TWIN PEAKS, CHASTITY BELT, MODERN VICES
(Mississippi Studios, 3939 N Mississippi) On Time to Go Home, Chastity Belt sound exactly as contemporary as four musicians still relatively fresh out of college should, with nods to forebears like Bikini Kill in their sex-positive lyrics, and associated acts like Hardly Art labelmate Tacocat in their ebullient, DGAF delivery. They're also friends—Chastity Belt was formed when Shapiro joined forces with guitarist Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm while they were undergrads at Whitman College in Walla Walla, Washington. Their new album, which was recorded over five days in a deconsecrated church in the sleepy town of Anacortes, Washington, is technically much better than their first album, without losing any of No Regerts' forthright lyrics or unself-conscious weirdness. On Time to Go Home, walks of shame become just walks ("Ladies, it's okay to be slutty," Shapiro sings on "Cool Slut"), and a line from Sheila Heti's novel How Should a Person Be? is repurposed as chorus material ("He was just another man, trying to teach me something," goes the buzzy "Drone"). MEGAN BURBANK Read our full article on Chastity Belt and see Up & Coming.


GIRLSCHOOL, CRUCIFIED BARBARA, OLD JAMES, VELVET BLACK
(Bossanova Ballroom, 722 E Burnside) When it comes to the history of rock 'n' roll and the rise of heavy metal, Girlschool couldn't have emerged at a better time, or from a better corner of the world. They got their start in England in the late '70s, and the New Wave of British Heavy Metal (NWOBHM) was in full swing. Bass player Enid Williams recalls that time: "We were in our late teens, early 20s in that period. We'd grown up with Sabbath, Zeppelin, and Purple. Then of course punk came along in '76, '77. The energy of punk really blew everything apart. There was a lot of rubbish music at that time and [punk] kind of stirred things up." ARIS WALES Read our full article on Girlschool.


SHAKEY GRAVES, THE BARR BROTHERS
(Crystal Ballroom, 1332 W Burnside) Alejandro Rose-Garcia is a smart young man. After a brief acting career—most notably as "the Swede" on Friday Night Lights—Rose-Garcia moved back to his native Austin, reinvented himself as a ramshackle one-man band, branded himself with the edgy, bluesy name Shakey Graves, and self-released his debut album, 2011's lo-fi Roll the Bones. Since then, Graves has built up a strong following, been invited to all the more illustrious folk festivals, and was given his own day by Austin's mayor. His most recent album, And the War Came, is a more polished effort than his previous releases, and finds Graves delving deeper into the fashionable pop-Americana sound, which has not yet fallen out of vogue, as tonight's super-sold-out show can attest. SANTI ELIJAH HOLLEY


TAME IMPALA, KUROMA
(Roseland, 8 NW 6th) See My, What a Busy Week!


SPOKENEST, BACKBITER, ALIEN BOY, SHITTY WEEKEND
(Anarres Infoshop, 7101 N Lombard) Spokenest is indelible, minimalist punk at its finest, characterized by an endearing technical primitiveness and Jack-and-Jill call-and-response vocals from husband-and-wife duo Adrian Tenney and Daryl Gussin, formerly of the great Los Angeles punk band God Equals Genocide, whose 2012 LP Rattled Minds is well worth listening to in its own right. Gussin and Tenney hadn't totally relinquished the idea of pop in their former band's material, but as Spokenest, they're strict adherents to the "less is more" approach, an ethos that their stellar, debut mini-LP, We Move, serves to exemplify. MORGAN TROPER See All-Ages Action!


SDMPDX MONTHLY: REGOSPHERE, CHEFKIRK, TERROR APART, GREASE ENVELOPE, TELLURIS, DAVE MOSIER
(Habesha, 801 NE Broadway) The June installment of Sonic Debris Multimedia's monthly concert series is concentrating on some of the region's best noise musicians, including two incredible sound artists from Eugene: Regosphere and Chefkirk. The former's version of noise can be a little more palatable, avoiding some of the harsher aspects of the genre, but still relies on what he refers to as "anxiety electronics." A recent cassette release wends samples of police chatter during a standoff between the LAPD and a disgraced former officer with metallic thrumming and an unholy guitar racket involving a violin bow and effects pedals. Chefkirk, on the other hand, feels like a straight-up challenge to your sensibilities, as best heard on his most recent digital release, Variations on a Cream, which features extended tracks that sends the feedback from his little mixing board through a microcassette player, torturing each squiggle and piercing tone by hand. ROBERT HAM


GOTHIC TROPIC, LIFE SIZE MAPS
(Bunk Bar, 1028 SE Water) As band names go, Gothic Tropic is a pretty good one. It's evocative, it rolls off the tongue, it sort of rhymes, and it somehow captures the aesthetic of the Los Angeles trio. Led by Cecilia Della Peruti—daughter of a well-known jazzman and an acclaimed mezzo-soprano—the band's upcoming album Fast or Feast is an eccentric take on psychedelic pop-rock that subdues Gothic Tropic's bittersweet melodies and barbed guitar licks with the liberal use of effects pedals. The result is a record that sounds like it's playing on a boombox submerged in neon goo and sitting around the corner of a massive cave. Gothic Tropic specializes in sounding both vibrant and dark at the same time. See? Gothic Tropic. Not a bad name! BEN SALMON


BURIALS, CONNOISSEUR, HONDURAN, DRUNK DAD
(Rotture, 315 SE 3rd) When you think of stoner metal, you probably think of something played slow and low—something closer to doom than hardcore. Last year, Oakland's Connoisseur released an EP called Stoner Justice, which contains song titles like "I Am the Weed," "Full Blown Marijuana Addict," and "Pot Hole," but hardcore is definitely the entry point. Connoisseur takes the crusty powerviolence of bands like Spazz and Crossed Out and coats that sound thick with bong resin. "Stoner violence," they like to call it, which is a better descriptor than I'm ever going to come up with. An expanded full-length version of Stoner Justice is due next month. MATTHEW W. SULLIVAN


STREETLIGHT MANIFESTO, DAN POTTHAST, SYCAMORE SMITH
(Wonder Ballroom, 128 NE Russell) Popular opinion suggests that ska died long ago in a mystical decade known as the 1990s at the hands of Hot Topic and white guys with dreadlocks. Streetlight Manifesto, however, is a beacon of light for the oft-ridiculed genre. This is mostly due to frontman Tomas Kalnoky's legitimately innovative music, a brand of ska that's more than just muted downstrokes, silly lyrics, and ironic covers (although their rendition of "Such Great Heights" is fantastic). Streetlight Manifesto blends thick, hardcore-punk, guitar riffs with tight, fast-paced drums and an aggressive, non-gimmicky horn section, and tops it off with Kalnoky's honest, existential lyrics. Also, "Streetlight Manifesto" is a full synonym with the name of fellow New Brunswick, New Jersey band the Gaslight Anthem. Coincidence? I don't know. Probably, but I'm going to the show to try and find out. CAMERON CROWELL