Listings

1 p.m.

Beautiful Losers (movie)
Aaron Rose's Beautiful Losers chronicles the rise of artists like Chris Johanson, Mike Mills, Ed Templeton and Barry McGee—artists nurtured by an amalgamation of the of the skateboarding, punk rock and graffiti subcultures—from tagging corners to working for galleries and companies worldwide. With scrutiny, Rose inspects Geoff McFetridge's work in Pepsi ads and the ubiquity of Shepard Fairey's OBEY imagery in relation to the commodification of art and the aesthetics of advertising. And with great humanity, Rose details the life of Margaret Killgallen, whose death robbed the group of an artist who embodied the collective consciousness of art's creation. (JW). Mission Theater.

5:30 p.m.

Ratatat
[FILM-SCORE BEATS] There's no reason every electronically minded duo has to be a Chemical Brothers clone, right? Guitarist Mike Stroud and producer Evan Mast clearly agree, prizing propulsive, semi-aggro atmospherics over world-beating club/rave fare and flaunting a gold-plated Rolodex full of slumming rock stars at every turn. There's a James Bond flick score with Ratatat's name on it somewhere in the future, just waiting to be realized. (RC). Wonder Ballroom: Nike.

7 p.m.

Strangers Die Every Day
[ELEGIAC CHAMBER PUNK] This part orchestral, part prog-rock outfit from Portland combines cello, drums, bass and violin in intense, emotional and spine-tingling atmospheric compositions that sound like Hollywood's next brilliant film score. Fixate your pupils on the band's impressive virtuosity. (LK). Backspace.

Street Plant
[SKATE PUNK] Portland's Street Plant makes fast, furious, incoherent skate punk to get the kids slam-dancing, or whatever the kids do these days. What more could you ask for? (CJ). Satyricon.

Les Savy Fav
See spotlight. Wonder Ballroom: Nike.

8 p.m.

Monica Nelson
[PUNK QUEEN] Monica Nelson made her name as the highly original vocalist for '80s Portland punk-rock band the Obituaries. Hearing Nelson's voice or seeing her huge haunting eyes just once is enough to ensure you'll recall her forever. She is vocal about her politics, and her mantra is to "Sing this song like it's the last song anybody's ever gonna let you sing." That explains a lot about her. (NC). Backspace.

Mimicking Birds
[HE GOT NEXT] Portland-based singer-songwriter Nate Lacy's Mimicking Birds project pairs intensely thoughtful (and perhaps a little stoned) lyricism with equally deep and layered instrumentation. The dreamlike experimental pop was enough to grab the attention of Modest Mouse's Isaac Brock, who signed MB to his Glacial Pace label earlier this year—stylistically, it's a match made in heaven. (CJ). Crystal Ballroom.

Matt Sheehy
[ELECTRO-ACOUSTIC POP] Local songwriter Matt Sheehy's '08 release, Tigerphobia, was a long time coming—but, man, was it worth the wait. Sheehy and new band the Believers, which features local jazz drummer Drew Shoals and keyboardist Ryan Dolliver (who makes Jamiroquai-esque funk pop on the side) plays shuffling, electro-tweaked pop with empyreal vocals (think Chris Martin but less, uh, Coldplay) and delicate, interesting production (think John Vanderslice). (AGM) Doug Fir.

Freddie Steady
[NEW COUNTRY FOR OLD MEN] Freddie Steady, big Texas' son, has brushed Carole King's toms, pounded snare for Roky Erikson and still keeps the beat for Jerry Jeff Walker. In a place of dust and horizon, dandified Freddy croons the great white myths with the power of Americana, dreaming Cheap Trick's dreams whenever they can't sleep. (JH). Fez Ballroom.

