JOHN GRANT Wed 5/18 Arlene Schnitzer Michael Berman


(Arlene Schnitzer Concert Hall, 1037 SW Broadway) Read our story on Andrew Bird

(Dante's, 350 W Burnside) While massively influential in metal circles, due to a combination of bad luck and self-sabotage Pentagram never enjoyed the crossover success that at one point seemed inevitable. The fact that it's 2016 and Pentagram is playing Portland on a fairly consistent basis is a minor miracle. A greater miracle is that lead singer Bobby Liebling is still alive. If you saw the 2011 documentary Last Days Here, which chronicled the unlikely resurrection of the groundbreaking Virginia doom metal band, then you saw just how low Liebling had sunk. Crippled by the drug addiction that had dogged him most of his life, Liebling was in his 50s and living in his parents' basement. Now the frontman's band is quite possibly on the firmest ground of their four-decade history and touring behind last year's Curious Volume. MATTHEW W. SULLIVAN

(Holocene, 1001 SE Morrison) The new Pwrhaus record is a little like Lemonade in that a film accompanies its release, but that's where the comparisons end. This film is a trippy animated world of pastel landscapes, and the music that accompanies it is just as surreal and colorful. Pwrhaus is the band of Portland songwriter Tonality Star, who put out an anonymous album, To My Long Lost Love, back in 2011 and has since gone on to record and release several recordings with his band. The new one, ostensibly titled, is a six-song bubble bath of synth-laden bedroom ballads, with Star's voice layered under effects and sonic gauze. Carnival noises and stardust poke in here and there, bolstering its simple lyrics of devotion and maybe even obsession. Tonight's the record release, and the film will be viewable on Pwrhaus' website. NED LANNAMANN

(Roseland, 8 NW 6th) California's Exmortus and Sweden's Amon Amarth are kindred metal spirits. Both bands' discographies are heavy as mountains and bulging with epic tales of bloody battlefields and warriors dealing death with forged steel. While both are great, Exmortus is by far superior—their musicianship is otherworldly. The guitar work of Jadran "Conan" Gonzalez and David Rivera on their recently released full-length, Ride Forth, is classically influenced and impressively masterful. The intricate, lightning-fast riffs are a marvel to behold, and leave the listener wondering if their next record could possibly be as dazzling. It's not that Amon Amarth are bad; they're just crippled by their lack of evolution. Their 10th and newest effort, Jomsviking, is a solid, bangable record, but production quality aside, it's virtually interchangeable with their previous nine. The heroic riffs, predictable tempos, and monstrously growled tales of Vikings, fjords, and Odin have regrettably gone stale—evolve or bore. ARIS HUNTER WALES

(Wonder Ballroom, 128 NE Russell) Immortal Technique comes from a long line of hip-hop truthsayers who carry the torch of infinite wisdom that was first lit by KRS-One, further fueled by Chuck D, and then detonated by Ice Cube. Beginning with the incendiary "Dance with the Devil" and then across four successive and critically acclaimed albums, Tech has developed a signature style that skillfully fuses battle rap acidity with intense book knowledge and an acute consciousness for global conspiracies. A life fiercely dedicated to artistic independence and fighting social injustice has only solidified his reputation as a true model of righteousness and wisdom in a rap community rife with studio revolutionaries. However, all of this noble activism does not take away from the potent quality of his music—attending the Immortal Technique jam at Wonder Ballroom will probably be the most intelligent thing you do this week. CHRIS SUTTON


(Crystal Ballroom, 1332 W Burnside) Read our story on Charles Bradley.

