THE MAKERS
(Crocodile) You don't even have to hear the Makers to know they rule. It takes balls to dress to the rock star nines (or to use your band name as your last name) in a city where khakis practically qualify as formal wear, but the Makers pull it off without coming across like clowns. Of course, it doesn't hurt that in addition to style and attitude, they also have substance and a fine new album, Rock Star God, out on Sub Pop. So rummage through those closets and come live out that rock 'n' roll fantasy for an evening. It's good for you. BARBARA MITCHELL

BUGS IN AMBER, DRIVE, DORA FLOOD
(Graceland) Time was, when you went to hear a band, you had your standard four-piece and you were happy to get it. If they happened to add a set of keyboards, or perhaps a flute or an electric violin, well, that was gravy. Bugs in Amber's got all of these, and the result is sweet: an orchestral pop full of layered melodies. Their latest, Rocketship Letters, was just released; a weaving of complex musical threads, where if you tugged just one you'd change the entire soundscape. GENEVIEVE WILLIAMS

SLEATER-KINNEY, GENE DEFCON, THE NEED
(Showbox) Okay kiddies, gather round: It's time for your story. Today I'm going to tell you all about Sleater-Kinney. Oh, you've already heard of them? That's okay, you probably haven't seen them live, right? You're too young. Wait a minute, what do you mean you've seen them in concert? How is that possible? Oh, you saw the ALL AGES show from their All Hands on the Bad One tour. Well, that's great. What's that? You even saw the electrifying Need? Wow, you saw something the big kids didn't. JUAN-CARLOS RODRIGUEZ

DJ DIMITRI FROM PARIS
(I-Spy) Dimitri is a name far too much in DJ demand: There's DJ Dimitri from Amsterdam, the roly-poly DJ Dmitry (ex-Deee-Lite member), and our fair Parisian Dimitri. I'm sure they've each lost a few record sales to the other, but that's their own fault for not copyrighting their names, à la the very business-minded Billy Joel™ (really). French Dimitri actually has a distinct sound -- on Sacre Bleu a few years back, he released a near-perfect record of Serge Gainsbourg-smooth techno jet-set tunes; close your eyes and you can almost hear the ice cubes tinkling, and feel the softness of the white monkey-fur lining on your Eames egg chair. Sure, it's not the freshest genre, but if it's what you like, Dimitri really does it best and should be worth seeing, if just for his outfit -- which will undoubtedly be better than yours. LEAH GREENBLATT

THE UNRELENTLESS
(Gordon Biersch) Earlier this year, Harvey Danger's Sean Nelson and the Nevada Bachelors' Mike Squires joined forces with a few friends to entertain the masses with some choice cover tunes as the Unrelentless. Tonight, Nelson and Squires go it acoustic, attempting to re-create the ever-so-glamorous feel of a hotel (actually, "motel" might be more appropriate) lounge at the Gordon Biersch. Expect to hear a full spectrum of self-described "bad covers," along with a few Harvey Danger and Nevada Bachelors tunes. Sounds like a good time to me. And -- like all shows at Gordon Biersch -- it's free. BARBARA MITCHELL

HOUSE OF LARGE SIZES, RUSTON MIRE, THE FONGS
(Graceland) This Iowan power-pop trio have been punching their chords for 15 years, and in that time the Mississippi River has now permanently changed directions and flooded Canada. They were initially slated to bring down the Kingdome, but businesses in the area were afraid of peripheral damage. HOLS are Godzilla's cuter cousin, the bastard child of AC/DC and the Who. HOLS will rock so hard, they'll make the Denny Regrade look like a child playing in a sandbox with Tonka trucks. KREG HASEGAWA

