LPS definitely have more than one string to their bow: their latest album, Seduce Yourself (Discorporate Tape), casually sways back and forth along the border between sticky seventies and glamorous eighties; pompously glam-rock at its peak, with some sweet spacey synth-led New Wave, early post-punk influences, it sounds something like David Bowie meets Ariel Pink meet The Monochrome Set, with still a touch of the distorted screeching guitars and smashing drums used and abused on Billy Callous, and a series of caricatural accents on Roxy Muzak, for a touch of comedy.

An exciting, generously overproduced effort back to front, teasingly dandy, Seduce Yourself is available to download by ‘naming your price’ on LPS’ bandcamp page; Fairway to Hades, their third album this year, is announced for November (probably once again something completely different), and you can see the band perform tonight (7.28) at The Kenton Club. Tracy Mamoun

Much-anticipated follow-up to a 2010 critically acclaimed debut, Wax Fingers‘  first EP ‘Tender‘ (released yesterday) is a beautiful example of skillful orchestration. Adding new synthetic sounds to their guitar combinations, modulating textures into waves, skipping at ease from minimalistic segments to heavier freakouts, the band found a way to dissimulate the complexity of their compositions in an uncluttered, somewhat harmonious ensemble. Prog-rock with a pop edge. Deliciously surprising at every turn, each of the four tracks maintains a structural integrity that prevents the whole from ever being unhinging. As if perceived from the depths of a psychedelic venture, Pete Bosack’s voice echoes in the distance, inviting one into a playful field of instrumental experimentation where many parts can interact without turning into nonsense, or cacophony. Tracy Mamoun

C.C. Swim write infectious pop songs that could inspire a dance party in the middle of a DMV (music video idea; think about it guys…). Their latest release, Shapes Take Sizes, is an 8 track album of pure feel-good energy, complete with synthesizer tones straight out of the 1980’s. Songs on the release range from electro-pop anthems to indie pop gems that can generate smiles from indie kids across the board. The band is playing Portland’s best all ages venue, Backspace, on July 31st with Fringe Class and Fear of Lights. Dance party on a Tuesday night? Hell yeah. –Benjamin Toledo

Emerging about year ago from the collaborative work of Claudia Meza, Zac Pennington and Joe Kelly, former members of very different Portland bands (follow the links!), Stay Calm drew from a variety of backgrounds a rich catchy cocktail of influences, resulting in a sound that is fairly hard to label.

Now featuring two new members alongside Meza, joined by Pennington and Seattle composer Jherek Bischoff on the synth (who also took charge of the mixing and recording tasks), the trio released on July 9th a new set of two 80s-infused tracks, ‘Fall In Love/Break Up‘, that effectively define the new width of their musical spectrum, but just as important, its coherence. Squeezing into those songs multiple layers and hooks, they juxtapose here a bit of ambient with distinct orchestral harmonies, there a roll of krautrock beats, in the back some dense waves of psychedelia, topped off by a voice insistantly reverberated and a certain punk nonchalance. And that’s only a start. Check them out at Holocene on August 2nd. –Tracy Mamoun

People often criticize the post-rock genre for being overly emotional and too simple compositionally; I would have these critics turn their ears to The North Wind. The instrumental quatuor creates energetic and musically complex songs that still maintain a certain pop appeal that many other bands in the genre lack. Rather than being moody or overdramatic their music is fun and will have you dancing at their show instead of swaying in place and zoning out. The North Wind will release their latest EP, Mirror Lake, on September 1st but you can preview it through five tracks available on Bandcamp right now. Stay tuned for info on a release show, which should be announced in the coming weeks. –Benjamin Toledo

Clean-cut, melodic, with a barking street-punk edge, Fool’s Rush first EP introduces a new step in the Portland trio’s sound, with more fever and more depth than in the late split release, itself far less erratic than their debut album. A persistent back and forth between the most basic bass & drum segments and some head-shaking rock ‘n’ roll twists gives Counting Sleep, opening track of the Expired EP (out tomorrow!), that swing Savage once defined as fundamental in US punk. With the sun out, this is a perfect time to welcome some of those fun youthful West Coast vibes; see Fool’s Rush off for their summer tour by celebrating with them the EP release tomorrow evening (7.25) at The Laughing Horse Books.- Tracy Mamoun 

