Music

Up & Coming

GREGORY ISAACS
(Bohemian Backstage) Though Gregory Isaacs peaked in the early '80s with the dreamy song "Night Nurse," he still stands as the greatest crooner reggae ever produced. What distinguishes him from the others is his persona: He is "the lonely lover." The women in his songs and world are insensitively independent, mean, remote, disinterested in his sensitive soul. His lovers are either leaving him, about to leave him, or they left him a long time ago, and their absence makes him groan and moan. In my favorite song of his, "Substitute," Isaacs waits in a lonely place for the woman he loves to stop drinking and smoking (her substitutes) and return to him. And there is nothing more eternal than waiting for the one you love. CHARLES MUDEDE

KASEY CHAMBERS, MATTHEW RYAN
(Crocodile) There's a very good reason why country iconoclasts Lucinda Williams and Steve Earle wax superlative about 25-year-old Australian songbird Kasey Chambers: She's the bright future of the fractured country lineage, and they are its graying eminences. On her second album, Barricades & Brickwalls, Chambers vaults herself over all obstacles, proving herself to be the genuine article--a young musician who taps the mountain well of inspiration that pre-glitz Dolly Parton sprang from, yet isn't afraid of applying contemporary genre-crossing to the sound. The surly guitars on the title cut and the offhanded brilliant vocals of Buddy Miller are the perfect renegade upgrades that surely make Earle smile. Chambers' voice stands up beside the grandes dames of the Grand Ole Opry; it's part Iris DeMent, part Emmylou Harris, and part divine intervention. NATE LIPPENS

PAT MARTINO & JOEY DeFRANCESCO
(Jazz Alley) Jazz guitarist Pat Martino came into prominence in the post-bop era of the late '60s. Unlike many of his contemporaries who were swept up in the fusion landscape of Miles Davis and John McLaughlin, he kept his style "clean," dispensing with distortion and the wah-wah. Instead, he concentrated on lyrical guitar lines that swung mightily. In the '70s, Martino took an interest in music from India and the Far East, going as far as basing some of his compositions on the I-Ching. In 1980, an aneurysm had to be removed from Martino's brain, and he lost the ability to play guitar. His is one of the greatest comeback stories in jazz. Martino's current trio features Joey DeFrancesco, a soulful Italian who ushered in the retro Hammond B-3 organ craze that John Medeski and Wayne Horvitz have jumped on. The trio mixes bop and soul jazz with so much swing, it'll make you giddy. Martino and DeFrancesco play Jazz Alley tonight through Sun Feb 24. KREG HASEGAWA

DEATH CAB FOR CUTIE, THE DISMEMBERMENT PLAN, AVEO
(EMP) See preview this issue.

BRAINSTORM EMCEE BATTLE 2002: 64 COMPETITORS, DJs SAYEED, ABILITIES
(I-Spy) Rappers talk about "wack emcees" with such frequency and intensity that it seems that the wack emcees are constantly swarming around them. Rarely are the wack emcees characterized--"conscious" rappers talking about "guns 'n' hos" rappers, for example--and almost never are they specifically named. The "wack emcees" are a ghostly but oppressive presence; the rapper is so spooked that he must compulsively fend them off in his rhymes. This high anxiety is at the heart of an emcee "battle," where rappers go toe to toe to find out who's better. Ostensibly they're battling each other, but in actuality they're all swinging at "wack emcee"-ness. Tonight, 64 emcees will compete with each other, which means close to three billion wack emcees will be in attendance. The excellent DJs Sayeed (from Tacoma's Black Anger) and Abilities (from Rhymesayers conglomerate) will provide beats, and Binary Star's One Man Army will host. Sixteen emcees will proceed to the final round at Saturday's show at the UW's Hub Ballroom, where a fantastic lineup is set to perform (see below). Brainstorm 2002 will continue through Sunday at the Sit & Spin, and will feature performances by C-Rayz Walz, iCON the Mic King, Educated Consumers, Presence, and the Infamous MC. BRIAN GOEDDE

VIOLET INDIANA
(Crocodile) Ex-Mono chanteuse Siobhan de Maré and former Cocteau Twins guitarist Robin Guthrie may not appear to be a good match at first blush. Guthrie's highly stylized guitar single-handedly defined the '80s ethereal shoegazer sound, while de Maré's laconic, jazz-influenced vocals inspired comparisons to Mono's triphop cousin Portishead. But the two mesh surprisingly well on Violet Indiana's full-length debut, Roulette. De Maré's chilly sensuality and sultry singing style pull Guthrie's shimmering strings closer to a nightclub lounge act on songs like "Powder River" and "Rage Days." The duo attains genuine moments of pop genius, and while de Maré can't possibly replace the mysterious and wounded whisper of Cocteau Twins vocalist Elizabeth Fraser, she obviously doesn't wish to. But, intended or not, she has helped quiet the yearning of Twins fans by simply motivating Guthrie to play again and by confidently stepping into the void left by Fraser's departure. DAVID SLATTON

