JEREMY ENIGK, BRYAN FREE & THE DOXYHAUNTS, SYSTEM &
(Dante's, 1 SW 3rd) See Music Feature.
OM, LICHENS, SIR RICHARD BISHOP
(Berbati's Pan, 10 SW 3rd) See Music Feature.
THE SHAKY HANDS, SWAN ISLAND
(Holocene, 1001 SE Morrison) See My, What a Busy Week!.
THE VANDELLES, GO FEVER, GREEN CIRCLES
(East End, 203 SE Grand) Post-shoegazer drug-rock bands like the Brian Jonestown Massacre and the Warlocks typically pile on guitar after guitar, but Go Fever proves that the power-trio format is much more explosive. What's more, the Portland band dispenses entirely with the faux-blues of other trios like Cream and Blue Cheer, instead pairing the droney sensation of perpetual lift-off with the snot-rag punch of Angus Young. The mannered demos on their MySpace page reveal the phoniest British accent this side of Anton Newcomb, but there's no room for such subtlety in the band's powerful live show, a burly, head-thumping brand of delight that will have your inner organs picking fights with one another. Tonight, they open for the Vandelles, a New York surf-goth band whose songs occasionally blister into sexy squalls of feedback and pandemonium. NED LANNAMANN
THE MAYBE HAPPENING, INVISIBLE ROCKETS, STRANGERS DIE EVERY
(Doug Fir, 830 E Burnside) New record alert! Wait—call Homeland Security and break out the duct tape and plastic sheets, this is a double alert! You won't be leaving your stereo for some time to come, because the bouncy pop kids in the Maybe Happening have a new album set to hit the streets early next month. Here's the part where I'd normally fill you in on what it sounds like—its title, and other pertinent information—but the band has yet to send me a copy (hint, hint). What a drag. Moving on, the massive post-rock orchestrators in Strangers Die Every Day are also preparing for a new record to arrive in February. The string-heavy band just inked a deal with the inventive California label This Generation Tapes, and they are preparing to blanket our highways in support of the new recording, titled Aperture for Departure. Neither album will be available for purchase tonight—that's what CD release parties are for—but consider this show a tantalizing aperitif before next month's hearty main courses. EZRA ACE CARAEFF
CIRCLE JERKS, HIT ME BACK, LAST OF THE
(Hawthorne Theatre, 1507 SE 39th) We all know that Circle Jerks frontman Keith Morris was the cofounder (and original singer) of Black Flag. And we all know that Morris ditched Black Flag to form the Circle Jerks, and that in 1980 (the year of my birth) they released one of '80s hardcore's greatest albums, Group Sex, containing the perfect anthem for the self-destructive teen or twentysomething: the minute-long "Live Fast, Die Young." And we all know that the Circle Jerks have broken up and gotten back together many times since then. But what we don't know is whether the Circle Jerks' raw, youthful energy of 1980 can be recaptured 28 years later—or whether it's worth $15 to find out. KIM HAYDEN
SPINDRIFT, THE UPSIDEDOWN, HIGHWAY
(East End, 203 SE Grand) See Once More with Feeling.
ULTIMATE REALITY, DAN DEACON, DJ HOOP
FINCH, TERA MELOS, SOUND THE ALARM,
(Hawthorne Theatre, 1507 SE 39th) There's a lot to be said for (mostly) instrumental math-rock, especially the sort that veers toward the metal end of the genre spectrum. Tera Melos' recent Drugs to the Dear Youth definitely fits that description, with complex drum patterns and winding guitar workouts in abundance. What elevates this band above so many of their contemporaries, however, is the flipside of that sound. While Tera Melos' talent as skilled instrumentalists is never in doubt, they're also willing to use that pinpoint control to engage in quieter, more vulnerable passages. This comes to the forefront even more in their contributions to 2007's Complex Full of Phantoms, a split release with Texas' By the End of Tonight. At their best, such as the split's "Last Smile for Jaron," or Drugs' "40 Rods to the Hog's Head," the emotions summoned up by that blend can be downright exhilarating. TOBIAS CARROLL
(Holocene, 1001 SE Morrison) In case you've been completely out of the loop for the last two years, and have not had the chance to see Boy Eats Drum Machine yet, you might want to put on your boogie shoes and get down to the Holocene tonight. Boy Eats Drum Machine's days as a threesome have come to an end, but fear not, lovers of the ones and twos. Jon Ragel is taking the project solo, with appearances in this future incarnation coming as soon as early March, when he will embark on a West Coast tour ending at that rainbow of salsa and free booze known as SXSW. ANDY YOUNG
LOCH LOMOND, MATT SHEEHY,
(Doug Fir, 830 E Burnside) See My, What a Busy Week!
