PETER BRODERICK, HAUSCHKA
(Mississippi Studios, 3939 N Mississippi) Welcome home, Peter Broderick! The globetrotting composer and multi-instrumentalist is an Oregonian through and through. Raised in Carlton, Broderick's played with Horse Feathers, Laura Gibson, M. Ward, Norfolk and Western, and countless other Portland acts. Broderick moved to Europe to join the band Efterklang a few years back. Since then, he's continued his staggeringly prolific solo career, releasing stunning album after album and cutting a broad stylistic swath through folk, classical, pop, avant-garde, instrumental and ambient musics, and beyond. In short, he's one of the most musical people on the planet, and Portland was lucky to have him when we did—and now, that bit of luck has flown back to the nest. Broderick quietly returned to his old stomping grounds over the summer, and tonight he performs a homecoming gig with German pianist/composer Hauschka. For those willing to spring for the slightly pricey ticket, it will be a night of adventurous, unconventional, flat-out gorgeous music that defies easy categorization. NED LANNAMANN
JOAN OF ARC, ARRINGTON DE DIONYSO'S SONGS OF PSYCHIC FIRE
(Bunk Bar, 1028 SE Water) Cap'n Jazz were sort of like an emo Yardbirds. The seminal if not quintessential old-school emo outfit has been retroactively dubbed a supergroup of sorts due to all the amazing musicians for which it was a springboard. Once the Cap'n dissolved, guitarist Davey von Bohlen formed the Promise Ring, while drummer Mike Kinsella moved on to establish American Football and eventually record solo material under the moniker Owen. Elder brother and lead singer Tim Kinsella, however, never really strayed from the youthful strangeness that characterized his contributions to Cap'n Jazz. That strangeness is distilled in Joan of Arc, maybe the least accessible band in the family tree (perhaps rivaled by Owls, Kinsella's other project). While Joan of Arc's sprawling discography is Guided by Voices-caliber daunting (not to mention that Kinsella's nonsensical, impressionist, undeniably emotive lyrical landscapes evoke Robert Pollard more than any other rock wordsmith I can think of), their most consistently enjoyable effort is still their first, A Portable Model of..., which crosses the playfulness and unpretentiousness of Cap'n Jazz with a Beck-ish electro-exoticism. MORGAN TROPER
NO PASSENGERS, EDNA VAZQUEZ, SANTOS ALMADA, ILL LUCID ONSET
(Alhambra Theatre, 4811 SE Hawthorne) Edna Vazquez's well-deserved recognition for her intimate solo performances, which parlay stunningly authentic Mexican folk music to eager and sometimes weeping audiences, has been documented plenty the last couple of years. Her voice is powerful, and her timing and attention to the intricacies of melody is empowering. Vazquez's new rock band, No Passengers, isn't like any of that. It's not that Vasquez's voice is any less gorgeous. But this is a project built more on the calisthenics of guitar atmosphere and melodic dynamics than anything we've heard from Vazquez yet. The band's self-titled debut album takes a bit to get going, but when it does, on second track "The Place," it's a pleasant enough listen. Just don't expect the same warm fuzzies as during her better-known incarnation, which also appears tonight. RYAN J. PRADO
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