ANTI-FLAG, AGAINST ALL AUTHORITY, THRICE, PIPEDOWN, VIRUS*NINE
(Graceland) On the Anti-Flag website, this pop-punk band's lead guitarist/vocalist, Justin Sane, states his dislikes as "right-wing bands that play 'punk' sounding music and call themselves 'punk' when they're really just right-wing fascists who are subverting our scene!" It is this very reason why Anti-Flag revitalizes pop-punk for me, a genre I normally despise; the band blends typical melodic guitar riffs with a youthful innocence and so much energy, it gives you palpitations just thinking about it. However, though the band employs tactics older than the Gilman, its members' exuberance adds to their sound, and somehow, Anti-Flag ends up with a fresh take on melodic punk rock. JULIANNE SHEPHERD

SNO CORE ICICLE BALL TOUR w/MICHAEL FRANTI & SPEARHEAD, KARL DENSON'S TINY UNIVERSE, BLACKALICIOUS, SAUL WILLIAMS
(Moore Theatre) This year Sno Core is dominated by heavily "conscious" hiphop--with the exception of Karl Denson, who leads an avant-funk-jazz band with his sax. Franti, Williams, and the MCs in Blackalicious are among the most righteous of the righteous rappers, those who wish to do no less than change the world with their words. That type of creative ambition is impressive, but can feel heavy-handed when you're just trying to listen to some music. Luckily, these three put on polished, high-energy shows, where the spectacle and music will be enough sugar to help the politics go down. BRIAN GOEDDE

GEORGE JONES
(Paramount) This is an awful thing to say, but after last week's loss of Waylon Jennings (R.I.P.), I'm compelled to say it anyway: You've got to see George Jones SOON. Jones is in that exclusive "You Better See Them Before They Die" club... and you know I'm right. It's a frickin' miracle that he's still actively touring--a real testament to his legendary resilience. Expect to run through the emotional gamut tonight, since Jones' famous voice carries more wisdom, ache, and forlorn passion than any of the younger cowboys on the ranch. He'll probably showcase stuff from his latest release (2001), the solid but unfortunately titled The Rock: Stone Cold Country (more like stone cold SOBER; Jones, known as one of country music's biggest drunken assholes in his heyday, is completely drug-and-alcohol free for the first time in his grizzled five-decade career), but hopefully we'll be treated to beloved classics like "A Good Year for the Roses," "He Stopped Loving Her Today," and "If Drinkin' Don't Kill Me (Her Memory Will)." How perfect that he is gracing our damp city a week after Valentine's Day. Nobody knows unrequited love like George Jones. MIN LIAO

DAMIEN JURADO & GATHERED IN SONG, OWEN, KYLE FISCHER
(Crocodile) Probably best known for his role as guitarist in Cap'n Jazz, Joan of Arc, and Owls, Mike Kinsella recently released his first solo record (under the name of Owen, which is also the name of his Honda hatchback). In a soft, surreal voice, Kinsella sings songs of depression and alienation over a drum-machine beat and his trademark lush guitar work. In that sense, Owen is very similar to Joan of Arc, but without the linear qualities and the scatterbrained, stream-of-consciousness vocals of Mike's brother Tim. Owen is surprisingly delicate and listenable. Mike's tourmate, Kyle Fischer, doesn't fair so well, unfortunately. The Rainer Maria guitarist made a pretentious solo record that is folky in a naive, modern Americana way. At best, it will inspire mild disinterest; at worst, Fischer could really piss somebody off. See also Stranger Suggests. JULIANNE SHEPHERD

BRAINSTORM EMCEE BATTLE 2002: ATMOSPHERE w/SLUG & MR. DIBBS, EYEDEA & ABILITIES, BINARY STAR w/ONE MAN ARMY
(Hub Ballroom) See Friday's listing.

BRAINSTORM EMCEE BATTLE 2002
(Sit & Spin, 3 pm) See Friday's listing.

LESSER, BLEVIN BLECHDOM, ELECTRIC BIRDS, BOBBY KARATE
(Sit & Spin, 8 pm) Indie-rock dorks take note: The laptop/glitchcore techno scene aims to tap your closeted techno audience in the same way you aspire to reach fans of Mogwai, Sonic Youth, Erase Errata, or Clinic. IDM is being produced at an alarming rate, and it's vital right now, in the way indie rock was back when Negativland was mocking the sounds of U2, Lou Barlow was dropping homemade cassette tapes, and Robert Pollard was penning endless jams. Which brings us to San Diego native J Dserck, who is quite prolific. A bit of a schizophrenic as far as namesakes go, recording and performing as LSR, 157, DJ 40 Year Old Woman, Backfire, and most recently Lesser, he's come to fruition with his psychotic machinations of drum-and-bass leanings, and just about fucks every noise you could think of. Like his brethren--Kid 606, Matmos, Cex, Hrvatski--he's stepped up to the plate with the likes of Mu-ziq, Autechre, and Aphex Twin (whose new record sounds like a fucking rehash on Manheim Steamroller--lay off the bedroom synth-building, Richard). Lesser makes music you'll remember. Also on the bill is one half of S.F.'s Blectum from Blechdom, Blevin Blechdom (gosh, kids these days and their science projects), Electric Birds, and local laptop genius Bobby Karate. FRANK NIETO

