Satyricon, 6/28


Grand Opening: MarchFourth Marching Band, Adam AND Kris, Chris Kokesh, Celilo

(Alberta Rose Theatre, 3000 NE Alberta) New venue alert! And if you have any doubts that the opening night of this former movie house—which first opened in 1927, back when Alberta wasn't just that stretch of gentrification with more Thai restaurants than Bangkok—will be able to fill their seats, keep in mind this simple mathematical equation: MarchFourth Marching Band + Last Thursday = Insanity. Good lord, come early before the crowds hit capacity and you are stuck sitting behind someone on stilts wearing a top hat. EZRA ACE CARAEFF

Vektor, Excruciator, Mary Shelley, Spellcaster

(Plan B, 1305 SE 8th) The metal world needs bands like Vektor—if not to keep the thrash subgenre from getting too stale, then to inject a little intelligence and creativity into a genre of music that can pass as nonsense. Like Atheist before them, Vektor incorporate elements of jazz into their thrash; one could blame this on bassist Frank Chin, who credits Yes as an influence. And like Voivod before them, Vektor employs odd time signatures, bizarre song structure, and three-part bass and guitar harmonies that sound uncomfortable, yet work. With debut full-length Black Future, Vektor have successfully created a new metal subgenre: space metal. You could attribute that label to the vocals of David Disanto, who sounds like a lizard creature from some distant planet. ARIS WALES


Supernature: Nice Nice, Leech, E*Rock, DJ Copy, DJ BJ

(Rotture, 315 SE 3rd) See My, What a Busy Week!

Floater, Kleveland

(Crystal Ballroom, 1332 W Burnside) See Music.


(Mississippi Pizza, 3552 N Mississippi) You could say that Disemballerina play metal, but not with drum cracks and howling guitar stacks. Rather, they make moody, gothic instrumental suites consisting of the buzzing acoustic guitar of Ayla Holland and the droning cello and viola of Melissa Collins and Myles Donovan, respectively. Donovan also plucks a harp for certain songs, making their sound even further lost in time. Their debut CD could possibly fit in a liberally curated classical or folk bin, but the mood Disemballerina evokes—of roiling storm clouds, of thundering hooves and blood-strewn battlefields—is pure metal. They're embarking on a brief tour of California following tonight's early (6 pm) CD release show, where they'll bring a little Northwest gray to the Golden State. NED LANNAMANN

Dum Dum Girls, Crocodiles, WAMPIRE

(Hawthorne Theatre, 1507 SE 39th) Every so often, the Hawthorne Theatre prompts us to step over the vodka-in-a-water-bottle vomit and other trappings of teenage wasteland surrounding the entrance of the venue and come inside its doors. Sometimes it's for karaoke in the lounge (Rockstar Karaoke, to be exact), and sometimes it's for quality shows, such as this one featuring Los Angeles' Dum Dum Girls. This band pays homage to their gum-snapping girl group predecessors, while also conjuring a punk rock vibe (administered with just a small dose of lithium). They worked with Blondie and the Go-Gos' go-to man, Richard Gottehrer, to make 2010's I Will Be, a shimmery lens to the past and the future of lady pop. If you're lucky, you'll be able to channel their energy next time you find yourself at Rockstar Karaoke, trying to choose between "Heart of Glass" and "Our Lips Are Sealed." RAQUEL NASSER

Nu Sensae, Shearing Pinx, The Cysts, BA FRACTAL

(Ducketts Public House, 825 N Killingsworth) For as much of a bitch as it is to pass through international customs, Portland is extremely lucky to have both Shearing Pinx and Nu Sensae come through town as much as they do—this being the second Portland stop on their current US tour. These ambassadors of Vancouver, BC's fertile experimental DIY scene brave snooping border cops, borrowed gear, and kilometer-to-mile conversions to bring their unmistakably alien noise-punk to the States. Pray that they managed to smuggle a few records across with them, as Shearing Pinx's Weaponry is a gem every bit as combatant as the title would have you believe—a series of outlandish, incessantly stabbing art-punk attacks, all breathtakingly innovative and harsh as hell to boot. ETHAN JAYNE


(Someday Lounge, 125 NW 5th) Portland psych-rock outfit the Upsidedown have just re-released their 2008 album Human Destination on vinyl. The package, released on the Dandy Warhols' label Beat the World Records, features sumptuous artwork from Seattle artist Robert Hardgrave as well as another glimpse at the band's druggy, kaleidoscopic post-shoegaze, fronted by the gravel-deep vocals of Jsun Atoms. The band's lineup now boasts a second drummer in Jason "Plucky" Anchondo, who will bolster the band's heavy sound with even heavier thumping. Spaghetti westerners Federale are also on the bill, as is the classic paisley pop of Hawkeye, whose main man Matthew Strange writes tunes that sit perfectly between youthful innocence and not-so-youthful decadence. NL

Dramady, Frozen Cloak, The Bugs

(Kenton Club, 2025 N Kilpatrick) The way the kids these days make a habit of playing multiple instruments at once, you'd think we had some kind of musician shortage in this town. Or maybe it's motivation to get creative as the over-saturation of bands occurs. Either way, it's working for Dramady, whose members play a handful of instruments—Amanda Wiles covers the bass, sax, and clarinet, while Zac Stanley contributes drums, keyboards, and vocals—resulting in blissed-out art rock that ranges from spiraling down-tempo meditations ("Rah" from debut LP Better Forever) to smooth hand-clap party jams (excellent unreleased track "Black Swan"). MARANDA BISH


No.Fest 2010: Blue Cranes, Lickity, Daniel Menche, Rollerball, & more

(St. Johns) See What a Busy Week!

