THURSDAY 3/4 KRS-ONE, SUCKAPUNCH, MADGESDIQ

(Berbati's, 231 SW Ankeny) KRS-One is hiphop culture, writ large. Through the Temple of Hiphop, he's advocated the holistic convergence of hiphop's core elements with education and spiritual enlightenment, as well as its preservation. In many ways, his albums have been a chronicle of his own quest for knowledge, as much as establishing his stature as teacher and advocate. KRS-One is also one of the best emcees to ever spit into a mic. This is truly a rare opportunity to see the teacher perform--his last two or so Portland scheduled shows mysteriously vaporized before they happened--but I checked, and he's supposed to be in SF this week, too, so hopefully he'll make it. Lecture on hiphop culture precedes the show, courtesy the smart programmers of Reed Arts Week; see MWBW pg 13 for more info. JULIANNE SHEPHERD



MARCHFOURTH, GINGANG, DJ DANDY
(Viscount, 722 E Burnside) It's the anniversary of Portland's premiere ragtag marching band, MarchFourth. Guess when their first show was. Get it, get it? Anyhow, it's sure to be a kooky party with their energy and freaky eclecticism. Joining them will be some of the town's other freaky innovators, in the form of Gingang, a seemingly evolutionary project comprised of musicians who've played in a number of local bands within the past five years or so. MARJORIE SKINNER



FRIDAY 3/5

XIU XIU, FRONT MACHINE
(Holocene, 1001 SE Hawthorne, 8 pm) In the same way performance artist Karen Finley's prose is unsettling in its painful honesty, so Xiu Xiu's Jamie Stewart uses language to its most disarming boundaries, stripping away convention to illuminate only the most veracious reality. Often, it is ugly, but always, it makes bold observations about the darkest underbelly of humanity. Some songs on the new release, Fabulous Muscles, also raise the issue of pain as a kind of pornography--absolute truth as artistic fetish--as Stewart sings listlessly about the destitute, the abused, the molested. He nestles his barbed words among genius musicianship--ice-frozen, experimental beats; angry, punchy guitar; even the swooning, Euro new wave territory he's explored before--though Fabulous Muscles is arguably the most emotionally difficult, and best, Xiu Xiu album yet (not to mention goth as fukk). But if Stewart is grasping for truth in art, he's cutting bone-close; his fixation on the worst parts of human nature is as profound as his gift for music. It almost makes you worry about him. JS



WAYNE THE TRAIN HANCOCK, JO MILLER & THE BURLY ROUGHNECKS, REEL DJ MURPHY
(Conan's, 3862 SE Hawthorne) Wayne "The Train," an incredibly talented songwriter and performer, freshens up the old-timer elements of country, jazz, and rockabilly indigenous to his home state of Texas. You always feel like the show you're seeing is the only one he's ever played, and that the songs have never before been heard--The Train is just here for the ride, and that's a welcome approach from someone whose ears and voice are irrefutably steeped in the past. Though some argue that he's carrying Hank Williams' torch, he is nevertheless doing a fine job of merging it with his own eccentricity. LANCE WALKER



CASSANDRA WILSON
(Aladdin, 3017 SE Milwaukie) The beautiful jazz singer Cassandra Wilson has yet to achieve the commercial success that many of her lessers (Norah Jones, Diana Krall) have achieved. In part this is her fault; she has made some bad artistic moves, such as her vapid pop venture Jumpworld (1990), which was drained of all the intelligence, erudition, and refinement that characterizes her jazz work. With the exception of the angelic humming she offered the Roots on "Swept Away" (Do You Want More?!!!??!, 1995), Wilson is only great when she is singing great jazz and blues songs. For example, she was the best thing on Wynton Marsalis' massive and rather messy jazz opera Blood on the Fields, and her performance of Robert Johnson's "Come on in My Kitchen" (Blue Light Til Dawn, 1993) has no equal. In sum: Wilson is disappointing when she is trying to be popular and amazing when challenged to make a great work of jazz art. CHARLES MUDEDE



