(Al's Den, 303 SW 12th) Read our article on Star Anna.

(Mission Theater, 1624 NW Glisan) Operating more or less under the radar, in the shadows of the behemoth Fugazi, under the steadied gaze of punk elder statesman Ian MacKaye, the Evens have quietly forged their own following. With MacKaye singing and strumming baritone guitar and vocalist/drummer Amy Farina of the Warmers, the Evens tackle minimalist sonic terrain that approaches the malaise of slacker rock. But nothing MacKaye does could be construed as lethargic, and the Evens have developed a reputation (not unlike Fugazi) of performing at nontraditional venues, for all ages and charging next to nothing to watch them perform. The duo's most recent album, 2012's The Odds, is as good an introduction to the band's barebones aesthetic as any. RYAN J. PRADO

(Hawthorne Theatre, 1507 SE César E. Chávez) The subgenre of heavy music known as metalgaze is primarily about blending beauty with brutality; think My Black Metal Valentine and you're floating in the right atmosphere. For the past decade, French band Alcest have arguably been the masters of metalgaze, using shimmering sheets of guitars, dreamily melodic vocals, and occasional harsh screams to illuminate a fantasy world from the childhood of principal member Neige. Alcest's sound culminated (so far) on 2012's Les Voyages de l'me, a blissful masterpiece of melancholic mood music that found Neige shifting closer to pure shoegaze than ever before, with stunning results. And it sounds like the band's next record—the highly anticipated Shelter, due out in 2014—will travel further into the fuzz. "For the coming album... I have been really inspired by Slowdive," Neige told the music blog Steel for Brains in July. "They are my favorite band ever." BEN SALMON

(Arlene Schnitzer Concert Hall, 1037 SW Broadway) On a Tuesday night 210 years ago, Beethoven took the stage, cracked some knuckles, and introduced an unsuspecting world to his freshly composed Piano Concerto No. 3—becoming, in that singular moment, the world's first indie musician to gain rock-star status. Free from the conservative shackles of popes, princes, and record label execs, young Ludwig wrote and played whatever the fuck he wanted, and his third mash-up for piano and orchestra instantly destroyed all future expectations for what artists "ought" to be doing. As luck would have it, the Oregon Symphony brings this brilliant work to life, and the indefatigable Jeffrey Kahane is on deck to blow up the Schnitz's nine-foot Steinway. You got something better to do than hear Beethoven's keyboard mastery brought to life right there in front of your ridiculously pierced and intentionally deformed ears? Yeah. Thirty-two smackers is all it takes to get a seat in the upper balcony, which, in my opinion, is the acoustic g-spot of the entire concert hall. I implore you, on my knees, beneath shards of freshly broken glass: Stop Instagramming your cat's ass for one goddamned night and get to this show. The program repeats Sunday and Monday, so you really have no excuses for missing greatness. ANGRY SYMPHONY GUY