Dirty Mittens
[CUTE INDIE POP] Cutesy Portland indie-pop outfit Dirty Mittens have come a long way since their 2006 formation as a trio—expanding in both size and sonic scope. The band, fronted by guitarist and tremolo-utilizing vocalist Chelsea Morrisey, now includes saxophone and trumpet players. But by the time DM mounts the Musicfest stage, don't be surprised if it has added kazoo and triangle players, too. Every addition has given the group a fuller, more polished presence, toying with elements of jazz and even Motown soul. (DC). Hawthorne Theatre.

The Strange Boys
[CRUSTY GARAGE ROCK] Like the best unknown garage bands of the '60s, the Strange Boys' songs always sound like they might fall apart at any moment. The Texas four-piece trade in chugging, mid-tempo garage fare, with equal doses of out-of-tune, herky-jerky guitar and primitive percussion. Singer Ryan Sambol pontificates through the whole mess—his words caked in three layers of crust and formaldehyde. (MM). Satyricon.

Scotland Barr and the Slow Drags
[DIRTY COUNTRY] Sometimes you just need a shot of down-and-dirty chug-a-lug country to get you through the day. Portland's own Scotland Barr and the Slow Drags have you covered in that department, and these country boys do it right. (CJ). Slabtown.

Iretsu
[AVANT-POP] How can four people play so many instruments? Akin to like-minded fellow local avant-poppers Menomena, Iretsu takes the linear pop song and completely obliterate it—eschewing ¾ structures for winding instrumental passages, glockenspiel breaks, male-female vocals and nary a chorus in sight. (MM). Someday Lounge.

8:30 p.m.

Looker
[THEY GOT THE BEAT] NYC's Looker plays punky girl pop with a little twang and melody to spare. Twisting the old Ramones formula with a bit of Rilo Kiley and funky fresh harmonies, these ladies (and the dude behind the drums) satisfy an audience's needs for both slam-dancing and whistling along—and c'mon, who doesn't dig that? (CJ). Dante's.

Bitchin Summer
[FAIR-WEATHER FORCE] Setting off car alarms in Northeast Portland is second nature for Bitchin Summer. The double-drum pedal reigns supreme, leading a fist-clenching brand of slam rock through our unsuspecting city. The band's even turned "Fred Meyer" into a cool lyric, and that's anything but easy. (MS). Roseland.

9 p.m.

Diesto
[HEAVY] After years of effort, the members of Diesto have become stalwart elder statesmen of Portland's heavy-rock scene. Originally, the band's sound was informed by the noisy clamor of hardcore punk acts like Unsane and Today Is the Day. More recently, the band has blossomed into a worthy stoner-rock outfit that is consistent, loud and proud. (NC). Ash Street.

We're from Japan!
[POST-ROCK] We're from Japan! is from Japan the way Of Montreal is of Montreal. Unless the Canadians have invaded Georgia and Japan is annexing the east side, they're lying. It's cool, though. All is forgotten when listening to their dramatic, largely instrumental post-rock goodness. So sign our petition to change the name of their Portland neighborhood to "Japan," and legitimize this whole thing. (JW). Backspace.

Black Elk
[UNMETAL] It's difficult to precisely explain the sonic assault of Portland's Black Elk. Imagine something between old Am Rep noise acts and the bristling hardcore of Refused, with hints of a dark psychedelic metal. Between the vocal gyrations of vocalist Tom Glose (a screamier version of Jesus Lizard's David Yow) and the unmatched shredding prowess of guitarist Erik Trammell, there's quite literally nothing like it in town. (JH). Berbati's.

Blitzen Trapper
[INDIE SHAPESHIFTERS] After being recognized for its '70s rock and country tunes, you might think Blitzen Trapper embraces the alt-country genre tag. But fuck genre. Who needs genre? These Portland natives aren't afraid of bending the rules, or switching between dirty Southern guitar numbers and electropop synth ones. They aren't afraid to rock, either. (JW). Crystal Ballroom.

Weinland
[FOLK ROCK] Weinland isn't just any ol' Americana-leaning, string-laden Portland outfit: Charismatic frontman-songwriter Adam Shearer sets Weinland's tunes apart with his light, Neil Young-ish voice and perceptive, tear-at-your-heartstrings lyrics. With an excellent cast of players and a "Rocket Man" cover in tow, this is a MFNW must-see. (AGM). Doug Fir.