SUBHUMANS, FROM ASHES RISE, THE FRISK, THE OBSERVERS
(Crystal, 1334 W Burnside) I wonder if the From Ashes Rise kids REALLY think it's a big honor to tour with Subhumans, or that it's secretly sad? I wonder if they think Subhumans should let the dream die--or, conversely, that it's totally right on? I wonder if it's making them think about how all their shows and spotlights and Alternative Press write-ups are all just a flash in the pan, or if they're thinking, y'know, "If Trotsky can do it nearly 20 years after his band has officially broken up, I'll bet we can, too"? What if From Ashes Rise broke their Jade Tree contract TODAY, called it quits, re-emerged in 2024 and did arena shows with a geriatric Deftones and Gwen Stefani's as-yet-to-be-born son's band? This is a boggler. JOAN HILLER



EXPERIMENTAL DENTAL SCHOOL, LIMITED EXPRESS (HAS GONE?), TRAUMA LE TRON, SNOWSUIT
(Disjecta, 116 NE Russell) Most people enjoy "fun," so most people should probably attend this show featuring the wacky dance music of Experimental Dental School. EPS will get your hips swayin' and your art house bayin' with looney grooves packed with keyboard breakdowns, horse whinneys, spooky vocals, and other crazy noise non sequitur. WARNING: If you do NOT like "fun," you will not enjoy yourself--stay home and watch your recordings of Bush state of the union addresses. Yes, that's nice... You like that, yes you do. JUSTIN WESCOAT SANDERS



SATURDAY 3/6

MELVINS, MUDHONEY
(Crystal, 1332 W Burnside) The grunge movement all but exterminated hair-metal, power-ballad-crooning clods infected cavernous concerthalls. Melvins and Mudhoney, both of whom are associated with that nebulous pest-killing genre, never moved into the abandoned arenas, except for as opening acts. But while they never reached true rock-star renown, they also never dropped to the depressing depths that some of their once-popular peers now call home, a soul-deadening realm of dead-end gigs in vacant venues. Both still pack mid-sized clubs, and both still record regularly, Mudhoney tweaking its trademark garage-punk sound with progressive flavor and Melvins ranging even further with concept-album trilogies and noisy experiments. Because these artists remain vital, don't expect a sentimental set list. Mudhoney might crank up "Touch Me, I'm Sick," but Melvins will likely focus on its latest cacophonous creations rather than punching up past favorites. ANDREW MILLER



KAY KAY, YOUNG F.A.M.E., THE GOVERNMENT, X-TA-C, MATT BLAZE, GS3, POUND 4 POUND
(Liberty Hall, 311 N Ivy) Tonight, as part of the nationwide DIY arts movement that is Drawing Resistance (drawingresistance.org), we get a special treat: local hiphop acts who don't play every day. YES! Keep an eye out especially for headliner Kay Kay, whose delivery has a confident weight that's a pleasure to hear. JS



EARTHMONKEY, BILL HORIST
(Barracuda, 9 NW 2nd, 7 pm) Besides having a mildly heavy hand on the flange and what is apparently a field sample taken at a drag-racing track, Earthmonkey's Audiosapien (on Portland's Beta-Lactum Ring Records) contains some pretty interesting experiments in deep rhythm and sound, creating a tribally, earth-jarring atmosphere and strangely recorded, ice-castle disco that even ventures into pretty toughass psych rock. Bill Horist is a talented, highly technical guitarist, which gives some people palpitations. JS



ATLAS
(Holocene, 1001 SE Hawthorne) You'll want to welcome DJ Anjali and the Incredible Kid back to their monthly dance night, won't you? You'll also want to get a load of all the piping-hot morsels of bhangra they surely picked up on their vacation to India, non? Non? Have you gone mad? JS



ELEFANT, MAGIC MAGICIANS, THE PLEASED
(Dante's, 1 SW 3rd) Ultimately it's about the music, but there's something to be said for a charismatic frontman--and Elefant's Ivy League-educated, Argentinean-blooded singer Diego Garcia sure can work a stage. Boundlessly romantic, Elefant's full-length debut, Sunlight Makes Me Paranoid, glimmers with that pre-Bauhaus, Tones on Tail kind of drama. If this sounds like a trip down memory lane, it isn't and it is, sounding new and retro at the same time. KATHLEEN WILSON