JONATHAN RICHMAN
(King Cat Theater) If you're in love with your girlfriend, don't take her to see Jonathan Richman. And if you do take her -- because in addition to being the kind of sensitive, darkly obsessive type who digs Jonathan Richman, you're also a clueless romantic who thinks that love conquers all and that there ain't no woman like the one you got -- then don't stand too close to the stage. Jonathan Richman will steal your lady right out from under you. He does it with his eyes, so wide and sparkly and childlike for a man who's pushing 50. He does it, too, with his lissome figure, twisting and writhing to Tommy Larkins' rockabilly beats with knowing, satirical aplomb. Your girlfriend won't acknowledge it, but she'll never look at you the same way again -- you'll forever be coolly appraised against Richman's gold standard. After all, no matter how sensitive and darkly obsessive you are, it's not your damn job. If you're going anyway, don't worry that he's still touring his 1998 release, I'm So Confused, and he's probably still working the same "ad hoc" monologue into "Nineteen in Naples" and still playing the tortured Parisian esthete on his sly cover of "Night Fever." If you're just going because you dug There's Something about Mary, then don't pay attention to any of this; don't complain when everyone else gets to the show an hour before you; don't smoke; and especially, don't say anything snide or sarcastic to the boys and girls sitting cross-legged on the floor -- they're very, very sensitive. ADAM MAZMANIAN

VIOLENT FEMMES, EL DESTROYO
(Moore Theatre) Let's see a show of hands -- how many of you own a Violent Femmes album that was released while a Democrat's been in the White House? I thought so. While anyone between the ages of 15 and 50 probably knows all the words to "Add It Up" or "Blister in the Sun," most folks would be hard-pressed to name a Violent Femmes song (or an album) that was released during the past decade. This was painfully obvious during a recent VH-1 performance, where the only sign of life from the audience came when the band trotted out the hits. So for God's sake, go easy on these guys while you're waiting to relive your adolescent angst. Some of the recent, grown-up material -- while not familiar -- isn't half-bad, either. BARBARA MITCHELL

SEX MOB
(OK Hotel) Onstage, Steen Bernstein is at once a dictatorial and comic figure, combining the tempestuous menace of a late-career Buddy Rich with the schmaltzy Catskills antics of a Love Boat-era Buddy Hackett. Before recording Solid Sender late last summer and early fall, the Sex Mob worked on their arrangements during their regular Friday midnight shows at Tonic on Manhattan's Lower East Side. Bernstein would berate his players mercilessly for the slightest misstep, glowering at drummer Kenny Wollesen for undetectable timing errors or manually adjusting the fingers of bassist Tony Scherr when his pitch was off. He doesn't come off as an asshole doing this; he pulls it off because the band -- probably used to it -- thinks it's funny, and because when they get going, damn if the Sex Mob aren't as tight as the JB's. ADAM MAZMANIAN

CARISSA'S WEIRD, NOD AND SMILE, STRADHAUGHTON ECHO
(Paradox) It's gotten to the point where I don't care what anyone says, including the band themselves: Carissa's Weird can do no wrong in my eyes. Even with a makeshift drummer, even if they're awkward or goofy onstage, I love it. Their music warms my heart and puts me in a great mood. This all-ages show will be a nice chance for some younger folks to experience one of Seattle's most beloved new bands. And the bill is a perfect mix, with the more delicate, orchestral Stradhaughton Echo and the arch punk pop of Nod and Smile balancing out the night. ERIN FRANZMAN

SLEATER-KINNEY, GENE DEFCON, NO. 2
(Showbox) You've gotta wonder if the gals in Sleater-Kinney aren't ready for a vacation. The band seems to release an album a year like clockwork, and that's in addition to side projects and other commitments like Quasi, Cadallaca, and Go-Betweens collaborations. It might be blasphemy to suggest that a little time off from the (hot) rock might do some good; then again, maybe this critically lauded trio is comprised of compulsive workaholics who would cease to exist if they stopped creating. To slightly alter a line from my mom, the proof is in the pudding -- or at least tonight, in whether the energy and passion is still there in the live show. BARBARA MITCHELL

RICHMOND FONTAINE, THE BAND THAT MADE MILWAUKEE FAMOUS, THE EX-HUSBANDS
(Tractor Tavern) For some reason, good ol' no-frills, homegrown, American rock 'n' roll is afforded the same level of respect as, say, Chevrolet. Everyone wants something exotic -- whether that's an Austin-Healey or the latest Japanese lounge-pop combo. Well, the Band That Made Milwaukee Famous aren't exotic at all. They're cut from the same cloth as, say, John Mellencamp or even Bob Seger. Which means fine, upstanding, hard-working, gravelly-throated rock music that works hard for the weekend and goes down smooth with a Budweiser. Nothing fancy, but at least you can depend on it. BARBARA MITCHELL