Monstrous
[PSYCH GARAGE] Psychedelic Rhode Island hard rockers signed to Courtney Taylor-Taylor's Beat the World label and comparable to garage heroes the 13th Floor Elevators, Monstrous (led by the three Gethway brothers) pummels its audience with intense lysergic guitar leads juxtaposed against blissful vocal harmonies that recall the best of local '90s alt-rock. (JH). East End.

The Slants
[WOO-CORE] High-octane, sweaty and stylishly inscrutable, Chinatown dance-rockers the Slants 2006 debut, Slanted Eyes, Slanted Hearts, won global adoration. Whether melting the faces of anime conventions or filling punk club dance floors, the Portlanders' hot pot of electro soundscapes and punk abandon pogos an ever-rising sun. (JH). Fez Ballroom.

Dykeritz
[SCHIZOPHRENIC POP] Jordan Blum, the sonic architect behind local electropop band Dykeritz, isn't a fan of irony. Stuffed to the absolute brim with semi-cheesy but awesome sounds—layers of vintage synths, rolling MIDI piano, hazy vocals and air-guitar worthy solos—the headset-mic-sporting group's recent release Rearrangerologyistics is one of the busiest records you'll ever hear. Kitsch be damned—this dude means every word. (MM). Holocene.

Tony Ozier
[SMOOTH BABY-MAKING SOUL] For years, the best soul singers have been singing about life's problems—bills, girls, oppression—but we all know the real ones always managed to really bring it on the love songs. Local smooth soul singer and keyboardist Tony Ozier knows that, and his material is peppered with invocations like "So take off your shoes/ and lets get in the mood." (MM). Jimmy Mak's.

Carrie Clark and the Lonesome Lovers
[CABARET] If Carrie Clark and the Decemberists teamed up and traveled back in time 70 years, they could probably run the nation. The Oregon native sings like Neko Case lost at sea, vast and unyielding with an element of concern. The band is bookish, yet burlesque, framed by accordions, impatient strings and a floozy piano. (MS). Rotture.

Crystal Antlers
[PSYCH ROCK] Some bands sound like the city they hail from. Some don't. Like the kid brother to psychedelic fuzz rockers Comets on Fire, Crystal Antlers' noise is nothing like the sandy shores of Long Beach, but it is an epic, layered prog-psych sound featuring monolithic riffs that could topple any surfer. (MM). Satyricon.

The Dry County Crooks
[OUTLAW ROCK] Blending Social Distortion dynamics and Johnny Cash narratives with y'allternative braggadocio thoroughly their own, the Dry County Crooks earned their legend by constantly touring the Northwest hinterlands to thrill backwater saloons with twanged garage balladry while still packing in the ironically buckled at raucous local gigs. (JH). Slabtown.

Flaspar
[ELECTRONIC] Much in the vein of local dance alums Chromatics and Glass Candy, Flaspar is doing the coldwave dance thing right. Mixing aggressive backbeats over buzzy synths, psych guitars and distanced female vocals, the Portland quartet makes the whole dirty nightclub thing feel very clean indeed. (EB). Someday Lounge.

Paper/Upper/Cuts
[ONE-MAN BAND] Building an impressive wall of funky sound out of loop pedals, live drums, keyboard and childrens' instruments is the name of the game for Paper/Upper/Cuts' David Fimbres. (CJ). Towne Lounge.

9:30 p.m.

Fucking Eagles
[ROWDY ROCK] Jeffrey "the Dude" Lebowski hates the fucking Eagles. But the Dude would abide these Fucking Eagles. The band blends old-school punk with classic rock for a playfully aggressive sound that's interlaced with surf, blues, gospel and, well, pretty much everything. The emphasis here is on full-group call and response, creating a rowdiness contagious to anyone within earshot. (AK). Dante's.

