BIG K.R.I.T. Fri 10/24 Alhambra Theatre


(Valentine's, 232 SW Ankeny) Marrying Beach Boys harmonies with synth squiggles, Fog Father make ghostly but cozy-sounding music, like drawing on a foggy windowpane with your finger. Their new EP, Razzle-Dazzle, is sumptuous and strange, echoing 10cc and Ariel Pink in its left-field approach to very pleasing sounds. It's an impressive debut for the Portland trio of Bryson Hansen, Marty Walsh, and Thomas Burke, a lush, lavish concoction that evokes space-age transmissions and synthetic, form-fitting garments. They're joined by the Century, celebrating the cassette edition of their Oddfellows EP, which they tracked during last winter's snowstorm. NED LANNAMANN

(High Water Mark, 6800 NE MLK) If the Food Network's cooking competition TV series Chopped were to run a musician-themed episode, Detroit-based scum-rock veteran Timmy Vulgar would be a shoo-in to steal the show. The Human Eye and Clone Defects frontman is renowned for his authentic Mexican culinary skills, and you can learn how to prepare his famous shredded-beef tacos and salsa at home via his Cookin' with Timmy web show. Mr. Vulgar also happens to be a prolific linchpin in the scuzzy Detroit rock scene, and tonight his sci-fi punk side project Timmy's Organism comes to town to bash through some otherworldly tunes and provide the perfect soundtrack for crushing tallboys all night long. Timmy's Organism began primarily as a solo affair with the 2010 Sacred Bones debut, Rise of the Green Gorillas, but 2012's follow-up, Raw Sewage Rock, saw the project evolve into the noisy power trio you'll witness tonight. CHIPP TERWILLIGER

(Tonic Lounge, 3100 NE Sandy) Deicide was the first metal band to really scare the shit out of me. When I heard Amon: Feasting the Beast some 20 years ago, I could almost feel my skin burning. With Satanic imagery that was actually Satanic—or, at least it seemed that way in the beginning when bassist/vocalist Glen Benton was burning upside-down crosses into his forehead—these guys made Slayer seem tame. Time has shown that maybe they weren't as ruthless or dangerous as I once thought, but the riffs and music remain pivotal in the development of death metal. Hail Benton! MARK LORE

(Mississippi Studios, 3939 N Mississippi) Young Ásgeir Trausti hails from Reykjavík and has become popular worldwide since putting out his debut album in 2012. In a similar "icy" wading pool as Fleet Foxes or Bon Iver, Ásgeir doles out melodic folk/indie that soothes the soul and warms the skin. His vocals are sweet, often including harmonies, and his songs vary nicely in tone and structure, making his most recent album, In the Silence, enjoyable to listen to from beginning to end. If you go to one Icelandic folk pop show this year, this should be the one. ROSE FINN


(Slabtown, 1033 NW 16th) Read our article on Obliterations.

(Aladdin Theater, 3017 SE Milwaukie) Upon scoring their US breakthrough with 1982's "Love My Way," the Psychedelic Furs were lumped in with all the other stylish bands with funny names prancing around MTV. But as fans knew at the time and history has confirmed, the Psychedelic Furs were a great rock band that made albums built to last. (Can one say the same of, say, the Icicle Works?) The Furs' holy trinity—1980's arty The Psychedelic Furs, 1981's punky Talk Talk Talk, 1982's lush Forever Now—have become only more beloved as the years pass. Chalk it up to the aforementioned artiness, punkiness, and lushness, and the eternally compelling clash of Richard Butler's sneering sexiness and his band's pop-art racket. Sharing the bill and opening the show: Evan Dando and his Lemonheads. DAVID SCHMADER Also see My, What a Busy Week!

