A$AP FERG, A$AP MOB, JOEY FATTS, ASTON MATTHEWS, 100S
(Branx, 320 SE 2nd) A$AP Ferg is a representative of NYC's A$AP Mob, a crew manifest in hazy beats and cliché glamour. On his album Trap Lord, Ferg has appropriated the gritty South trap music made popular by Three 6 Mafia, retrofitting it with occasional breaks into DJ Screw-codeine territory. Although the production is inspired, lyrics on songs like "Hood Pope" suffer from redundant opulence and an obvious Messiah complex, evidenced by music videos where he endures a staged crucifixion and leads communion. Regardless, the ominous tone of the backtrack enables A$AP Ferg's delivery to get the club bouncing by switching up the flow and attacking the beat with the sing-song flair that hallmarks a proper anthem. WYATT SCHAFFNER
BILL FRISELL'S BIG SUR QUINTET
(Aladdin Theater, 3017 SE Milwaukie) Last year, master guitarist Bill Frisell was asked by the Monterey Jazz Festival to retreat to a cabin in the woods around California's Big Sur region. The 62-year-old guitarist used the untouched landscape to inspire his most delicate, meditative work. It almost has a baroque quality to it, aided by the use of a trio of string players (including renowned violist Eyvind Kang) that bring a floating counterbalance to Frisell's earthy ramblings and the roiling waves spirited to life by drummer Rudy Royston. The five-piece bring this beautiful work to town in support of its debut recording, titled, simply enough, Big Sur. ROBERT HAM
MINOR ALPS, THE UPSIDEDOWN, MELVILLE
(Hawthorne Theatre, 1507 SE César E. Chávez) Get There seems a natural symbiosis for Juliana Hatfield and Nada Surf's Matthew Caws. Both singers' malleable voices intertwine in seamless harmonies throughout the debut album from their new collaboration, Minor Alps. It'd be easy to cast the melding of these two in a nostalgic light—some sort of '90s revisionist prism. But that would ignore how genuinely great a lot of the songs are on Get There. Whether it's Hatfield taking the lead, as on "I Don't Know What to Do with My Hands," or more often when it's a syrupy combination of both voices, as on "Far From the Roses," the tandem recalls the affecting power-pop of Caws' band Nada Surf, while also tempering the tendencies of the quiet-loud-quiet dynamic that define Hatfield's most popular material. The duo also dabbles in electronics on "If I Wanted Trouble," and later, "Mixed Feelings" blows the lid off the whole thing with a punk-rock tear-up. RYAN J. PRADO
(Recess Gallery, 1127 SE 10th) On their debut album, Deserve, Vancouver punk-rock outfit Weed are able to strike that irresistible balance between loud-as-hell guitar-rock and ear-pleasing, noise-driven pop moments. Like Dinosaur Jr. or Hüsker Dü, it's the kind of music that digs straight into your brain, and then beckons your hand to continue turning up the volume knob. By the time the album ends, if you haven't done damage to your ears, you've at least pissed off a few neighbors (unless those neighbors happen to be fans of bands like Naomi Punk, Destruction Unit, or Milk Music—then they'll feel right at home surrounded by the melodic treats buried just below the clamor). You'll want to be sure to also catch Hausu here tonight, as the Portland-based post-punk group plans to make this their last show before going on hiatus for an undetermined length. CHIPP TERWILLIGER
Tip for End Hits?
Email them here.
Get the best of the Mercury each week in your inbox!