Bouncing Souls
[JERSEY PUNK] "So Jersey" and proud of it, longtime DIY punkers Bouncing Souls still churn out hooky, in-your-face Descendents-style punk full of "whoas" and clever/sensitive tough-guy lyrics: "I'm a hopeless romantic/ You're just hopeless." (AGM). Roseland.

10 p.m.

Totimoshi
[GRUNGY FUN] Five albums and many more U.S. tours have cemented the partnership between Meg Castellanos and Tony Aguilar (along with whichever current drummer's along for the ride) into a lean, mean rock machine. If you love the Melvins, Jesus Lizard and Nirvana, this Oakland-based trio is one band you need in your life. (NC) Ash Street.

A Weather
[WHISPER POP] It's fitting that A Weather's Team Love debut, Cove, came out this winter—full of hushed pop melodies, its delicate songs hang by a thin balance of warm boy-girl harmonies, slow-plucked guitars, spare percussion and soft pillows of piano and glockenspiel. That'll warm you right up. (MM). Backspace.

The Joggers
[CATCHY GUITAR JAMS] Maybe Portland's most underrated band, the Joggers play no-nonsense, technically thrilling guitar jams that somehow avoid meandering into dreaded jam-band territory. Mush-mouthed frontman Ben Whitesides writes some pretty damn killer songs to boot—and when the band breaks into group harmonies, sweetness follows. (MM). Berbati's.

Fleet Foxes
See spotlight.Crystal Ballroom.

Loch Lomond
[INDIE ENSEMBLE] Some bands feature extraneous members for no real reason, but local chamber-folk ensemble Loch Lomond isn't one of them. Boasting up to seven instrumentalists among their ranks, the players follow every lyrically rich word out of troubadour Ritchie Young's mouth with a near-perfect backing of warm harmonies, ample strings and timely glockenspiel plinks. (MM). Doug Fir.

Logan Lynn
[EMOTASTIC ELECTRONICA] Heartstrings and dance beats go hand in hand when it comes to the tunes of Portland resident Logan Lynn. Sounding like a lo-fi Postal Service, Lynn's tunes provide the bait and hook for the lovesick among us. He's got earnest, understanding lyrics that ponder love and all of its shortcomings, strewn over catchy music that guides you to the dance floor so you can forget all about it. (NMC). East End.

Blind Pilot
[NEXT BIG THING] Just when you think nothing exciting can come out of the pop world, a group like Blind Pilot comes along and makes a convincing argument for acoustic guitar, confessional songwriting and lovely hooks. Portland's Blind Pilot, assisted by horns and strings aplenty, is a moving pop outfit that breathes life into the genre by connecting with listeners on a gut level. (CJ). Fez Ballroom.

Copy
[NINTENDO POP ROCKS] If Portland's electro-ecstatic 8-bit bearded bard (and WW's 2006 Best New Band) Copy, born Marius Libman, had a Sunday afternoon tea party, Depeche Mode, Madonna, Dr. Dre and Herbie Hancock would all be there, playing hopscotch to Libman's masterful mash-ups of '70s disco, '80s synth pop and '90s dance-floor bangers. His wholly original stuff ain't too shabby, either. (SM). Hawthorne Theatre.

Panther
[DANCE FUNK] Take this from a convert: it's virtually impossible not to dance to the hyper, bouncy dance funk of Panther. Once the solo project of former The Planet The leader Charlie Salas-Humaras, Panther has since expanded to a duo—featuring the kit skills of 31Knots' Joe Kelly—which allows Salas-Humaras to flail around the stage, crumble to the floor, and show you how it's supposed to be done. (MM). Holocene.

Barry Hampton and the Triple Grip
[SOUL MAN] Who says Portland lacks soul? Barry Hampton and the Triple Grip proudly wears diverse influences—from Sly to Prince to the Clash—to create the kind of heartfelt funk that's impossible to fake. The group's namesake funk-soul brother is a showman who personally engages his audience, and the group exudes an energy that's impossible to ignore. (AK). Jimmy Mak's.

