(Mississippi Studios, 3939 N Mississippi) Delving into the recorded recesses of weirdo psych, exploitation movie soundtracks, and hiphop rhythms turned inside out, the sample wizards of Lilacs and Champagne—AKA Emil Amos and Alex Hall of shadowy local shapeshifters Grails—stitch together collages of sound that are eerie, captivating, and nothing short of brilliant. NED LANNAMANN

(Holocene, 1001 SE Morrison) When I first saw Divers at the Mercury's Malt Ball last year, I was stoked on how awesome they were, and also upset that I'd never seen them before. Divers find the common ground shared between classic-rock radio and British punk bands from the '70s, and are on-point and fun performers. Headlining the evening is Don't, a supergroup of seasoned Portland rockers who commandeer a crowd with Siouxie-tinged vocals and punchy, power guitar that will pump you up—even on a Wednesday night. RACHEL MILBAUER

(Mission Theater, 1624 NW Glisan) On Wolf Parade's debut, principals Spencer Krug and Dan Boeckner struck a delicate, opposites-attract, yin-yang sort of balance. They've diverged since, and both are better for it. In particular, Krug's musical vocabulary is so individual, so distinct, that it deserves to be unbound, free of dilution or compromise. Unlike Boeckner's simple rockisms, there are no convenient touchstones for Krug's flutterings of fancy, his penchant for shifting keys, his blinding torrents of notes, or his dabbling in obscure time signatures, nor for his warbling, vibrato yelp, or his smoky, mythical, lyrical musings. He is at once playful and deadly serious—and at all times, in full motion. Krug moved on from Wolf Parade and from one marvelous solo project, Sunset Rubdown, to another: Moonface. 2010's "Marimba and Shit-Drums," a propulsive 20-minute song-suite played on only the titular instruments, is a masterpiece. His latest LP, Julia with Blue Jeans On, features just voice and piano, and is a more baroque affair—a collision of Krug's classical training and his singular musical mind. ANDREW R TONRY

(Rotture, 315 SE 3rd) Although the flashy synth tunes of Com Truise (AKA Seth Haley) only appeared in the last few years, his sound borrows heavily from an '80s electro-pop sensibility, with beats and production techniques that sound futuristic and fresh. This makes it unsurprising that one of his remixes was featured on the Tron: Legacy Reconfigured remix album. Self-describing his music as "slow-motion funk," Com Truise has been producing beats and sounds for the last decade under various pseudonyms, starting out primarily as a drum-and-bass DJ in Upstate New York. Gaining in popularity, he promises a very danceable show for those in their post-rave phase. ROSE FINN

(The Know, 2026 NE Alberta) Hands In (Erick Crosby) showed up in Portland via Chicago several months ago and has put on stellar solo performances since. Using loops, pedals, guitar, and synths, Crosby makes lo-fi psychedelia with poppy bass lines and gentle, echoed vocals. His songs possess a neon fuzz and hiss, and are so light and catchy they feel classic. Boaring, his 2011 release streaming on Bandcamp, is stocked with slow surf licks and ambient Halcyon Digest-esque guitar, paired with Beatles-happy harmonies, especially on the songs "The Maniacs" and "Moment of Life." Although watching solo performances can get to the best of us, Crosby orchestrates his multitude of instruments seamlessly, with enough to watch to sustain the show. RM