THURSDAY 3/5

READING FRENZY BENEFIT: CORIN TUCKER, TU FAWNING, THE GOLDEN BEARS, MIRAH, EXPLODE INTO COLORS

(Holocene, 1001 SE Morrison) See My, What a Busy Week!

LUCK-ONE, DEKK, FOCUSED NOISE, GEN. ERIK, FURY, MIC CRENSHAW, SERGE SEVERE

(Berbati's Pan, 10 SW 3rd) See review.

THEE HEADLINERS, PURE COUNTRY GOLD, THE FAST TAKERS, RIGHT ON JOHN

(Rotture, 315 SE 3rd) Lord knows how many bills Thee Headliners have played on, but this time—finally—they are indeed headlining. And deservedly so: They're celebrating the release of their sloppy, soulful second record, Rain & Blood. The record dredges up the darkest corners of American music, coming up with something that I could call gothi-blues-abilly but won't, because that would sound ridiculous. Still, when you've got a punk mentality mining the depths of garage, country, and R&B with very blunt instruments, it becomes clear how all these different musical genres are intertwined. It also becomes clear that overthinking this music is a total waste of time. How 'bout cracking a beer and kicking the dirt instead? NED LANNAMANN

NEIL HALSTEAD, ADAM SHEARER

(Doug Fir, 830 E Burnside) In the early '90s, Neil Halstead led the revered shoegaze group Slowdive, whose gauzily morose ambient pop and diaphanous dub inspired many bands and a tribute album released by German electronica label Morr Music called Blue Skied an' Clear. Slowdive shed two members and morphed into the earthier Mojave 3, in which Halstead and vocalist Rachel Goswell sort of got in touch with their inner Lee Hazlewood and Nancy Sinatra. Halstead's solo output ambles into gentle folk-rock contemplativeness. Generally speaking, his musical career has been a gradual, organic reduction from the layered to the stripped down, a shift from European decadence to American forthrightness. The common threads running through it are feathery prettiness and emotional restraint. DAVE SEGAL

BLIND PILOT, SABERTOOTH, CATALDO

(Mississippi Studios, 3939 N Mississippi) There's a lot to be said for Blind Pilot's meteoric rise from two-wheel bicycle band obscurity, to—less than 10 months later—squinting beneath the lights of Last Call with Carson Daly. Success in music is a rare, if not fleeting, occurrence, but to triumph sans nepotism—or at the very least, the backing of a deep-pocketed label—is even more startling. While there has always been a certain level of stars-aligning fortune surrounding the rotating Blind Pilot players (anywhere between two and nine members, but expect a crowded stage for tonight's two performances), their fortunate position is primarily just the result of stellar songwriting and execution. Theirs is an extraordinary case of good things happening to good people, and here's hoping their next months are just as exciting as the past 10 have been. EZRA ACE CARAEFF

STEPHEN PEARCY, LABANSKY, FORBIDDEN SYMPHONY

(Mt. Tabor Legacy, 4811 SE Hawthorne) Despite their baggage of spandex, hairspray, and lip gloss, '80s glam metallers are a resourceful bunch. They slink among us—two decades past their pop-chart prime—receiving no flattery, save for the calculated self-imitation they so determinedly maintain. Nasal-voiced Stephen Pearcy plays the nostalgia circuit even when not on the road with Ratt, putting him in the odd, opportunistic position of covering the midtempo stripper hits he co-wrote (e.g., "Round and Round," "Wanted Man"). Solo glam shows are more common back east, where you're as likely to see Bret Michaels or Vince Neil as Poison or Mötley Crüe. You're better off at a smaller venue—fewer maniacs than the amphitheater, better sightlines for the all-important visual element. MIKE MEYER

FRIDAY 3/6

SPOON, EVEREST

(Crystal Ballroom, 1332 W Burnside) See My, What a Busy Week!

FUJIYA & MIYAGI, POP LEVI, PROJECT JENNY PROJECT JAN

(Doug Fir, 830 E Burnside) See My, What a Busy Week!