The Wherewithals
[GRAVEL POP] A more appropriate name could not exist for these homegrown straight-talkers. In the band's songs, gentle typically gives way to the abrasive, Ben Firestone's grumbly dissertations hiding nothing. But the storm is controlled and softened by carefree guitar work and a shiny, irrefutable pop that can come awfully close to Pavement at times. (MS). Rotture.

Past Lives
[BORN-AGAIN ROCKERS] You know what they say: Stay in the game long enough and every band is bound to break up (unless you're, cough, the Stones). Following the dissolution of post-hardcore band the Blood Brothers, Jordan Blilie, Morgan Henderson, and Mark Gajadhar—along with former Shoplifting axman Devin Welch—regrouped to form Past Lives. (MM). Satyricon.

Michael Dean Damron & Thee Loyal Bastards
[ROCK 'N' ROOTS] Former frontman for I Can Lick Any Sonofabitch in the House, Michael Dean Damron (with more recent outfit Thee Loyal Bastards) is equal parts Thin Lizzy and Steve Earle, providing the soundtrack for the blue-collar, Pabst-and-whiskey crowd. Singing songs about war, death, murder, love, broken hearts and childhood, Damron makes your troubles seem small in comparison. (JH). Slabtown.

The Retrofits
[RUH-HOCK] Portland's the Retrofits play family-friendly rock for those who like their love songs sweeping and heart-on-sleeve. We once wrote "bring your mom" when describing the Retrofits, which they rightly took for a compliment: These songs should be on every WB show ever! We demand it!Someday Lounge.

Atole
[DISCO DANCING!] Manny Reyes runs parties the way a great conductor runs an orchestra. He gets in front of his electronic dance party band, Atole, and goes totally crazy. Shall we dance? We shall! (CJ). Towne Lounge.

10:30 p.m.

Fireballs of Freedom
[SONIC POWER] Staying true to pioneering garage-punk spirit, local outfit Fireballs of Freedom might just steal your girlfriend. The quartet's brand of slightly psychedelic, slightly heavy rock tunes feature spacious riffs and overdriven organ behind the throaty singing of leader Kelly Gately. Watch your back, dudes. (MM). Dante's.

11 p.m.

Pierced Arrows
[GARAGE MASTER CLASS] When the iconic Portland band Dead Moon finally called it quits in November of 2006—after 20 years of storied garage rock—almost nobody actually believed Fred and Toody Cole would stay away from the stage (though the couple's nudging 60). Pierced Arrows, the Coles' new project, sounds a touch more eclectic, but the bluesy punk that made them legends around the world still seeps through. (JH). Ash Street.

Mirah
[NONTRADITIONAL FOLK] Few expat musicians in this, the City of Transplanted Roses, are more beloved than Mirah—perhaps all the more because it feels like she never plays here. Nor has K Records' resident folk diva been very prolific—her recent entomology-themed record, Share This Place: Stories and Observations, being the notable exception. All the more reason to make her MFNW show a must-see…and -hear. (BS). Backspace.

Trans Am
[EXPERIMENTAL POST-HARDCORE] Soaring guitar solos and syncopated beats are only the starting point for politically charged Chapel Hill, N.C., rocktronica outfit Trans Am—a former side project of ska legends Bomblast. Expect intense post-hardcore riffage that could seamlessly convert to waves of Kraut-inspired synths or glitchy lo-fi Casio tones with the flip of a switch. (JH). Berbati's.

Menomena
[MATH POP] PDX trio Menomena has cranked out mathematically funky, multi-instrumental, thoughtfully nonsensical pop since 2000. The band's latest, 2007's Friend and Foe, set blogs on fire and cemented the band's position as one of Portland's very finest. (CF). Crystal Ballroom.

