Tag Archives: keats ross






Performed at Habesha Lounge in Portland, OR 10/31/14

Our set was sequenced with my re-edit of the 1945 film “DETOUR” which is spliced in amidst the performance footage.

It was shot and edited by JOSH WINSOR.

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My new project, SPARE ∆ SPELLS, is debuting at an epic hootenanny we’ve arduously concocted on Halloween Night (2014) here in PORTLAND, OREGON.  Here’s a “promo” with a snippet of “live” audio as well as a preview of my set-specific edit of the 1945 Film-Noir, “DETOUR,” that will provide the visuals for our unveiling…

and Here’s a flyer for the FREE debut designed by yours truly…


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(c) Dakota Slim and Ryan W. Brewer 2008

(c) Dakota Slim and Ryan W. Brewer 2008

Finally, the final album from DAKOTA SLIM to be re-released, “Hitherto The aMiNals” is now available in all major online retailers such as iTUNES, SPOTIFY, AMAZON, GOOGLE PLAY, ETC. This particular release is special due to a different cover from Ryan Brewer and new track listing that separates it from the original release on Bladen County Records
This means that the 6 records which document my artistic growth and output throughout the last decade are now widely available for the first time. This process has had me relive the amazing artistic life I have been gifted thus far, and instilled an incredible amount of excitement for what I have planned for the next decade. I’M ONLY GETTING STARTED.  KEEP YOUR HEARTS CROSSED AND YOUR EYES PEELED FOR THE NEXT CHAPTER!

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WE THE HALLOWED’S First Salon 6/6/14



Keats Ross, AKA DAKOTA SLIM, is part of a conceptual art based spiritualist movement entitled WE, THE HALLOWED.

The movement was announced to the Portland Arts Community on JUNE 6th, 2014, unannounced, by the chapter’s REVELATOR -amidst a costumed procession- pictured here.

Please visit WE, THE HALLOWED’S WEBSITE for information on becoming the “saint of you” or any information regarding the cause.




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Preview of NEW BAND

My satchel was stolen with two years worth of handwritten material across, at least, four projects I was dilligently determined to finally square away.  The Great Spider that weaves her tangled web, connecting us to validation through resolve, certainly didn’t see the fruits of my labor.  Perhaps she felt that I, after a rebirth of sorts, needed more of a cataclysmic surge to truly reinvent myself, a spark that only a dharma bum could ignite burning down his worldly possessions in one awesome flick.

The anger still haunts me, a sort of primal protection a father instinctually ignites when his offspring is attacked in front of him.   A macabre revenge lust permeates when I’m left with my thoughts, for the fate of all that work must have been nothing more than skimmed and discared into the narrows of nothing…

Those lost confessionals and documents were the only testament to finding what kept me alive through some of my most torrid times in life.  But que sera, sera.

Alas, I haven’t been able to break focus or weep over the lost work… I quickly started to trust that the Great Spider weaves a web of calculated deference, a familiar web, later discovered to be manifested by my subliminal guidance.

So I took most of the structured music and re-appropriated them with the hopes of instilling the fervor and tenacity of lust for weird.  Let this video be a testament to a conjuration of sifted ephemera from the past and exciting/revitalizing prospects of the future.  I am birthed, and earthed all over again…

This is an early rendition of a song intended for the aforementioned long labored album PRAGMAGIK – “Pray for Strays” – it, along with most of that record are being deconstructed into a few different conceptually focused projects.

This song, and most of the sequence driven material written the past couple years, have turned into this live theatrical ensemble featuring DODGE LOGIC / ELEGANT BACHELOR – Justin Shelp manning Guitar, Orchestrated Noise, Drums, Misc. Perc… hell… Anything he can grab with two fists.   I cover Vox, Baritone, Sequences, and Kick Drum + Pedal work (new appreciation for the art of tap dancing).

The full announcement regarding this new outfits identity (along with other projects), tracklist, and concept is forthcoming.

JOSH WINSOR shot this beautifully constructed montage of us.

For now this is an exceptional document, or glimpse, on the set-up thus far of our writing process of our third session performing together.

The video is a montage while the audio is a single, live take.

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While compiling “GOD GONNA GET ME RIGHT” I took the opportunity to make “ANONYM” available for the first time in years.  These are still played live and constants in the DAKOTA SLIM MYTHOS for it was the first true “DAKOTA SLIM” release.


