SUPER PICK
RUN THE JEWELS, THE GASLAMP KILLER, GANGSTA BOO, NICK HOOK, CUZ
(Crystal Ballroom, 1332 W Burnside) Most rappersâ careers arenât supposed to be peaking in their late 30s/early 40sâthe hip-hop industry is, by and large, a young personâs game. This makes the nonstop bullet train of success that Run the Jewels, the fearsome duo of El-P and Killer Mike, such a wonderful exception to the rule. It certainly helps that the pair have achieved a great deal of crossover success as regulars on the US festival circuit, but what truly fuels El-P and Killer Mikeâs ongoing rise has been the potency and fury of their work together. The three albums theyâve made thus far tap into a main vein of righteous indignation, leftist politics, and some of the wittiest bars ever spit. Theyâve been through the music industry wringer a few times overâMike scrambled for whatever guest spot scraps his buddies Jay Z and OutKast doled out, and El helped foment an indie hip-hop revolution with his group Company Flow and his label Definitive Jux before both dissolvedâso theyâre not leaving anything up to chance. The energy they pour into Run the Jewels continues to be exhilarating and damning. The culmination is the recently released RTJ3, which dropped digitally right before Christmas as both a gift and a middle finger to a certain shitbag then-President Elect. It opens on a note of gratitude, and looks back at the trapping and poverty that nearly brought an end to their careers. From there, buoyed by Elâs pugilistic production, they lay waste to all comers, finding delirious new connections between mile-high boasts and political jeremiads. Run the Jewels have the sound and spirit we all need in 2017. Do your best to keep up with them. ROBERT HAM
WEDNESDAY 2/1
SERATONES
(Bunk Bar, 1028 SE Water) As the birthplace of jazz, Louisiana has produced enough influential artists to fill Lake Pontchartrain, most recently the Seratones. Lead singer AJ Haynes sculpted her righteous pipes at age six at Brownsville Baptist Church in Columbia, Louisiana. The bandâs four members found each other a few years ago after playing in various Shreveport punk outfits. Upon signing with the Black Keysâ label, Fat Possum Records, the Seratones slathered a hearty handful of swampy blues rock all over their full-length debut, Get Gone, recorded at Dial Back Studios in Mississippi. Between Haynesâ Karen O-inspired vocals, dirty guitar licks with a hint of melancholy, and constant nods to old school soul, itâs safe to say the Seratones arenât stuck in any genre. ROSE FINN
YOUNG THE GIANT, LEWIS DEL MAR
(Roseland Theater, 8 NW 6th) Usually when a band plays two consecutive nights in the same city, the critical question to consider is... which is going to be more lit? You donât have to hedge your bets with Young the Giant. Over the years, the sunny California five-piece have amassed a large following thatâs put them on multiple big festival lineups and late-night TV spots. On their third release, last yearâs Home of the Strange, Young the Giant continues to deliver the indie rock sounds we loved so much on their 2010 self-titled debut. Though the writingâs more complex and the storyâs slightly more political, lead singer Sameer Gadhia still knows how to help you get all the ohs and whoas out of your system. GUADALUPE TRIANA
SAROON, POINT JUNCTURE WA
(The Fixinâ To, 8218 N Lombard) Last monthâs wintry weather wreaked all kinds of havoc on Portland: impassable streets, interrupted transit, snow days for school kids, and the Wall Street Journal made fun of us! But perhaps no snow-related casualty was more devastating than the postponement of Saroonâs January 12 show to celebrate the release of the bandâs new album, In the Garden of Cities Built from More. If that shit bummed you out, take heart: Tonight at the Fixinâ To, the band will try again. And if the new record is any indication, it will be a wonderful evening of elegant indie rock ânâ soul thatâll warm you from your toes to your earholes. Across six tracks, the quartetâs sound unfolds unhurriedly, using arpeggiated chords, dreamy studio effects, soft horn parts, honeyed backing vocals, and elongated melodies to build a comforting sound world. Imagine the Long Wintersâ John Roderick fronting a drowsy baroque-pop band, and youâre in the right ballpark. BEN SALMON
