Acroyear is Luis Tataje.Creating sonic landscapes in Portland, OR and San Francisco, CA since 1998. Dark, visceral , and sonically challenging the aural senses. Creating dubplates for the former Portland based dub label BSI Records(Systemwide/Muslimgauze/BeWa/Twilight Dub Circus) to doing various remixing projects local and abroad. Member of the PAN-ZEN KONSPIRACY NETTWYRK  "BLUDGEONING BASS AND BREAKS" - PORTLAND MERCURY "RIB-CRACKIN' BASS AND LUSH ATMOSPHERICS TO BE HAD" - BSI RECORDS "LESS BEAT DRIVEN BUT FORMING BIGGER SOUND WAVES ACROYEAR'S CREATIONS SWIRLED OVER THE OFTEN CLOSED-EYED, HEAD - NODDING AUDIENCE" - THE OREGONIAN.  (I ALSO PERFORM AND RELEASED MUSIC AS PART OF THE ENSEMBLE : JAZZTRONICA W/DEREK SIMS. HERE IS AN EXERPT FROM THE OREGONIAN: Jazztronica started as a concept, then a live performance series in Portland and now, apparently it's a band AND the name of an album. The constant is trumpeter Derek Sims, who a few years ago actively hated electronics, even electric Miles Davis. Accidentally walking into a one-man performance by Auditory Sculpture (Keith Schreiner) changed Sims' musical life. The subsequent collaboration opened new worlds to both. The combination was irresistible: Schreiner's hip-hop beats and electronic samples and Sims' mostly muted trumpet which, as they progressed, mutated into electronically enhanced trumpet. Sims began a similar collaboration with Cellotronik (Skip von Kuske) and started a series at the Blue Monk, alternating in duet between the two and adding Acroyear (Luis Tataje) and keyboardist Clay Giberson when the series moved to Pi-Rem. Although always in duet, whomever Sims teamed with sounded like a whole band, with Sims' modal swooping, punctuating, sometimes soaring, always inside the storm around him. Recorded live at Pi-Rem, the duets on the album present a unified concept, each partner adding his own contribution within it: Schreiner the melodic, von Kuske the cello lyricism, Giberson the jazz edge and Tataje the rhythmic frenzy. There is a generational divide between those who have never not heard hip-hop beats and those to whom those beats are an anathema. Perhaps this will bridge the gap between the two genres in the same way Miles Davis' "A Tribute to Jack Johnson" did for jazz and rock.

"When bands say something like, "We play a unique blend of influences like you've never heard before!" it usually means they sound exactly like whatever influences they claim. An artist has a context the listener will never have—it's difficult to see past intent to hear reality. Seattle band Levels, though, really do defy easy labeling. Sure, it's rock, but I also hear new-wave revival acts like She Wants Revenge and the Killers. There's no synth, though, and the bass is heavier and fuzzier, almost doomy at points. And maybe it's just because I have Bowie on the brain, but I feel like "Diamonds" is something the Goblin King would sing if he were fronting Depeche Mode, something I'd very much like to see, codpiece and all. Check it out at facebook.com/levelstheband." - Megan Seling / The Stranger

My tunes! PDX producer of things bleepy and some smooth stuff too. I think scythes are cool. Anime rocks. I'm fungible. Available for composition and sync.

Laura Ivancie has performed at the Safeway Waterfront Blues Festival in Portland, Oregon, on the Backwater Blues Cruise along-side Reggie Houston (Fats Domino) and Grammy nominated pianist, Janice Scroggins, for three consecutive years (2011 thru 2013). Laura’s original song, “Candy,” (Dance/ Electronica) earned semi-finalist recognition among 18K song submissions in the International Songwriting Competition (2014). She has shared the stage with blues legend, Norman Sylvester; opened for the iconic Portland band NU SHOOZ at the Portland Rose Festival and kicked off the Safeway Waterfront Blues Festival with her band on Miller South Main Stage (2015). Other notable national acts that Laura has opened for include: Ladi6 (Best Female Solo Artist in New Zealand, 2011), Vicci Martinez (NBC Finalist for The Voice Season 8), David Ryan Harris (Former guitarist for John Mayer), The Indigo Girls, and most recently for Grammy award-winning Neo soul superstar Bilal.

Solovox is not really a DJ, but he stopped correcting people years ago.  Call him what you want, he has been an essential crowd favorite of the West Coast music scene for 20 years...headlining countless shows and festivals with a ridiculous blend of live keyboard wizardry and irresistible, positive music.

Remixing DJ tracks live onstage...playing original compositions, and sometimes completely improvising, he lays down walls of pure sound blending psychedelic synths and filthy funk licks that blend modern dance music with a nod to his classic rock and jazz roots. If you've never seen it, it's time. 

Solovox has played or headlined hundreds of shows and festivals including multiple stints at What The Festival, Oregon Country Fair (first ever electronic act booked), Burning Man, Pacific Fire Gathering, Los Angeles Burning Man Decompression, Nexus (LA), Fuente Eterno in Mexico, Elysium (San Diego), and Shift festival. In Portland he has become a staple at HOWL, Whiteout, and multiple New Year's Eve events like Inspire: Truth.

In 2010 he almost caused the collapse of the Hawthorne Bridge in downtown Portland as 2,000+ people danced to his music. Oregon Public Broadcasting featured this moment in Oregon Art Beat in 2012; learn more on the bio page www.solovox.com

In 2018 he composed the soundtrack for the Bad Habit's videogame 'Marble It Up' for Nintendo Switch and other platforms.  He is currently the Creative Director for Arcimoto in Eugene, OR, producing music, video, and all creative assets.

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