CADENCE WEAPON, KINGDOM CRUMBS, TOPE
(Holocene, 1001 SE Morrison) Cadence Weapon is the stage name of Canadian emcee/musician/poet Rollie Pemberton. Pemberton's latest, Hope in Dirt City, is a wildly adventurous album both in its sonic structure as well as in its thematic decisions. The production eschews standard boom bap, and features nods to electronica and jazz skronk alongside fractured lyrical bars that include references to Jean-Paul Satre and Louis Theroux. Seattle four-piece Kingdom Crumbs bring breezy street flows, spat over shimmery beats. It's a style all their own, if reminiscent of a smokier Shabazz Palaces. Local emcee Tope gets the party started with his final solo set prior to embarking on a West Coast tour with Los Angeles rapper Abstract Rude in November. RYAN FEIGH
BALMORHEA, DRAGGING AN OX THROUGH WATER
(Doug Fir, 830 E Burnside) As the world gravitates toward greater cultural homogeny, we see the role of geography play less of a role in shaping artists' work. Thankfully, Balmorhea retain a hint of their native landscape. Hailing from Austin, Texas, the group appropriately sounds like it operates from that particular Southwest oasis. There's a foundation of Americana in their dusty instrumental pieces—banjos are plucked, acoustic guitars are strummed—but there's a strong current of Austin's artful weirdness at play as well. The songs carry a pastoral timbre, suggesting the optimism of the open West in one song, storm clouds brewing over horizon in the next. Yet Balmorhea's urban base provides a metropolitan filter of cinematic post-rock, ambient minimalism, and heady neo-classical arrangements for their rustic sounds. BRIAN COOK
THE SUICIDE NOTES, MODERN LIVES
(Rontoms, 600 E Burnside) The Suicide Notes combine all the harmonizing girl-group fun of the Shangri-Las with the rock 'n' roll garage goodness of the Ramones. With this free Halloween show, expect some great coordinating costumes and more Sunday evening drinks than bad-boy Jimmy drank before speeding through Dead Man's Curve (a lot!). COURTNEY FERGUSON
THERAPISTS, THE WHINES, STILL CAVES
(Club 21, 2035 NE Glisan) I'm writing this from New York, where I'm having trouble breathing after the whirlwind of saturation known as the CMJ Music Marathon. It's worth mentioning because yesterday I caught an unofficial show at a warehouse where the vast majority of the bands on the bill had female lead singers. And listening to the Whines' Karianne Oudman made me realize how powerful it is when a frontwoman embraces all elements of her natural vocal range. Oudman has the same power that Courtney Love or early Chan Marshall have become known for, and the music behind her presence edges roughly like the Replacements if they were formed in the '90s. JONATHAN MAGDALENO
AU DUNES, THE EERIES, THE BE HELDS, SUPERSUN
(The Know, 2026 NE Alberta) A band relinquishing its lo-fi roots in favor of a cleaner, more consumable sound inevitably splits its fanbase (for a great example, see the Ric Ocasek-produced Guided by Voices record Do the Collapse, which is despised by diehard fans for no other reason than the fact that it sounds really good). It's my belief that great songs deserve the clarity that higher-quality recordings provide (although not without exception), and the Eeries write great songs. The group's first full-length record, Home Alone, follows a string of singles and EPs, and it's their best release yet in spite of the crystal-clear production. It's consistently infectious and harmony-laden, and specifically reminiscent of Nuggets lodestars like the Beau Brummels and the Knickerbockers. Studio gleam notwithstanding, the Eeries are cozy and loads of fun. MORGAN TROPER
DYSRHYTHMIA, DOG SHREDDER, U SCO
(Rotture, 315 SE 3rd) Dysrhythmia has an impressive ability to approach thrash and black metal without ever fully diving into either. Their music is what a calculus textbook might sound like, and is disconcerting in a disarmingly, strangely refreshing way. I can see these guys opening for Romantic Warrior as well as Converge, with both potential audiences thoroughly appreciating their set. To sit down and watch their songwriting process must be documentary-worthy. Part of me needs to take a step away and drink some water after listening to Psychic Maps, their 2009 full-length released via Relapse Records, and I can't even imagine the psychic trauma everyone will undergo alongside Bellingham's Dog Shredder and Portland locals U Sco. It'll be way worth your time and the subsequent hearing damage. JONATHAN MAGDALENO
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