(Mississippi Studios, 3939 N Mississippi) Following his disqualification from military service during the Vietnam War due to epilepsy, Stone Jack Jones spent years wandering around the South, playing music and dabbling in theater before eventually landing in Nashville. After several years of radio silence, he's just released Ancestor, his third solo album and his first in eight years. The collection is full of pastoral passages and twang, but it's delivered with dream-like atmospherics and a foggy haze. He's touring with Brooklyn's O'Death, who similarly repurpose folk music traditions and couch them with more contemporary quirks, and they've got a new album in tow: Out of Hands We Go. MATTHEW W. SULLIVAN

(Club 21, 2035 NE Glisan) Martin Bisi's one of those important figures whose name you should know, but probably don't—unless you scrutinize the credits of records by cult musicians like Swans, John Zorn, Boredoms, and Material. (He's also worked with bigger acts like Sonic Youth, Dresden Dolls, and Helmet, and recorded Herbie Hancock's paradigm-shifting hit "Rockit.") The man's a production wizard and a canny musician himself. His latest full-length, Ex Nihilo, is plenty strange, featuring eerie, operatic vocals and prog-rock/post-punk song structures that don't so much color outside the lines as obliterate them. Moments of Jesus Christ Superstar-like exultation exist alongside passages of unsettling chaos, sometimes sounding like three different groups playing on a revolving stage. You can learn all about Bisi's exploits tonight via the documentary film Sound and Chaos, which screens at the Hollywood Theatre before tonight's show at Club 21. DAVE SEGAL

(Tonic Lounge, 3100 NE Sandy) As far as one-word band names go, not many do a better job describing exactly what the band does than Suffocation. (Slayer is another good one.) The Long Island lifers have churned out two and a half decades' worth of brutal, guttural, and, yes, suffocating death metal, including a couple classics of the genre: Effigy of the Forgotten in '91 and Pierced from Within in '95. Plenty of bands have recorded their own versions of those albums over the years, fixating on the mountain-sized riffs, but few have sculpted them with the same sort of technical nuance as the original. Suffocation might be easy to copy, but they're impossible to replicate. MWS

FRIDAY 10/24

(Mississippi Studios, 3939 N Mississippi) Read our article on Perfume Genius.

(Memorial Coliseum, 300 Winning Way) The lineup for Friday's Boo Bomb, a Halloween concert put on by JAM'N 107.5 FM, is impressive, with a slightly past-his-best-by-date superstar (T.I.), a couple of influential eccentrics (Bone Thugs-n-Harmony, Juvenile) and three West Coast legends: Sir Mix-a-Lot, E-40, and DJ Quik, whose recent resurgence continues with The Midnight Life, his excellent ninth studio album. Built as always on Quik's foundation of old funk and soul, Midnight is one of the best-sounding records of the year in any genre, pairing Quik's reliably exquisite tracks with rhymes that are bitter, confrontational, boastful, and hilarious, often all within the same bar. In other words, Quik is Quik—blunt-force drama, delivered with a smile—and The Midnight Life can soundtrack the pre-func, the main event, and the afterparty. Quik may not be the biggest name at Boo Bomb, but he is making the best music on the bill. BEN SALMON Also see My, What a Busy Week!

(Red & Black Café, 400 SE 12th) Seattle's Chung Antique makes math-fueled instrumental post-rock that's as fun as it is complex. On their most recent release, this year's Sweater Weather, they have honed their sound into six finely tuned epics that travel from dreamy ocean waves to jumpy angular riffing and back again. Through all their smart, intricate weaving, they never take themselves too seriously. Their music maintains a sense of play throughout, even at its most serious moments. They also name songs "Stop Making Synths" and "Bagel Blue Eyes," and make baseball Ts with time signatures on them, koozies with cats and hearts, and album covers with the band members wearing sweaters to a beach party. JOSHUA JAMES AMBERSON

(Alhambra Theatre, 4811 SE Hawthorne) "Yes, I made the beat/Yes, I mixed the track/I am far from wack/ You a one-trick pony." So gloats Big K.R.I.T. on his fiery free single "Mt. Olympus." The Mississippi-born and -bred rapper is an enigmatic force in the Southern rap lexicon. His music runs deep in the Dixie lineage of Outkast and UGK. With a heady, drawl-drenched flow raced over soulful, sedulous production, K.R.I.T.'s one of the most dynamic rap artists of his generation—versatile enough to paint passionate lyrical narratives ("Dreamin'") alongside boastfully indulgent gangster rap standards ("Country Shit"). Def Jam Recordings is geared to release K.R.I.T.'s second studio album, Cadillactica, in November, and the album orbits around his fictional planet: an arcane stage for K.R.I.T. to wax intricate poetics all over. MATTHEW B. SCHONFELD

