31 KNOTS, CHRIS LEE & CHRISTINA ROSENVINGE
(Crocodile) As half of duo Alex Y, Christina Rosenvinge was a pop star in Spain and Latin America who churned out radio hits. After relocating to New York City, she shed her previous image and worked on material that reflected her love of Leonard Cohen and the Velvet Underground. She recorded Frozen Pool with Sonic Youth's Lee Ranaldo and Steve Shelley, as well as Two Dollar Guitar's Tim Foljahn. The result is far removed from the commercial fluff she once recorded. The jangling guitars are the Velvets at their most pop-crafted. The songs are an eclectic, understated mix that nod to French pop and bossa nova, with Rosenvinge's thin, restrained vocals recalling the ice and accents of European chanteuses Anna Domino, Julia P. Herscheimer, and Nico, with a sweet hint of Yo La Tengo's Georgia Hubley thrown in. The lyrics are ESL gloom and ambiguity, belied by the music's lilt. "Expensive Shoes" and "Taking Off" are two highlights, both playful and propulsive. Rosenvinge closes the album, duetting with Tim Foljahn on Leonard Cohen's "Seems So Long Ago, Nancy." She proves herself a worthy addition to the Smells Like Records label, forgoing histrionics in favor of a more understated dramatic effect. Steve Shelley and Tim Foljahn will be backing her for her live show, which should be a laconic and bewitching affair. NATE LIPPENS

STYLES OF BEYOND, LEXICON, 4-ZONE, DJ CHEAPSHOT, EVIL ONE
(Paradox) See preview this issue.

PRESTON SCHOOL OF INDUSTRY, THE SHINS, THE STANDARD, HOLIDAY FLYER
(Graceland) See Stranger Suggests.

PERNICE BROTHERS, SWORDS PROJECT, THE LONG WINTERS
(Crocodile) While there are a lot of great shows happening tonight, if you're looking for some real emotion, this might be the one for you: "They found her car still running in the garage/She'd come so far to the end of her life by the rusty motor and chicken wire," sings Joe Pernice on Pernice Brothers' "Chicken Wire" (1998). It's a characteristically sad song on a beautiful pop record, Overcome by Happiness. The World Won't End, Pernice Brothers' most recent release, is no slouch either. Pernice is a consistent, excellent songwriter. With a fine, breathy tenor and the help of his band (which features members of Lilys and the Sadies, among other great projects), Pernice's genius lies in a time-bomb effect: planting emotional barbs and sublime, genuine moments of heartbreak in a classic, orchestral, and deceptively pretty pop sound that feels like lazy listening until the rusty motors and chicken wire pop out of nowhere and fuck your heart up. And if you're inclined to head out early, here's more good news: John Roderick's the Long Winters will make its debut appearance as a full band tonight. The former Western State Hurricanes frontman (and Harvey Danger sideman) has assembled Michael Shilling (also former Hurricanes) for drums, Chris Caniglia for keyboards, Sean Nelson (former Harvey Danger frontman, current Stranger film editor, and all around swell person) on keyboards and harmony vocals, and a kid named Eric (ex-5 Gears in Reverse) on bass. Fans may be happy to recognize some WSH tunes in the mix, but, according to the swell film editor, the arrangements are radically different. JEFF DeROCHE

JUNO, eXBeSTFRIeNDS
(EMP) EMP put two of Seattle's biggest frontmen on this bill: While Juno singer Arlie Carsten's flailing emo superstar chops are a long stretch from eXBeSTFRIeNDS frontman Ryan Davidson's cagey stoner shirk and howl, the two have showmanship in common. If you like a little superstar in your sex, drugs, and rock and roll, this show will no doubt be most entertaining. JEFF DeROCHE

STEREOLAB, FUGU
(Showbox) See Stranger Suggests.

THE SHINS
(Sonic Boom Records) See Stranger Suggests.

THE BREEDERS, POSEUR, CATAHOULA HOUNDS
(Crocodile) See Stranger Suggests.

SLUMBER PARTY, CHARMING SNAKES, SCHOOLYARD HEROES
(Local 46) See preview this issue.

