RADIATION CITY, SOCIAL STUDIES, XDS
(Wonder Ballroom, 128 NE Russell) Read our article on Radiation City.
FAULT LINES, BOAT, FUTURE HISTORIANS
(Doug Fir, 830 E Burnside) The fact that Fault Lines evolved out of local garage-pop group the Angry Orts (the Orts are no more, but founding guitarist Arron Ettlin and singer Sara Hernandez both made the jump) puts me at ease. Their amazingly catchy debut album Tapes and Wires would be a terrifying statement from a newly formed band, but given the history here, it's merely scary good. "Kirstie Alley" opens the album with a crunchy guitar riff that paves the way for Hernandez's sweeping vocals and sincere lyrics, which shine the entire length of the album. Larry Crane, who produced the album here in town at Jackpot! Recording, can add yet another exceptional voice to a résumé that already includes Corin Tucker and Jenny Lewis (both spring to mind upon hearing Tapes and Wires). We're halfway into 2013 and Fault Lines have just issued one of the finest releases of the year. Come celebrate it tonight. CHIPP TERWILLIGER
OLD LIGHT, PERHAPST
(White Eagle, 836 N Russell) John Moen is best known as the happy guy who plays the drums (and a startling array of other instruments) for the Decemberists and Black Prairie. But Perhapst is the band that's all his. The 2008 self-titled debut was recorded between Decemberists tours and other projects, but now he's back with Revise Your Maps. It's an upbeat crowd-pleaser that transcends decades as well as the ultra-specific categorizations that we music reviewers are so fond of. Moen doesn't seem to be an angst-ridden guy, and his cheeriness comes across as truly sincere on the album's many satisfying choruses. Indeed, on "Ramble Scramble," he sings enthusiastically about "the power of love" in a way that did not cause me to roll my eyes even once. Other songs, notably the title track, are more melancholy, a little more twangy, and "Sorrow and Shame" fully rocks with a honky-tonk piano and loud guitars. REBECCA WILSON
JEFF HANNEMAN MEMORIAL SHOW: LIVE UNDEAD, COVEN, RAPTOR, ONLY ZUUL
(Ash Street Saloon, 225 SW Ash) The metal community is still shredding tears over the loss of Slayer guitarist Jeff Hanneman, who died on May 2. Whether it was a necrotic spider bite that finally did him in, or the tsunami of Heineken and Jägermeister he notoriously pushed through his liver over the years, nobody can argue we've lost a riff master akin to Ritchie Blackmore and Tony Iommi. The best way to celebrate a legacy like Hanneman's is to remember his accomplishments and rage with your bros. Tonight's bill features Live Undead, a Slayer cover band that will no doubt play everything you wanna hear. Plus, local rippers Raptor, Seattle thrashers Coven, and Portland's operatic death/doom dealers Only Zuul will also play a Slayer song in their sets. And if you're stuck at home or work with a computer in front of you, don't sweat it, because local metal website slayedinoregon.com will stream the festivities. Rest in pieces, Jeff. Hell no longer awaits.... ARIS WALES
VIEUX FARKA TOURÉ, TEZETA BAND
(Mississippi Studios, 3939 N Mississippi) Last year, Malian guitarist Vieux Farka Touré cancelled a scheduled appearance at Pickathon amid a growing territorial dispute between Tuareg and Islamist factions in his home country. A year later, that conflict is the impetus behind Touré's new album Mon Pays (translation: "My Country"), an endlessly gorgeous gathering of virtuosic guitar work and Mali's psychedelic desert-blues tradition that is meant to honor the country's beauty and culture. Touré's genes give him a solid foundation from which to work; he is the son of one of Africa's iconic musicians, the late Ali Farka Touré. There's a decent chance you won't understand the lyrics on Mon Pays, but that hardly matters. Across the record's 10 supple jams, you'll hear a range of emotions—sadness, anger, national pride—course through Touré's 10 supremely talented fingers and reverberate across his six-stringed instrument of peace. BEN SALMON
CHILDCHILDREN, EXOTIC CLUB, SUPER DUPER FUN GUN
(Record Room, 8 NE Killingsworth) Childchildren make the kind of noise you might expect to hear from a loosey-goosey two-piece. But this Portland band's ramshackle garage rock takes on a darker post-apocalyptic feel. Call it "future fuzz." Their latest four-song EP mixes the White Stripes' Detroit swamp with the post-punk of Pere Ubu. And they own it. If you're going to borrow from other bands, you'd better shove your own personality in there as well—which they do. For the time being, Childchildren are sort of an enigma. For all we know they're a couple of extraterrestrials who make music in a dark basement in St. Johns, living on nothing but 7-Eleven nachos while keeping a pet velociraptor in the corner. At least that's how I'd like to imagine them. MARK LORE
U SCO, HANG THE OLD YEAR, OKER
(Velo Cult, 1969 NE 42nd) Instrumental progcore band U Sco's new-ish LP, Nest, has just been released on cassette tape via New Atlantis Records, after having been available digitally since November. And it's still great. U Sco effortlessly synthesize aspects of classic progressive rock à la Red-era King Crimson with the arresting force of post-hardcore and weirdo indie rock bands like Shellac and early Dismemberment Plan. The three musicians in U Sco are all technically flawless—by the end of the group's set, guitarist/songwriter Ryan Miller is covered in sweat, despite the fact that he never actually visibly exerts himself (it's all from focusing, man). And drummer Phil Cleary—also of Duck. Little Brother, Duck!—could very well be the best drummer in town. The result is a band whose music is highly complex and inherently technical, yet brimming with heart. It's truly something else. MORGAN TROPER
LA LUZ, THE SHIVAS, TEENSPOT
(The Know, 2026 NE Alberta) Seattle's La Luz was greeted with open arms and dancing bodies during their recent, excellent performance at Rontoms. Shana Cleveland's understated, sultry lead vocals pull you into a musical landscape rich with surf-rock guitar riffs. Combined with twanging keys, drum rolls, and graceful bass, this all-women outfit writes melodic, catchy songs reminiscent of long summer nights. Their first EP, Damp Face, is a fine example of their beachy attitude, doo-wop style, and thoughtful lyrics, and to see them live again is certainly a welcome treat. RACHEL MILBAUER
SPELLCASTER, SKELATOR, GORGON STARE, NIGHT NURSE
(Dante's, 350 W Burnside) Despite lineup changes and label shake-ups, Spellcaster still remain Portland's most powerful heavy metal force. With a new album on the way, they're ready to give fans new and old a good taste of where their sound is headed with the new roster, kicking off their "West Coast World Tour" tonight. The band's now-former guitarist Tyler Loney relinquished his ax-wielding responsibilities to Bryce VanHoosen and took over as vocalist. Loney's style has less soaring falsettos than their previous vocalist, and more buttery, melodic, smooth lines instead—kinda like Sean Harris of Diamond Head, but without the moaning and Robert Plant leanings. Aside from the frontman change, and new tub-thumper, Colin Vranizan, old fans can expect Spellcaster's same "spells of speed" and skillful solos. AW
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