Sally Seltmann, Benoit Pioulard, Zach Zaitlin

(The Woods, 6637 SE Milwaukie) See Music.

Fubar: Solvent, Lusine, Nathan Detroit, Pipedream

(Branx, 320 SE 2nd) See Music.

Saint Vitus, Witch Mountain, Stone Burner, Stone Axe

(Satyricon, 125 NW 6th) See Music.

CocoRosie, Cibelle

(Wonder Ballroom, 128 NE Russell) See Music.

Portugal. The Man, The Builders AND The Butchers, Morning Teleportation

(Roseland, 8 NW 6th) The first time I saw Portugal. The Man was during an early set at the Tonic Lounge, back when the band still couldn't escape the shadow of their former outfit, Anatomy of a Ghost. Their dynamic stage presence was most definitely there, even if it took a few more years until their songs caught up with the band's ability to awe crowds under the spotlight. Their early days were both inspiring and arduous, as the band struggled to hone their talent for writing sprawling rock numbers while not cutting ties with their DIY pedigree. In the years that followed, PTM have gained a fervent global following, a reputation as a big stage festival act, inked a major label deal, and now—finally—won popularity in their partial hometown (we share joint custody with Wasilla, Alaska). When PTM takes the stage tonight, it'll be their reward for six consecutive years of nonstop touring, recording, and a level of devoted dedication matched by few bands in Portland or beyond. They deserve this. EAC


(Mississippi Studios, 3939 N Mississippi) Much has been made of Mimicking Birds' connection to Isaac Brock's Modest Mouse—Brock was sent a batch of demos by main Mimicker Nate Lacy and decided to put out the band's record on his Glacial Pace imprint. But following the release of Mimicking Birds' self-titled debut in March, the band is now required to stand on its own, armed only with the strength of its music—a challenge they are more than capable of meeting. Hushed, circular acoustic guitar is the backbone of most of the repertoire, flirting gently with pop and more conventional indie rock, but ultimately finding its own agitatedly whispered corner, somewhere a little further leftfield of Modest Mouse's more subdued intimate moments. NL


(Doug Fir, 830 E Burnside) When Anti-Pop Consortium burst on the scene at the turn of the millennium, their MO was decidedly different from the hiphop zeitgeist of the time. In an era when bling-bling and "Big Pimpin'" was at its absolute apex, the four-person crew from New York City united under the credo "disturb the equilibrium." Before long, the group signed to Warp Records, which led to high-profile tours with Radiohead and DJ Shadow. Then, at the height of their renown, they disbanded in 2002 in order to experiment with side projects and solo releases. Two years ago Anti-Pop Consortium was reborn, reuniting for some live shows that led to their most recent full-length Fluorescent Black. Continuing to raise the bar of excellence set a decade ago, they seem to be intent on proving that not only were they ahead of their time, but that they're still at the top of their game. RYAN FEIGH


My Dads, KidCrash, Not to Reason Why, Pianos Become Teeth

(Kenton Club, 2025 N Kilpatrick) Throughout much of the late '00s, half the members of Kidcrash resided in Olympia, while the other half stayed put in their hometown of Santa Fe. Miraculously, their band not only survived, but also thrived—releasing records, touring trans-continentally, and blossoming into something state lines couldn't hinder or contain. Kidcrash's boundary-thrashing, epic compositions traverse and rupture the territories of punk, post-hardcore, math and prog rock, a chaotic ride that manages to sound out of control and meticulously planned all at once. Now that all four members have settled in Portland, we get the privilege of witnessing firsthand what they're capable of while actually living in the same city. EJ


Black Tusk, Zoroaster, Dark Castle, Tenspeed Warlock

(Satyricon, 125 NW 6th) Zoroaster's new album Matador is a massive, psyched-out wall of Southern doom with volume knobs turned to 11 and reverb cranked to the limit. Matador also has Zoroaster changing their vocal stylings a bit, taking a few steps into heavily processing their voices along the way. The graveled delivery of Will Fiore and Brent Anderson is still there, but now their vocals create a hypnotizing drone over the music, making almost any song from Matador into a body-altering experience live. As a matter of fact, eat plenty of fiber and take a satisfying movement before attending this show, because all four bands on this bill have enough rumbling low end and volume to empty your bowels into your pants. AW


Dragging an Ox Through Water, Soft Metals, Golden Retriever, Kevin Shields

(Valentine's, 232 SW Ankeny) Not that Kevin Shields. Also see What a Busy Week!

