DURANGO PARK, TRACKER, SUKHA MANTRA
(Berbati's, 231 SW Ankeny)
Oh, the slippery slope of meaning! How to describe the sound of Durango Park without making allusions to the sound of other bands before them? And how to describe those influential bands without making allusions to the bands that preceded them and shaped their sound? Where does the chain of influence end? Where does the origin of Durango Park's sound begin!? Sound describes sound describes sound; words define words define words; there is no origin! There are no absolute truths, only layers upon layers of relative perception! My task here is thus futile, but for the sake of not becoming a nihilist, I will say that DP has a slow, creepy tug like Nick Cave's stuff, but laced with occasional glammy Bowie-ish guitar breakouts. Vocalist Rob Bond's sounds like a mixture of Bowie and Elliott Smith. JUSTIN "JACQUES DERRIDA" SANDERS
DJ MADD 1
(Bar 71, 71 SW 2nd)
Gresham, meet Beaverton. Beaverton, meet Gresham. Next time you pick up a date at Wet Seal or Forever 21, head to Structure, get yourself a nice ribbed shirt and slacks ensemble, and take her to Bar 71. She'll be so inundated with drunken, wanton women that she'll actually tailor her behavior to be par for the course. Buy her a few Cosmos, then take her out on the dance floor, and you'll swear you are listening to Z100. This is the kind of place where washed-up celebrities used to go, two years ago. Tip the bartender, swipe somebody else's leather coat and reminisce on the one time Corbin Bernsen took a shit in the can or days of yore when Charles Barkley made pincushions of the finest meat Clackamas has to offer. EB
REEKS & THE WRECKS, GHOST TO FALCO, JONNY X & THE GROADIES, MORE
(Nocturnal, 1800 E Burnside)
Yo, have you been to Nocturnal yet? Cause it's only like MY FAVORITE VENUE EVER right now, mostly because it's all-ages AND over-21 friendly, which means your under-21-hating friends will actually attend an all-ages-show, since they can still get wasted at the basement bar (Katie Shimer, THIS MEANS YOU). But also, your under-21-LOVING friends have the option of forgoing the boozing and smoking, as going to the bar involves descending some stairs and passing through a small hallway. The space is also pretty big, and they spent like a trillion dollars on the sound system and super-nice wood floor (you could totally have ballet class on that shit). Tonight, only the drunkards may enjoy the smooth electronics of Glomm, and DJ Maximillion, aka Ron Get Hustle, who spins an eclectic blend of whatever he feels the crowd is feeling. But underagers, don't fret, cause the party is on upstairs, including Get Hustle's Mark Burden on some solo-piano, gothic/modern Schoenberg tip, Oly's doomy sludge-sustainers Growing, and Dead Western, which is a solo Troy Mighty (Sweaty Vibrant, Ni Fi Nifefight). You gotta go. JULIANNE SHEPHERD AKA "STEEZY NIX"
NERVEWHEEL, OFFICE PRODUCTS, THE LAWN
(Jasmine Tree, 801 SW Harrison)
In case you missed Nervewheel last night, the new band featuring Bill Horist, here's another chance. (Bill Horist is the Aztec god of guitar virtuosos. I heard a rumor that an entire class of virgin guitar students sacrificed themselves in his honor.) Office Products includes another big guitar dude, Doug Theriault, who cuts up his improvisational guitar stuff so much it sounds pixilated. David Chandler, man about town, drums electronically. JS
DJ GEO'S ESOTERICA
(715 Inn, 715 NE Broadway)
While in desperate need of redecoration and a fresh coat of everything, the 715 Inn, thanks to DJ Geo and local musician Andrew Tolan, has become an unlikely music venue. Like nearby neighbor Billy Ray's Dive, the 715 is one of the only casual, close-in NE taverns. DJ Geo's Thursday nights are a grab-bag mix, traveling from classic hiphop to noise pop with all kinds of rock and eclectic nuggets in between. Don't expect the newest cuts or a predictable flow, but some fine music mixed like an educational jukebox. Weekend nights feature live bands that easily pack the little den (making the horrid flashing Coors basketball hoop almost invisible, if that is humanly possible) and all events are free. AARON MILES
THE STARVATIONS, THE HUNCHES, THE NIGHTMARES, THE ONES(Satyricon, 125 NW 6th) The Hunches provide a distortion-filled, gutteral purging of the id; feedback-laden guitar meltdowns, screeches, and vocals imbued with feral punk attitude. Try not to throw your drink; remember, liquor costs money. KATIE SHIMER