SAM COOMES, DR. AMAZON, GALAXY RESEARCH
(Mississippi Studios, 3939 N Mississippi) The first time I ever saw Sam Coomes play, it was with Quasi around the 1999 release of their LP Field Studies. I remember Janet Weissâ thunderous thrashing meeting Coomesâ overwhelming organ/vocal attack at center stage in a swirl of colorful and explosive interplay. On Coomesâ solo debut, Bugger Me, the signature keyboard manifestations are accompanied only by a lonely drum machine in a wholly stripped-down and mechanical soundscape that exposes the intricacies of his creative depth. This minimalist deconstruction of rock ânâ roll is reminiscent of artists like Quintron, Timmy Thomas, and Korla Panditâgeniuses known for streaming vibrations around dusty metronomes like a comet around the sun. What separates Coomes from this list, however, is his flexibility in experimental, terrestrial, or space-age dominions while consistently stretching the possibilities of both instrument and songwriting. CHRIS SUTTON
THURSDAY 2/2
THE THESIS: BOCHA, DEAD PHONE DUMMIEZ, FODAY, DJ VERBZ
(Kellyâs Olympian, 426 SW Washington) While the rest of the world grows bleaker by the minute, the Thesis just keeps getting better and better. The monthly hip-hop-and-beyond showcase is a crucible of diverse Portland talent, and tonightâs installment is no exception, featuring up-and-comers Bocha, Dead Phone Dummiez, and Foday, not to mention regular spinner/host Verbz on the decks. Plus tonight features a secret guest who, rumor has it, is gonna blow minds. Donât sleep on this one. NED LANNAMANN
NAOMI PUNK, PSYCHOMAGIC, WAVE ACTION
(The Liquor Store, 3341 SE Belmont) If James Hurley from Twin Peaks unspiked his dumb hair and suddenly wasnât such a shitty musician, heâd probably sound like Naomi Punk. The Olympia three-piece makes gritty guitar-punk that reflects the terrible beauty and unique claustrophobia of a Pacific Northwest winter, when the grey sky hangs dangerously low overhead and humanity is inescapably drenched in lâeau de mildew. CIARA DOLAN
YOUNG THE GIANT, LEWIS DEL MAR
(Roseland Theater, 8 NW 6th) See Wednesdayâs preview.
THE LEMON TWIGS, SAVOY MOTEL
(Doug Fir Lounge, 830 E Burnside) Whether you like the Lemon Twigsâ music or not, give them credit for this: They are unafraid of setting their own bar very high. Check out this blurb on the 4AD record labelâs website: âOnce or twice every generation, Long Island introduces the world to artists of such singular originality that they change the very nature of their art: Lou Reed; Jim Brown; Robert Mapplethorpe; Andy Kaufman. With their debut album for 4AD, Do Hollywood, the Lemon Twigs have earned themselves a spot on that list.â Okay, then! The Lemon Twigs are helmed by two teenaged brothers named Brian and Michael DâAddario who write songs reminiscent of â70s post-Beatles pop giants like Sparks, Big Star, and Todd Rundgren. And Do Hollywood is a breezy, kaleidoscopic collection with just the right amount of vintage vibe. The Lemon Twigs donât belong on that 4AD list yet, but they certainly seem to have the talent to get there, and thatâs pretty rare. BS
FRIDAY 2/3
SABERTOOTH MICRO FEST: THEE OH SEES, MOON DUO, SKULL DIVER
(Crystal Ballroom, 1332 W Burnside) If you missed out on catching psych-rock juggernauts Thee Oh Sees when they leveled Revolution Hall back in November, the Sabertooth Micro Fest is giving you another chance. Frontman John Dwyer and his ever-evolving band will hoist the freak flag high in honor of the Crystal Ballroomâs psychedelic celebration, and theyâll do so with help from a pair of Portland's own cosmic voyagers in Moon Duo and Skull Diver. CHIPP TERWILLIGER
RO JAMES, CANDICE BOYD
(Star Theater, 13 NW 6th) The Merc can get behind any R&B singer whose biggest song, drizzled in a voice of solicitous honey, is all about seeking verbal consent from a prospective romantic partner. And while Ro Jamesâ hit track âPermissionâ will certainly be on display as he kicks off a tour in Portland this evening, thereâs plenty more where that came from. DIRK VANDERHART Read our story on Ro James.