(Tonic Lounge, 3100 NE Sandy) Portland Calling is a new series of floating events put on by Coco Madrid, featuring the best in underground dance music. This month it's at the Tonic, whose two rooms make for a large space to roam around in while you get your party vibes on. The event features Bryan Zentz, techno wizard of more than two decades, who has released music on countless notable labels including Soma, Thoughtless, and Plus 8 to name a few. Although he calls Portland home, Zentz's dedicated work has brought him to the international stage, and when he gets behind the decks, his years of experience are obvious. Also performing is JAK who celebrates his latest release on the Trapez label, which also features some snappy remixes by Zentz as well. Frack, an all-live all-hardware duo, graces the stage as well, and the vibe will be reminiscent of the old-school rave days with techno bangers and acid galore. CHRISTINA BROUSSARD

(Duff's Garage, 2530 NE 82nd) Banditos are exactly the kind of band you'd want to play at your local bar. That's not to say they're a bar band—the Birmingham/Nashville outfit's fusion of American blues and rock 'n' roll is far too dirty to please the khaki-panted punters who come out to dance away the Michelob night with smooth covers of Steve Miller and Stevie Ray Vaughan. But you, you need your Friday-night drinking music to have a bit of rust on the blade, a bit of grime on the bottom of the boot. For that, Banditos delivers, with shades of Southern rock and swamp blues reflected in every banjo pluck, guitar lead, and drum crack. The band has a secret weapon in singer Mary Beth Richardson and a solid repertoire of shit-kicking rockers and wailing ballads. So get over to Duff's Garage's new location on NE 82nd to check 'em out—it may not be your locale, but you definitely don't want to miss Banditos. NL


(Lola's Room, 1332 W Burnside) At the beginning of the year, semi-legendary Brooklyn weird-pop trio Vivian Girls finally folded. Not all is lost, however: With the relative freeing of her schedule, "Kickball" Katy Goodman can now fully invest in her side project La Sera. The third La Sera album, Hour of the Dawn, is a terse half-hour of spastic, razor-sharp punk-pop that's some of the best material Goodman has ever produced, solo or otherwise. At the very least, it'll do until the inevitable Vivian Girls reunion. MORGAN TROPER Also read our article on King Tuff.

(Club 21, 2035 NE Glisan) Sleeptalker will win your heart when you see the cover of their new album, Big Dream. It's a creepy, hilarious spoof of Simon and Garfunkel's Bookends, in which the Portland band's three members do their valiant best to fit into two turtleneck sweaters. On the record, those three members—Luke Clements (Old Growth, Science of Yabra), Jeff Taylor (Organized Sports), and Joe Vanaman (Philly's Luxury Flats)—make whip-snap punk with smarts, blasting through 13 fine tunes in no time at all. For a sample, check out the fantastic video for "Gotcha," which collects an assortment of friends and acquaintances showing off their flyest dance moves, which range from goofy to badass. With Sleeptalker's grunting, explosive rock providing the soundtrack, you'll have trouble not busting out a move of your own. NL

(Bunk Bar, 1028 SE Water) Although their name sounds like a strain of high-potency weed, Xylouris White is simply the portmanteau of the last names of the two musicians involved: George Xylouris and Jim White. The former is a Greek musician whose chosen instrument is the Cretan lute, and he follows in the deep footsteps of his father and uncles by keeping alive the sounds of Southern Europe's traditional folk music. The latter is the drummer best known as a member of Dirty Three and whose free-flowing, jazzy style is one of the most recognizable around. The two meet perfectly in the middle, adjusting their playing styles in subtle ways to allow for plenty of improvisation and rousing rhythms, perfect for dancing the ntames or pentozali. ROBERT HAM

(Doug Fir, 830 E Burnside) Canadian trio the Rural Alberta Advantage have done the thing that many bands have done over the last decade—take what are essentially straight folk songs, and lather them up with extra tricks and textures. In the case of bands like the Lumineers and Of Monsters and Men, it essentially amounts to polishing turds. But RAA offer up something a little more substantial, evidenced on their new album Mended with Gold. Plus they've been doing it—with far more grit—long before everything became so overly precious; their 2008 album Hometowns still packs a punch. ML