NAP ATTACK, LEAD VEINS
(Blackbird, 3728 NE Sandy)
In the style of Dianogah or Don Cab, talented NoCal trio Nap Attack keeps the instrumental math rock dream alive, though I'm pretty sure no one will ever let it die. Lead Veins is a rock band including Caitlin Love, also of Desert City Soundtrack, on drums. Caitlin Love is by far one of the toughest drummers in the Portland metro area and, yeah, I'll go out on a limb and throw the 'Couve into that assessment as well. JS
FRIDAY 1/17
DEL THA FUNKEE HOMOSAPIEN, BUKUE ONE, BOOM BAP PROJECT, DJ SCENE
(Roseland, NW 6th & Davis)
Del tha Funkee Homosapien is a consistently inventive rapper; his work in side project Deltron 3030 is equal in ambition and imagination to that of Mike Ladd's Welcome to the Afterfuture and Cannibal Ox's Cold Vein. As with these other postapocalyptic masterworks, Del's raps form a massive edifice of pop concepts, critical theories, and urban fantasies. Del is also responsible for one of the greatest opening lines in all of hiphop: "Finally, someone let me out of my cage" (from "Clint Eastwood"). CHARLES MUDEDE
DJ RAP, JADE BASSIX, ELECTROKID
(Ohm, 31 NW 1st)
Consider me a groupie, as DJ Rap and Jade Bassix rock the Ohm. If you've lived in Portland for more than five minutes, you've no doubt seen and heard some of the finest music you could possibly see at this spot under the Burnside Bridge. Chances are good that if you've ever scoped one of these ladies' sets, you know that not only do these queens of the music world have their craft mastered, but they look good, too! A fun affair for feminists and chauvinists alike! I'll be the guy staring at the stage, drooling all night. See you there! ERIC BOWLER
BANGS, EXPLODING HEARTS, THE WHIP, EX-BOYFRIENDS
(Berbati's)
Hey everyone--it's Lady Punk Rock from Olympia! The Bangs manage to be riot grrrls without being riot grrrls by cleverly straddling the line between outspokenness and association with outspokenness. They've never been as politically motivated (or as musically adept, for that matter) as revival punk foremothers Bikini Kill and Team Dresch were, but nor have they ever claimed to be. And that's what makes them kinda fun to listen to and watch. Their latest effort on Kill Rock Stars (who else?) is peppered with pop leanings, and that's where the Bangs excel. Whether Sally Rah-Rah will go to this show because she really really LIKES the Bangs or whether she's interested in going because she likes the IDEA of the Bangs is certainly one for the ages. Either way, Sally's clearly tired of trying to have a good time at home with her Bratmobile 45s and cans of PBR, and I don't blame her. JOAN HILLER
DJ REKHA, DJ ANJALI, THE INCREDIBLE KID, DJ ANSHUL
(Fez, 316 SW 11th)
DJ Rekha, who helped mine the bhangra sound in NY when no one else knew what the hell was going on, is a producer and DJ who will probably spin an eclectic mix of bhangra, dancehall, hiphop, whatever. She'll add to the vibe of the ubiquitous DJ Anjali and The Incredible Kid, who, coincidentally, are on a mission to pioneer the bhangra sound in Portland. JS
FONTANELLE, MODULE, ELECTRIC BIRDS
(Blackbird)
A couple of years ago, Chunklet had this feature where they summed up bands' sounds with witty one-liners. The one I remember most was for the Sea & Cake, whose music was described as "Hellooooooo, LADIES!" This is what I think of when I listen to Fontanelle's new record for Kranky, Style Drift, whose vintage organ funk, sexy jazz beats, and various electronic-glitchy accoutrements seem custom-tailored to lure the hotchas straight into the gently pulsing tides of their waterbed. It's a lot of aphrodisiacal '70s keyboard jazz funk, an improvement over their past records. I'd be willing to bet money that somebody is going to get laid after this show. JS
SATURDAY 1/18
THE GOSSIP, KING COBRA, YOUNG PEOPLE, SLEETMUTE
(Blackbird) See MWBW pg 13
MY REGRETS, THE STRANDS
(Satyricon)