ALCEST, THE BODY, CREEPERS
(Danteâs, 350 W Burnside) Letâs start by defining the word âblackgaze.â It might sound like an awkward portmanteauâbecause it isâbut itâs also a really succinct and accurate way to describe the music of Alcest. For more than 15 years, the French band has been on the bleeding edge of blending harsh black metal (âblack-â) and dreamy shoegaze (â-gazeâ) into one gorgeous, soaring sound. Alcestâs early days were pretty balanced between the two styles, but 2012âs Les Voyages de lâĂme seemed to signal a shift, with lighter sounds all but squeezing the dark out of the frame. And 2014âs Shelter took that shift to its logical conclusion, delivering 45 minutes of pure, pillowy dream-pop and essentially leaving metal behind. Which brings us to Alcestâs outstanding 2016 album Kodama, which finds the band circling back to its blackened roots by including some hissing howls here and there. Wherever their focus lies at any given time, Alcest is one of the best heavy guitar bands on the planet, and their visit to Portland is not to be missed. BS
THE PRIDS, DAYDREAM MACHINE, THE SECRET LIGHT
(Doug Fir, 830 E Burnside) The Prids might be one of Portlandâs longest-running bands, having overcome a number of setbacks throughout their two-decade tenure that wouldâve had lesser groups calling it a day. That tenacity carries into the bandâs music, as they continue to defy trends in a city and music scene that continues to change. The Prids occupy a corner of music where heartbreak and sadness exist under the hue of sunlight breaking through gray clouds. Do I Look Like Iâm in Love?, the bandâs first full-length since 2010âs Chronosynclastic, is another batch of bleak yet hopeful songs that reflect the Pridsâ long and winding path. âEnglish Treasureâ is hazy, with guitars and synths washing over a sturdy bass line and ghostly vocals. The entire record feels dreamlike, and when listened to in this current political nightmare scenario, it feels even more surreal. Iâm not sure if thatâs what the band was going for, but I can say it might be exactly what we need. MARK LORE
SATURDAY 2/4
YGB PRESENTS ONE: LAMAR LEROY, FRITZWA, SSL, SOUL TRIGGER, RASHEED JAMAL
(Holocene, 1001 SE Morrison) After a short time off, YGB is back! The Young Gifted and Black party provides some of the most consistently dope soul-infused dance nights in town, and itâs staying true to its identity: an inclusive space for joyful movement, free Tarot readings, community-building, incense-burning, and a variety of sound-providers. In addition to resident DJ Lamar LeRoy, Soul Trigger will be in the house with unscripted tap routines incorporating live drumming and DJing. The vibe will be further elevated by the stellar and succinct rhymes from Rasheed Jamal. Saturday is just the first of several YGB-produced events; Sunday thereâs a semi-closed âhealing vibrationsâ brunch that you can request an invite by emailing ygbportland@gmail.com. JENNI MOORE
SABERTOOTH MICRO FEST: THE BLACK LIPS, BOOGARINS, EZRA FURMAN, MĂSCARAS
(Crystal Ballroom, 1332 W Burnside) Ezra Furman seems to relish in every faction of the broad ârockâ genre. Listeners can hear everything from doo-wop to glam to blues to country twang in his music, sometimes even in the same song. Furman pairs this genre-crossing energy with an endearing croon that sounds like heâs an over-caffeinated Warren Zevon. Brazilâs Boogarins play stuff thatâs pleasant without being passive, bathing audiences in sunlight, tropicalismo, and soft guitar shredding. EMMA BURKE
