WILLARD GRANT CONSPIRACY, MARY LORSON, S
(Crocodile) It's a good thing for Willard Grant Conspiracy that country has had such a revival over the past year or so, particularly the kind with a poppier, more rock-based feel. The band's new record, Everything's Fine, is gentle and evocative on an instrumental level--the 13 players use, among other instruments, mandolin, accordion, cello, banjo, and lap steel to create a twangy, watery, country-lite sound. Singer Robert Fisher's bass voice tends to grate after about four songs, and the lyrics lean toward trite and uninspired, but the live show could honestly prove to be a sweet, remarkable event. The best thing about this bill, however, is S (or Jenn Ghetto), whose frayed, off-kilter songwriting and choked-up narcotic vocal delivery are among the most luminous things Seattle's local music scene offers showgoers. JEFF DeROCHE
JOHN WESLEY HARDING & THE RADICAL GENTLEMEN, AMELIA WHITE BAND
(Tractor Tavern) To know Wes is to love Wes, and we know and love him plenty around here. This is the last day of the band's current U.S. tour before taking off to England. Amelia White is not from around here, however, so let this short preview serve as an introduction: Ms. White is a talented singer/songwriter who hails from Boston. Her songs are at once pop and country-flavored, all the while melodious and packed with rich visual imagery. Watch for her upcoming third solo CD, which will be released on Indiegrrl Records. KATHLEEN WILSON
BLACK CAT ORCHESTRA, AIKO SHIMADA
(Tractor Tavern) See preview this issue.
CARISSA'S WIERD (CD RELEASE), AVEO, AUTOMATON, 31 KNOTS
(Graceland) This is the kind of show you want to catch from the beginning, because, as opposed to whipping the crowd into an ascending, energizing trajectory, the lineup should prove to work in a manner inverse to that. Portland's 31 Knots plays driving, dissonant rock and roll, and promises to open with a set that is impressive, slightly dark, and rewarding for a band on its way to doing great things. Seattle's Automaton should be playing the usual bizarre, experimental noisy pop stuff the band excels at, only given the broken state of drummer James van Leuven's finger, expect a more sample-heavy, spacey set. Aveo, as Seattle has grown to expect, will play a fine, gentler, melodic set of gorgeous pop songs, and, lastly, Carissa's Wierd will play the most quiet and unabashedly beautiful set of the evening to celebrate the band's new Brown Records release, You Should Be at Home Here. See preview this issue. JEFF DeROCHE
WAXWING, KILL SADIE, YAPHET KOTO
(Paradox) Waxwing is the perfect band (for reasons besides just the members' youth) to play for Seattle's sweetly earnest, polite, and fresh-faced all-ages crowds. The band's skill and sonic depth are reminiscent of the better MTV bands the members probably grew up on, like R.E.M. and Radiohead, and they make their performances feel like an arena concert jammed into a small club. They are refreshingly unironic, nearly to the point of incredibility: What other decent local outfit would play a U2 cover completely straight? Oh, and the kids go NUTS. This will be like the Smashing Pumpkins show I walked out on once, only 10 years later, and GOOD. GRANT COGSWELL
JOE JACKSON
(King Cat Theater) Joe Jackson's last swing through town was as back-up musician for Rickie Lee Jones at Bumbershoot, leaving fans of his wry songs about life's winners feeling sorely cheated. His return tonight will feature work from both of his Night and Day albums (Jackson released a follow-up, Night and Day II, last year) as well as songs spotlighting the various periods of his prolific career. KATHLEEN WILSON
KINSKI, MARS ACCELERATOR, THE HAIRS, TIMONIUM