The cute darlings that are My Regrets have a lot more going on than their savvy stage presence; they actually know how to rock. Lead singer Caleb Spiegel's attitude and lyrics inspire, while the rest of the band brings on sincere rock and roll melodies that make you want to scream with delight. And, in my opinion, the Portland music scene doesn't have enough of that. I know the whole "garage rock" movement may have some of you jaded, but in all fairness, My Regrets were wearing matching suits long before The Hives immigrated to the US, so there. Besides, it's great to see such unbridled energy on stage, especially if you have the talent to back it up. NICOLE WARREN
THE USED, TAKING BACK SUNDAY, BLOOD BROTHERS, NEW TRANSIT DIRECTION
(Roseland)
This is hands-down one of the most depressing "punk" shows that will ever roll through our fair town. Although once a legitimate hardcore band that could get one's pulse racing, The Blood Brothers recently signed to ArtistDirect, and their upcoming major-label debut, Burn Piano Island, Burn, was butchered... I mean produced... by nu-metal guru Ross Robinson. While it sounds better than most of the crap Robinson produces (Limp Bizkit and Vanilla Ice, to name a few of his former clients), it's still a far cry from their early days, when the band seemed like they cared about what they were screaming about. Taking Back Sunday is a laughable collection of rich white kids making music that is as shallow as a kiddie pool resting on the well-groomed lawns of the suburban New York tract-houses they call home. The Used are probably the worst of the bunch, but kudos to the band's handlers for arranging for lead singer Bert McCracken to date Kelly Osbourne--great crossover potential, and man, think of the marketing opportunities. I miss Joe Strummer already. CARMELO MARTINEZ
THE OUT CROWD, TELEPHONE
(Dante's, 1 SW 3rd)
A Portland quartet that purveys chunky riffs and a party attitude, Telephone uses a Moog to augment their solid, fun, rocking '60s vibe. It's a tight sound and has a lot of life; when I saw them the other week, I kept thinking they were like The Thermals for the over-30 set, which is very much meant to be a compliment. JS
T-REXA, POM POM MELDOWN, DENNIS DRISCOLL
(Meow Meow, 520 SE Pine)
The idea of Dennis Driscoll opening for Pom Pom Meltdown is really, really funny to me, because the two are so the exact opposite of each other. Dennis Driscoll is a little like if Raffi and [KINSELLA ALERT!] Tim Kinsella raised an autistic folksinger from birth. Driscoll writes the sweetest, shyest, simple folk music, crooning in boyish yarns. You will want to pinch his cheeks. Pom Pom Meltdown are three TOUGH chix playing aggressive, progressive music that lately has been venturing in a nu-metal direction. I feel like in between bands, the stage may open up and swallow them both, due to the paradox. JS
SUNDAY 1/19
THE WALLFLOWERS, WARREN ZANES
(Roseland)
Okay, here is the game. In an effort to make Jakob Dylan quit his horrid band, The Wallflowers, and just go back to enjoying the comfy life of spending money and looking like a supermodel, here is a depressingly long list of his peers. All of the following people are, like Jakob, terrible musicians related by blood to actual talented people (although that can easily be debated): Kelly Osbourne, Frank Stallone, Aaron Carter, Roger Clinton, Arlo Guthrie, Sean Lennon, Bijou Phillips, Carnie Wilson, Wendy Wilson, Chynna Phillips, Elijah Blue Allman, Hank Williams II & III, Rosanne Cash, Lil Romeo, Jamie Lynn Spears, Muffy Spencer, LaToya Jackson, Donnie Wahlberg, Marty Haggard, Solange Knowles, Rain Phoenix, Robert Schwartzmann, Ziggy Marley, Noel Gallagher, Robin Thicke, Warren G, Jason Bonham, Matthew Nelson, Gunnar Nelson, AJ Croce, Dweezil Zappa, Madgesdiq Stoudamire... CARMELO MARTINEZ
JONATHAN RICHMAN, BLUES GOBLINS AKA SAM COOMES, PETE KREBS, JACKSTRAW, MENOMENA, SELECTOR DUB NARCOTIC, MORE
(Crystal Ballroom)
See MWBW pg 13
MONDAY 1/20
SYSTEM & STATION, QUEEN BEE JACKSON, MINMAE
(Satyricon)
System and Station play alterna-pop-rock, and while that categorization might seem lame, it's really not meant to be. They've got peppy keyboards, inventive rock guitar progressions, and pleasantly whiney and emotive vocals that sort of remind me of The Joggers, but the words are more easily understandable. Their sound is derivative of something, and decidedly indierock, but I can't come up with any clear analogy. Regardless, they're pretty good, and worth a cover charge. KS
BUCK 65, SLEEP, JOSH MARTINEZ, VERTIGO
(Berbati's)
See Music pg 15