HOTBOX
(I-Spy) Writing up this monthly event is a little redundant: Seattle's gay girl community seems to have a communications system far superior to The Stranger for relaying information -- even with minimal advertising, Hotbox never fails to pack 'em in. I guess it's just worth mentioning that the show has now moved to I-Spy following the de-gaying of ARO.space, and tonight features legendary DJ/producer Terry Bristol, one sexy bitch on the decks. LEAH GREENBLATT

VALENTINE KILLERS, HELLBENDERS, THE SPITS
(Breakroom) So the Valentine Killers have a brand new seven-inch and a forthcoming LP. This is a record release party, so you should be able to buy all kinds of stuff. They'll be going on tour soon, too. The Hellbenders will be joining them, and no, as much as it may sound like it, that's not the Halo Benders, it's the Hellbenders. The Spits shall commence the performance, bringing to the evening an air of refined dignity and measured grace. JUAN-CARLOS RODRIGUEZ

THE VOGUE, VUE, SELBY TIGERS, COUGAR
(Graceland) For a band that seemed to rarely play out, the Vogue appear on the verge of becoming Seattle's house band. Tonight, they hit the stage with Vue, who -- in addition to effectively referencing all the great post-punk artists of the '80s in their self-titled Sub Pop debut -- are curiously devoid of a "the" in their moniker. But any conversational awkwardness arising from that fact will be forgiven if they exhibit even half the electricity or commitment to rock on-stage as they do on their album. BARBARA MITCHELL

THE FIGHTING MACHINISTS, THE JONES, GRAY DAISY
(Rain Dancer) A good friend of mine loves the Fighting Machinists. And, since he's a good friend, I want to trust his judgment. But then I realized that he also recently tried to defend Willis to me. Hmmm. Thankfully, our friendship is strong enough to withstand such a massive error in judgment on his part. And since there are so many really great shows happening lately, I'm feeling generous enough to admit that taste is a very subjective thing. So, the Fighting Machinists.... Well, if you like Willis, maybe you should go see them. BARBARA MITCHELL

WIRE, HOVERCRAFT
(Showbox) See preview this issue.

CAT POWER, SUE GARNER and RICK BROWN
(Crocodile) See Stranger Suggests, page 45.

ROLLINS BAND
(Showbox) Henry Rollins is the quintessential post-modern Renaissance man. No, wait, hear me out on this. Who else could VJ on MTV and still retain artistic integrity? Who else could mix together so many distinct musical genres and not come off sounding like a pretentious twit? I rest my case. Oh, and the music's not bad either, especially if you like it loud, aggressive, and hard, which I do. The latest album's called Get Some Go Again. Couldn't have put it better myself. GENEVIEVE WILLIAMS

THIRD EYE BLIND
(Paramount) Unlike most of their execrable peers -- Matchbox 20, Sugar Ray, Smash Mouth, and the fucking Goo Goo Dolls -- Third Eye Blind don't bother me one bit. Their self-titled album spawned four radio hits: "Semi-Charmed Life," "Graduate," the very Dawson's Creek-y "How's It Going to Be?" and "Jumper," which sound like they were done by four different bands. I'm not sure that's a compliment, per se, but I do know that, without being able to elucidate why, I would bet this'll be a really good show. ERIN FRANZMAN

EX-GIRL
(I-Spy) See Stranger Suggests, page 45.

MIGHTY MIGHTY BOSSTONES
(Crocodile) The Mighty Mighty Bosstones have been doing ska for so long that it will be interesting to see what lies in store for them now that the ska revival seems to have been replaced by rap-metal as the flavor of the month. While they may never match the level of popularity they attained with the radio saturation of "The Impression That I Get," it's a sure bet that the Bosstones have a long career ahead based on their live act alone. They're one of the few bands out there that seem on a mission to entertain their audience. BARBARA MITCHELL