12 minute throbbing and leisurely paced dance track that supplies the listener with a healthy dose of kitsch. Cooper has been known to churn out hefty dance-floor tunes that serve the simple purpose of making the listener groove and jive in a way they never previously thought possible. Formerly seeing releases on the fantastic and prolific Brooklyn based Styles Upon Styles imprint, the Long Island based label, South Fork Sound as well as his own venture, End Fence; ‘Pop Awareness’ stands as his introductory release for Blankstairs.

    ‘Pop Awareness’ is somewhat of a humorous exposé that serves as a simple experiment in medium, sampling, and context. Zach set out to achieve a reaction (of any kind) from the listener by merely placing samples from a hand full of commonly known pop songs in the midst of a completely different context. These samples, and subsequent placement, provide the listener with an alternative point of reference and challenges them to think critically and intentionally about the ideas and motifs commonly conveyed by contemporary pop music.

    The 10” Lathe Cut Record is cut at 33 1/3 rpm and comes packaged in a transparent PVC sleeve with a risographed insert which includes the artist’s statement as well as relevant release info.

    Read the artist’s statement here: http://goo.gl/M3Zo9o

    Pre-order the 10” Lathe Cut Record directly from us here: http://goo.gl/MgxRnq

    Tracklist
    1. Pop Awareness (12:06)
  • Our man Fugal has been tapped for the Athens based podcast series, Beatnik. Fugal is currently on hiatus in Berlin though is based in Seattle and is an active part of the Secondnature collective. Take the time to digest this mix in full and keep your eyes open for more from Fugal in the coming months.

  • We recently had the opportunity to chat with Bandcamp about our beginnings from the art-focused music nights we hosted during 2013 to the present state of the label. Take the time to dive into this excellent exposé on the current scene in Portland.

    Read our contribution below and find the article in full here.

    The relatively young Blankstairs label was set up by locals Nathaniel Young and Warren Mattox in 2013 as a direct result of their bonding over “adventurous music and challenging modes of creativity.” Seeking ways to promote what they saw as “disparate forms of individuality,” they created Blankstairs as an art-focused party in late 2012, held in alternative spaces due to their young age and licensing laws. This subsequently grew into a label with a focus on ambient, and gritty house and techno, from both local and international artists. Beyond the music, the pair oversee the visual aesthetic of the label. Blankstairs launched in July 2013 with a compilation featuring over 20 artists, including local acts like Philip Grass and Montgomery Word. Today the label is split between the two coasts, with Young relocated to NYC.

    Dropping Gems provided the pair with a “large influence on how we operate and function as a label. Aaron helped us tremendously with getting on our feet and learning how to put out a proper release.” The majority of Blankstairs’ collaborations, however, have been with the spaces in which they held their events. “Our interest in DIY party culture and the initial limitations imposed upon us by the drinking laws pushed us more toward these alternative spaces.” In 2013 the pair put together a month-long, pop-up club at the Recess gallery with musical and visual acts, and followed that with a show in the basement of a shopping complex. “Every space has operated differently and it’s been interesting to see the varying levels of involvement in the process.”

    As for what Portland brings to the mix, Young points to the city’s well-known open attitude as “essential for developing artists to have an unrestricted forum to present their work in, and I think that the free and open space that Portland offers its inhabitants is what draws people to the city.”

  • BST005: Hal Floyd, ‘Water Colors’ (out 9/30/14)

    We are excited to announce BST005 from Sydney’s Hal Floyd. Out digitally September 30th, 2014.

    'Water Colors' comes from Sydney based producer Hal Floyd. Floyd has been crafting delicate and emotional techno for a number of years now while maintaining a relatively low profile. He's found a home with Chicago, IL based collective and label, Don't Trust Humans, who have put out his past 3 releases over the course of the last 3 years. 'Water Colors' serves as his inaugural release for Blankstairs. 

    These two tracks supply a wistful and romantic statement that recalls past moments and experiences. Each track speaking to a separate but specific memory, carefully narrating the listeners journey through wandering thoughts and fading recollections.