(The Know, 2026 NE Alberta) In the bio section of their Bandcamp page, Montreal-based power-pop outfit Sonic Avenues claim to "write pop tunes that are meant to be played hard and intensely," and it's an accurate declaration. The group's newest release, the poignantly titled Mistakes, marries barbed, breakneck punk velocity with a melodic sense seldom matched by their peers. While the whole album is great, specific highlights are the erratic "New Vogues"—which manages to cram a dizzying number of hooks into two-and-a-half sublime minutes of power-pop goodness—and the unforgettable closer, "Lost and Found," which brings to mind Portland punk luminaries (and Dirtnap labelmates) the Exploding Hearts more than a little bit. In addition to being one of Dirtnap's best releases in recent history, Mistakes proves once and for all that the most effective pop music is, indeed, played hard and intensely. MT

(Star Theater, 13 NW 6th) Fernando Viciconte's new album won't come out until next year, but his new single "The Dogs" provides a more-than-adequate glimpse into the lysergic bent his new material might be taking. Featuring Peter Buck on guitar and Scott McCaughey on Farfisa organ, the A-side is a kaleidoscope-eyes stew of captivating sounds: Is that a sitar? A seagull? What's making that droning feedback, turning the background hum from Buffalo Springfield's "Everydays" up to 11? The B-side, "Donna (The Pride of Topeka)," is an acoustic-driven story-song that momentarily melts into noir-like Western ambiance. On both, Fernando offers a detached, almost Lennon-like vocal that positions itself with a keen bird's-eye view. The 7-inch is the Portland songwriter's first-ever vinyl release, and it more than whets the appetite for what's to come. NL

SUNDAY 10/26

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

(Mississippi Studios, 3939 N Mississippi) In an update on her website back in March, Erika M. Anderson, AKA EMA, talked about "3jane" as being the lyrical centerpiece of her album, The Future's Void. The track details her struggles with an online identity, and all of the fears that go along with being outspoken in a realm where anonymous cruelty runs rampant. Her thoughts are juxtaposed with a few comments on Facebook's purchase of the Oculus Rift, the virtual-reality gaming headset featured on the cover art of The Future's Void. That post especially resonates now, as the disheartening Gamergate problems explode onto the national spotlight. Fortunately, EMA's latest project shines some light into the darkness. Back to the Void acts as a digital zine and companion piece to The Future's Void. It does a remarkable job of expanding EMA's forthright ideas, all while fully empowering the same medium that she's been grappling with. CT Also see My, What a Busy Week!

(Roseland, 8 NW 6th) Synth-pop innovator Gary Numan has always displayed a penchant for the dark side, whether he's referencing the ghost he once saw in Manchester's Piccadilly station, crippling alienation, or actual aliens through moody new-wave songs and an enigmatic, robotic stage persona. Throughout his 36-year career, Numan has remained an electronic-music trailblazer, from pioneering synthesizers in punk in his first band, Tubeway Army, to running synths through guitar pedals on his haunting 1979 solo masterpiece The Pleasure Principle (which, yeah, contains that hit about isolation and automobiles), to his most recent 2013 goth-industrial album, Splinter (Songs from a Broken Mind). If you're still looking for a Halloween costume, the imagery in Numan's songs could be helpful inspiration: Why not go as that Piccadilly ghost, the robot sex worker in "Are 'Friends' Electric?" or just the strange costumed man himself? ROBIN EDWARDS

(Doug Fir, 830 E Burnside) When the Wild Feathers opened for gravel-throated singer/songwriter Ryan Bingham at the Roseland in 2013, it was something of a revelation. The quintet of obviously seasoned players brimming with classic-rock loyalties and pitch-perfect harmonies enraptured an unsuspecting audience—many of whom expected to wait in folded-arm silence until their Crazy Heart crooner hopped onstage. That the Wild Feathers' debut album packed significantly less of a punch than their live show isn't important—it's essentially a measuring stick for heartland folk, soul, country, and rock, outpacing a pack of newer groups like the Soft White Sixties. The Wild Feathers' affinity for CSNY-like harmonies and big riffs has been a shot in the arm for mainstream folk. RYAN J. PRADO

(Habesha, 801 NE Broadway) They used to be known by the fine but unmemorable name of Burtrums, but now their alien pop sounds are being released under the far more uncompromising name Gooo. It's a fitting moniker, considering the goopy, sticky sound of the group's music. The band's new cassette, Globular Clusterfuck, has the feeling of trying to fight through a wall of flubber, with wobbly synth-based rhythms boinging against real drums, dub-style electronic drippings, and Ween/Residents-inspired vocal exercises. And it's all in service of acid-trip lyrical visions of growing an elephant-like trunk and the joy of making one's bed squeak. You can interpret the theme of that last song however you want to. RH

MONDAY 10/27

(Bunk Bar, 1028 SE Water) Read our article on Allo Darlin'.