Between those who’ll call it cheesy and others for whom ‘it all sounds the same’, a taste for surf can turn today into something of a guilty pleasure. But Bath Party are nothing like your hot rod Pebbles classics; closer to early instrumental waves, they spice up the old rolling routine with persistent distortion, and a sexy touch of hip-shaking Mediterranean riffs. Drowning deep vibrating vocals in a sea of bass & drums, they drifted for their second EP further towards heavily reverberated surf-infused garage rock and blues, as opposed to simply twisting the aesthetics of the genre. Skeptical? Check out the track below. Currently working on a third record to come, the trio will be playing at The Know on July 27th.- Tracy Mamoun

Listening to Swahili makes me feel like I’m hallucinating. Their songs are built upon droning guitars and tribal rhythms as lyrics echo around the instruments, creating some of the most trance-inducing music I’ve heard out of Portland to date. Their self titled debut feels like an acid flashback, complete with artwork that is visually equal to the music. Its symmetry matches the steady rhythms of the songs and its colors seem to coincide with the emotions captured through the vocalist’s melodic shouts. The debut is available for free on Bandcamp, and you can experience their fluid psychedelia live on August 14th at the Holocene.- Benjamin Toledo

Heavy Is As Heavy Does, first track off Menomena‘s much-anticipated album ‘Moms’, is a most poignant piece of piano-led indie rock, in many ways as heavy as the title suggests. Heavily sincere as a grown-up Justin Harris sings with troubling placidity the pain of a betrayed teen who sees his father leave; heavy as the bass joins in, as the track builds up into rage, climaxing to the sounds of chainsaw; heavy as the guitar screeches and finally, it all simmers down. Menomena’s first output as a duo, this song is a beautiful introduction to the complex family dynamics explored on the album, set to be released on September 18th. On a side note, Menomena will be playing Portland’s MusicFestNW on September 7th as the second date of their ‘Moms’ tour.- Tracy Mamoun

1939 Ensemble have one of the most unique set ups I’ve heard in recent years. The group consists of a drummer, a vibraphone player and droning noise which provides an ominous backdrop for the percussive duo. The two create instrumental songs that range from passive, ambient soundscapes to violent crescendos and use the spaces in between to build and deconstruct transient melodies within each piece. Their first release, Howl & Bite, was released last April is an assault of spacey compositions that are as enticing as they are eerie. See the two perform at PDX Pop Now on Friday night for what’s sure to be a memorable show- Benjamin Toledo

Sons of Huns rock in a way a lot of bands in this city wish they did. Their heavy guitar riffs, explosive drumming and lo-fi vocals channel some of the most visceral elements of rock music and inspire a live show full of banging heads and friendly mosh pits. It’s the sort of music that could move even the most timid of listeners to rock out without even the slightest bit of apprehension. Sons of Huns will be playing the final night of the fantastic PDX Pop Now festival at 5:30 pm; go for what’s sure to be a face-melting performance.- Benjamin Toledo

It’s a cliche that shoegaze has to sound miserable. Debuting in April with ‘Snow Falling‘, seven-track EP featuring a lovely upbeat cover of the Velvet’s ‘Who Loves The Sun’, Sundaze brought a sprightly dream pop touch back to the sounds of reverb-a-go-go and loud screeching distortion. With their hand-clapping rhythms and prominent melodies, the trio infuse a youthful energy into the loops, and like a shimmering answer to the new wave of monotony, find a light in the deepest notes. A shoegazing band with their heads up high? Now that’s a sweet little paradox. Catch them at Slabtown this Friday, and a week later (7/27) for their first show at the Doug Fir Lounge- Tracy Mamoun