JAPANTHER, EXPLODE INTO COLORS, FIST FITE, DJ SOLOMON

(Rotture, 315 SE 3rd) See review.

THE AX, RIFLE, ROLLIE FINGERS

(Plan B, 1305 SE 8th) The barebones twosome of guitar and drums is a relatively recent development in popular music, made commonplace by the White Stripes, who were inventive enough to make the pared-down arrangements work. Portland garage-metal-punk duo the Ax aren't as interested in varying the limited template as they are in beefing it up to full power, a throttling twin assault that's intent on crushing the listener like a flapjack. These guys take the funnest part of rock music—the wicked riff—and bring it to the forefront, exaggerating it so that nothing else in the song matters. The Ax celebrates tonight the release of their first full-length, Our Queen of Dirt, out on Whoa!Boat Records, and it's 14 short nuggets of evil-sounding, down-tuned garage rock that'll likely cause a bit of headbanging. NL

PORTLAND CELLO PROJECT, THAO, JUSTIN POWER, STORM LARGE, GIDEON FREUDMANN, CHRIS ROBLEY

(Mississippi Studios, 3939 N Mississippi) It would seem that the Portland Cello Project have become the house band of the Portland indie scene. Like the MGs (but without the soul), the Cello Project offers symphonic assistance—a luxury seldom afforded to budget-conscious artists—to a bevy of local bands, in addition to an opportunity for them to expand their musical horizons. An evening spent watching PCP reinterpret classical numbers alongside mindless pop music guilty pleasures is always a welcome occasion. Tonight, joined by a revolving door of vocalists—from the art-pop of Thao to the bombastic theatrics of Storm Large—they'll perform a pair of sets (let's hope the later one gets a bit blue... NWA cover, perhaps?) with more shows on Saturday and Sunday, as part of the Mississippi Studios opening week festivities. EAC

RAPHAEL SAADIQ

(Wonder Ballroom, 128 NE Russell) A couple years ago, Amy Winehouse's Back to Black (created with invaluable help from Mark Ronson and the Dap-Kings) reminded a whole bunch of (white) people of the vast aural pleasures of old-school soul. Legendary singer/songwriter/producer Raphael Saadiq has devoted most of his life to these pleasures, leading the chart-conquering new jack swingsters Tony! Toni! Toné!, producing the deep funk stew of D'Angelo's classic Voodoo, and, most recently, releasing his freakishly accomplished 2008 solo album The Way I See It. The latter is an impeccable dazzler that comes on like a one-man Motown show, with Saadiq playing all the parts, from mastermind Berry Gordy to songwriting factory Holland-Dozier-Holland to singing/songwriting superstar Smokey Robinson. That the end result manages to spring to its own 21st-century life is a testament to Saadiq's gifts. Amy Winehouse can only cry onto her crack. DAVID SCHMADER

WHY I MUST BE CAREFUL, PLANETS, SOME WEIRD SIN

(The Artistery, 4315 SE Division) If you took a Fender Rhodes electric piano and threw it in a cement mixer, you might get something like Why I Must Be Careful, who flirt with jazz and noise with an unashamed sense of experimentation. Seth Brown's unhinged piano is matched by the chopping, swishing drums of John Niekrasz, and together they make a queasy, lurching noise that sounds like barely contained lunacy, a split second before full-blown chaos erupts. But don't look for reassurance from California's Planets, who similarly take a familiar trope (in their case, pop-rock instead of jazz) and fuck with it so it's barely recognizable. NL

SATURDAY 3/7

PORTLAND CELLO PROJECT, THAO, JUSTIN POWER, TU FAWNING, JUSTIN KAGAN, TAHOE JACKSON, ADAM SHEARER

(Mississippi Studios, 3939 N Mississippi) See listing

M. WARD, PORT O'BRIEN

(Aladdin Theater, 3017 SE Milwaukie) See review.

