Haim, IO Echo
(Neumos) The LA-raised Haim sisters, Este, Danielle, and Alana (along with boy drummer Dash Hutton), make extremely familiar, cooled-out, '80s-style pop music that blends smooth R&B with inspirational Phil Collins, coked-up Fleetwood Mac, and choppy/androgynous Annie Lennox. Start to finish, their hotly hyped debut full-length, Days Are Gone (out last month), is somewhat exhaustingly slick and deadpan for my sloppy taste, but I've heard their live show is a treat and the sisters let their literal and figurative hair down. Oh, and FYI, it rhymes with "time." EMILY NOKES
Keep Shelly in Athens, Chad Valley
(Barboza) Greek duo Keep Shelly in Athens sound a lot like many other American and English duos these days: They deploy distant, wispy female vocals (by Sarah P.) over gauzy, Day-Glo keyboard textures, and uncomplicated, unobtrusively danceable beats by RΠ. (We used to call this "chillwave" back in the night.) Everything seems to be coated in a sugary frost, and it comes off as manicured as exurban lawns. The appeal is understandable: Keep Shelly in Athens's music makes you feel securely enwombed and sweetly anaesthetized. It provides a safe sort of escapism. DAVE SEGAL
Lamar Lofton Trio
(Vito's) Lamar Lofton is a local bassist who received his advanced education in jazz from Cornish College of the Arts, has played in almost every venue in Seattle, worked for Seattle's reggae master Clinton Fearon, and is a well-rounded human being. Indeed, his style of playing cannot be separated from his personality, which is at times boisterous, always honest, never too confident or shy, and humorous. Lofton, who is tall and distinguished by his glasses, and who was featured in the A&P jazz section a year ago, has been in the business for more than two very productive decades. Indeed, a city is only a city if it can support a musician like Lofton. CHARLES MUDEDE
Widowspeak, Pure Bathing Culture, Case Studies
(Chop Suey) I wonder how many albums, by how many different artists, have been recorded in our big green womb of rainy wilderness—in tiny damp cabins scattered throughout the Pacific Northwest. Case Studies' latest record, This Is Another Life, released in June on Brooklyn label Sacred Bones, was born in a tiny rental cabin (with no running water or plumbing) in Sequim, Washington. The folk-rock LP combines warm and hopeful instrumental sounds with the beautifully gloomy lyrics of former Duke (of Dutchess and the Duke) Jesse Lortz. He channels some of the majestic sadness that one sometimes feels while living in the rain shadow of the Olympic Mountains, not unlike a fellow named Steven Paul "Elliott" Smith once did, after living for some time in Portland, Oregon. KELLY O
Bonobo, Grey Reverend
(Showbox at the Market) See Data Breaker.
Blowpony, the Witches Titties
(Highline) See the Homosexual Agenda.
Roy Hargrove Quintet
(Jazz Alley) See Saturday.