    Tracklist:

    1. All Ventures Overboard

    2. Colorful Water

    Stream the opening track via XLR8R

  • Impose Magazine chatted up Santiago Leyba (U.S. Hard) about movement, his enigmatic presence and more. Read the full interview below.

    The U.S. Hard EP is currently available for pre-order and is out in full Aug. 26th.

    Inventive and innovative, U.S. Hard’s self-titled debut for Portland-based imprint Blankstairs is techno appropriate for an automaton-run dance dystopia.

    The project of Oregon-via-New Mexico producer Santiago Leyba, it’s a wired, tension-filled three track release that pays homage to a barrage of regional influences and the idea of affective response. Minimalist mechanics run the show, as syncopated gears whirr and whine above a pulsating, hypnotizing bassline that is vaguely reminiscent of the classic hardware tracks popular in industrial-tinged venues around the world. We spoke to the eloquent Leyba via email about movement, his enigmatic presence and more. Read his intriguing interview below.

    Where’d the U.S. Hard moniker come from? Was the un-Googleable aspect intentional?

    Since I started “seriously” making music, I generally have kept a running list of song titles and names for potential projects. Certain images, or combinations of words pop into my head from time to time, and the way I deal with the uncertainty and irregularity of that process is to write it down and keep it as a part of a larger collection of ideas I could possibly draw from.

    I came up with “U.S. Hard” by attempting to think of a phrase that functions not so much as a title or name, but as a general framework to inform the intentions and sonics of this project. The music I spend my time listening to is, in many different ways, abrasive. Genres aside, I am attracted to sounds that are raw, abused, or difficult. The intention of the phrase “U.S. Hard” is to, in a sense, explain where I’m coming from, but I’m only going to do that in the most vague and unspecific way possible. I prefer being a face in a crowd. Not being able to find me on Google is unintentional, but maybe indicative of ambiguity of the phrase itself and the relative lack of information about the project.

    There’s not a whole lot out there yet about you. Fill in some blanks? How’d you get your start producing? How’d you hook up with Blankstairs?

    True, I think it makes sense to begin by saying that I used to play drums in a rock band. We spent a lot of time and energy practicing, going on tours, playing local shows, and producing a full length album from 2010-2013. My three bandmates and I were also in school full-time during this period. I got a copy of Ableton Live in early 2011 and began there, my first coherent productions from Ableton were rap beats and industrial-dance type songs, I remember I did a cover of Concrete Blonde’s “Joey” for some reason.

    Seeing and meeting people like Bobby Draino, Jeff Johnson (The Numbs), and Wyatt Schaffner (Soul Ipsum) was really important for me in my consideration of this project as a live act. In the latter part of 2013, after producing a few tracks I felt good about, I made an account with Soundcloud and began putting my work out on the Internet. U.S. Hard’s first “official” performance was a DJ set after Geneva Jacuzzi’s performance as part of the 2014 Reed Arts Week. I borrowed two shitty CDJ-1000 MK1s and a mixer that was held together with gaffer’s tape and DJ-ed for about two and a half hours, really fun. After continuing the DAW route for a bit, I bought a Korg ESX-1 off Craigslist and started sampling and working on a live set. At this point U.S. Hard had settled into a raw, 4×4 techno/house sound. Shortly after this Wyatt (Soul Ipsum) asked me to play the release show for the Magic Fades / Soul Ipsum collaborative work “Zirconia Reign” on Richard McFarlane’s impeccable 1080p label. Warren from Blankstairs had generously lent his PA to the show and after watching my set introduced himself. Shortly after, I met with Warren and Nathaniel (Blankstairs) to talk about a release and sent them some demos.

    How would you describe your project? It’s seems to be rooted in the idea of simplicity, as your bio says you’re interested in getting bodies to move (the simplest of affective responses) and your music has this very minimal German techno aesthetic to it. Can you elaborate on that a little more?