EFTERKLANG, PETER BRODERICK

(Doug Fir, 830 E Burnside) Efterklang are a Danish orchestral/electronic ensemble whose name is apparently the Danish word for both "reverberation" and "remembrance" (literally translated as "after sound"). The group's core is a quintet, but their live band bulks up to nine, and the liner notes for 2007's Parades lists some 30 guest musicians, on duties ranging from flugelhorn to boys choir to "additional percussion and tap dance." On Parades, they play glacially progressing symphonic pomp, with distant choruses arising out of stretched string passages, their electronic side entirely confined to some rhythmic sputters on opening track "Polygyne." All together, it sounds like something in between the wordless transcendentalism of Sigur Rós and the less boisterous of the Arcade Fire's theatrical hymns. ERIC GRANDY Also, see rview

PURPLE RHINESTONE EAGLE, LOZEN, HOT VICTORY, MAGIC JOHNSON

(Dekum Manor) Heavyweights of the basement scene, the ladies three of Purple Rhinestone Eagle throw a mighty jab with their new 12-inch record, Amorum Tali. While the comparisons run deep—everything from Jefferson Airplane to the Need would be an accurate description of the wide gamut of this recording—the real DNA of the excellent Amorum Tali can be traced back to Sleater-Kinney's ambitious, rock-heavy swan song, The Woods. Much like Corin Tucker, the voice of Andrea Genevieve can ascend to the levels of a passionate howl on numbers like "Tidal Wave," and then just as easily be neatly tucked away for the bong-rumbling stoner jam "Walk with the Wizard." Simply put, Purple Rhinestone Eagle are on an entirely different plane than their peers—whether it be tugging upon the bushy mane of mythical classic rock unicorns, or grand post-punk numbers that rattle the exposed pipes at their packed basement shows. They intend on not coming back down to earth anytime soon. EAC

SUNDAY 3/8

PORTLAND CELLO PROJECT, THAO, GIDEON FREUDMANN, ADAM SHEARER, JUSTIN POWER

(Mississippi Studios, 3939 N Mississippi) See My, What a Busy Week!

MATT SHEEHY, Y LA BAMBA

(Mississippi Studios, 3939 N Mississippi) See My, What a Busy Week!

M. WARD, PORT O'BRIEN

(Aladdin Theater, 3017 SE Milwaukie) See review.

PENDULUM, EXCISION, RYAN ORGAN

(Roseland, 8 NW 6th) The live-band drum 'n' bass field isn't exactly crowded, so a group like Pendulum will stand out even if they're mediocre—which they are. With drum 'n' bass itself in decline, this isn't very surprising. Australia's Pendulum, however, have garnered a substantial fanbase (they packed out a tent at last year's Coachella) through diligent touring and a stadium-sized sound that eschews subtlety. Further broadening the band's mass appeal is their embrace of hard-rock riffing and melodramatic male vocals, which abound on their latest album, In Silico. Credit Pendulum for trying an unusual hybrid; demerit them for coming off ham-fisted and doing neither rock's nor drum 'n' bass' discerning fans any favors. DS

MONDAY 3/9

M. WARD, BLUE GIANT, TU FAWNING

(Aladdin Theater, 3017 SE Milwaukie) See review.

K'NAAN, MIC CRENSHAW, MADGESDIQ

(Berbati's Pan, 10 SW 3rd) K'Naan has experienced a rather swift rise to fame since 2005, when he released the critically acclaimed The Dusty Foot Philosopher to his present-day role as a chart climber. Emerging from the slums of Somalia, K'Naan has attracted a wide fan with a nasal flow somewhere between B-Real and Eminem on the pitch scale, and a musicianship not unlike Wyclef Jean. His new album, Troubadour, attempts to expand his support with a broader musical style but still features the same wiley flow on the mic. Who knows how the mainstream will react to it all? Lord knows the radio could use more lyricists like K'Naan. GRAHAM BAREY