(Hawthorne Theatre Lounge, 1507 SE César E. Chávez) Oldominion's Onry Ozzborn is one third of Seattle alternative hip-hop group Grayskul. On his newest project, Duo, Onry shares each track with a fellow emcee, including Rhymesayers' Aesop Rock, Rob Sonic, and P.O.S, as well as Portland's Theory Hazit. To get a taste of the musical diversity of Duo, peep "duofilm," a visual condensed version of the album on YouTube. One-man band Wool See (IAMe of Sandpeople) dropped four albums last year, one for every season. Eclectic Seattle wordsmith Graves 33 is currently finishing up his newest project, Anatomy. Keep an eye on emcee Myke Bogan; he's got big things coming real soon you won't want to miss! SKYLER WALRATH

(Mississippi Studios, 3939 N Mississippi) The recent deaths of David Bowie, Prince, and Merle Haggard should've lit a fire under the seat of every music fan in the world, reminding them to make the effort to see the artists they love in concert before it's too late. I bring this up because, although jazz saxophone colossus Peter Brötzmann has visited Portland a few times in recent years, you shouldn't dream of skipping this show. It's not simply because he's 75 years old, either. This man breathes fire through his chosen instrument, creating shockwaves of sound that his bandmates have to either absorb or reflect back with equal measures of power and incident. This time around, he's going to be in fine company, backed by a trio that includes former Rip Rig + Panic drummer Steve Noble, vibraphone player Jason Adasiewicz, and the brilliant British improviser John Edwards on bass. ROBERT HAM

NADA SURF Thurs 5/19 Wonder Ballroom Bernie Dechant

(Wonder Ballroom, 128 NE Russell) There was a time when Nada Surf seemed destined for one-hit-wonder status. And maybe in some folks' minds, that's where they still are. Such is the power of the band's 1996 hit "Popular," which not only felt like a novelty knock-off of Weezer's "Sweater Song," but also came during the peak of alt-rock-as-commodity in the mid-1990s. In reality, Nada Surf is one of the best pop-rock bands of the past two decades. They followed up "Popular" with no hits but a solid album, regaining its post-buzz footing and setting up a stellar run of records that begins with 2002's revelatory Let Go and continues today. You Know Who You Are, released in March, has everything that makes Nada Surf great: punchy songs driven by crunchy guitars and Matthew Caws' glistening melodies as far as the ear can hear. One-hit wonders? Nada Surf are masters of their craft. BEN SALMON


(Alberta Rose Theatre, 3000 NE Alberta) Jerry Marotta was drummer on much of Peter Gabriel's best work, so when a Gabriel cover band rolls through town with Marotta behind the kit, it's worth mentioning. The other members of the Security Project—who take their name from Gabriel's 1982 album—include former King Crimson bassist Trey Gunn, Shriekback guitarist Michael Cozzi, and a singer named Brian Cummins whose resemblance to Gabriel's soulful, smoothed-stone voice borders on uncanny. The repertoire, judging from the track list of their forthcoming album Live 1, focuses on Gabriel's early-'80s peak, which included Security and the 1980 self-titled album—two groundbreaking recordings for which Marotta's powerful, cymbal-less drumming was a fundamental force. But although Gabriel tours infrequently (and has only released two proper studio albums in the past 25 years), there's something odd to me about the idea of seeing this stuff recreated without him. Still, to play devil's advocate, you can go see the Security Project tonight and save yourself a bundle on tickets for when Gabriel himself plays in Seattle this July—not to mention spare yourself the horror of sitting through a set by his tourmate, Sting. NL

(Landmark Saloon, 4847 SE Division) Portland's Anna Hoone delivers the kind of straightforward folk that comes bristling with poetic barbs. Hoone's recent NPR Tiny Desk Contest video submission for her song "Oh Mama" saw her deft acoustic strumming accompanied by Sam Vogt's dobro. Hoone's voice is a vessel of poise and of prose-heavy lyricism that recalls the melodic grit of songsmiths like Lucinda Williams. "Oleana" is a tale of a nomadic prostitute ostensibly set during the days of the Wild West. The track's storyline is replete with the kind of imagery Americana purists crave and fans of country/western revere as foundational tenets. Grab a pint of something hoppy and enjoy at one of the city's best places to see local country music. RYAN J. PRADO