Useless Eaters, Unnatural Helpers, Lindseys, Freak Vibe
(Bogart's) Thank god for Useless Eaters, who remind people that not everything that comes out of Tennessee is a Lumineers rip-off and/or country music (I mean, let's hope you know that, but you'd be surprised how many others don't—FOOLS). Useless Eaters play lo-fi and jangly new-wave-laced punk jams that will make you dance, but not too hard. In fact, they'll make for a really nice comedown after Seattle's own Unnatural Helpers get you shakin' your hips so quickly you'll have to make a physical therapy appointment on Monday. Ouch! But also, yes! MEGAN SELING
Scribes, Cam the Mac, DJ Swervewon, Leezy Soprano
(Barboza) Seattle/LA angel-voiced rapper Scribes balances the rapping/singing thing pretty well with poetic lyrics and a knack for catchy hooks with R&B flair. This is one of two record-release parties (one here, one in LA) for his new EP SeaCal Drive, which includes the most tasteful song—titled "Backseat (New Ride)"—I've ever heard about a booty call in the back seat of a newly purchased vehicle, ladies choice. EMILY NOKES
The Shondes, Led to Sea, the Rainiers
(High Dive) The Shondes are named after the Yiddish word meaning "shameful" or "disgrace," and the outspoken queercore band may be the only musicians I know who embrace Jewish radicalism to write political songs influenced by Jewish liturgy, riot grrrl, punk, and folk. Their set is full of energetic punk songs, punctuated by unexpected bursts of violin over the raucous vocals of bassist/singer Louisa Solomon. Although the NYC-based group has been around since 2006, they have recently gotten a bump in attention for their newest release, The Garden, from Entertainment Weekly, Rolling Stone, and Spin. Also on the bill is Led to Sea, the solo project of NW treasure Alex Guy, who has played violin/viola on records by Xiu Xiu, the Dead Science, the Pharmacy, and Parenthetical Girls. BREE MCKENNA
Night of the LTD: Kingdom Crumbs, OCnotes, Jarv Dee, ILLFIGHTYOU, DJ Suspence, El Mizell
(Neptune) This show has been canceled.
Thee Samedi, Vex, Orange King, Drug Problems, Bad Noids
(Hollow Earth Radio) See Underage.
Motorheadz Supergroup, Cinkrillian Weight, HOM, RMS
(Lo-Fi Performance Gallery) See Data Breaker.
Roy Hargrove Quintet
(Jazz Alley) See Saturday.
(Easy Street Records) Earlier this month Seattle's monster-rock duo Hobosexual celebrated the release of their second full-length, II. The rock-and-roll concept album is about a BMX gang in 2071 (sexy!), and while it's technically about the future, it's also about the past, musically achieving the same boisterous attitude and energy as some of the cockiest of cocky '70s and '80s rockers, with driving guitar riffs and pummeling drumming. While the CD has been in stores for a couple weeks (and the number one selling local release at Easy Street Records), tonight Hobosexual will be, for the first time, selling "extremely limited edition individually foil numbered" vinyl copies of the record. Get it while the gettin's good. MEGAN SELING
Wolvserpent, Addaura, A Story of Rats
(Highline) Straight out of Boise, Idaho, Wolvserpent purvey a very serious strain of stark folk and noisy goth rock, informed by minimalist composition and apparitional drones. At times on their recent album, Perigea Antahkarana (average track length: 20 minutes), Blake Green's distant, guttural male vocals undergird a remorseless guitar turbulence that makes you understand why Relapse Records signed Wolvserpent. At others, the duo (which includes Brittany McConnell) seem to have infiltrated the conservatory with mournful, string-laden airs that seek to out-haunt Dead Can Dance. Kindred Seattle spirits A Story of Rats—who also forge long pieces that embrace gothic folk and epic, grave drones—open. DAVE SEGAL
Kingdom of the Holy Sun, Magic Castles, Cabana
(Rendezvous) Brian Jonestown Massacre almost have become the Velvet Underground of 21st-century psych rock, in that legions of musicians who've heard them have gone out and formed bands similar in style to BJM. Mark down Magic Castles as another group that owes a bucketful of gratitude to Anton Newcombe and company. What that means is Magic Castles dip their toes into two of their mentor's main, acid-laced styles: mellow, tuneful strum-alongs and meandering amoeba rides to the center of your lava lamp. These they execute with poise, if not blinding distinctiveness. But then again, Brian Jonestown Massacre are essentially an artful amalgamation of myriad canonical '60s and '70s rock bands' elements, too. Ersatz all, folks. DAVE SEGAL
Hand of Doom, At the Spine, Thunderpouch, Maiden Seattle
(Rendezvous) Running across a truly awesome tribute band is rare. For every solid Led Zeppelin cover band, there are easily another 15 to 20 terrible-to-subpar Bon Jovi, Deep Purple, and Kiss tribute bands murking up sports bars on any given night—many of which are located in Everett or Kent. Hand of Doom, Seattle's premiere Black Sabbath tribute band (both in sound and image), are undoubtedly a cut above the rest, replicating metal's forefathers flawlessly. Iron Maiden cover band Maiden Seattle is opening, so show up early for a double dose of classic UK metal by way of the Northwest. KEVIN DIERS
Roy Hargrove Quintet
(Jazz Alley) One of the things I admire about the talented jazz trumpeter Roy Hargrove is not so much his strong sense of musical history but that he places great weight on technical mastery. Now, as much as I think music technology has never changed for the worse, and as much as I support the innovations of hiphop production, I can never truly part with the feeling that jazz is a high form of art because it demands a kind of technical sophistication and knowledge that takes years to learn. Meaning, I can understand a professor of jazz but never a professor of R&B. Hargrove knows his instrument and knows the world he lives in, and though he has worked with rappers and soul singers, he has clearly never broken with the jazz conservatism of Wynton Marsalis—one of the greatest musicians of the 20th century. CHARLES MUDEDE
Maria Minerva, Cherushii, YourYoungBody
(Chop Suey) See Data Breaker.
