WELCOME, POOLSIDE, FCS NORTH
(Crocodile) See Stranger Suggests.

LA MOVIDA
(Baltic Room) If you're talking trend-wise, the whole Latin thing is getting about as tired as Ricky's "I am so hetero" protestations. But for, let's see, millions of people, Latin culture is a way of life, not a thing to be discarded like last year's capris. For those who enjoyed the sounds before Enrique, Jennifer, and Ricky pop-ified it and put it on the front rack at Tower Records, La Movida is a great chance to dance to some real Latin music -- it works well in the classy, intimate atmosphere of the Baltic Room, and you actually get a chance to engage in some partners dancing, which is so fun; nobody does that anymore, and I don't know why. LEAH GREENBLATT

WESLEY WILLIS, PEZZ, PLEASEEASAUR
(Graceland) Wesley Willis' perception of the world is sufficiently unique that he is a marginally successful recording and performing artist. Some of his songs are "Casper the Homosexual Friendly Ghost," "Shoot Me in the Ass," "Freak Out Hell Bus," "Suck My Rottweiller's Ass," and "Steaming Muskrats." Does this sound like something you should miss? Whip an ass and git to the show. JUAN-CARLOS RODRIGUEZ

THE HUNTINGTONS, THE DEADLINES, FORMULA ONE
(Paradox Theater) The Huntingtons started off as a Ramones cover band, gradually adding their own tunes and even a synthesizer for texture; the Deadlines are a Christian/goth/vampire/rock band. Both bands are sporting new CDs on the Tooth & Nail label, and both should draw completely different crowds. I propose that the Huntingtons fans gather on the left side of the stage as the Deadlines fans gather on the right. It'll be just like West Side Story. KREG HASEGAWA

SANFORD ARMS, MARC OLSEN, ACETYLENE
(Tractor Tavern) The Tractor Tavern is the perfect place for this bill, pairing the plaintive, melancholy AM-radio leanings of Sanford Arms with Marc Olsen's wide-open space-folk in an atmosphere that's informal and intimate enough to allow you to enjoy the nuances of both completely. Olsen is breaking in a new rhythm section, while SA are gearing up for a visit to the studio, which should make for a fine evening of relaxed, low-key musical entertainment. BARBARA MITCHELL

DAVID GRAY, JOSH ROUSE
(ARO.space) Irish singer-songwriter David Gray and homegrown talent Josh Rouse share the stage for what promises to be an evening of the kind of low-key, beautiful, slightly folky stuff that sticks in your head for days. If you need additional incentive, Gray does an absolutely breathtaking cover of Soft Cell's "Say Hello Wave Goodbye" on his new album, and Rouse's latest features guest appearances from members of alt-folk kings Lambchop. BARBARA MITCHELL

INCANTATION, COFFIN TEXTS, SKINLESS
(Breakroom) There's something almost endearing about good old-fashioned thrash. "Endearing" might seem like an odd word to describe the infernal noise that is Incantation, but if you cut your teeth on the likes of Slayer, Sepultura, and Napalm Death, then this band is like coming home. From the super-spooky fonts and ultra-creepy artwork on every CD cover, to album titles like Forsaken Mourning of Angelic Anguish and Mortal Throne of Nazarene, there's no doubting Incantation's sincerity. Eschewing such mundane notions as melody or any rhythm slower or more syncopated than a chainsaw, they're the real deal. If the mere act of reading this preview inspires flashbacks of late Saturday nights curled up with MTV's Headbanger's Ball, then this show is for you. GENEVIEVE WILLIAMS

AIMEE MANN & MICHAEL PENN
(Moore Theatre) I haven't attempted to defend Tom Cruise since I was in high school, but if the Magnolia soundtrack is responsible for re-launching the career of Aimee Mann and her husband Michael Penn, I just might have to say a few kind words about the man. In a world where Alanis Morissette's clunky diatribes count as deep emotional works, the complexity and subtlety of Mann and Penn have been severely underappreciated. Given the size of the venue they're appearing in this time around, it seems as if that's changing -- so, um... thanks, Tom. BARBARA MITCHELL

NEVADA BACHELORS, HAFACAT, RUSTON MIRE
(Crocodile) There's something disturbingly meta about some of the songs on the Nevada Bachelors' latest, Hello Jupiter. If one didn't know that the world of rock music was one of easy fame and fortune, one might suspect the band of sprinkling a few anecdotes here and there. Then there's the harmonies, not to mention the particular inflection to the vocals that gives one the distinct impression of the adjective "Beatles-esque" lurking in there somewhere. With Hafacat, who resemble a fine champagne in that they're bubbly and go right to your head, and Ruston Mire, whose Steady Jobs & Flying Cars portends great things, this bill is a class act all around. GENEVIEVE WILLIAMS

