WAXAHATCHEE, SWEARIN', DEAD BARS

If the phrase "wah-oh wah-oh" and the act of fist-pumping make you squeamish, you should probably avoid this show. If, however, emotionally transparent indie rock tickles your endlessly self-doubting post-college twentysomething psyche, you should probably attend and smile/cry/do whatever makes that student debt feel okay! Twins Katie and Allison Crutchfield achieved something like cult status in DIY folk punk under the moniker P.S. Eliot, but now each have respective projects in the bigger and more fedora-wearing world of indie rock. Katie Crutchfield writes startlingly honest, punk-tinged folk-pop songs as Waxahatchee. But since I'm currently averse to singer-songwriter/acoustic projects (I call it the "Elliott Smith Syndrome"), I'm admittedly more stoked on Allison Crutchfield's slackadaisically delightful pop-punk band, Swearin'. Whereas Waxahatchee takes the volume down and intimacy up, Swearin' is loud on both fronts. On would-be hit "Here to Hear" from their 2012 self-titled debut, co-songwriter Kyle Gilbride gets almost infringement-level J Mascis with his near-frenzied slacker rasp: "I keep thinking/Is this as good as it gets?" It just might be, if you crave classic '90s slacker finesse and inescapably catchy hooks. With local pop-punks Dead Bars, whose first single, "Funhouse Monday," in addition to spewing forth heartfelt gobs of earnest punk jubilance, also hints at their name's inspiration. Wah-oh wah-oh! Chop Suey, 8 pm, $10 adv/$12 DOS.

RORO, TI FEMME, SUE ANN HARKEY, STALEBIRTH

If you're looking for something completely different, Norwegian composers Roro and Ti Femme will be weirding up your local DIY radio station tonight. If the words "improvisation" and "found sound" don't inspire fear, be sure to check out Roro's minimalist percussion and multi-instrumentalist Ti Femme's long-form, chant-intensive freak-outs. Also don't miss local improv guitarist Sue Ann Harkey, who creates harp-guitar and otherworldly 12-string ragas guided by Middle Eastern and African tonalities. Harkey's been active in the Seattle and New York experimental music/visual arts scenes since the late '70s; her "futurist folk" songs form a vertiginous, hypnagogic blur. Opening is the grossly named local trio Stalebirth, whose cassette debut, Comepuppy, contains six prog-length drone/noise jams with mostly incomprehensible banshee wails and a trancelike percussiveness that occasionally warps into free-jazz pagan sacrifice. Hollow Earth Radio, 8:30 pm.