Roy Hargrove Quintet
(Jazz Alley) See Saturday.
Flatbush Zombies, Bodega Bamz
(Crocodile) New York's Flatbush Zombies (Meechy Darko, Zombie Juice, and Erick Arc Elliot, the last of whom also handles most of the group's production) have a lot going for them. Their dark, drugged-up, eyes-rolled-back aesthetic and highly "rebloggable" streetwear fashion sense have made them one of the most buzzed/tweeted/Tumblr'd-about new rap groups on the internet, but their music has mostly been a mere sidenote to this popularity. And though their latest effort, BetterOffDEAD, is a definite improvement from their lackluster debut, D.R.U.G.S., it still sounds like a distilled, less-talented version of Tech N9ne or a Gravediggaz-type Wu-affiliate. Unless you're a teenager or brand-new rap fan, Flatbush Zombies will likely have you reminiscing on the time when New York rappers started trends instead of chasing them. MIKE RAMOS See also My Philosophy.
Kevin Devine and the Goddamn Band, Now, Now, Harrison Hudson
(Vera) See Underage.
Lo There Do I See My Brother, He Whose Ox Is Gored, A Province of Thay, Witch Ripper
(Vera) Speaking of music that scares the shit out of us (see pg. 23), this show is packed with tunes that'll terrify you. Seattle's He Whose Ox Is Gored sound like a rock band started by the ghosts that haunt our basements and attics. They're trying to communicate their reason for sticking around through gazey, doomy instrumental songs. So spooky. As I'm sure you could tell by the name, Witch Ripper also deliver a perfect pre-Halloween party soundtrack. If you're a fan of Neurosis and/or Mastodon, Witch Ripper will make your ears bleed with delight, as they combine some of the breathtaking moments of Neurosis with punishing stoner rock. MEGAN SELING
Tangerine, Maiah Manser, Lures
(Barboza) Local four-piece Tangerine (powered by sisters Marika and Miro Justad, with Toby Kuhn and Ryan Baker) make soulful pop with sprinklings of hazy Camera Obscura elements, or girl-group throwback masters like the Carrots, or hell, maybe even a little Bananarama "Cruel Summer," for good measure. The press release for this Halloween-eve-eve show says costumes are encouraged, and I'm seconding that encouragement! But my advice would be to wear something you can easily dance in—or slow-dance in—because you're going to be doing a lot of that, and you don't want to arrive in your clunky Iron Man 3 costume expecting to get wild. EMILY NOKES
(Meany Hall) Acclaimed percussionist Alex Acuña, known for his work with Weather Report, is joined by University of Washington percussion studies chair Thomas Collier, bassist Dan Dean, and pianist Don Grusin in a program of original works for percussion ensemble. JEN GRAVES