(Rotture, 315 SE 3rd) Being a fan of heavy metal has countless benefits, and one that's lately been paying off quite regularly is that, at any time, some legendary band you thought you would never have the chance to see will suddenly emerge, record a new album, and come to your town. While some of these classic bands release new material with mixed results, with 2013's Life Sentence, Newcastle's Satan have measured up perfectly to former masterpieces like Court in the Act. Hard-charging, dual-guitar-harmony riffs and sailing vocals abound on every cut, and the execution of the timeless New Wave of British Heavy Metal vibe is as flawless as if it were 1983. On the strength of Life Sentence, Satan is jumping the pond to the US for the first time since their inception. This show is over 30 years in the making. Don't blow it. ARIS WALES


(Roseland, 8 NW 6th) See My, What a Busy Week!

(Aladdin Theater, 3017 SE Milwaukie) Canadian-based alt-folk band the Be Good Tanyas always dose their string-band shuffle with as much soul as you could reasonably expect from a string band. Even still, lead vocalist Frazey Ford's strikingly soulful croon usually outdistances her band's efforts. This is not a problem on Ford's new solo album, Indian Ocean, which was recorded in part at legendary producer Willie Mitchell's Royal Studios in Memphis and features Al Green's band, the Hi Rhythm Section, as her backing band. As you might guess, the band plays its role beautifully, pouring out classic soul that glows with aching horn crescendos, softly burbling keys, and absolutely perfect pace. Most singers would be overwhelmed by the instrumentals here, but Ford holds her own, pushing her luscious alto into uncharted territory while also matching the Hi Rhythm Section's sense of restraint. That Ford makes it sound easy is pretty incredible—a fair description of Indian Ocean, too. BS

(Doug Fir, 830 E Burnside) Pacific Northwest rap often goes undetected unless actively sniffed out—or presented by a white man named Macklemore—but don't let that dissuade you from seeking the underground. A Northwest rap showcase if there ever was one, this bill marries psychedelic Seattle wordsmith Nacho Picasso with Portland's wily rap titan Myke Bogan. Picasso's something of a distant nephew of Seattle alt-rap forbearers Shabazz Palaces, with similarly spacey production laid under keen, sedated vocals. Bogan's been the impromptu leader of Portland's preeminent hiphop collective Soar Losers, with two solid releases in the last year: 2013's Pretty Hesh and this summer's Silk Jockstrap. Bogan's sound skates between low-key, soul-inspired instrumentation to emphatic verses that navigate through strapping, starry-eyed production. Alongside the two is Gifted Gab, Seattle's own rap songstress with a catalog of laidback cuts that flaunt a snappy lyrical dexterity. If you're not familiar with the Northwest rap scene, this is the place to start. MBS

(Wonder Ballroom, 128 NE Russell) While undergoing a musical identity crisis for much of its career, the duo of Alison Mosshart and Jamie Hince—better known as the Kills—have transcended the two-member band stigma, and have continued to create oddly catchy, dark pop music ready-made for the goth-lite set. Following their surprisingly good 2011 release Blood Pressures, the Kills basically Moby Play-ed their entire catalog for licensing purposes. That's basically fine nowadays, although there's perhaps a subconscious tendency to write songs that sound a whole lot safer than some of their rawer tracks—say, "Love Is a Deserter" or "Dead Road 7" from 2005's No Wow. Still, the Kills are a vibrant, exploratory band. Their yet-to-be-released new album is rumored to be peppered with dubstep and reggae influences, and pretty much anything but the crooked threads of their previous four studio LPs. I have no idea what that would sound like coming from these two. But I kind of want to know. RJP