ULTIMATE REALITY, DAN DEACON, DAT'R, JUICE TEAM
MIRAH, BRYCE PANIC, ARRINGTON DE DIONYSO, JAMES BEATON,
(The Artistery, 4315 SE Division) There's a strange sort of portal opening tonight. It leads to Olympia. It drops you off right at the door of K Records. You see, three of K's most solid, and regular, performers are getting together tonight; this includes the always-quirky and ever-so-sweet Mirah, the throat-singing wild-man Arrington de Dionyso (of Old Time Relijun), his former drummer Bryce Panic (who has also played with Mirah, the Blow, and others), and Rebecca Pearcy. Hell, maybe even Calvin Johnson will show up and dance around like an ass (in a good way). You never can tell. But you can be sure this will be an intimate night with a lot of collaborative potential. So all aboard the quickest, easiest, cheapest trip to Olympia. Only this time you won't have to deal with all those slacker weirdos from Evergreen. Hah! Now if only we could stop over at Dumpster Values... ANDREW R. TONRY
PIERCED ARROWS, THE FAMILY GUN,
(Tonic Lounge, 3100 NE Sandy) The breakup of Dead Moon in late 2006 just didn't seem possible. Clackamas' venerable three-piece had come to represent not only Northwest DIY spirit (rock 'n' roll will never die!) and our idealized vision of senior living (that might be us someday!), but Oregon itself. For nearly 20 years, the band lived garage rock, cutting their own vinyl masters on a mono lathe and gigging around the world. They did us well. And then, just as their greatest hits were digitized, they pulled the plug. Luckily, the breakup wasn't entirely permanent. Last April, Fred and Toody Cole regrouped, recruited a new drummer, and gave themselves a new name: Pierced Arrows. On "Caroline," from their debut 7-inch, that old cowboy-shirt warmth is back, fitting us as perfectly as ever. MIKE MEYER
CITAY, WHITE RAINBOW, TRES GONE
(Towne Lounge, 714 SW 20th Pl) There are two kinds of hippie music: the good (Lennon, Hendrix, Black Moth Super Rainbow) and the insufferable (String Cheese Incident, Widespread Panic, the Dead). And even though they come from San Francisco, Citay fall into the desirable category. They do it with shimmering, earthy, floating harmonies and tons of plucky, weaving guitars. At times, the big band from the Bay push it up a little higher, toward the Rocky Mountains, but mostly they stay pretty plush—closer to the creeks and the fields. Along on the campout tonight is White Rainbow, who'll set up his little glowing tent and peace this whole thing out even further. So, uh, you know, relax and, like, breathe, man. ART
FERNANDO, LAEL ALDERMAN
(Mississippi Studios, 3939 N Mississippi) Having lived in Portland since 1994, the Argentina-born Fernando Viciconte has refined a distinct sound heavily inflected with both the bright melodic strains of '60s-era Beatles pop and the brooding, melancholy qualities of Northwest indie-cana (that's independent rock plus Americana, in case you're curious). His music is enriched by his versatile dusky croon and his penchant for occasionally singing in Spanish. While his last album, 2006's Enter to Exit, garnered him the best reviews of his career, and he has more than enough talent and charisma to hit it big, Fernando has mostly just stuck with intimate shows at places like the Mississippi and the Laurelthirst. He truly plays music for the love, and for that, he is to be treasured. JUSTIN W. SANDERS
SOUND TRIBE SECTOR 9, SUB ID
(Roseland, 8 NW 6th) The last time Sector 9 came through town, after an opening set of loopy atmospherics, the second half of their show turned into a surprising, guitar-shredding rage-o-rama. It's common for the Bay Area quintet to teeter between swoop-and-whoosh coffee-shop electronica and dead-on, dub-inflected breakbeat electro. When they hit the latter, the music they make is almost certainly beamed in from some other-dimensional space rave light years away. The music—purely instrumental head candy—ain't for everyone, but with two shows in town this time around, it's clearly for a lot. To paraphrase the title of a recent cinematic masterpiece: There Will Be Drugs. JONATHAN ZWICKEL
H.E.R., LEMON BEAR
(Valentine's, 232 SW Ankeny) See My, What a Busy Week!
SOUND TRIBE SECTOR 9, DJ JAMES
(Roseland, 8 NW 6th) See Saturday's listing.
