(Crystal Ballroom, 1332 W Burnside) Following last year's welcome Pavement reunion, Stephen Malkmus and his merry band of Jicks have treated us to a sparkling, Beck-produced album of great new songs. Tonight you can hear tunes from the wonderfully tangled Mirror Traffic album, among others, in all their Jickiness. NED LANNAMANN


(Holocene, 1001 SE Morrison) It's not that Gang Gang Dance have gotten any less weird, it's that the rest of us have finally caught up. The New York group capably mixes earthy sounds—the nomadic voice of Lizzi Bougatsos; drummer Jesse Lee's floor-bumping but graceful beats—with electronic noises that don't exist anywhere in nature. Brian DeGraw's synthesizers emit blocky, almost chintzy tones, but they practically insist that you embark on a spirit journey within their digital tapestry. Gang Gang Dance's latest, Eye Contact, is the kind of fully realized record that's attracted them a whole new crop of fans, and their polyglot sound contains some of the world's most populist sounds—Lebanese dabke, Cambodian romvong, Malian desert blues—within its skewed artiness. NL


(Wonder Ballroom, 128 NE Russell) Battles' zany math rock reached its zenith on the band's 2007 debut LP Mirrored, proving that music that is both zany and mathy can actually be listenable, too. Vocalist Tyondai Braxton provided much of that eccentricity. Battles released Gloss Drop earlier this year, sans Braxton, but there's still plenty to keep listeners interested. New wave godfather Gary Numan guests on "My Machines," an industrial-grade rocker that locks tight into a relentless fuzz bass line. The rest of the album shows a band with plenty of tricks up their sleeves. And live? Watching John Stanier mercilessly bash the drums (and that high-rise cymbal) is worth the price of admission alone. MARK LORE


(Kenton Club, 2025 N Kilpatrick) It's a night of legends: the most stalwart watering hole of North Portland welcomes the Renderers, a band who has crossed continents and decades to take the stage tonight. The Renderers hail from New Zealand, and are anchored by the husband-and-wife duo of Brian and Maryrose Crook. They released their first album in 1990 on Flying Nun Records, a label that is renowned for releasing intelligent and emotionally pummeling music into the sonic atmosphere. Eight years later, they reached American ears via underground label Siltbreeze. Now preparing a seventh album, their style combines the honest sentimentality of country and western with the experimental bent of modern rock. Their influence can already be heard with the latest generation of musicians, including openers the Whines, whose time in Portland has given us beautiful things, including last year's unforgettable LP Hell to Pay. MARANDA BISH


(Mississippi Studios, 3939 N Mississippi) When Metronomy played Holocene in January 2009, it was a dance party and a half: The English group, with Joe Mount leading the pack, sprang through a lively set of electro-disco, packed full of rigid, new wave beats and squealy, futuristic synths. So it's slightly puzzling that Metronomy's latest, The English Riviera, is a taut but gentle soft-rock record, but its restraint allows Mount's songcraft to shine through. France's Phoenix is an easy reference point, and there are some ELO-ish hints as well, but there's also a similarity to the lovely, immaculate pop of Sunderland's Field Music (and its offspring, School of Language and the Week That Was)—particularly in Mount's carefully controlled vocals, which draw comparisons to the Brewis brothers. No, the crowd won't be bouncing off the walls this time around, but Metronomy will assuredly offer plenty of slow-swaying grooves—like the lilting "Trouble"—for you to get cozy. NL


(East End, 203 SE Grand) Have you seen Nasalrod yet? You need to. Each band on this bill is a fine example of the creativity and style that courses through Portland's metaphoric veins, but Nasalrod is a particularly potent display of the beautiful fusion that occurs among our city's myriad talented citizens. With Jeffrey "Chairman" Couch as ringleader, the band is in the hands of someone so fiercely dedicated to music and enthralled with its form that he becomes a live conduit of rock and roll. His vocal delivery is physical and auditory hysteria, erupting in accord with the no-nonsense bass stylings of Kat Knows and Justin Stimson's hard-hitting guitar. Add to the equation the legendary Spit Stix, drummer for Fear and local band Lickity, and you have an outfit that will rock your world in every way. MB


(Roseland, 8 NW 6th) No Light, the Naked and Famous' 2008 EP just re-released by their Universal Music overlords, sees the New Zealand band in slightly rawer form, with songs that sound like they could have been made by mere mortals. But there's still a hint of the huge arena pop that would grace their monumentally successful debut LP Passive Me, Aggressive You, a record that sounds like it was etched onto the stratosphere by titans the size of skyscrapers. That the Naked and Famous don't have a ton of personality of their own actually works in their favor—it's that much easier for a listener to project one's self onto their gargantuan hooks. And while it's probably worth taking a trip to the bar during the overly trodden retro-synth shtick of the Chain Gang of 1974, stick around for openers White Arrows, who take the quirky synth jitter of bands like Nurses and cheerfully re-coif it in a sparkly LA sheen. NL