WASHED OUT, KISSES
(Crystal Ballroom, 1332 W Burnside) Washed Out's endless, shimmering synth is like taking an Ambien at noon, in the summer, and then drifting down to the beach with a cooler of peach mimosas. You laze on the sand, feeling vaguely buzzed, but mostly drowsy and disoriented as layers and layers of warm dance pop wash over you. In between dehydrated naps, a blurry voice assures you: "it feels all right," and "you're far away"—at least you think that's what he's saying. A couple hours or days later, you wake up draped in seaweed and sunburned. Washed Out (AKA Ernest Greene) plays tonight with LA duo Kisses, bringing you all the pastel new-wave music you can handle. EMILY NOKES Also see My, What a Busy Week!
VOODOO DOUGHNUT RECORDINGS WORLD PREMIERE: THE DOUGHNUT BOYS, DEEP FRIED BOOGIE BAND, DJ DAIRY
(Matador, 1967 W Burnside) Voodoo Doughnut is obviously very good at the business of doughnuts, so far be it from me to criticize the Portland institution's venture into the business of music. On paper, Voodoo Doughnut Recordings looks like a bit of a boondoggle, a label that specializes in 1,000-run editions of colored 7-inch vinyl featuring doughnut-related songs. And the first single on the label, a split that features the Doughnut Boys' "It Ain't No Cupcake (Workin' at Voodoo Doughnut)" on the A-side, probably isn't going to burn up the charts anytime soon. (The song is a swanky '90s funk-dance vamp with an aggravatingly nasal voice—possibly Voodoo co-founder Tres Shannon, or someone imitating him—saying things like, "No, you cannot smell me!" and "You're siiiick! You're sicker!" It was probably hilarious to those who were there when it was recorded; outside of the studio, it's anything but.) But the single's B-side from Pink Boxxes, and the label's second release—a 7-inch from the Deep Fried Boogie Band featuring Quasi's Sam Coomes—are decidedly more appealing. Best of all, Voodoo has an open submission policy, so if you've got a song about a doughnut, this could be your big break. NED LANNAMANN
ULTRA BIDÉ, THRONES, RAT PARTY, THE EX-GIRLFRIENDS CLUB
(Hawthorne Theatre Lounge, 1507 SE César E. Chávez) When people discuss the roots of current noise-rock bands like Metz, Pissed Jeans, and Young Widows, they typically point to the '90s rosters of Touch & Go and Amphetamine Reptile. Fair enough—Jesus Lizard, Big Black, and Killdozer certainly continue to wield their influence. But what about the Alternative Tentacles catalog? C'mon, certainly Alice Donut, Nomeansno, and Japanese dual-bass machine Ultra Bidé deserve equal credit. After all, Ultra Bidé have cranked out their low-end-heavy skuzzy no wave for longer than most of the current noiseniks have been alive. Their latest album, DNA vs DNA-C, came out after a 15-year gap between releases, but it's still as warped and abrasive as their early records. Let the old guys show the young 'uns how it's done. BRIAN COOK
WL, BRETT AND BLAKE, SCHOOL OF ROCK SHOW BAND, MARRIAGE + CANCER
(Slabtown, 1033 NW 16th) Equal amounts of influence rush from each member of WL on their debut album, Hold. It's a feat that ought to be commonplace for new bands, but the distinction of symbiotic interplay found on songs like "Sugar Pill" and "You're Not Really Here" speak to sonic deliberations that champion three parts making the whole for the trio. Misty Mary's elusive vocals fit snugly over Michael Yun's inspired guitar squall, which in turn never buries the smart, steady drumming of Stevie Sparks. As much indebted to the repetitious, guitar-forward dynamics of Thurston Moore and Lee Ranaldo as they are to whatever shoegaze means anymore, WL have locked into a compelling alcove of Portland rock that's fun to watch unfold. They're joined at tonight's all-ages show by a band of School of Rock's finest players. RYAN J. PRADO