YEFIM BRONFMAN, OREGON SYMPHONY
(Arlene Schnitzer Concert Hall, 1037 SW Broadway) With its unusually subtle entrance and heartbreaking middle chapter, Beethovenâs most emo piano concerto is his Number 4âa work that Rip Cityâs biggest band performs tonight through Monday with legendary pianist Yefim Bronfman providing virtuosic command of the Schnitzerâs concert grand. AntonĂn DvoĂĄkâs magnificent Symphony No. 9 (another work in heavy rotation around the worldâs concert halls) also appears on music director Carlos Kalmarâs set list tonight, making this program an ideal choice for folks who want to witness two perennial masterworks for the price of one. But itâs not all old school: The show kicks off with Sebastian Currierâs intriguing 1997 composition Microsymph, which cleverly compresses a large-scale five-movement symphony into the space of 10 minutes. BRIAN HORAY
MAYHEM, INQUISITION, BLACK ANVIL
(Hawthorne Theatre, 1507 SE CĂ©sar E. ChĂĄvez) The career of Norwayâs legendary black metal band Mayhem can be divided into two parts: the primal beginnings, embroidered with the frighteningly visceral lo-fi recordings that initiated a global phenomenon, and the turn of the century rebirth, highlighted by an inventive brutality that seeks to challenge the genreâs limits. A tumultuous history decorated with macabre stage names (Necrobutcher, Dead, Blasphemer, Euronymous, etc.), legitimate connections to church burnings, and actual murders/suicides solidifies the groupâs status as the truest disciples of death, which any one of the seething legions of fanatics who cover themselves in âcorpse paintâ and absorb every facet of their Until the Light Takes Us DVD with biblical infatuation will attest. This deification will turn Mayhemâs notorious live shows into a punishing form of anti-church, where masterfully harsh ablutions are blasted into an adoring hesher congregation. CS
KULULULU, LOVEBOYS, TOOTHBONE
(Turn! Turn! Turn!, 8 NE Killingsworth) Portlandâs Loveboys have generated notable momentum since their 2016 inception. The trio of grunge punks has enjoyed a steady diet of live dates, as well as the December release of two songs from an EP thatâll come out early this summer. The third song, âRacecar,â comes swimming in the reverb-heavy clang of guitarist Adam Fightâs six-string wranglings. The songâs anti-consumerism explosion folds into the four-on-the-floor rhythmic barrage of drummer Elly Swope (Focus! Focus!) and bassist Victoria Valenz-uela. Loveboysâ grungier foundations are best exemplified in the sneering âTender Branson,â a tune that unabashedly waves a flag for the Pacific Northwest of the past. âSewâ ushers in the kind of head-banging nuance of BleachÂ-era Nirvana or Suicide InvoiceÂÂ-era Hot Snakes. If that doesnât compel you to shower this band with every ounce of your adoration, chances are you voted a turd into office. RYAN J. PRADO
SUNDAY 2/5
HALEY HEYNDERICKX, LOLA KIRKE, WYNDHAM, JOHANNA WARREN
(Turn! Turn! Turn!, 8 NE Killingsworth) You might know Lola Kirke from her role as an oboist on the Amazon series Mozart in the Jungle, or the 2017 Golden Globes, where she famously sported a magnificent pink pin that read âFuck Paul Ryan.â But sheâs also a real-life musician, and a dang good one at thatâher self-titled debut EP is four tracks of dreamy Americana that kicks off with a delightful song called âBaby Butt.â CIARA DOLAN Read our story on Lola Kirke.
YEFIM BRONFMAN, OREGON SYMPHONY
(Arlene Schnitzer Concert Hall, 1037 SW Broadway) See Saturdayâs preview.