Cage, Hate Your Guts, Serge Severe, Gen. Erik

(Hawthorne Theatre Lounge, 1507 SE 39th) It's a little baffling to watch Canadian R&B-singer/rapper/Degrassi-heartthrob Drake sweep up the critical accolades for daring to bare his poor, mopey, rich-kid soul on Thank Me Later, given that the hiphop game has had no shortage of would-be oversharers over the years. Grim, grimy emo emcee Cage definitely has a grittier bio than most and isn't afraid to spill his guts over rap tracks that contain goth tropes until it's hard to tell where the black eyes end and the eyeliner begins. But Cage's latest Def Jux joint, Depart from Me, thoroughly squanders what talents the emcee displayed on his 2005 opus Hell's Winter—which is just more bad news to go cry about. ERIC GRANDY Also see My, What a Busy Week!

Ah Holly Fam'ly, Odawas, The Devil Whale

(Doug Fir, 830 E Burnside) Tonight is an always welcome opportunity to spend some time with the lovely Ah Holly Fam'ly, creators of the bizarre and beautiful ensemble music that can be heard on last fall's Reservoir. At the heart of the band are the shared vocals of Becky Dawson and Jeremy Faulkner, in an arrangement unlike anything else you'll find in other dual singer setups—akin neither to call-and-response banter, nor the competitive strivings of two distinct voices. The pair take turns combining, complementing, and echoing each other in a fashion that could soundtrack a fairy tale, yet one with scandalous quirks—schizophrenic time signature changes and lyrics that touch upon sex with mermaids. MB

Eddy Current Suppression Ring, Cheap Flight, BLOOD BEACH

(East End, 203 SE Grand) Eddy Current Suppression Ring embody in sound that common perception of Australians as ruffians with charming accents. They play a rough-hewn brand of garage punk but also have the ability to stretch out with a sort of 1969: Velvet Underground Live epicness (see especially "Tuning Out" from ECSR's new album, Rush to Relax). ECSR are at their best when locking into a rugged chug, a polluted, biker-rock take on motorik (see "Second Guessing," also off Rush to Relax), but they also excel with tender, sweetly tuneful songs like "Gentleman," which evokes Oz legends the Saints. DAVE SEGAL


MUSIC ON MAIN STREET: Pancake Breakfast

(SW Main between Broadway & Park) See What a Busy Week!

Gil Scott-Heron Covers: Meshell Ndegeocello, Stephanie Schneiderman

(Alberta Rose Theatre, 3000 NE Alberta) Why is it fitting for Meshell Ndegeocello to perform an evening of Gil Scott-Heron covers? What connects these two artists? Before answering that, let's look at what disconnects them. The main disconnection is that they come from and represent very different moments and moods in the history of black popular music. Scott-Heron is associated with the black power movement of the early '70s; Ndegeocello is associated with the post-feminist rebellion of the '90s. Scott-Heron is all about race, about the color of his skin, and the history of that skin color in America. Despite being political, Ndegeocello is not so much about her skin. She instead has about her the mode of the post-racial. So what connects them? It is their relationship with the arts. Both emerged from an education in the arts. In the way Ndegeocello could easily have followed a path to a career in jazz, Scott-Heron could easily have followed a path to a career in literature. CHARLES MUDEDE

Defiance Ohio, Foot Ox, The Department of Motor Vehicles

(Satyricon, 125 NW 6th) Defiance Ohio is a name that rings true with those who know that the words This Bike Is a Pipe Bomb is not a terrorist threat, or those who remember Against Me! when they were a neckbearded acoustic punk act from the Florida 'burbs. The Columbus band—not actually from the city of Defiance—primarily steers clear of three chords (and three-pronged outlets) in favor of staying acoustic and relying on the very un-punk combination of cello, upright bass, harmonica, violin, and acoustic guitar. But punk is not a volume war, and on their brand-new full-length, Midwestern Minutes, Defiance's positive message and inspiring anthems are deafening compared to their all-noise, little-substance punk rock peers. The highlight of this is "Cigarettes," a song that packs a wallop despite clocking in under the minute mark. Let's hear it for efficiency. EAC


(Holocene, 1001 SE Morrison) Through the '90s, Rebecca Gates helmed the Spinanes, releasing a string of great records on Sub Pop and Merge before drummer Scott Plouf went off to drum for Built to Spill and Gates embarked on a solo career of her own. It's been several years since she released her first solo record, Ruby Series, but Gates has kept busy appearing on albums by others, including Ted Leo, Willie Nelson, the Decemberists, and many more. She's also got a new album in the works, and her backing band the Consortium features a revolving door of Portland talent, including the Decemberists' Nate Query on bass and Blue Cranes' Ji Tanzer on drums. Meanwhile, the Golden Bears are hard at work on a second album of their own, meaning tonight will be a showcase of eagerly anticipated, unreleased new material from both bands. NL