THURSDAY 10/3

SEANA CARMODY, +/-, THE REVOLUTIONARY HYDRA, EMILY SPARKS
(Crocodile) Fellow early-to-mid-'90s weepers will remember Seana Carmody not because of her tenure in the morass of genre implosion known as the Swirlies, nor the short-lived (with one LP, on Flydaddy) Syrup USA, though both projects were pretty amazing in their way. No, you will remember Ms. Carmody as the lone, tiny female voice on "Think (Let Tomorrow Bee)," the heart-eviscerating last song on Bubble and Scrape, the second best Eric Gaffney-era Sebadoh album of all. As for the Revolutionary Hydra, their brand-new album, Knockout to Dispense, has only just been released, and the follow-up (I know the title, but I won't spoil it) is well on its way. Did you know the Hydra are one of the world's perfect natural occurrences? You did? Good. SEAN NELSON

THE CRIPPLES, THE INTELLIGENCE, THE LIGHTS
(Chop Suey) Just because a band crafts pop songs doesn't mean they have to lose their edge. Local noise-pop act the Cripples are one of the many reasons Dirtnap Records is easily Seattle's label of the moment; the band writes keyboard-heavy songs that leave the noise filter large, allowing excess buzz to dirty up their catchy confections. Taking their cue from the darker side of the '80s, the Cripples bang out damaged dance-floor anthems (about, among other things, contraception) for the new new wavers who don't want their pop too polished. JENNIFER MAERZ

BRANFORD MARSALIS
(Jazz Alley) Bradford Marsalis is one of four princes of the jazz royal family, whose king is Ellis Marsalis. Like their father, the princes have aristocratic names: Wynton, Delfeayo, Jason, and Branford. The most famous of the princes are Wynton and Branford. Both are competent classical and jazz musicians, though Wynton's presence in the classical tradition is more extensive. (Branford's sole excursion into classical, Romance for Saxophone, was very "lite.") The important difference between the famous brothers is this: Wynton is about the tradition, whereas Branford is about anything. In the '80s, Branford performed--much to Wynton's disgust--on Sting's only great solo record, The Dream of the Blue Turtles; in the early '90s, he played jazz on Jay Leno's show; and in the mid-'90s, he made a worthy jazz-hiphop CD with DJ Premier. But even when playing "serious" music--jazz or classical--Branford seems to be having more fun than his sober brother. CHARLES MUDEDE

DOVES, MY MORNING JACKET
(Showbox) I was like, "Wait, I can't write about My Morning Jacket [even though they're one of my favorite live bands ever]! Kathleen is writing about them in the music section." And Megan goes, "Well, could you write about Doves?" And I'm all, "I don't know. I liked their first record a lot, but I haven't even heard the new one." And Megan was like "Oh SNAP!" So but then I go and get coffee at Caffe Vita, and POW! They're totally playing the new Doves record. So, I half-listen to my coffee date and tune into the Doves, and guess what: They sounded pretty good. I don't know about their live show, but MMJ is enough to justify the price of admission, so you might as well stick around for the Brits. SEAN NELSON. See preview, page 44.


FRIDAY 10/4

THE DIRTBOMBS, THE DETROIT COBRAS, KO & THE KNOCKOUTS
(Crocodile) See preview, page 43.

BOB DYLAN
(KeyArena) See preview, page 45.

THE GOSSIP, SLEETMUTE, GROWING
(Graceland) Fucking Portland. I don't want to make any enemies here, but don't you Seattle bands just get sick of being upstaged by our southern sister and her far-superior music scene? Seriously, folks, we could all stand to learn from our ever-infuriating neighbors to the south, and what better way to start than with a brief tutorial from a somewhat recent addition to Portland's powerhouse conglomerate, Sleetmute (AKA Sleetmute/Nightmute)--"Portland's only all-girl noize-wave band"? Featuring no less than two Y-chromosomes, Sleetmute falls comfortably in line with much of Portland's basement-racket scene, with a treble-heavy blend of guitar and, well, more guitar, searing into slopped sonic epiphany. Sleetmute 101's required class supplies: earplugs, scuff-free shoes, and most important, a sharpened pencil and dense pad of paper. ZAC PENNINGTON

MR. D.O.G. & MAC MONEY, CENTRAL INTELLIGENCE, COOL NUTZ & MANIAC LOK, UNEXPECTED ARRIVAL, BROTHA LUV & BILL YUNS, DJ KUN LUV
(I-Spy, early show)