    U.S. Hard, as a project, is rooted in percussive sounds. There is a strong and explicit presence of repetition (kind of a given, I guess) and, despite the fact that I’m venturing into broken beats as we speak, the production is most often subtended by a straight 4 or 8 beat kick drum pattern. Although my productions are extremely syncopated and, uh, quantized (so to speak)I’m interested in breaking that down at points and disrupting the organization, or potential familiarity, of the track. I want to create dynamics by different means, rather than doing something more standard like a filter sweep, or a reverb fill, etc.

    The important distinction in my mind, relating to the project, is that the end point is tomake bodies move, not to convince them. This distinction is oddly important to me. There is a certain similarity to something like Night Slugs’ Club Constructions series; the stripped down approach, reducing the track to its driving force, and taking a stance towards melody. I love melodic compositions and the people who produce them, but for my project it is something that I’m aiming to implement only with the most conservative approach.

    As far as the austere, potentially impersonal, or minimal sound I think that comes from far closer than Germanyit comes from from things like Strider’s World, VII Chapter, and Master Organism. That being said, Berlin (in particular) is a place I’m interested in because of people like DJ Richard, Draveng / Saskian Recordings, and Palms Traxnot necessarily because of heavyweight minimal DJs / producers.

    What’s the Portland electronic scene like and how has it influenced your body of work?

    Electronic music in Portland seems to be really important right now. Ecstasy, and Club Chemtrail bring out some big names and offer opportunities for less well known acts, like myself, to join the resident DJs. There is a newer space called S1, in the basement of a shopping center, that has had insane programming so far. I played there back in June with Fugal and Strategycrazy bunker vibes. There are a lot of amazing people I’ve met here who really inspire and support me: Soul Ipsum, DJ Rafael & Ecstasy, Felisha (S1), Alex (ASSS/S1), Katie (Rosenka), Jeremy & Mike (Magic Fades), Chris Cantino, Gary Tyler, Muscle Beach Cru, Dylan (C Plus Plus), Matt (Karmelloz), Matthew Doyle, Vektroid, Metropol, and more. Not even just in Portland, but Seattle and Tacoma have really interesting stuff going on too: Secondnature, As-DFS, Basin., Novacom, Fugal, etc. Generally, the influence that I’ve derived from these groups and people has less to do with specific critiques or conversations about my work, but rather the fact that they have given me the opportunity to take chances and supported me in those risks.

    Future plans? Upcoming stuff?

    I’m leaving Portland in September for an indeterminate period of time to visit my hometown of Albuquerque, do some research for some paintings that I’m producing and taking the time to get some serious work done. I have a bunch of material that’s yet to be released, so it will be nice to spend some time getting weird out in the desert, sampling, working on U.S. Hard and making paintings. Along with the U.S.Hard material, I’m also doing a collaboration with Metropol and working with my friends Marcus (Markus L.) and Dimitri (Diesel K) on a little collective venture named FACTORY ULTD. DJ Rafael is doing a remix for one of my tracks and Gary is working on a video for “Junk”, so I’m excited for those to drop. Hopefully, I can get out to the East Coast before the year is over to see some folks and play some shows.

  • Decoder Magazine premieres the closing track from U.S. Hard’s debut self-titled EP.

    BST004: U.S. Hard, 'U.S. Hard EP'

    The U.S. Hard EP is the debut release from Portland talent, Santiago Leyba (U.S. Hard). These three raw tracks pulsate with a manufactured nostalgia for Chicago and Detroit. U.S. Hard flirts with polyrhythms and syncopation, yet he pits organic rhythmic texture against harsh, distorted timbres redolent of machinery. He cites Kyle Hall, Omar S., Metroplex records and Dance Mania records as influences.

    A machinist uses machine tools to cut away excess material from something in order to match it more clearly to a blueprint, and the production here follows a similar spirit. Stripped-down composition makes the tracks condensed and claustrophobic— check the flanged high frequencies in “Junk” — but also leaves open space for listener response. This reflects U.S. Hard’s interest in the tension that emerges from the imitation of mechanic regularity by organic material, or vice versa.

    Track List

    1. Junk

    2. Work

    3. Club Diagram

    The U.S. Hard EP will be out in both physical and digital formats August 26th.