DEEP SEA DIVER Fri 5/20 Mississippi Studios Matt Wignall

(Mississippi Studios, 3939 N Mississippi) This February, Seattle indie rockers Deep Sea Diver released their highly anticipated second full-length, Secrets, on their recently debuted label High Beam. Led by masterful multi-instrumentalist Jessica Dobson, who has toured with the likes of Yeah Yeah Yeahs, the Shins, and Beck, the band's new record cohesively brings together songs that are upbeat and often tender. From the modular experimentation of "It Takes a Moment" to the album's title track, Secrets shifts tempos and tone as deftly as an orchestra. The band preserves this warmth live, counting Dobson as one of the Northwest's most promising up-and-coming performers. JENI WREN STOTTRUP

(Star Theater, 13 NW 6th) Grunge-era pioneers Tad had more of a metal bent than many of their peers, thanks to frontman Tad Doyle's '70s hard rock-influenced riffs. In his latest band, Brothers of the Sonic Cloth, Doyle focuses almost entirely on that side of his songwriting. The Brothers' self-titled debut—out last year on the Neurosis-run Neurot Recordings—is a heaving slab of long-form, doom-laden exorcisms. Doyle definitely hasn't mellowed with age. The Brothers are co-headlining this bill with the always-dependable local trad-doom luminaries Witch Mountain, who will record their set for a future release. MWS


(Mississippi Studios, 3939 N Mississippi) Read our story on Eric Bachmann.

(Arlene Schnitzer Concert Hall, 1037 SW Broadway) Looking for some frivolous entertainment? Stay the hell away from the Schnitz tonight and Monday. In their final classical concert of the season, the Oregon Symphony boldly features just a single work on the program: Gustav Mahler's brilliantly constructed Symphony No. 3. Over the course of one-and-a-half hours, this massive composition will explore every corner of the human heart and mind, harnessing the power of 103 kickass musicians, a women's chorus, a choir of kids, and one internationally renowned mezzo-soprano, who's flying into Portland just to sing an existential poem by Nietzsche in the fourth movement. When it comes to music written for orchestra, Mahler's output is like no other, and the chance to witness such an event live should not be dismissed lightly. If a night dedicated to exploring unplugged sonic bliss sounds like a good time, get yourself a lower balcony ticket and maybe a sativa-dominant strain. BRIAN HORAY

YOUNG THUG Sat 5/21 Roseland Richard Martin

(Roseland, 8 NW 6th) Young Thug first came onto many critics' radar—including that of the New York Times—with Black Portland, his impressive 2014 collaborative mixtape with Bloody Jay. The most curious thing about Black Portland—which sports a Trail Blazers logo prominently on the cover—is that Young Thug hails from Atlanta, almost as far away from the Rose City as one can get. But curiosities like this have come to define Young Thug's entire career. Cranking out mixtape after mixtape of Southern, often-unintelligible space-rap, Young Thug has fashioned himself as the successor to Lil Wayne, even going so far as to announce the title of his 2015 debut album would be Tha Carter VI. After allegations of legal pressure, Young Thug changed the title to Barter 6 and declared it was a mixtape, rather than a proper debut. The title of Young Thug's actual forthcoming debut album? Hy!£UN35. Don't ask. SANTI ELIJAH HOLLEY

(Star Theater, 13 NW 6th) Many people either forgot or had no idea that R&B dance group Nu Shooz was from Portland. But the husband-wife band, fronted by Valerie Day and John Smith, has been churning out irresistibly catchy tunes in Bridgetown since 1979. Who knew Portland had so much funk? Nu Shooz is best known for their chart-topping single "I Can't Wait," a song so hauntingly upbeat that it makes "Steal My Sunshine" by Len sound like Elliott Smith. It doesn't matter if you hate new wave or synth-pop—once Nu Shooz enters your eardrums, it's a "Point of No Return." ZARA ZHI


(Anarres Infoshop, 7101 N Lombard) See All-Ages Action!

(Los Prados Event Hall, 10105 N Lombard) Read our story on Friends of Noise.

