(Rontoms, 600 E Burnside) With spectral, roaring rock, the Ghost Ease is one of the most intriguing bands in Portland, and tonight they play Rontoms' top-notch free Sunday Sessions series, not just putting an atmospheric cap on the weekend, but offering a volume-filled, dreamlike start to the new week. NED LANNAMANN

(Valentine's, 232 SW Ankeny) Both the Facebook summary and Bandcamp profile of Your Rival pithily describe the Portland band's music as "fun songs about horrible things." And that's accurate (unlike the bio section of the Facebook page, which seems to be the Wikipedia plot summary of the 1982 horror film Parasite). No matter: All you need to know about Your Rival can be found in the vast, variegated hooks smeared across Here's to Me, released last fall on Party Damage Records. That's where the passionate and powerful pop-rock of songwriter Mo Troper—a Mercury contributor—brings to mind Superchunk and Blue Album-era Weezer. (If you've been longing for another "Only in Dreams" since the mid-'90s, check out Your Rival's "What I Look for in a Man.") And for every couple blazers on Here's to Me, there's a frayed, lo-fi bedroom confessional that illuminates Troper's emo side. Add it all up and you've got one endlessly listenable slice of melancholic fuzz. BEN SALMON

(The Know, 2026 NE Alberta) The dark and elastic punk played by Olympia's Happy Noose takes the listener through a record collector's shelf. Take Amagosa and Haunted, the pair of recently released EPs on which the band ventures down shadowy streets of late '70s England, as they echo the gothic rock and post-punk sound of that era. Frontman Ryan Scott's vocals are doused in gloom, and the fresh but familiar take on the unreleased Joy Division track "Pictures in My Mind" slots in nicely with Happy Noose's original material. The EPs signal a change of pace from the group's 2011 self-titled debut, where songs like "Remember the Days" and "One Way Ticket" saw the trio approaching more uptempo power-pop territory. There's a spring-in-step delivery that remains consistent even when the mood fluctuates, which gives the band the power to keep an audience bouncing throughout a set. CHIPP TERWILLIGER

(Arlene Schnitzer Concert Hall, 1037 SW Broadway) Amos Lee's 2011 LP, Mission Bell, signaled the maturation of an artist who'd for some reason or another been relegated to the easy-listening set. While maintaining roots planted in a tradition of honest blues and folk, Lee's tendency to eschew much experimentation was given a sound makeover with Mission Bell, thanks in no small part to producer Joey Burns of Calexico. Since then, Lee's output has continued to expand, splicing his heartfelt acoustic ballads with denser arrangements and more dramatic movements. His most recent album, Mountains of Sorrow, Rivers of Song, is a return of sorts to his neo-soul background, his voice given rise to shine with collaborations from Alison Krauss and Patty Griffin, among others. RYAN J. PRADO

(Lola's Room, 1332 W Burnside) The early days of Rose Windows—after guitarist Chris Cheveyo and drummer Pat Schowe moved to Seattle from Texas—were spent alongside the birth and development of another Sub Pop band: the Head and the Heart. But that shared background is where comparisons between the two bands end. Where TH&TH is a paragon of the gentle folk-rock sound of right now, Rose Windows sounds like it was plucked from the '60s, dipped in the '70s, and shipped to the present. Cheveyo, Schowe, & Co. play authentically vintage psychedelic music that riffs like Black Sabbath, rocks like early Jefferson Starship (vocalist Rabia Qazi will grow tired of the Grace Slick comparisons, if she hasn't already), and wanders the Eastern Hemisphere like Marco Polo. On their 2013 album The Sun Dogs, Rose Windows makes a decades-old style sound fresh, and does so with ease. BS