BUGS IN AMBER
(Paradox Theater) Bugs in Amber are a little like Sunny Day Real Estate crossed with Jeremy Enigk's solo work. On speed. Orchestral touches round out the plaintive pop that is the core of the Bugs, but where SDRE and Enigk occasionally seem on the verge of collapsing under their own (or some higher power's) weight, BIA manage to keep things on a more upbeat and uptempo level. BARBARA MITCHELL

THE THE
(Showbox) The The's latest, NakedSelf, has plenty of toe-tapping riffs and hummable melodies, and it's one of the best records put out by Trent Reznor's Nothing label in recent years. No doubt the show will include some older favorites as well, and who knows -- maybe they'll even throw in one of their Hank Williams covers from 1995's Hanky Panky. In recent interviews, The The's creator and mastermind Matt Johnson has emphasized the political nature of NakedSelf's lyrics, particularly the anti-consumerist message. Indeed, songs like "Swine Fever" ("You don't even need it, but you've just gotta have it") will be particularly relevant when played in WTO- and Microsoft-saturated Seattle. MELODY MOSS

STAN RIDGWAY, THE GIRAFFES, JASON TRACHTENBURG
(Sit & Spin) He'll probably always be best known as the original voice of Wall of Voodoo ("I'm on the Mexican radiooooo..."), which is a shame, because Stan Ridgway has had a long and very interesting solo career. He has continued crafting often-surreal tales that expertly complement his dry, detached, and oh-so-distinctive voice. He doesn't tour often, so mark your calendars. BARBARA MITCHELL

DEEPER CONCENTRATION TOUR
(I-Spy) The Tour is back again, with more strong hiphop sounds. People under the Stairs, who took their name from that creepy Wes Craven movie, are sort of a combination of Jurassic 5 and the Invisibl Skratch Piklz, less nostalgic than the former and more rap-oriented than the latter -- and it's pretty good stuff. Also performing are J-Boogie, one of the Bay Area's strongest proponents of both hiphop and drum 'n' bass, and the very buzzy Planet Asia. LEAH GREENBLATT

BLUE SPARK, RADIO NATIONALS, PETE DROGE
(Crocodile) This is the night to be drinkin' and mopin'. All these guys have traveled the country numerous times, lookin' for love and a place to rest their weary heads, and have written bittersweet, sappy love songs that fall somewhere between Hootie and the Blowfish and the Replacements. So bring plenty of dough to shell out for brewskies, and bring Kleenex for the tears you are sure to cry as the bands remind you of the times that have been. JUAN-CARLOS RODRIGUEZ

KANSAS
(Emerald Queen Casino) Here's the latest addition to the "Oh how the mighty have fallen" category. Kansas reached their peak in the mid-'70s with the gorgeous orchestration and intriguing lyrics of Leftoverture and Point of Know Return, but in 1980, two of the band's original members committed the ultimate rock-star sin: They became born-again Christians. Wonder how they'll deal with the seeming incompatibility of old-time religion and a tour full of casino venues? Perhaps "Dust in the Wind" should be reconsidered as a metaphor for the fleeting fame of rock bands. MELODY MOSS

PARK, LITTLE CHAMPIONS
(Gibson's) Little Champions' Devo-ish rhythms and clean guitars make them sound like Mocket at times, but overall they come off as being poppier and pretty original. With their simple, strange melodies and harmonies and cool, danceable beats, they might take a little while to endear themselves to you, but you'll more than likely find yourself saying, "Hey, this is pretty good." JUAN-CARLOS RODRIGUEZ

STYX, REO SPEEDWAGON, SURVIVOR
(Gorge Amphitheater) Apparently this is the week for painful comeback attempts of once-popular late '70s/early '80s bands, and opening day at the Gorge features not one but THREE of that era's quintessential, keyboard/guitar-heavy power-ballad bands. But I don't care what anyone says -- Styx was one hell of a great band in their early years. Forget about fluff like "Come Sail Away"; check out the pounding beats and socially conscious lyrics of songs like "Blue-Collar Man" or "Miss America." The latter was an incredible rarity for its time: a slam against the commodification of the female body, penned and performed by an all-male rock band. MELODY MOSS