MONDAY 2/6
YEFIM BRONFMAN, OREGON SYMPHONY
(Arlene Schnitzer Concert Hall, 1037 SW Broadway) See Saturdayâs preview.
PINBACK
(Doug Fir, 830 E Burnside) The casual observer might assume that a band from Pinbackâs era and milieu playing the Doug Fir in 2017 is just one stop on another unnecessary reunion tourâânostalgicâ if youâre being generous, a cash-grab if youâre feeling cynical. But Pinback have always worked at a pace that indicates theyâre unaware of the passage of time; their 2004 breakthrough album Summer in Abaddon was lauded as a long-awaited creative peak. Since then theyâve managed just two similarly solid records of confidently controlled indie rock as slow-burning as their creative process appears to be. Nostalgic piano figures, polished guitar riffs, and drum-machine figures enter and exit the fray with precision, everything suspiciously right in its place. Consistency is, ironically, a mixed bag: The first night of this double header promises Abaddonâs follow-up, Autumn of the Seraphs, in full, and youâd be forgiven for forgetting which one that is. NATHAN TUCKER
RUFUS WAINWRIGHT
(Aladdin Theater, 3017 SE Milwaukie) In an era when feigned lo-fi dominates the zeitgeist and âbedroom popâ has supplanted âindieâ as the most spurious and meaningless genre descriptor, listening to Rufus Wainwright is refreshing. The son of Kate McGarrigle and Loudon Wainwright IIIâtwo incredibly accomplished musicians in their own rightâRufus was never one to shun his showy predilections. His self-titled 1998 debut, which spent two years in gestation and cost nearly $1 million to record, established Wainwrightâs trademark of entwining operatic bombast with Tin Pan Alley tradition. His newer records are also greatâin particular, 2012âs Out of the Game, which cheekily acknowledges and revels in its irrelevance. MORGAN TROPER
TUESDAY 2/7
PINBACK
(Doug Fir, 830 E Burnside) See Mondayâs preview.
FUZZY LOGIC: CENTRIKAL, MR PROJECTILE, TODD ARMSTRONG, PROQXIS, BRANDY GRAY
(Holocene, 1001 SE Morrison) Fuzzy Logic is Portlandâs newest electronic music monthly concert series for fans of thoughtful, up-tempo eclecticism, with live video art backed by a DJ or live act. This installment features local techno artist Centrikal (the stage name of Patrick Frye), whose practiced hand and refined taste in dance music has been cultivated by years of dedication to the art of production. Renowned video artist Brandy Gray will provide visuals for the evening, mixing cinematic trip sauce thatâll pull you deeper into the eye of the spiral. The night is topped off by the choice selections of Fuzzy Logic residents Proqxis and Todd Armstrong, and a live hardware performance by legendary IDM artist Mr. Projectile. CHRISTINA BROUSSARD
TOVE LO, PHOEBE RYAN
(Roseland, 8 NW 6th) Feminist artist/philosopher Audrey Wollen recently proposed what she calls âSad Girl Theory,â which views female sadness as political activism. Wollen cites female celebrities like Judy Garland and Brittany Murphy as examples of women exemplifying tragedy as protest. Many contemporary pop stars could probably land on that list, including Swedish Top 40 maven Tove Lo. Turning the exhaustion of emotional labor into a concept album is itself an act of resistance that weâve seen before in the feminist pop culture sphere (Liz Phairâs Exile in Guyville and Lana Del Reyâs entire artistic existence). Tove Lo first joined the ranks with her multi-dimensional party girl cry for help, âHabits (Stay High),â where she describes the pain of lacking the societal tools to handle rejection. âCool Girlâ (from 2016âs Lady Wood) finds her addressing the fear that if she doesnât stifle her emotions, her lover will view her as clingy. In true Sad Girl fashion, Tove Lo uses her ability to write catchy, radio-ready fodder to articulate symptoms of a patriarchal society. EMMA BURKE