Anomaly 3, Killing Faith, Liquor Box, Anger Management, Tut, and Circus of Shadows
(Ballard Firehouse) I don't drink beer. At least not as much as I drink wine and spirits (the spirit of Scotland, the spirit of Russia, and occasionally the spirit of Mexico--to consume a hard drink is to consume the spirit of a great civilization). Beer is okay. It's even better when it's dirt cheap, which is what Ballard Firehouse is offering for the next two Saturday nights: cheap beer. During a two-week trial period, respectable beer brands such as Bud, Miller, and Henry's will be sold for just one dollar (the price of water!). And if enough people attend the special nights--the first of which will be entertained by the music of Anomaly 3, Killing Faith, Liquor Box, Anger Management, Tut, and Circus of Shadows--the club will continue to sell beer at this amazingly low price. So, it's important for us broke boozers to go out to the Ballard Firehouse and show our support for this admirable cause. Down with $50 nights, up with $10 nights! These are hard times, gentlemen. CHARLES MUDEDE

DEAR JOHN LETTERS, THE LAWNMOWERS, DOWN PILOT (CD RELEASE)
(Tractor Tavern) Down Pilot is pretty stuff. The CD to be released is called Thrive in a Short Season, and while I can't say it's not ordinary, I can happily say it is ordinary done well. Bands like Red House Painters, Toad the Wet Sprocket, and Dear John Letters come to mind as I play the CD: sleepy, sort of twangy, pretty voice on the male singer, some nice cello. Anyway, Down Pilot is a three-piece with a fresh batch of brand-new CDs, and if you're a fan of pretty stuff that just sort of floats on by you without ever grabbing you by the bozack, check this one out. JEFF DeROCHE

LANTERNA
(Tractor Tavern) Way back in 1995, Lanterna released a richly cinematic self-titled album on Parasol; the disc might be remembered mostly for its elaborate packaging, a product of the Independent Project Press. The solo project of Moon Seven Times guitarist Henry Frayne, Lanterna melded sci-fi and spaghetti Western soundtracks with arid landscapes and moody atmospherics, making for a quietly somber listen to get lost in or write screenplays to. The recently released Elm Street eschews the sci-fi and Western themes but encompasses a striking ability to cast impassioned characters nonetheless. If you like music that flexes your imagination, this is a band you should not miss. KATHLEEN WILSON

TAKAGI MASAKATSU, THE NUDGE, DAVE GROSS & JASON GLOVER, TUCKER DULIN & MICHAEL BULLOCK
(I-Spy) Like Schematic in Miami, Chocolate Industries in Chicago, and Tigerbeat 6 in San Francisco, Outward Music Company in Portland and Carpark in New York have been gaining quite a bit of notoriety in the underground (and constantly growing) world of laptop techno. Trick Doubt, the Nudge's second release, is a blissed-out glitchfest that tinkers with live experimentation, but stays truthful to its techy edge. It's an atmospheric tour de force that delivers a slightly restrained yet gorgeous wall of sound made of synths, flute, guitar, electric piano, and always inventive programming. Takagi Masakatsu, a Kyoto-based sound and vision artist on Carpark, takes his cue from live sound effects and visual elements such as video, fusing them into a multimedia noisefest. Like Nobekazu Takemura, he's a sound terrorist, with good intentions. The fact that he makes music based on the sights and sounds of our everyday world, especially in these times, makes him the Baraka of the techno world. FRANK D. NIETO

HEROINE SHEIKS, HOGMOLLY, THE RUBY DOE
(Breakroom) At the night of the presidential elections last year, Shannon Selberg walked onto the stage of the Crocodile wearing a beaten-up, backwoods-type hat and a dented bugle stuck down the front of his pants. The Heroine Sheiks belted out the first of what would turn out to be an evening of heavily noxious and greasy tunes and stage theatrics, like pointing at everyone in turn and saying "Jew-Jew-Jew-Jew. Jew-jitsu!" Then Selberg pulled a salt-and-pepper shaker out from his underwear and taunted the crowd: "If you don't like what you hear tonight, I'll eat my hat!" Needless to say, he would have to do no such thing. This is one of the most rollicking, gut-busting, and disturbing rock bands around. The Sheiks' vaudeville theatrics combined with a damn sick sense of humor (their new CD, Rape on the Installment Plan, immediately got my girlfriend's panties in a bunch) will either make you walk out of the club forever or become their biggest fan. KREG HASEGAWA

