ArtistDirect News
Portland Industrial Solo Project Centrifugal Force Machine to Perform at High Water Mark on July 23
Court Knight, the creative force behind Portland’s industrial solo project Centrifugal Force Machine (CFM), is slated to headline a night at High Water Mark on July 23, 2026. The event follows a steady stream of releases and an expanding tour that has positioned CFM as a compelling voice in the contemporary EBM‑techno landscape.
CFM is signed to Berlin‑based X‑IMG. The project burst onto the scene with the album OBJECT PERMANENCE on May 25, 2025. Produced by Dancing Plague, the record marries 1980s industrial textures with hard‑techno beats and dystopian lyricism. Minh Tran and Hotvlkuce Harjo supplied the striking cover art that echoes the album’s bleak aesthetic. In March 2026, Knight dropped the two‑track EP OBLITERATE / COLLAPSE, released on March 28, 2026, which pushes the aggressive sonic palette introduced on the debut into new, darker territories.
Knight’s stage name and project title trace back to her time in mortuary science. While attending embalming school, she noted the phrase “centrifugal force machine” in a textbook, a device that propels embalming chemicals through a body. She later adopted the term as CFM’s moniker, a nod to the mechanical and macabre elements that permeate the music. In an interview with Oregon Music News, Knight described CFM as her first solo endeavor after nine years of DJing, citing early Alien films, Mandy, and The Matrix as key visual and sonic inspirations. She also revealed that visiting cemeteries has become a routine part of her touring itinerary, a detail that underscores the project’s grim thematic focus.
Beyond the studio, Knight is actively touring. After the July 23 High Water Mark show, she will perform in Los Angeles on August 1 at Catch One’s Das Bunker’s Summer Massive, and in Coachella, California, on September 12 for Luna Negra Goth Nights. She confirmed that a second album is in production and is slated for a fall 2026 release.
When asked about Portland’s local scene, Knight acknowledged that the city could benefit from more hard‑techno and EBM acts but praised the existing community of artists and DJs who keep the underground alive. She emphasized that Portland’s scene prioritizes intimate, friend‑centric shows over commercial expansion. Knight also addressed her former promotion company and DJ night, VANTABLACK, stating that it has been “buried in its coffin” and will not return.
The High Water Mark performance is part of a broader strategy to raise CFM’s visibility in the U.S. market. The venue, known for hosting niche electronic acts, offers an environment that complements the project’s industrial and techno blend. The show opens at 8:00 p.m., requires a 21+ admission, and carries a $10 ticket price.
In summary, Court Knight’s Centrifugal Force Machine has carved a distinct niche within industrial‑techno through a series of releases and a focused touring schedule. With a second album on the horizon and live dates spanning Portland, Los Angeles, and Coachella, CFM is positioned to broaden its reach while maintaining its underground roots.
CFM is signed to Berlin‑based X‑IMG. The project burst onto the scene with the album OBJECT PERMANENCE on May 25, 2025. Produced by Dancing Plague, the record marries 1980s industrial textures with hard‑techno beats and dystopian lyricism. Minh Tran and Hotvlkuce Harjo supplied the striking cover art that echoes the album’s bleak aesthetic. In March 2026, Knight dropped the two‑track EP OBLITERATE / COLLAPSE, released on March 28, 2026, which pushes the aggressive sonic palette introduced on the debut into new, darker territories.
Knight’s stage name and project title trace back to her time in mortuary science. While attending embalming school, she noted the phrase “centrifugal force machine” in a textbook, a device that propels embalming chemicals through a body. She later adopted the term as CFM’s moniker, a nod to the mechanical and macabre elements that permeate the music. In an interview with Oregon Music News, Knight described CFM as her first solo endeavor after nine years of DJing, citing early Alien films, Mandy, and The Matrix as key visual and sonic inspirations. She also revealed that visiting cemeteries has become a routine part of her touring itinerary, a detail that underscores the project’s grim thematic focus.
Beyond the studio, Knight is actively touring. After the July 23 High Water Mark show, she will perform in Los Angeles on August 1 at Catch One’s Das Bunker’s Summer Massive, and in Coachella, California, on September 12 for Luna Negra Goth Nights. She confirmed that a second album is in production and is slated for a fall 2026 release.
When asked about Portland’s local scene, Knight acknowledged that the city could benefit from more hard‑techno and EBM acts but praised the existing community of artists and DJs who keep the underground alive. She emphasized that Portland’s scene prioritizes intimate, friend‑centric shows over commercial expansion. Knight also addressed her former promotion company and DJ night, VANTABLACK, stating that it has been “buried in its coffin” and will not return.
The High Water Mark performance is part of a broader strategy to raise CFM’s visibility in the U.S. market. The venue, known for hosting niche electronic acts, offers an environment that complements the project’s industrial and techno blend. The show opens at 8:00 p.m., requires a 21+ admission, and carries a $10 ticket price.
In summary, Court Knight’s Centrifugal Force Machine has carved a distinct niche within industrial‑techno through a series of releases and a focused touring schedule. With a second album on the horizon and live dates spanning Portland, Los Angeles, and Coachella, CFM is positioned to broaden its reach while maintaining its underground roots.