GANGSTA NUTT, DM-50/50, SKUNTDUNNA, GHETTO PREZ, CRAFTY, DJ KUN LUV, CENTRAL INTELLIGENCE
(I-Spy, late show) This hiphop extravaganza has an early show and a late show. The early show features Cool Nutz and Unexpected Arrival; the late show features Skuntdunna and Central Intelligence, both of whom are on Sea-Sick Records. The Ghetto Prez, who is president of Sea-Sick records, and DJ Kun Luv, the publisher of Seaspot Magazine, will also perform in the late show. If the galleries on Seaspot's website offer a reliable account of what Sea-Sick and Seaspot events are like, expect at this show lots of voluptuous women in glamorous and scandalous outfits. (Sadly, the men will probably wear baggy things and baseball caps.) CHARLES MUDEDE

PROJECT/OBJECT: IKE WILLIS & NAPOLEON MURPHY BROCK PERFORMING THE MUSIC OF FRANK ZAPPA
(Rainbow) Nearly a decade after his death, and more than 35 years after his Mothers of Invention released their landmark double-LP debut, Freak Out!, many still view Frank Zappa as little more than a poo-obsessed rock-guitar wanker who wrote novelty songs about yellow snow and valley girls. At the other extreme are the obsessive Zappaphiles who know all the words to Thing-Fish and swear he's the most important composer of the last half-century. That's the main audience for Project/Object, but for "civilians" who just want to hear old F. Z. classics like "Inca Roads" and "Peaches in Regalia" played by a live band, this is your best bet. As added incentive, Zappa alums Ike Willis (guitar and vocals) and Napoleon Murphy Brock (saxophone and vocals) are on hand for this tour, bringing some much-needed soul and personality to the festivities. Be warned, though: the expected male-to-female ratio is about 97:3. WILLIAM YORK

NORFOLK & WESTERN
(2nd Avenue Pizza) Pairing the ideas behind Richmond Fontaine's vast Americana with the oh-so-subtle introspection of Low, Portland's Norfolk & Western twist their own quiet twang and folksy road music with artful precision. With its slowly added elements--drums, pedal steel, harmonica, banjo, radio, vibes, accordion, field recordings--the band's music is something you'd play if you decided to ride the rails after a messy breakup. Adding the most heart to all this Western subtlety (Western only because music like this comes from plains and open spaces) is Adam Selzer, the group's vocalist and main songwriter; his soft, pillowy voice douses the songs with melancholy, dreams, regret, and hopefulness. They're extremely well made, and quietly beautiful. JULIANNE SHEPHERD

SATURDAY 10/5

JESSE SYKES & THE SWEET HEREAFTER, LAURA VEIRS, STEVE TURNER
(Crocodile) The most interesting and creative people are usually some of the most complex--so it's always fascinating when fans expect the object of their affection to be one-dimensional. Mudhoney aficionados anticipating a set of Mudhoney-sounding material from guitarist Steve Turner might end up thinking they've arrived at the wrong club, as Turner's been busy working with Johnny Sangster on a "soft rock" album, from which he and Sangster will perform material this evening. Be not afraid--suck it does not. In fact, it packs a nice little punch--and Turner's laid-back, folksy tunes and warm, unaffected voice fit in with and stand up to the dusky tunes of Jesse Sykes and the eclectic back-road melancholy of Laura Veirs. It's the kind of perfectly suited bill that comes all too infrequently, so check your preconceptions at the door and enjoy a fine evening's worth of intimate, interesting music. BARBARA MITCHELL

GOGOL BORDELLO, PLEASURE CLUB
(Graceland) Of course, New York City had to be the petri dish in which the peculiar charms and talents of this smarty-pants Ukrainian diaspora would stew and bubble over. Where else? Now, as the much-lauded postmodern Gypsy punk cabaret Gogol Bordello launches their first North American tour, our provincial fishing village finally has a chance to experience this anarchic and absurd musical (and theatrical) phenomenon. Not content to serve up his delicious goulash of traditional Ukrainian music and Birthday Party-esque punk on a barren stage, Gogol Bordello's mustachioed mastermind Eugene Hütz uses storytelling, elaborate props, and complex stage sets to create an utterly macabre urban spectacle. Perhaps this lyric from their debut CD, Voi-La Intruder, will give you an idea of what's to come: "So, darling/Let's discuss our tactics/I will be mad and you will be possessed/This is the only way to fight this world." Do the smart thing--get ringside seats for the big match. TAMARA PARIS

THE PLEA FOR PEACE/TAKE ACTION TOUR W/(INTERNATIONAL) NOISE CONSPIRACY, THE PROMISE RING, POISON THE WELL, COMMON RIDER, LAWRENCE ARMS
(Showbox, early) This is the second consecutive year Sub City and Asian Man Records have teamed up and launched the Plea for Peace/Take Action Tour to support the National Hopeline Network (which provides suicide crisis counseling nationwide via 1-800-SUICIDE). Last year's efforts were pretty impressive, with Hot Water Music and Alkaline Trio headlining, but this year is looking even better. Everyone from Le Tigre to Jimmy Eat World to Thursday has signed up to play a few dates along the way. Tonight's Seattle date doesn't lack heavy hitters--and should you have to miss the show, you can still support the cause by buying the accompanying 32-track compilation CD, which features cuts from all the artists on the tour and then some. MEGAN SELING