ANGEL DRAG, THE DOWNERS, AGENT 86, ME INFECTO
(Graceland) I stumbled upon Me Infecto this summer at the party that followed the Dead Baby bike race, an anarchic, guerrilla bicycle dash from Capitol Hill down to Belltown. There was a wet-skid contest in the dark alley behind the Rendezvous, where the spectators that lined the walls were as likely as the self-destructive cyclists to end up on the paving bricks. Needing a break from the chaos, I foolishly sought refuge inside, where the bands were playing. Upon entering the rock-room I was assaulted by Me Infecto, a bass and drum duo belching out a primitive brew of dark, aggro prog-punk. Daninfecto manipulates dense chords and drunken, staggering rhythms from his bass guitar, lurching about in a physical manifestation of the sounds he's creating, while barking out words like a deranged butcher. Beninfected manages to somehow hold the chaos together while simultaneously pushing it to the further reaches of cohesion, an instinctual, natural drummer who I'm sure could get a crowd grooving by just slapping his hands against his ass. When the din finally settled I emerged into the dark, cool night comforted with the knowledge that some people were doing their damnedest to live outside the defined parameters. I thank you, Dead Babies. I thank you, Me Infecto. DAN PAULUS

ALL THINGS TO ALL PEOPLE: SHAWN SMITH, JON AUER, CHRIS VON SNEIDERN, SGT. RIGSBY & HIS AMAZING SILHOUETTES
(Showbox Green Room) See Stranger Suggests.

AND YOU WILL KNOW US BY THE TRAIL OF DEAD, ATTACK FORMATION, OTHERS
(Crocodile) See Bio: Music.

HALLOWEEN TRIBUTE SPOOKTACULAR
(Graceland) While this show includes performances by Sick Things, the Undertaker and His Pals, and a few others, it should be noted that it also serves as the public debut of Crictor, a heavy-metal two-piece featuring Jenn Ghetto of S and Carissa's Wierd on guitar and Creighton Barrett on drums and bass. KATHLEEN WILSON

MURDER CITY DEVILS, BOTCH, AMERICAN STEEL
(Showbox) Unless your bunker is unbusted, chances are you've caught wind of the rumor that Murder City Devils are on the verge of a breakup. Tonight's performance is the band's last--in light of the recent departure of keyboardist Leslie Hardy and the forthcoming exit of bassist Derek Fudesco (who is leaving to devote full attention to his other band, Pretty Girls Make Graves), the Devils have decided to call it quits. After their all-ages farewell with tourmates Botch and American Steel, grownups can stick around for an after-party featuring Visqueen and the mostly male Go-Go's cover band the Ho-Ho's, as well as the much-in-demand DJ stylings of Cherry Canoe (a.k.a. Kerri Harrop) and French Fillup (a.k.a. Jared of Tight Bros from Way Back When). KATHLEEN WILSON

VISQUEEN, THE HO-HO'S, DJ CHERRY CANOE, FRENCH FILLUP
(Showbox) See Murder City Devils preview above.

YONDER MOUNTAIN STRING BAND
(Tractor) Not too long ago, I was sitting in a cafe enjoying a beautiful traditional bluegrass jam on the house sound system. When I went up for a refill, I asked the dreadlocked barista (sporting hennaed hands and a filthy skirt that appeared to be sewn from a moldering horse blanket) the name of the artist. I nearly choked on my chai when she drawled in that oddly uninflected tone all chronic pot-smokers share, "The Grateful Dead." Just when you think you hate hippies, they go and play some of the best damn country music on the planet. I suspect that Yonder Mountain String Band, a posse of healthy, handsome boys from Nederland, Colorado, might fall into this same "drug-induced-acoustic-jam" category. Maybe it's the fact that the boys call their traditional though decidedly uptempo music "highly resinated bluegrass for the high country." Resinated, get it? The band, which features mandolin, banjo, guitar, and bass, steers away from ballads, concentrating instead on the sort of sound that makes baristas leap to their feet to do that horrible, twirling flower-power dance and forces jaded critics to reluctantly tap their toes. TAMARA PARIS