All Songs Written by REV.ROSS

except 1 + 5 by REV.ROSS and Erick Lenger

REVELATOR Keats Ross: Vox, Guitar, Blow Organ, Beat Manipulation, Bass, Drums

Dominique Reveneau: Bass, Stand-up Bass

Erick Lenger: Lead Guitar

Ray Reeves: Drums (#2)

Engineered by Dominique Reveneau

Release Date: 02/23/06
©Dakota Slim Hymns


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GOD GONNA GET ME RIGHT (Skeletal Bedroom Hymnals 2010-2012)

I thought I’d cut the lack of ouput during the recording of PRAGMAGIK by releasing a collection of rare demos.  The two year battle through California and Arizona terror tours were spliced between some bedroom preambles found on this collection.  The songs were written and recorded in various apartments, girlfriend apartments, attics, and dens in OAKLAND, SAN FRANCISCO, and PHOENIX.  Look forward for a correlating story about the mess I was in for each song available here, soon.


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PRAGMAGIK started principle tracking with co-producer RYAN STIVELY at his SAUCESOME STUDIOS here in Portland, OR.



We began by making a library of junk percussion.  Recording small samples of STIVELY and I hitting various found items.  I then took those samples and sequenced the album’s accompanying rhythms using RECYCLE and REASON. Taking a track of sequenced percussion, we re-amped through a MARANTZ PORTABLE CASSETTE RECORDER to utilize the tape’s saturation and adjustable speed.


SAUCESOME STUDIOS (re-amping digitally sequencing through cassette)

I then went on to track some fuzz bass.



I laid down a soft electric, accompanied by a bright acoustic:

Saucesome Studios GTRS

Saucesome Studios GTRS

Followed by minimal drums to accompany the sequencing

The found tape I was using for saturation provided some ghostly samples


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PRAGMAGIK #2 (Halloween)




Performing Halloween Night At Good Neighbor in NE PORTLAND, 2013


The Halloween show was wrought with technical difficulties.  Mainly my live sequencing with a 4-track cassette player. The night conjured epic weirdness.  It caused me to go back to the drawing board and invest in some new musical artifacts.  I picked up a MARANTZ PORTABLE CASSETTE RECORDER (seen below) to perform my sequenced junk percussion live.  The process of found sound samples that are sequenced digitally, yet, performed through cassette has finally been manifested:



I was able to give the new set-up some performance practice at The Habesha Lounge, here, in Portland, Oregon, a couple weeks later.  It was not as exercised as I would’ve liked, but was a success all around. Much adoration for my old OAKLAND wizards, SAFEWORD, for performing with me for a second time on their second tour of PDX.




“PRAGMAGICK” has now become PRAGMAGIK” to customize the title borrowed from Marilyn Ferguson’s Book.  It is emphasized that these songs correlate to autobiographical revelations rather than topics from the text.

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I am in the narrows of a sonic rebirth exorcised on a new record tentatively titled “PRAGMAGICK”.

The title comes from a rare tome co-written by acclaimed author Marilyn Ferguson.  As a child, I would often spend time on “The Aquarian Conspiracy” author’s compound in Los Angeles.  My father was deeply immersed in her inner sanctum, and whenever I would visit him, I would play as children do amongst the likes of figureheads Timothy Leary and Aldous Huxley’s wife, Laura.

I even had a play-wedding with Ferguson’s grandaughter. 

Marilyn was a haunting and, until recently, uncovered influence in my youngest memories.  Perhaps now gifted to me in the best years to honor her hushed omnipotence over my formation.

Anyway, the text of PRAGMAGICK was seldom printed, but, of course my father’s copy found its way into my life a couple years back.  It reads as a text book of sorts for practical notions of “magick”; utilizing thought to manifest action.  And although the album will focus on more personal themes lyrically, I’m treating the record as the first ramble in the output I always aimed to muster for Dakota Slim.

I intend to treat this as the first of a series of pieeces, sonically or otherwise, that lead to a catalogued belief structure…  I know, I’m getting ahead of myself.

I will start to document the progress of this record through my introspective demo-ing, to the actual production that will be aided by Ryan Stively (PORT O’BRIEN, POISON ARROWS) on this website.  Noting esoteric rituals, experimental tactics, and the tumors grown from one man’s trembling in his own mythology. 

Keep your eyes peeled and your hearts crossed.

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