(Doug Fir, 830 E Burnside) Is your liver too pink and healthy? Toughen up that wussed-out organ with Mean Jeans' hard-partyin' jams. Take a shot and move those feet, as tonight is made of hooks and bopping. Party bonus: Headliners White Fang will close out the night with an explosive soundtrack of fun. COURTNEY FERGUSON Also read our article on White Fang.

(Roseland, 8 NW 6th) Andy Hull's metamorphosis from pudgy preacher's son to barrel-chested rock 'n' roll frontman has mirrored the very evolution of his band. Manchester Orchestra was once the sort of quaint group to emerge from the emo wreckage and title their 2007 debut record I'm Like a Virgin Losing a Child, but the Atlanta quintet have taken elephantine strides in the right direction in the years since, and now find themselves a bona-fide, arena-sized rock act. Their latest, Cope, unapologetically hammers this point home with lumbering guitar riffs and Hull's snarling delivery, which has confidently improved as of late. Cope's mammoth guitar heroics might be the recording's initial draw, but it's Hull that commandeers this vessel, with his keen ability to turn a phrase ("We all believed in ghosts until you walked into the wall") and transform into a rock 'n' roll deity before our very eyes. It's a sight to behold. EZRA ACE CARAEFF

(Secret Society, 116 NE Russell) Former R.E.M. guitarist Peter Buck is quietly living among us in Portland (he bounces between a few other cities as well). And he's quietly put out a couple of vinyl solo albums on local label Mississippi Records, too. You gotta love the fact that the same guy who played guitar in one of the biggest alternative bands in the world is still making music for the joy of it. Then again, it shouldn't be too surprising coming from a guy whose band did things on their own terms for three decades. This is the second of two shows at the Secret Society, with Super-Earth—Buck's new collaboration with Sleater-Kinney's Corin Tucker—opening. It's five bucks. You'd be crazy not to go. MARK LORE

(Mississippi Studios, 3939 N Mississippi) Thee Silver Mt. Zion's most recent album, Fuck Off Get Free We Pour Light on Everything, is a dagger aimed at the heart of the military-industrial complex and all the gnarled branches connected to its root. But as the title suggests, the Montreal-based collective's aim is to immerse its targets in positive energy, something akin to the Fugs and others trying to levitate the Pentagon in 1967 in opposition to the growing Vietnam conflict. Don't mistake that positivity for passivity, though. Fuck Off Get Free is downright vicious, a teeming mass of overdriven guitar and bass chords, hypnotic violin playing, and some potentially ground-shaking group singing. ROBERT HAM

(Slabtown, 1033 NW 16th) Lee Corey Oswald is a band of many faces. In their nascence, they were an acoustic project with a decided folk-punk influence and weren't afraid to wax political. The group's first proper full-length, the stylistically bipolar Moon Songs cassette, was a fly on the wall of the band's transmogrification, featuring seven rockers and seven clap 'n' stomp acoustic ditties. The group's identity crisis was finally resolved with the release of their split 12-inch with Scranton-based pop-punk band Three Man Cannon at the beginning of 2013. LCO's side was an indelible '90s nostalgia junket that sounded little like their previous efforts and instead brought to mind phenomenal—if critically misunderstood—"post-grunge" bands like Gin Blossoms, Superdrag, and Harvey Danger; fittingly, it was produced and engineered by local luminary/mad scientist Ben Barnett of Kind of Like Spitting. The group's latest LP, which is set to be released by No Sleep Records later in the year, features principal songwriter/guitarist Lee Ellis' most intelligent and emotive songwriting to date, wholly delivering on the promises made by the aforementioned split, and then some. MORGAN TROPER