BERZERK, SPIDERS ON SPIDERS, THIRD MAN OUT
(Meow Meow, 320 SE 2nd) In the Atari game Berzerk, players attempted to weave through mazes while avoiding incoming fire from hostile robots. If that weren't enough cause for concern, occasionally a crazed happy face would bounce onto the screen, bringing instant death with its maliciously mirthful touch. Though it features a guitarist named Tyler Massacre, the band BerZerk isn't quite as dangerous, but it comes close. This fast-and-thrashy, female-fronted group has changed considerably in the past eight years, evolving from threadbare teenage-punk rants to relatively complex hardcore compositions. The group hasn't lost its idealism, though; this gig is a benefit show for the West Memphis Three, metal fans incarcerated for murder, despite spotty-at-best evidence. ANDREW MILLER



PHIL FOR MAYOR: COOTIE PLATOON, ICANLICKANYSONOFABITCHINTHEHOUSE, BIG BANG CIRKUS SIDESHOW
(Berbati's, 231 SW Ankeny) Even if you don't support Phil Busse's mayoral platform, you can still come to his party. And once you're there, you can allow him and his election team to kiss your ass and entertain you in order to gain popularity. Hopefully, you are not a conservative, because you will surely be offended by the obvious lust Phil harbors for Cootie Platoon, those cute rocker girls. And IcanlickanySOBinthehouse practically endorses drinking in the afternoon, with its dusty, blue country rock. But the real freaks here are the Big Bang Cirkus Sideshow people--Lord knows what they will do, but it will probably be pornographic, involve self-torture tricks like smashing your face in a pile of broken glass or stabbing needles through the arm, and clown makeup. Wooohooo! Politics sure is craaazy! MS



SUNDAY 3/7

PLEASE STEP OUT OF THE VEHICLE, SWITCH BLADE ARMADILLO, STORIE TIME AT 45 RPM
(1914 E Burnside, 2 pm) Winning this week's cuteness award are the resourceful folks down at the old Jeans Dean and current 1914 gallery. If you've never checked out this hole in the wall, you should. They have all-ages art and music and most of their shows are free, even though they don't have any money and everyone just sits on the floor. This afternoon they're throwing a tea party since they don't have a liquor license, which is fucking cute. Except that their press releases kept getting less and less confident as it got closer to the date, until the last one said that they might have hot water, but you should maybe bring your own backup tea just in case. Either way, you still get to see some free live music. MS



NW RHYME DISPLAY: CLEVELAND STEAMERS, MANIC D, DJS SNEAKERS, PAPERCUTS
(Ash St, 225 SW Ash) Man about town Mic Crenshaw (Hungry Mob) and emcee Gen.Erik light up the stage once again as the Cleveland Steamers, with hiphop that challenges the thick gold chains and Benzos of commercial rap music. Plus, warm up with some hiphop turns by DJs Sneakers and Papercuts. KS



SKID ROW, LIVE WIRE, BRITISH STEEL
(Barracuda, 9 NW 2nd, 7 pm) Sure, Sebastian Bach is one homophobic motherfucker, BUTÉ he's one HOT homophobic motherfucker. The new singer of Skid Row, on the other hand, is not hot. He's a tubby beer-soaked Southern white boy who sings in a scratchy neu-metal style to the band's new hit songs, like "I Remember You, Two." While I don't think Skid is going to give you a performance that will "rock," I think it says something that they're playing with two bands that cover other burnt-out metal bands (Live Wire covers Motley Crue and British Steel covers Judas Priest). I don't know what it says exactlyÉ but something. KS



THE WEDDING PARTY W/ WADE MCCOLLUM
(Holocene, 1001 SE Morrison) In honor of all the same-sex marriages that our intolerable president is fighting to destroy once and for all, Holocene and your own Mercury are having a big-ass dance party, replete with hot beats and the stylings of local showtune showboater and all-around good-gay-guy, Wade McCollum. Same sexers can get married 'neath the somber rites of Wm. Steven Humphrey (which is pretty much as official as it gets), and everyone can get drunk, eat wedding cake, and grind the person to your left, and then the person to your right. God bless marriage, this sacred institution. JWS



MONDAY 3/8

IMA ROBOT, THE SOUNDS
(Aladdin, 3017 SE Milwaukie) Swedish rockers The Sounds resemble Blondie in more ways than its singer (a quick glance would have you thinking she's a dead ringer for D. Harry) but they're also a little Berlin, too. Ultimately too throwback to make any substantial mark, but they're very pleasurable to listen to, candy pop sweet like lik-em-aid. JS