(Crocodile) If you're a discriminating local music lover, you already know that Kinski's eagerly awaited sophomore album only recently became available. So think of this as your second chance to attend the record-release show. While Be Gentle with the Warm Turtles was worth the wait, there's something about seeing the band live that adds an even more spine-tingling element to the music. Tension, release, motion, dynamics, passion, restraint--Kinski creates beautiful instrumental art-rock. BARBARA MITCHELL
STEVE FISK
(Liquid Lounge at EMP) Steve Fisk, alongside Shawn Smith, is the man behind Pigeonhed. Fisk was also in Pell Mell, and is known as quite the super-producer about town, having worked with the Wedding Present, Beat Happening, Tree People, and Unwound, among others. On his own, Fisk has been making records since 1982, all of which are bizarre studio experiments in found sound, heavy samples, and electronic loops. On 999 Levels of Undo, his new Sub Pop release, the production has never sounded better, and the songs are, well, crazy.... If you love electronic music, or you just appreciate odd, quirky layers of melody, you really ought not miss this show. JEFF DeROCHE
DAVE WAKELING
(Graceland) I'm not too ashamed to admit it: I have a 17-year-old cockatiel named Ranking Roger, after Dave Wakeling's toasting co-frontman in the English Beat and General Public. Wakeling has made a couple of appearances in Seattle as a solo artist as well as with his band Bang, and each time he's played fantastic sets packed with his bands' familiar hits such as "Mirror in the Bathroom," "Save It for Later," and "Tenderness," along with album favorites like "Twist and Crawl" and "Doors of Your Heart." KATHLEEN WILSON
VOYAGER ONE, BETHANY CURVE, THE SOPHIES, FONDA
(Paradox) If you're looking to free yourself from earthly restrictions, you'll have some choices for your escape pod tonight. Voyager One's trippy shoegazer sound ascends from the space rock tradition of Spaceman 3 or Spiritualized, and the band has built a dedicated local following with its psychedelic pop on songs like "Asleep in a Stereo Field" and its trippy take on the Beatles' "Daytripper." But where V1 takes you to the edge of the stratosphere, Santa Cruz quartet Bethany Curve inspires introspective journeys with its gorgeous slabs of guitar and unearthly effects. The dreamy drone on "Pool and the Shine" or the uptempo rock of "Drag" serve as a perfect soundtrack for self-discovery. DAVID SLATTON
THE SPECTRES, THE CRIPPLES, REV. BRUCE HOWARD
(Gibson's) There are art forms that seem absolutely impossible to revive: the Living Masters, with live actors posing in costume as portraits of Renaissance courtiers; the Moving Panorama, which for 19th-century audiences simulated travel through a painted landscape; and new wave. The Cripples manage to bring back at least one of these, sped up and battered by a kind of (William Gibson's) Neuromancer garage aesthetic, channeling 2010 by way of 1985. Greg Haino's duct-tape chording and robotic Jerry Lee Lewis moves (at a Casio bolted to the bottom of a chrome-tube rocking chair) are a wonder to behold. Nihilistic, beer-and-cigarettes, Ms. Pac-Man punk. GRANT COGSWELL
RAZORBABES, THE GLORY HOLES, THE LASHES
(Crocodile) The Razorbabes are out of control, which is a good thing if you're a fan of the punk rock or the metal. But the Razorbabes are unique in that they're funny as a fart in bed. Singer Majenta has a ballsy schtick, defined best by her lyric, "Big girls don't cry": She's a big girl, and, though her delivery is very angry, it carries a sense of humor--the kind of self-deprecation that only a truly confident person can pull off. Above all, the band provides everything that Seattle rocker crowds get off on: nosebleed volume levels, a fuck-off stage persona, and lots and lots of screaming. JEFF DeROCHE
SHANE MacGOWAN & THE POPES, THE MURDER CITY DEVILS, WATERY GRAVES
(Showbox) See preview this issue.
