(East End, 203 SE Grand) Youth Code want to convince you that industrial music is hip again. Channeling a ravaging Wax Trax!-style angst to which you can shake your dreads, the young LA duo set their synths—and voices—to harsh mode, but they can also finesse some subtly chilling horror-film maneuvers when they so desire. Oldsters with stacks of Ministry and Nitzer Ebb discs in their libraries may scoff at Youth Code, but their devotion to the genre is undeniable. Enough time has passed for a new generation to slap its own fingerprints on industrial dance music, as the Young Gods did for a while in the late '80s and early '90s. Maybe Youth Code will do so as they continue to progress. DAVE SEGAL

(Al's Den, 303 SW 12th) Read our article on Star Anna.

(Arlene Schnitzer Concert Hall, 1037 SW Broadway) On a Tuesday night 210 years ago, Beethoven took the stage, cracked some knuckles, and introduced an unsuspecting world to his freshly composed Piano Concerto No. 3—becoming, in that singular moment, the world's first indie musician to gain rock-star status. Free from the conservative shackles of popes, princes, and record label execs, young Ludwig wrote and played whatever the fuck he wanted, and his third mash-up for piano and orchestra instantly destroyed all future expectations for what artists "ought" to be doing. As luck would have it, the Oregon Symphony brings this brilliant work to life, and the indefatigable Jeffrey Kahane is on deck to blow up the Schnitz's nine-foot Steinway. You got something better to do than hear Beethoven's keyboard mastery brought to life right there in front of your ridiculously pierced and intentionally deformed ears? Yeah. Thirty-two smackers is all it takes to get a seat in the upper balcony, which, in my opinion, is the acoustic g-spot of the entire concert hall. I implore you, on my knees, beneath shards of freshly broken glass: Stop Instagramming your cat's ass for one goddamned night and get to this show. ANGRY SYMPHONY GUY