DILLINGER ESCAPE PLAN, BOTCH, DARKEST HOUR, ALL ELSE FAILED, PLAYING ENEMY
(Graceland) With Botch's depressing yet imminent breakup, apparently the only band currently left to carry the torch for prog-core (that's progressive metal hardcore) is the Dillinger Escape Plan. And now that the band's gotten rid of its incessantly testosteroney vocalist Dimitri Minakakis, it appears the Escape Plan might take the flame and run with it. From the band's forthcoming collaboration with Mike "Side Project" Patton, to its Miami booty bass band Snatch2Snatch (!), it seems Dillinger's got the world in its hands. Though the band hasn't been around these parts since the new vocalist joined (his name's Greg Puciato, and he's apparently already tattooed Dillinger's name on his arm, which is promising), you can guarantee you'll be pummeled with time changes. This is the new hardcore, my friends. JULIANNE SHEPHERD

SOUTH, ELBOW, MELLOWDRONE
(Crocodile) "Prog rock without the solos." That's the way the members of Elbow have described their music, and if that frightens you, you might want to consider giving yourself a mental enema. What is Radiohead, after all? The latest standout in the current British invasion (Doves, Travis, Coldplay, etc.), Elbow isn't afraid to make music that's meaningful--musically and lyrically. The band's debut album, Asleep in the Back, is chock full of songs that are unapologetically grand. Think Radiohead before its members took their hearts off their sleeves and obscured them with computers and "art"; think Coldplay with a dark side. The menacing, muscular guitar bits on "Bitten by the Tailfly" even conjure the claustrophobic paranoia of Joy Division. Elbow recently won Time Out London's "Best Breakthrough Live Band," which means you probably won't end the evening wishing you'd stayed home and played the album on headphones. BARBARA MITCHELL

THE DIRTBOMBS, THE GO, C.O.C.O.
(Crocodile) See Stranger Suggests.

CRAIG DAVID
(Showbox) To get to Craig David, British soul had to fall from an incredible altitude. Loose Ends, Soul II Soul, these men and women were gods whose songs--"Nights of Pleasure," "Back to Life"--presented miniature pop worlds that were as enchanting as snow globes. The latest representative of this fine tradition, Craig David, is beyond bad. His songwriting, the poverty of music, is unspeakable. The only way to describe his songs ("Fill Me In" or "7 Days," for example) is the awful effect they have on the soul--they make it cringe and crinkle like used tinfoil. Craig David was a telemarketer before he was a superstar. Need I say more? CHARLES MUDEDE

MATT POND PA, MAGIC MAGICIANS, LIGHT HEAVYWEIGHT
(Graceland) Fans of the New Year (featuring Bedhead's Kadane brothers) will probably find much to like in Matt Pond PA. So will fans of comparatively long-in-the-tooth bands like the Go-Betweens and the Cure. That's a spacious list of reference points, but each represents a recognizable facet of singer Matt Pond's strong, well-crafted songs and keenly thought-out albums. These occasionally crisp, sharply sunny days of a waning winter seem tailor-made for songs like "Measure 3," off Matt Pond PA's new full-length, The Green Fury. The composition gallops around purposefully. The music chases after the emotion-laden lyrics as if the band is not entirely committed to making the listener experience the weight of the sentiment, but wholly dedicated to capturing its essence as it glides by in effervescent splendor. With two full-lengths and last year's EP, I Thought You Were Sleeping, Pond's output hasn't been prolific, but it gives one the sense that his creativity is constantly evolving. KATHLEEN WILSON

THE GOOD LIFE, AZURE RAY, ROSIE THOMAS
(Paradox) Folks who saw the Good Life (Cursive frontman Tim Kasher's other project) last time it came to town will recall the set to have been a bit more rocking than it was the time prior. Not rocking like the brilliant emo purge that fuels Cursive, mind you; the Good Life is still very much a pop band. But it's a real band now, fleshed out and functioning less as a solo project for Kasher than it was when he toured in support of the Good Life's debut, Novena on a Nocturn. The new album is called Black Out, and it has Kasher in top form: voice buttery like Robert Smith's, heart on sleeve, and hooks aplenty. Be sure to arrive at this show early for Rosie Thomas, the woman in possession of Seattle's most beautiful voice, hands down. We're talking Emmylou Harris beautiful here. JEFF DeROCHE

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