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Thursday, February 27, 2014

Tonight in Music: The Musical Box, the Parson Red Heads, Together Pangea & More

Posted by Ned Lannamann on Thu, Feb 27, 2014 at 10:33 AM


THE MUSICAL BOX
(Aladdin Theater, 3017 SE Milwaukie) Read this week's Debate Club on Genesis.


THE PARSON RED HEADS, NORMAN, MIKE COYKENDALL
(Mississippi Studios, 3939 N Mississippi) The psychedelic-rockin' folksters of the Parson Red Heads are celebrating a decade of strumming, singing, and playing their hearts out. They put on a fun, inclusive show that should be especially festive for their anniversary. So go show them how much we appreciate their 10 years of service to our ears. COURTNEY FERGUSON


TOGETHER PANGEA, MOZES AND THE FIRSTBORN
(Bunk Bar, 1028 SE Water) Together Pangea had its humble beginnings in Santa Clarita as the four-track recording project of singer/guitarist William Keegan. As a trio, the band quickly established themselves as one of the rowdiest fixtures in the Los Angeles garage-rock community. Keegan has cited Pete Seeger and K Records acts like the Microphones and Little Wings as major influences, though, and they are apparent on the band's latest release, Badillac, through striking folk flourishes on songs like the anguished, forlorn "Offer" and the cello-accompanied acoustic ballad "No Way Out." Elsewhere on Badillac, the band keeps busy with the fun and melodic fist-pumpers they're known for, many of which are sure to be scorching summer playlists and firing up mosh pits for years to come. Combine these elements with some refreshing arrangements, and Together Pangea have found a unique formula that sets them apart from their often indistinguishable garage-rock peers. CHIPP TERWILLIGER


THE COUP, RISKY STAR, LOVE BOMB GO-GO, MY-G, KEV CHOICE
(Star Theater, 13 NW 6th) Too often, live hiphop misses the point. (Why, for instance, does Lil Wayne swap great samples and killer beats for overly busy and gratuitous drumming, six-string bass solos, and distorted power chords?) The crummy live hiphop band, however, is something that the Coup's Boots Riley seems to have solved. Part of that was writing and recording an album, Sorry to Bother You, with a live band, rather than trying to do some backward adaptation after the fact. But then, Riley's rarely one to screw up when it comes to process. He thinks shit through. Indeed, Riley is nothing if not highly aware. As much as any musician out there, particularly in the world of rap, Riley is fighting for the most radical, punk-rock, anti-capitalist populism. And he challenges staid orthodoxy, speaking on panels at colleges in the midst of touring. We need more like him. Boots for President 2016. ANDREW R TONRY


HUNGRY HUNGRY HIP HOP: LOAD B, JON BELZ, BRYCE LANG
(Mississippi Pizza Pub, 3552 N Mississippi) Load B, the Northeast Portland hiphop duo of Milc and Brill, proudly claim their unique lane as one of the grimiest groups around. Their most recent releases, Debauchery and The Scumbag Tape, are middle-finger-in-the-air collections of music with an underlying sense of humor that sweetens any of the distastefulness less talented emcees might succumb to. Conscious rap fans might dig them, but make no mistake, this is clearly on the way to unconscious rap. Jon Belz, of Chill Crew, recently released the masterfully understated solo EP Purplx, four contemplative tracks confidently spit over production by Red Velvet Beats. Bryce Lang rounds out the night with a special beat set, showcasing the fact that his crew, the Renaissance Coalition, is quietly starting to make major moves in town. 
RYAN FEIGH


DEATH ANGEL, TYR, KINGDOM UNDER FIRE, REVOLUTION OVERDUE, GLADIUS
(Hawthorne Theatre, 1507 SE César E. Chávez) The '80s Bay Area thrash scene was something to behold—Exodus, Testament, Possessed, Forbidden, a little band called Metallica, and one of my favorites, Death Angel. Aside from a hiatus in the '90s, Death Angel have released a relatively steady stream of material. The band came out of retirement with 2004's The Art of Dying, which eviscerated those who thought the band wouldn't be able to keep up with a younger generation of metalheads. Death Angel have been trying to top themselves ever since. Last year's The Dream Calls for Blood was equally punishing, a classic slab of thrash in a style that has since seemingly come back in vogue. Death Angel continue to sound inspired, without attempting to chase trends. They simply do what they do, and they do it well. MARK LORE


SUBSIST, BURROW OWL, REDNECK, RECESSIONS, MORE HELL
(Slabtown, 1033 NW 16th) The opening notes of Subsist's 2013 self-titled cassette release are the watery rumble of a bass that is slowly taken over by the creaking grind of a guitar and a doomy drum line. From there, the Vancouver, BC-based band rages through nine short spurts of grinding punk that feel like sharp uppercuts to the jaw. The band will be working tonight in collaboration with Burrow Owl, an artist from Montreal who made one hell of a splash at last year's Pure Harsh Noise Worship Fest with a set that approximated the sound of a bandsaw making rough work of a series of shortwave radios. ROBERT HAM


NICKI BLUHM AND THE GRAMBLERS, POLECAT

(Doug Fir, 830 E Burnside) Nicki Bluhm and the Gramblers first snuck beyond the mellowed-out Americana camp with their Van Sessions on YouTube, where they covered everything from Linda Ronstadt’s “You’re No Good” to Deniece Williams’ “Let’s Hear It for the Boy.” Since then, their version of Hall and Oates’ “I Can’t Go For That (No Can Do)” has received more than two million views, and the band recently landed a performance on Conan. The Gramblers, which include Bluhm’s husband Tim of the Mother Hips, make their own music, too. Their latest self-titled LP is filled with rootsy, ’70s-AM pop that nestles somewhere between the Band and Fleetwood Mac. It sounds like they’ve found their niche, but between the spotless musicianship and the emergence of Nicki Bluhm as a commanding frontwoman, it looks as though the sky’s the limit. ML

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