(Doug Fir, 830 E Burnside) Portland might be a miserable puddle of overcast for most of the year, but its summers make it all worth it. And one of the highlights of those summers is Pickin' on Sundays, when the Doug Fir's patio hosts excellent acoustic acts in the sun, for free, with ready access to booze. Today St. Even and Barry Brusseau take the "stage," and you will have a delightful time. ERIK HENRIKSEN

(Mississippi Studios, 3939 N Mississippi) A Sunny Day in Glasgow started in Philly but are now scattered across two continents. So when it came time to make their third album, Sea When Absent, the band was forced to piece together its fizzy dream-pop; arrangement responsibility shifted, a new lyricist emerged, production was handled by an outsider, and so on. As a result, the new album finds ASDIG sounding more kaleidoscopic and less shoegazey. Led by two beautifully airy female voices, Sea When Absent is playful and elusive, unafraid of sonic and rhythmic shifts. It sounds like perfect dream-pop chopped up into pieces and tossed into a swirling, sugary wind. It's also one of the best records of 2014. If you miss School of Seven Bells, after Ben Curtis' death in December, make a beeline for A Sunny Day in Glasgow. BEN SALMON

(Al's Den, 303 SW 12th) One of the more consistently excellent live music options in town is the weekly residency series at Al's Den. It's afforded the opportunity to catch artists as they stretch their creative limbs a bit, playing seven nights in the low-key basement venue that's steeped in (sordid) Portland history. Seattle's Shelby Earl begins her run of performances there tonight, and they'd be can't-miss even if they weren't free. Her Damien Jurado-produced Swift Arrows arrived late last year, boasting a confidence and ease rare in second albums, with songs like the title track and "Grown Up Things" approaching a timeless sound that's even less common. More recently, a version of Michael Jackson's "P.Y.T."—recorded for an episode of Grey's Anatomy this past spring—showed off the kind of adventurous spirit that's helped Earl avoid the familiar trappings of the singer-songwriter. JEREMY PETERSEN

(Rontoms, 600 E Burnside) Wax Fingers were a bold testament to the freaky lengths that experimental progressive rock could be taken. Since their disbandment, two remaining members—guitarist/bassist/vocalist Pete Bosack and drummer Tommy Franzen—have been incubating an equally engaging experiment in Mothertapes. The two-piece specializes in frenetic fits of texturized chaos, bleeding and blippy guitar squalls, and melodic interludes with liquid synths. Mothertapes' debut album is currently being mastered, and features no shortage of the thrilling guitar calisthenics that made Wax Fingers such an anomaly. With the first single, "Do Make Say," as barometer, Bosack and Franzen have embraced more of their pop side, folding in danceable patchworks of controlled atmospherics, and making it sound both fun and emotionally cathartic. RYAN J. PRADO

(The Know, 2026 NE Alberta) Rising from the ashes of Annihilation Time, Lecherous Gaze takes the West Coast hardcore of three of its four members' former band and re-purposes it with '70s hard-rock swing. Last month they released sophomore effort Zeta Reticuli Blues, which ups the ante from 2012's On the Skids: better riffs, better production, better performances. It's just a better record. Singer Zaryan Zaidi's vocals sit somewhere in between Lemmy and Beefheart—so, you know, raspy—and the whole thing is presented in campy, B-movie-style fun. They share the bill with brothers in vintage hard-rock worship, Portland's Sons of Huns. MATTHEW W. SULLIVAN