PIEBALD, MINUS THE BEAR, NOISE RATCHET, MY CHEMICAL ROMANCE
(Meow Meow)
The only thing worse than a third-rate cheesy emo band is a third-rate cheesy emo band that is Christian. I'm not talking Christian-and-talented in that Pedro the Lion way, I'm talking full-on Noise Ratchet Christian--which includes preaching the good word and touring churches. To illustrate my point, here are some mind-fuckingly deep lyrics courtesy of the band: "Yes I cry, I cry 'cause Jesus loves me/ He knows my heart..." Finally, emo music has its very own DCTalk, praise the fucking lord. I have no idea what legit bands like Piebald and Minus the Bear are doing on tour with such Jesus Krispies, especially when Piebald is rumored to party harder than Andrew WK, and one of the members of Minus the Bear owns emo-porn website Friction USA. CM
TUESDAY 1/21
THE THERMALS, THE PLANET THE, SCIENCE OF YABRA, THE DIVORCE
(Berbati's)
Many of today's punky pop acts may ride on the yumminess of their hooks, but are severely lacking in crunch, opting for smooth-as-a-pug's-ass, take-out-a-loan style production over the more exciting (and credible) basement aesthetic. Alternately, there are tons of basement-crunch enthusiasts who lack good melodies, drowning any panache and straight-up rock 'n' roll pleasure in a virtual River Styx of Murray's pomade and pre-apocalyptic gloom. But don't switch off the heartlight of hope just yet, because The Thermals' fresh licks and skuzzy production truly bridge the gap between pop, punk, and basement grime. With surly, quick and kinda ratty riffs and beats by Ben Barnett, Kathy Foster, and Jordan Hudson, if The Thermals don't skirt the squeaky-clean pop image via their crackly tunes, at least they have singer Hutch Harris around to get butt-ass naked at every show. If there was ever a band best described by the words "vehemence" and "enthusiasm," The Thermals are it. This show is like a teaser before their first full-length--the vehement, enthusiastic, catchier-than-chicken-pox More Parts Per Million-- is released by Sub Pop this March. JS
AUTUMN ERA, DESERT CITY SOUNDTRACK
(Blackbird)
As a reminder, though I'm sure you already knew: Desert City Soundtrack is TOTALLY AWESOME, with their inspired yet inconsolable piano and guitar melodies and completely wrecked vocals. The quartet's rawness and love for their craft is palpable. While I have not heard Chico's Autumn Era, according to the chart on christcoremusic.net, they are "Similar to these Artists": [Thursday, At the Drive-In, Taking Back Sunday] and "Similar to these Christian Artists": [Juliana Theory, Further Seems Forever, Dead Poetic]. Also, according to the same chart, Steezy Nix is "Similar to": [Sheila E, Prince, Bitch Ass Darius] and "Similar to these Christian Artists": [There are no Christian artists similar to Steezy Nix]. JS
MANPLANET, GROOVIE GHOULIES, MORE
(Meow Meow)
Minneapolis-based Manplanet were doing the '80s thing way before it was fashionable, which means they do it right. Think of Gary Numan, the Buzzcocks, and the Cars' "Moving in Stereo" and you've got a pretty good idea of what to expect. KATHLEEN WILSON
WEDNESDAY 1/22
DRUNK HORSE, C AVERAGE, OCIFFER
(Ash Street, 225 SW Ash)
For the guitar rock/metal fans, this is one of the best shows that's come around for a long time. Ociffer pairs cheesy '80s Rush-type vocals, with dope guitar solos and drunken antics. C Average's Sabbathy instrumetal--and I'm being completely redundant here--has been sucking a brick for like the last year and a half, but tons of great bands go through brick-sucking stages and then come back, right? Drunk Horse, however, is the dopest. Their carnal yells, NOT BORING rock/metal, and lit up stage shows are so friggin' worth it. (They rival The Fucking Champs, if that tells you anything.) KS
THE BUILDING PRESS, THE APES, VERMILLION
(Blackbird)
Yo, it's the Northwest's two fave instrumental prog trib acts, The Building Press and Vermillion. Both bands pack wallops in the areas of technicality and boy-sweat. If you do not think King Crimson Red or Yes Close to the Edge are two of the greatest albums ever made, my advice is to stay far away. In contrast, DC quartet The Apes ride the line between decadent '70s heavy rock (Cream, Sabbath, Zeppelin) and modern amenities such as keyboards and vocodors. Don't accuse them of having zero context. JS
