CAMERA OBSCURA, MARISSA NADLER
(Crystal Ballroom, 1332 W Burnside) Read our article on Camera Obscura.


CLOSER PDX
(Refuge, 116 SE Yamhill) The Closer PDX electronic music festival enters its third year with 60 DJs and live acts spread across town for four days. The nerve center of the operation takes place Friday and Saturday at Refuge, with sets from John Tejada, Lars Behrenroth, and lots more over multiple stages, playing techno, house, bass, and all kinds of electronic dance music. NED LANNAMANN


COME, REBECCA GATES AND THE CONSORTIUM, SAD HORSE
(Mississippi Studios, 3939 N Mississippi) Come made four albums in just six years, the most recent of which, Gently, Down the Stream, turned 15 earlier this year. Nevertheless, the darkly angry Bostonians have reunited to celebrate the anniversary of their first album, 11:11, which single-handedly brought blues rock out from under the shadow of good ol' boyishness. Revisiting Come's catalog from a distance, it's surprising how current their loud, unapologetically cerebral albums sound. But all of this obscures current events: Come had their heyday in the '90s, but frontwoman Thalia Zedek just came out with a new solo album, Via. Zedek is a tenacious rocker, and it's oddly comforting that she has never moved past the rage that threads its way through every album she's been involved with. Her raspy voice sounds much the same as it ever did: sad and mad and take-no-prisoners. REBECCA WILSON


HUGH MASEKELA, LARRY WILLIS
(Aladdin Theater, 3017 SE Milwaukie) The music industry can feel so inundated with egotistical skinny white guys that the idea of seeing not just a musician, but a really good musician, who actually stands for something is such a rare and delectable treat. Trumpeter Hugh Masekela is one such rare treat. Born in South Africa in the 1930s, Masekela spent 30 years of his life in exile from his home country during the period of apartheid. Studying music in Manhattan and working under jazz leaders Dizzy Gillespie and Louis Armstrong, Masekela moved to Los Angeles during the '60s, playing at Monterey Pop and later on Paul Simon's Graceland tour. With a classically trained jazz background and roots in a country no stranger to violence, Masekela beautifully blends the energy and synchronicity of golden-era jazz with the passion, lively tempos, and peace-promoting messages that define afrobeat. ROSE FINN


HYSTERICS, RUBY PINS, VEX, NUCULAR AMINALS
(Ethos/IFCC, 5340 N Interstate) Local label M'lady's Records is celebrating their sixth birthday tonight with this outstanding and eclectic lineup. Olympia's Hysterics play fast and catchy hardcore punk with an in-your-face intensity that is rivaled by few. The four-piece feminist rock group use that force to create a rowdy but safe space for whoever wants a part in it. In a hardcore scene that is often dominated by machismo and violence, Hysterics get loud and make sure that their shows can be enjoyed by anyone. Sharp and powerful lyrics take cues from Naomi Wolf's The Beauty Myth and the "girls to the front" disposition of the riot grrrl movement. They lash out against a patriarchal hardcore scene, and take aim at the never-ending struggle to achieve glamour within our consumer-driven society. It's a message that still needs to be shouted, and classic DIY punk is the perfect outlet for it. CHIPP TERWILLIGER


JOHN GRANT, JUDSON CLAIBORNE
(Doug Fir, 830 E Burnside) Somehow still relegated to cult favorite, John Grant's path away from his former life as singer for the Czars has taken yet another bend with his second solo album, Pale Green Ghosts. Just as his debut solo LP, Queen of Denmark, writhed in a kind of self-loathing psychotherapy—Grant mining his '70s FM radio influences with the fantastic Midlake as backing band—Pale Green Ghosts' transparent emotional hubris and '80s dance-club vibe offers an intriguing sound-space for such threadbare lyricism. There are still flashes of the piano-led easy-listening tunes Grant expertly delivers (tongue-in-cheek though they may be), and vocal cameos from Sinead O'Connor flesh out a creepy harmonic interplay. Anyone who has the balls to write a line like, "I am the greatest motherfucker that you're ever gonna meet" is someone you should pay attention to. Pale Green Ghosts ought to be on the shortlist for album of the year. RYAN J. PRADO