SCREAM CLUB, THE GAY DECEIVERS, DO N DUDES, DJ
(Holocene, 1001 SE Morrison) Scream Club are known for their zany performances. With a message falling somewhere between the unapologetic feminism of Le Tigre and the electro-sexual barrage of Peaches (queer-style), the Olympia pair spazz out onstage while rapping amateur lyrics over pre-recorded tracks. Local act the Gay Deceivers follow suit with their own brand of "Look, Ma!" programming, erratic vocals, and an ability to get the crowd fired up. Rounding out the theme to perfection are Do N Dudes (with Marius Libman, AKA Copy, behind the beats), paying homage to divas of dance music from a pro-gay sex platform. AVA HEGEDUS
REPORTER, SWALLOWS, DJ NATE C
(Tube, 18 NW 3rd) For a band without a record, Reporter sure have kept their calendars full. So far they have amassed tons of glowing press, a tour with the Thermals, and plenty of buzz around town. The band—essentially just art-punks Wet Confetti with a new name and a crisper sound—has been recording material for an LP over the past few weeks, but the trio is keeping quiet about any release dates. Feel free to shake them down for information at the show, but tread lightly, since any band who pens a song after famed Big Trouble in Little China villain Lo Pan should be handled with extreme caution. EAC
SARAH WINCHESTER, SONNY FIELDS,
(Valentine's, 232 SW Ankeny) To call Sarah Winchester the kinder, gentler half of whisper-folk duo A Weather is to assume that her singing partner Aaron Gerber is some sort of deep-voiced brute. Not true, and if anything, Winchester has the darker voice of the two. Sorry, Gerber, but tonight you're staying home. As a solo artist, Winchester's songs are a bit more experimental and far looser than her intertwined vocals in A Weather, emphasizing her soft delivery and ability to stretch and tug a melody throughout each and every song. EAC
THE DECEMBERISTS, THE DEAD TREES
(Crystal Ballroom, 1332 W Burnside) See My, What a Busy Week!
2 X 4: MOODRING, SMOKE AND MIRRORS, OMEGATONE, LIGHT
(Someday Lounge, 125 NW 5th) Tonight's 2 X 4 is a window into the often overshadowed and underappreciated world of experimental music in Portland. Each local duo has a peculiar presentation of unconventional sounds, ranging from ambient IDM to psychedelic rock. Smoke and Mirrors (singer Rhenne M. Taliesin Miles backed by Strategy's Paul Dickow) create cryptic soundscapes with sparse percussion, eerie vocal echoes, and despondent resonance. Headliners Moodring mosey in and out of traditional song structure with layers of bleary electronics and organic instrumentation distinguished by a psychedelic tone. Appropriately booked at Someday Lounge on a Tuesday night, this show is about mindful listening and immersion. AH
THE DECEMBERISTS, PSEUDOSIX
(Crystal Ballroom, 1332 W Burnside) See My, What a Busy Week!.
BEN KENNEY, DJ KILMORE
(Roseland Grill, 8 NW 6th) Multi-instrumentalist Ben Kenney saw his career take off thanks to two choice associations with venerable rock and hiphop bands. The Roots—for whom he served as bassist and guitarist—raised his profile, and Incubus (whom he joined in 2003) solidified it. Reared in punk and seasoned in soul, the New Jersey native also did duty as a session musician for various Philadelphia neo-soulsters, an experience that lurks behind his rhythm-driven rock music. Long accustomed to restraining his impulses to serve someone else's artistic vision, Kenney let loose on his two independent releases and is preparing to drop another. Although an expert at articulating grooves, his pedestrian voice doesn't convey much but earnestness. JALYLAH BURRELL
MUSEE MECANIQUE, MICHAEL HURLEY, MBILLY
(Doug Fir, 830 E Burnside) Like the artifacts housed in the San Francisco museum from which they take their name, Musee Mecanique's songs are intricate, delicate creations of many moving parts. The band quickly latched onto the familiar Portland sound of hushed vocals, arpeggiated guitar picking, and lyrics ripe with historical references. They're at their best and most inventive, however, when the keyboards of Sean Ogilvie come to the forefront, charting unknown territory with otherworldly sounds. The music boxes and zoetropes you'll find in the museum were originally crafted for fun, but the band's intensely self-conscious music is not nearly as whimsical. There's a hint of sadness over the proceedings, as if these toys are still inhabited by the ghosts of all the children who've played with them. NL