Fernando
[ROOTS ROCK] After a few years spent experimenting with different directions (and barely making it out of Argentina last winter), Portland's foremost roots-rock icon, Fernando Viciconte, has reassembled his original lineup for a newly blistering and lyrically biting stride through Americana with the 2006 album Enter to Exit. (JH). Doug Fir.

Hazelwood Motel
[HAUNTING INDIE-POP] With Seattle's harmony-loving Fleet Foxes garnering major media attention, it's only a matter of time before another folky Sea-Tac export—the gently haunting Hazelwood Motel—gets the credit it deserves. The trio plays bare-bones indie-pop songs filled with clean, bright acoustic guitars and chiming pianos, which only makes the dark tales of frontman Ed Vierda that much more heartbreaking. (MM). East End.

Hypatia Lake
[CONCEPTUAL] Lock a group of musicians in laboratory just long enough for them to go mad and you've got the makings for Hypatia. But the band has turned curiosity into an alternate universe, one built on individual songs coalescing into one sprawling, growling, entrancing story. Think of a Seattle-bred Mogwai. (MS). Fez Ballroom.

Dan Deacon
[PSYCHEDELIC DANCE] With a glowing green skull and various fluorescent bulbs as his onstage companions, a Dan Deacon show ensures that his sweat-drenched sets are as much the picture of electronic eccentricity as his gleefully subversive sound leads one to assume. Participation is an expectation when it comes to the live staging of the Baltimore resident's sonic blips and cheery, nonsensical chorus of vocals. (NMC). Hawthorne Theatre.

The Shaky Hands
[FRENETIC ROCK] The Shaky Hands are the latest Portland band to reach bona fide star status on the national scene (they were also voted Best New Band in WW's 2007 poll—damn, we're good). Nick Delff's fine-tuned wails lead the quintet's infectiously catchy jams. A disclaimer, though: At any given Shaky show, the bouncy crowd shakes more than the group's hands. (WH). Holocene.

Copacrescent
[LIVE HIP-HOP] From Rakim to Slick Rick, hip-hop is at its best when it's telling stories. And not every rap story ends with gunshots or the word "bitch." Copacrescent songs tell pieces of lead MC Chaucer Barnes autobiography, and his story is far from typical. Still, the authenticity with which he tells his tales of growing up political and anti-authoritarian is damn hard to argue with, and the nontraditional jazz-hop instrumentation of the Copacrescent band is just plain infectious. (CJ). Jimmy Mak's.

Hot Water Music
See spotlight. Roseland.

Lael Alderman
[HEIRLOOM POP] Former frontman of the dearly departed Bella Fayes, Lael Alderman now tills the homestead studio with variegated fields spanning pop Americana, troubadour balladry and note-perfect British invasion—a mixed (but lovingly tended) crop of tunes highlighting the songcraft and vocals that first sent Alderman from Eugene coffeehouses to the Geffen label's bosom. (JH). Rotture.

Sex Vid
[HARDCORE] Olympia's Sex Vid is the kind of hardcore band that thrives at house parties. The tunes are short, violent and unfriendly in a way that manages to be artful, rocking and completely opposed to the mainstream "tough guy" mentality that has nearly ruined the genre in the past decade. Words can't quite describe the battery this group delivers live. (NC). Satyricon.

Hillstomp
[NORTH MISSISSIPPI BUCKET BLUES] Ever glorifying the whiskey-soaked debauchery of after-hours (see recent live release After Two But Before Five), the local duo of singer Henry Kammerer, who also contributes hypnotic, R. L. Burnside-influenced guitar, and bucket drummer John Johnson has no problem getting crowds sweaty and dancing till last call and beyond. They don't call it deep blues for nothin'. (AGM). Slabtown.

Please Step Out of the Vehicle
[HORN-DRIVEN POP] Portland's PSOOTV is what would have happened to the dudes from Built to Spill if they'd grown up taking a lot more acid. Though, as a caveat to that, PSOOTV is less prone to long jams than BTS, and our hometown boys have a dope horn section. Songs from the band's upcoming album, Ride, are sounding spacey, Pavement-esque and brilliant. (CJ). Someday Lounge.