THE VON BONDIES, NICO VEGA, SHARPENING MARKERS

(Doug Fir, 830 E Burnside) A lot of people regurgitate the term "garage rock" in reference to Detroit's the Von Bondies. Thing is, anything as polished as their latest, Love, Hate and Then There's You, doesn't really count as garage. Not that the band ever really had much more to do with that sound than being from Rock City, having been lazily lumped together with certain names, and dressing the part. Sure, their sound is palatable enough, and there's nothing wrong with slickly produced power chords, pleasant backup vocals, standard-but-heavy drums, and semi-skilled execution of frontman duties. Everything here is executed with precision and skill (albeit to a somewhat underwhelming end). Let's just not pretend there's anything garage about it. GRANT BRISSEY

TACOCAT, FOREVER, NUCULAR AMINALS

(Valentine's, 232 SW Ankeny) With songs about urinary tract infections, Marshmallow Peeps, the movie Waterworld (appropriately titled "Dry Land Is a Myth"), and pap smears, TacocaT could easily come off as a joke band. Hell, the name TacocaT alone seems like a goof. (Hint: It's a palindrome.) But somehow these three girls and lone dude make it all work by never coming off as too hokey and sounding like a more twee version of the early Kill Rock Stars catalog. Sure, the songs about muffin tops and toxic shock syndrome could definitely be grating for some, but the punky hooks remain catchy, the fun level is seriously high, and the band's enthusiasm is off the charts. ROB SIMONSEN

TUESDAY 3/10

DIRTY SWEET, DR. HELICOPTER, LONELY H

(Lola's Room, 1332 W Burnside) See My, What a Busy Week!

LES CLAYPOOL, SAUL WILLIAMS, YARD DOGS ROAD SHOW

(Roseland, 8 NW 6th) Right around the pending release of 2007's pay-what-you-will The Inevitable Rise and Liberation of NiggyTardust!, I was riding the jock of Saul Williams so hard that a cold shower was in order. I was absolutely convinced that Williams' disfiguration of rock and hiphop—via slam poetry and a hardwired punk ethos—was the defibrillator shock of life the cold corpse of rock music needed so badly. That was until I actually listened to the record. It was a misguided wreck and has aged just as well as most collaborations between rock and rap (that is to say, not well at all). I'll still hold faith in Williams—his SXSW performance last year combined the urban Native American chic of a young Adam Ant with the mental breakdown freakout of an older Adam Ant—but it's going to take more than records like Inevitable Rise, and tours with the guy who penned "Wynona's Big Brown Beaver," to bring me back. EAC

WEDNESDAY 3/11

DAN AUERBACH, HACIENDA, THOSE DARLINS

(Wonder Ballroom, 128 NE Russell) See My, What a Busy Week!

PHOSPHORESCENT, NURSES, THE BATTLE OF LAND & SEA

(Holocene, 1001 SE Morrison) On Phosphorescent's latest album, To Willie Matthew, Houck and his band cover a handful of songs written and/or performed by Willie Nelson. Houck and his cohorts generally give these songs spare, reverent treatments, with Houck's voice and his band's harmonies pushed forward, alternately into the warm, flat air of a front porch and the cavernous reverb of a church hall, and they're gently buttressed by acoustic, electric, and pedal steel guitars. EG Also, see My, What a Busy Week!, pg. 15.

ASOBI SEKSU, BELL, RESPLANDOR

(Doug Fir, 830 E Burnside) On 2006's Citrus, Brooklyn quartet Asobi Seksu played shoegaze rock that wasn't going to make anyone forget Ride or My Bloody Valentine, but it was delightful nonetheless. On their third album, Hush (out this month on Polyvinyl), Asobi Seksu have gone head over heels for the Cocteau Twins. Vocalist Yuki Chikudate has elevated her frou-frou vocals to Liz Fraser-esque heights of angelic delicacy, while guitarist James Hanna has pulled a Robin Guthrie, generating iridescent plumes of chimes. While it lacks the Cocteaus' otherworldly grandeur, Hush is a blatant tribute. Since the originals probably aren't reuniting any time soon, it will serve as a reverent reminder of that Scottish band's heavenly grace and splendor. DS