GRUNTRUCK, RESIN ROOM, FOR THE LOVE OF SUFFERING
(Graceland) Their old records have finally disappeared from the bins at the stores. The last lonely copies have gone to rest at the back of an ex-grunge-rockers' collection. But Gruntruck is back, and well, what else can we say? JUAN-CARLOS RODRIGUEZ

ORCHESTRA MORPHINE
(Showbox) After Morphine frontman Mark Sandman suffered a fatal heart attack onstage last summer, it seemed that the band's newly finished CD, Night, would be a record without a tour to support it -- making Sandman's death even more tragic, and leaving fans and the remaining band members without any sense of closure. The nine-member touring band consists of former Morphine saxophonist Dana Colley and drummer Billy Conway; original Morphine drummer Jerome Deupree; and other friends and associates of Morphine, including Laurie Sargent, former Face to Face singer and Conway's longtime girlfriend. The two-night Seattle gig also features Sandman's old friend and former roommate Chris Ballew, who on occasion had joined Sandman onstage during previous Seattle shows. MELODY MOSS

THE NEED, THE VOGUE, THE TRANSFUSED, GLASS CANDY AND THE SHATTERED THEATER
(Sit & Spin) Veterans of compilations, seven-inch singles, and Sleater-Kinney shows past, the Need not only have a new album (The Need Is Dead), but a whole honest-to-god rock opera (also on the bill, as the Transfused). In between you get local darlings the Vogue. GENEVIEVE WILLIAMS

MAD PROFESSOR, MACKA B, NOLAN IRIE
(I-Spy) Most people know of Mad Professor because of No Protection, the remix album he did of Massive Attack's masterwork Protection. That's not really what he's about, though; he's actually a reggae dub star, which may come as an unpleasant surprise to some expecting more triphop-ish sounds. It might be nice to see someone bring the Jamaican sounds out of Pioneer Square for once, anyway. LEAH GREENBLATT

ORCHESTRA MORPHINE
(Showbox) See Saturday's listing.

QUEENS OF THE STONE AGE, ELEVEN, POST STARDOM DEPRESSION
(Showbox) Notwithstanding the aggressively porn-eriffic artwork on their self-titled CD, the Queens of the Stone Age are a rather unassuming band, with a low-key stage presence. The audience nevertheless head-banged and body-surfed throughout the Queens' performance at last year's Bumbershoot. Say what you want about the formulaic, dark and dreary sound of current alterna-metal bands, the Queens have what many of these bands don't: musicians with considerable talent. Created from the remnants of "stoner-rock" band Kyuss, the Queens intersperse heavy bass lines with catchy hooks and soft, even soulful vocals. MELODY MOSS

WOLF'S BANE, WEARY, TINY KINGS
(Showbox) Let us ring the welcome bell for the tiny kings, weary from their journey. They have arrived with their tiny entourage and their tiny crowns and scepters. All they have requested is a ceremonial burning of the wolf's bane, and a martini by the poolside. JUAN-CARLOS RODRIGUEZ

EIFFEL 65
(DV8) Some European producer seems to have brought together a small international crew of pretty, dentally superior young things, stuck them in front of a synthesizer, and gone crazy. At first, I thought the lyrics to their smash hit "Blue" were kind of existential and thought-provoking. Then I heard their follow-up, and realized that's just what happens when you have English as a second language. Still, that "da da di, da-uh da" chorus is an unmitigated classic, and I will love it forever. LEAH GREENBLATT

ROLLERBALL, CAGED
(I-Spy) Rollerball's EP, Einäugige Kirsche, has recently been released by Road Cone. This group packs their songs with chaotic dubs and poisonous bleeps, blending the chaos with sugary melodies, homey funk, and plenty of feedback. Rollerball is a weirdly listenable group. At some moments the tempo is stretched out, while at others it sounds like they're pulling a porcupine backwards through a glass tube. If you're willing to leave your expectations at the door, this SIL2K-sponsored evening may be enough to change your perception of what music is and can be. KREG HASEGAWA

KITTIE, SHUVEL, THE STEP KINGS
(Graceland) So I must confess, Kittie's exactly the kind of band I wanted to be in back in high school. They're loud. They're angry. They're all girls, and they're all underage. Their debut, Spit, is strictly bleeding-eardrums, cranking-stereo, scream-along material. And speaking of bleeding eardrums, they're preceded by Shuvel and the Step Kings on this bill. Just remember, earplugs are for sissies. Unless they're dyed black, of course. GENEVIEVE WILLIAMS