DJ SASHA, DJ SEAN CUSICK
(Showbox, late show) DJ Sasha, who is famous for his numerous collaborations with John Digweed, spins trance-house music. Those who have a more refined ear for this kind of music claim that the difference between Digweed and Sasha is that Digweed is dark and moody and Sasha is atmospheric and dreamy. But as far as I'm concerned, be it Digweed or Sasha, the music they select is simply fun to dance to. CHARLES MUDEDE

THREE YEARS DOWN
(Zak's) Turbonegro (who, rumor has it, have re-formed!) have inspired many a band, from Sweden's Hellacopters to Oakland's Three Years Down--both of whom know how to write sing-alongs for people (six)packing in the booze in grimy little rock clubs. TYD play straight-ahead rock without getting too straight and narrow, writing songs about sneaking into arena shows and taking posers down a peg with their AC/DC-lovin' riffs. If there's such a thing as working-class rock, TYD embody it to a T, making good-ol'-boy rock 'n' roll the way the '70s intended it. JENNIFER MAERZ


SUNDAY 10/6

ISIS, DALEK, THRONES, AKIMBO
(Graceland) See Stranger Suggests, page 27.


MONDAY 10/7

PROGRAMMAR
(911 Media Arts Center) Local rapper proGrammar has what I call a hiphop heart; most rappers are about the biceps or the penis, but there are a golden few--the sensitive descendants of Q-Tip ("I want to kiss where some brothers won't")--who prefer to deal with matters of the heart. ProGrammar will never be famous (he is too soft and intimate for a market that thrives on hyper-macho energy), but he is worth watching. During this show, proGrammar will project behind him a videotaped interpretation of his lyrics in American Sign Language (proGrammar is fluent in ASL). CHARLES MUDEDE

JIM YOSHII PILE-UP
(Chop Suey) If your heart needs wrenching, Oakland's Jim Yoshii Pile-Up is at your service. The five-piece is soaked in slow, swooning sorrow, carefully draping naked indie pop over soft-spoken lyrics about distances growing between lovers. I'm not a fan of wrist-slitting self-pitiers, and JYP doesn't walk around with razor blades doused in blood. Their music--stark shoe-gazing melodies for the upcoming pale months--is more about the gentle touch than the tortured soul. Their newest CD, Homemade Drugs, is out now on Absolutely Kosher. JENNIFER MAERZ

GOMEZ, GUESTS
(Showbox) For years I've been attempting to decide whether I truly like U.K. band Gomez's take on classic American bluesy rock, or whether it just chaps my hide. I was sure it was the latter when the band turned to its own country's past by recording a blasphemous, Press Apartments-esque version of the Beatles' "Getting Better." Invariably, for the rest of eternity, I'll hear that jingle in my head every time I push the buttons of any Philips Electronics product, including the CD player I cue up for Sgt. Pepper's Lonely Hearts Club Band. Gomez's 2002 album, In Our Gun, is all over the place stylistically--poppy, swampy, and now with HORNS, apparently. Goddammit. I like Gomez and I hate Gomez, which probably, deep down, means I love Gomez, because there's a lot of tearful beauty in some of those epic songs, if you weed through the dirty-feetness of it all. Oh, forget it. KATHLEEN WILSON


TUESDAY 10/8

CLINIC, APPLES IN STEREO, KAITO
(Showbox) And speaking of Brits... Clinic sounds like someone left the microphone on in the schizophrenics' ward the day the meds ran out. They are very hip at the moment (or they were, I guess, a moment ago), which is odd when you consider how good they are. Apples in Stereo is one of those bands whose every album sports two or three brilliant pop songs and a handful of others that sound like rough drafts--but the production is always killer. Live, they're the second best of the Elephant 6 lot (only Neutral Milk Hotel fares better). And Kaito... ah, Kaito. SEAN NELSON

KAITO
(Sonic Boom Records, Ballard) Of course you realize that even if you turned over every boulder in Middle Earth, you'd never find an indie punk band quite as fuzzy, or mossy, or poptastic as Kaito, the British act that looks like shoegazers but plays like earth devourers. Two girls, two guys, and a wall of fucked-up sounds are all that comprise this amazing, amazing band, though if you close your eyes, it seems like much more. SEAN NELSON

WEDNESDAY 10/9

QUEENS OF THE STONE AGE, DILLINGER ESCAPE PLAN, ICARUS LINE
(Showbox) See preview, page 41.