THE RED LIGHT STING, HINT HINT, RHYTHM OF 84, ROSE CITY DEAD
(Meow Meow, 320 SE 2nd) Canadians, The Red Light Sting, blow shit out with their hardcore, screaming, rapping, shrieking and vocoding, over their mathy songs that build into emo-style crescendos. Their music is a lot like the mental disorder manic depression, but instead of having to take Lithium to treat it, you just listen to it in a rock club. KS



THE CLOROX GIRLS, THE HOLY GHOST REVIVAL, STORM LARGE & THE BALLS
(Lewis & Clark, 0615 SW Palatine Hill Rd) The Clorox Girls are boys--three boys who are way into blasting their audiences with brief sucker punches of poppy, funny punk music. Holy Ghost Revival play slightly warbly, pensive, quirky rock that sounds super nostalgic and classic, owing to their excellent songwriting. Storm and the Balls are contributing their punk/metal/ pop cover song repertoire, with the splashy, trashy Storm fronting. (Even if you've already seen her, go again and check out her new fake tits.) It all seems like a bit much for the college coffee shop, but mama says you should be going back to school anyway, right? MS



TUESDAY 3/9

DYKERITZ, SNUGGLE UPS, DIRTY TRICKS
(Tonic, 3100 NE Sandy) Dykeritz's spazz-out vocal trickery is spit in the same manner of bands like Frog Eyes and Xiu Xiu, with spastic voices carrying the jangly chicka-chicka guitars, oscillating keys, and charming drummer-in-training beats. Though the musicianship is basic, the songs possess the energy and hookery of a teenage Modest Mouse. Also, watch out for the Snuggle Ups, who apparently enjoy chucking juice boxes at their audiences. KEVIN O'CONNOR



MICROSHOW OPEN MIC: 40 BANDS IN 40 MINUTES
(Liberty Hall) See MWBW pg 13



WOLVES IN THE THRONE ROOM, WE SHOULD DIE, DJ MAXAMILLION
(Grand Central Bowl, 808 SE Morrison) guess the harsh violence of bowling balls smashing against pins makes for a nice marriage with shreiking guitars and deep seated anger of the band We Should Die. KS



WEDNESDAY 3/10

THE SLEEPY JACKSON, EARLIMART, ON THE SPEAKERS
(Dante's, 1 SW 3rd) Most people outside the Bay Area probably don't remember Ian Sefchick's late-'90s San Francisco outfit Creeper Lagoon--but those who do will recall that the band stirred up a national buzz with the hope they'd make a mark on the indie rock scene on a large scale. Since then, Creeper's swapped members and folded into various side projects, but it's Sefchick whose post-Lagoon work is most interesting: The slightly glammy (in the vocals), richly melodic pop on Los Angeles-based On the Speakers' eponymous debut courses at its highest points (the record is a little uneven) with a similar dynamic energy as his previous band's, so that even if the new project isn't exactly an evolution, it's strong enough to interest both fans of his old band and draw in new listeners who've yet to hear Sefchick's pouty croon. JENNIFER MAERZ



MOVEMENT
(Holocene, 1001 SE Morrison) Remember when the Blackbird closed and everyone was all pissed? Well, one of the reasons people were mad is that the Queer Nights were held there, and were some of the best dance nights in town. Luckily, the same kids who did it there are bringing it to the new hotshot hotspot, Holocene. Expect to queer out with punk, electro, '80s (like any self-respecting queer night wouldn't have '80s), and hiphop. All this will be spun by Derek Fisher, the perfect cyn, and DJ Chaos Engine. Oh yeah, and it's free. MS



PRESTON SCHOOL OF INDUSTRY, THE AUTUMN DEFENSE, COURT & SPARK, CLEARLAKE
(Crystal, 1332 W Burnside) Spiral Stairs, AKA Scott Kannberg, was Pavement's co-guitarist/vocalist until the band split in 1999, and since then, he's moved on to running his label, Amazing Grease, and fronting the band Preston School of Industry. Although PSOI's debut met mixed reactions from the music media, the band's second, more solid release, Monsoon, shows the current Seattle resident on firmer ground. From the opening Pavement-y hooks, it is a pleasant enough collection of songs touched by a twangy, early-'90s college-rock sound. JM