SOFCON
(Baltic Room) Sofcon is the brainchild of Jeremy Moss and Nicole Finamore. With a romantic's perspective of old-school hiphop and an injection of the new school, Sofcon takes all elements of the b-boy and b-girl aesthetic and makes catchy tunes (check out "Puttin' on My Nikes"). The styles the group cops are apparent--my friend and I think Nicole sounds a lot like Ladybug from Digable Planets--but don't let that stop you from checking out the goods. This is the stuff guilty pleasures are made of. There's some real promise within Sofcon's trip down hiphop lane. F. VENTURA-PENA
THE LOCUST, THE BLOOD BROTHERS, TOURETTES LAUTREC, AKIMBO, THE RED LIGHT STING
(Graceland) Monday night, the music of the Locust, a San Diego-based band well on its way to underground punk-legend status, will tear the tranquillity off of another sweet Seattle evening by screaming and grinding guitars over very unpredictable drumming, keyboard-playing, and stage presentation. This madness will be preceded by Seattle's own up-and-coming noise peddler Akimbo, which is quickly gaining ground as one of the Northwest's premier indie hardcore bands. Expect confusion, ascension, and elation as tonight's bands conquer your fears by hurling them at you from the stage. MARK DUSTON
LTJ BUKEM, MC CONRAD, PFM, QUAZAR
(Showbox) LTJ Bukem was once heralded the godfather of atmospheric jungle/drum and bass. His Logical Progression series records are considered classic, facilitating a style that served as a template many felt he created. Thus far, he has proven himself to be one of the most prolific DJ/producers of the last 10 years. His sets have earned him much praise, leading his followers through tense but slow builds, taken to beautiful climaxes via his impressive repertoire of impeccable tunes. These two performances should be a welcome treat to the city's jungle/drum and bass contingent, because Seattle can't seem to get enough of it. Also on the bill is Logical Progression alumnus PFM, whose sets are equally as entertaining as Bukem's and are worthy of the early trip down to the Showbox. F. VENTURA-PENA
RICHARD BONA QUINTET
(Jazz Alley) Legend has it that Richard Bona became a musician almost by accident. Charged with finding entertainment for a new club in his native Cameroon, he decided to start a band himself. He chose to play the bass only because the first album he found in the club's collection was a Jaco Pastorius record. If that's a true story, then it makes sense that Bona has no deep allegiance to any one style of music--his 1999 debut album travels from funk to quiet storm to salsa and back. What holds it together is his amazing voice: He reminds one of a less affected Aaron Neville. It's a voice that will be perfect for Jazz Alley, all soft contours and dexterity. Richard Bona may have started playing music by accident, but it's his vocals that destined him for success. NATHAN THORNBURGH
VIRGINIA RODRIGUES, MORENO VELOSO
(Paramount) Moreno Veloso's music has that slightly autistic feel that is extremely popular now--Macy Gray is perhaps the finest example of this. Like Gray, Veloso often sings a bit too high and a bit too precious, but makes it work with good electronica production and a dash of roots music. Now the stars are aligned for something big to happen to Veloso--not only is he the son of Caetano Veloso, the colossal Brazilian songwriter, but the Brazilian sound in general is picking up new steam in America with the emergence of Bebel Gilberto and even the Portuguese Canuck Nelly Furtado. Tagging along is vocalist Virginia Rodrigues, another beguiling import from Brazil. NATHAN THORNBURGH
BLĂĂDHAG, THE EVAPORATORS, X-TRA GUESTS
(Gibson's) Blöödhag is here to save your mortal soul from false metal. With none of the baseball caps, gothic makeup, or rap-rock hybridization that defines today's metallic landscape, the members of Hag will tear you a new one without even loosening their ties. Four bespectacled geeks who spent their recess hours reading Jules Verne, the boys of Blöödhag are all grown-up and ready to share their knowledge with those of us who were too busy playing dodgeball to pick up a book. Somewhere between traveling revival show and boot camp, Blöödhag will make believers of even the most jaded of metalheads. "Morrrr-cock-Cock-COCK!" DAN PAULUS
FUCK, VOYAGER ONE, HURRICANE LAMPS
(Crocodile) See preview this issue.
THE LOCUST, BLOOD BROTHERS, THE RAPTURE, THE VOGUE, TOURETTES LAUREC
(Paradox) The Blood Brothers are entirely unique, taking an adolescent musical form (hardcore) and transmogrifying it into high performance art. Somebody at Virgin Records (who signed the band just over a week ago) has looked into the future of the American musical avant-garde and seen these guys, barely past their teens, figuring large. Blood Brothers claim to be putting all the hardcore they have in them into their upcoming album, because after that they're going in a completely new direction. Snap up their excellent EP This Adultery Is Ripe, because it will soon be a collector's item. The Vogue is Brother Cody Votolato's (punky) and Johnny Whitney's (vampy) night job, and the band is excellent in its own right. GRANT COGSWELL