(Bunk Bar, 1028 SE Water) Aaron Turner—of the legendary Isis, and also the founder of Hydra Head Records—joined forces with Russian Circles' Brian Cook and Baptists' Nick Yacyshyn in 2014 to form the band Sumac. Now they're getting ready to put out Sumac's second album, What One Becomes, due on Thrill Jockey in June. It's an igneous record of stripped-down parts (drums, bass, guitar, and Turner's hoary howl) that have been blown up to stratospheric scale, emphasizing the power of essentially simple ideas after they've been turned up to incredibly high volumes. As such, Sumac have found a fascinating point of musical unease, located somewhere in between metal's groove, post-rock's precision, noise's antisocialism, and prog's often over-ambitious desire to sound bigger than the sum of its parts. Sumac live in a place where repetition and space turn into sonic suffocation—you'll either be terrified or thrilled. NL

(Doug Fir, 830 E Burnside) Mellowdrone vocalist and M83 contributor Jonathan Bates started Big Black Delta after becoming frustrated with the group dynamics of a traditional band. After falling in love with the autonomy of laptop production, he began making music with thoughtful vocal distortion, harmonies, and synths that sounds like the beep-booping of satellite communication. Big Black Delta's dream world makes you feel like you're flying through space. Back again with new album Tragame Tierra, Bates steps toward a bigger, fuller synth-pop sound with the help of guests like Debbie Gibson and Kimbra. Instead of conjuring ideas of space, Bates is taking us to a new dimension. EMILY VANKOUGHNETT

(Star Theater, 13 NW 6th) Who hasn't B.o.B worked with? He's widely known for mainstream cuts like "Airplanes" featuring Hayley Williams, and "Nothin' on You" featuring Bruno Mars. Even if "fuck your bitch" songs aren't your fave, you may still love his R&B single "Not for Long" with Trey Songz. It's a light-hearted, irresistibly sexy—if not overly confident—jam about the inevitability that a female human will end up with the protagonist, despite being tied up. With 2015's Psycadelik Thoughtz, the artist rekindled his musical roots—this was a surprise drop for his fans, since B.o.B's been hyping an entirely rock-influenced album for years now. We can all overlook the fact that he thinks the earth is flat for one evening, right? JENNI MOORE


(Revolution Hall, 1300 SE Stark) Buzzcocks are one of the most important punk bands to come out of England in the mid-'70s. They've never been as blatantly political or pissed off as the Sex Pistols, but their influence can be felt just as loudly. Pete Shelley transcends punk rock as one of the greatest songwriters to come out of that generation. You can run through the Buzzcocks discography for proof, or find your answers in the band's perfect—I mean perfect—comp, Singles Going Steady. All 16 songs show Shelley's knack for hooks, but also his ability to tap into matters of the heart and the social anxieties of the time with humor and smarts. Those universal topics might make the songs feel less "punk rock" to some, but the Buzzcocks don't need mohawks or spikes to show they're as real as it gets. MARK LORE


(Roseland, 8 NW 6th) If there ever were an artist trapped in one aesthetic, it's Mac DeMarco. The Canadian-born indie-psych sensation has built his career with sensual art-pop and his image as the iconic slacker dude in overalls who might get naked onstage so other slacker dudes can later say to their slacker friends, "I was there when King Mac stuck his thumb up his butt onstage." DeMarco has coasted on this reputation since his 2012 debut, Rock and Roll Night Club. He's constantly touring, and has only paused briefly to release three additional albums so eerily similar that his latest is tongue-in-cheekily dubbed Another One. At the album's end he recites the address to his Long Island home with an invitation for fans to come over for coffee. While his career may be have started as some meta-joke, DeMarco has undoubtedly been a transformative force on the indie-rock genre, writing some of the most affecting songs within the mold ("Ode to Viceroy," "My Kind of Woman," and "Salad Days" to name a few). We'll continue to eat it up, because Mac DeMarco isn't just a sleazy ham, he's the "Pepperoni Playboy." CAMERON CROWELL