Eskimo and Sons
[LET 'EM IN] Saying it over and over doesn't make it any less true: Eskimo and Sons is easily one of the most charming, brilliant bands in Portland. You'll agree, so long as you like beautiful boy-girl harmonies, detailed songwriting that lends itself to both tender moments and Lord of the Rings-style epic tales and, lately, a tight horn section. These kids are legends in the making. (CJ). Towne Lounge.

11:30 p.m.

Supernova
[POP-PUNK] Not the Supernova from outer space, not the Supernova from television…this Supernova is a pop-punk group from Costa Mesa, Calif., that plays snotty singalong music for kids. The band has a serious Wookiee fetish and name-checks Chewbacca as often as possible. Would make a fine soundtrack for ice skating at Lloyd Center. (NC). Dante's.

Midnight

Nebula
[METAL] Driving too fast with the windows down, a discreet can of Bud and a pack of Marlboro Reds: That's the vibe the über-heavy psych-rock vets of Nebula lay out pretty much every night of their lives. Fuzzy stardust guitars and snotty vocals whirl over smashed-up pounding drums. And if you thought you heard the L.A. trio on a Tony Hawk video game, you're right! (EB). Ash Street.

Polvo
See spotlight. Berbati's.

The Helio Sequence
[EVERYTHING] Commuting from the Nike-branded hills of Beaverton, the Helio Sequence—a.k.a. Brandon Summers and Benjamin Weikel (who used to play drums for Modest Mouse)—have a wide-ranging catalog featuring everything from gorgeous atmospheric pieces to hip-shakers and folk-rock numbers (latest release Keep Your Eyes Ahead is full of the latter) and retains consistency via Summers' expansive voice. These guys only get better with age. (CF). Crystal Ballroom.

Bobby Bare Jr.
[POWER AMERICANA] Something like Hank Williams III, in regard to both men's forward-thinking Americana and daunting legacy (at the age of 5, Bobby Bare Jr. was nominated for a Grammy alongside his father), the Nashville troubadour tours constantly and has released a string of albums on Bloodshot Records that are reminiscent of the Alex Chilton-helmed Big Star with a dash of Gram Parsons' more introspective work thrown in for good measure. (JH). Doug Fir.

The Upsidedown
[DANCE DRONE] Composed of coed Portland scenesters largely culled from the dearly missed Bella Low, the Upsidedown just finished a Northwest tour with the Dandy Warhols and have an upcoming album on Courtney Taylor-Taylor's Beat the World label. The band's sound, too, resembles the swaggering drone of Dandies' album tracks, infused with flourishes of sexed-up psychedelia. (JH). East End.

Outtasite
[RAP ROCK] Fuzzy metal guitars and laid-back rhyming just shouldn't work. But it does work for Seattle's Outtasite. The duo is more Body Count than Kid Rock, and I can't believe we forgot how rad Body Count was. (CJ). Fez Ballroom.

Thao With The Get Down Stay Down
See spotlight. Holocene.

Devin Phillips Band
[NEW ORLEANS JAZZ] Relocating to the Northwest from New Orleans in the aftermath of Hurricane Katrina, tenor saxophonist Devin Phillips has carved quite a niche in this city. He's helping put Portland back on the jazz map with his distinctive playing and lively swagger amid a seven-piece band, which blends elements of funk into a tight, swinging sound. (MM). Jimmy Mak's.

Morgan Grace
[WHIPSMART BALLADRY] Following her faintly miraculous (macabre wit rarely winning over Fox tweeners) American Idol Underground website victory, Portland's fave indie-rawk vixen Morgan Grace exchanged her stellar rhythm section for the intimacy of bedroom recordings for new album Valentine. Seems every indie chanteuse tunefully articulating loves lost with trenchant rigor and pop sensibilities must be compared to Liz Phair, but Grace was long ago exiled to a darker side of town. (JH). Rotture.

Fucked Up
[ORCHESTRATED HARDCORE] Fucked Up is the band where hardcore came to die. Violins! Proggy time structures! Six-minute multipart epics! And after recently signing to indie bigwig Matador Records, the Canadian punk band has cut a new record that reportedly features 10 to 15 guitar tracks, flutes and French horns atop one another. This is one group that isn't afraid to, uh, fuck with the system. (MM). Satyricon.

Rachel Taylor Brown
[IDIOSYNCRATIC POP] Fire-haired local songstress Rachel Taylor Brown (also a regular member of Chris Robley's Fear of Heights band) crafts high-concept art pop built upon her wicked voice—which travels from a wail to a hush like it ain't no thing—creative arrangements and a knack for both surreal imagery and creepy piano. (AGM). Slabtown.

Another Cynthia
[GUITAR HEROES] This six-member, all-male brunet Bridgetown band looks and sounds like totally classic-indie-garage-dance rock. I'll unpack: Fresh-faced and occasionally outfitted in Beatles-esque suits and skinny ties, Another Cynthia creates a happy hybrid of super-catchy electropop melodies, cheeky choruses and punchy pop bass lines to remember—it's the kind of thing that usually catches on big. (SM). Someday Lounge.

The Chicharones
[AMAZING LIVE HIP-HOP] I booked the Chicharones to play Towne Lounge for MusicfestNW because the PDX trio of Josh Martinez, Sleep and DJ Zone bring a more lively party than any other local hip-hop outfit these days. Even folks who don't like rap are going to have an amazing time at this one. (CJ) Towne Lounge.

12:30 a.m.

Seaweed
[EMO GRUNGE] Northwest proto-emo legends Seaweed took the indie world by storm in those heady early-'90s days when Sub Pop ruled the earth, but after a star-crossed major-label fling, which resulted in the classic LP Spanaway, at least, the quintet faded away 'round the turn of the millennium. Recently re-formed, the living legends continue to employ tribal percussion, vocals, and a wall of fuzz-soaked guitars. (JH). Dante's.

Sir Mix-a-Lot
[LEGEND] Sir Mix-A-Lot is largely responsible for the national hip-hop spotlight turning on the Northwest, and his anthem "Baby Got Back" is way more progressive than you remember. Sorta. Anyway, Mix has never changed for anyone, and he's still an incredible performer. (CJ). Fez Ballroom.

1 a.m.

Flipper
[ROCK] Dude, whatever happened to Nirvana's Krist Novoselic? Oh, wait, he stuck to his thrash-punk roots and formed the unapologetic, raucous, bass-driven S.F. quartet Flipper, with whom he rocks like it's 1994. Radness! (CJ). Ash Street.

Centro-Matic
See spotlight. Doug Fir.

Blue Skies for Black Hearts

[JUKEBOX JAMS] These Portland pop-rockers span the eras, just as fitting in a dusty, tube sock-filled gymnasium of the early 1960s as in a coffee joint of today. Blue Skies sound at home in a jukebox, but love to stretch their musical legs in an Elvis Costello-meets-The Rascals sort of motion. (MS). Rotture.

Chris Robley & the Fear of Heights
[ORCHESTRAL FOLK POP] Local songwriter Chris Robley's tunes are plenty strong on their own—ably grounded in perceptive lyrics, lively guitar and his clear, oft-airy vocals (John Lennon and Elliott Smith and easy reference points)—but live, they flourish at the hands of some of Portland's best musicians: siren-voiced pianist Rachel Taylor Brown, for one. (AGM). Slabtown.

Caves
[DANCE ROCK] I had never heard anyone make a sleazy-sounding song about global warming until I heard Caves' "Get On With It." Sandinista!-era Clash is a clear influence for Caves, but frontman Jacob Carey trades Joe Strummer's everyman anger into sort of pissed-off swagger à la Billy Idol. It works well for the band, which is also highly recommended for fans of the Faint and Interpol. (CJ). Someday Lounge.

WWeek 2015