The NHL is coming to Seattle and KEXP is going to DJ every single game. Josh Powers

Kevin Cole, DJ of The Afternoon Show and the independent radio station's chief content officer, told me that the radio station is going to bring its signature mix of local, up and coming, and weird music to the Key Arena.

"At KEXP each DJ has the freedom to curate their own shows and really take the listener on an emotional journey. I think that same approach will be applied to games, where each game has its own emotional journey and we’ll be trying to enhance that or create the complimentary soundtrack," Cole said.

Good luck finding this! UMG

In an interview with Steve Baltin published by Forbes, Thayil said when asked how the band will decide which songs to perform, "I think Matt [Cameron], Ben [Shepherd] and I will collectively decide which songs we'll throw our best fist forward. The lineup was put together by Vicky [Karayiannis, Cornell's widow], management and the booking agents all with our approval. The only people on the bill are people that Soundgarden members approved of."

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Great night with my dudes Ben and Kim! #soundgarden

A post shared by Matt Cameron (@themattcameron) on Dec 16, 2018 at 11:58pm PST

It’s not for lack of good source material. Beggars Banquet is often thought of as the first in a series of four “classic” Stones albums, although I think this overlooks the best of their previous efforts, much of which is every bit the equal of what came at the end of the ’60s and the beginning of the ’70s. But whereas superlative new boxed sets from the Beatles and the Kinks have dredged up a dizzying array of fantastic archival material, the bonus material on the 50th anniversary of Beggars Banquet is downright skimpy. The two-disc release—on both vinyl and CD—includes the album itself (of course), a bonus mono mix of “Sympathy for the Devil” on a 12-inch all to itself, a flexidisc containing a nine-minute telephone interview with Mick Jagger, and… well, that’s it. This could be fine, but the deluxe sticker price is not in line with a mere 15 minutes of bonus material that’s of questionable necessity to begin with.

Led by Tlingit bassist/vocalist Preston Singletary, Khu.éex' are a mystical, Native American-dominated jazz-funk unit that featured the final studio and live performances by the late Funkadelic/Talking Heads keyboardist Bernie Worrell. They recorded a massive amount of music with Mr. Worrell (with producer Randall Dunn at the controls), and the latest installment from those sessions is the triple LP Héen ("water" in the Tlingit language). It's a sprawling concept album revolving around Earth's imperiled waters, corrupt, callous politicians, and the construction of the Dakota Access Pipeline.

On "Shell No," Khu.éex' Singletary uses a patient, indignant spoken-word delivery to excoriate shale magnates and short-sighted corporations that put profit over the safety of the environment, as if they're going to be immune from its damage, while intoning plans to resist these evil machinations. Musically, "Shell No" is a mesmerizing, low-slung fusion bubbler not dissimilar to Gil Scott-Heron or Don Cherry in laid-back mode. Worrell's organ whorls with some soul-jazz pizzazz while Captain Raab's guitar speaks in weirdly distorted tongues and Skerik's saxophone goes from mellifluity to alarm over the course the track's nearly eight minutes. Singletary's urgent refrain "No more oil/We can't breathe/No more oil/The future can't breathe" won't penetrate the thick skulls of climate-change-denying GOP leaders, but perhaps future president Nancy Pelosi will heed the message.

performs Wednesday, February 6, at Benaroya Hall. ">

Kinan Azmeh performs Wednesday, February 6, at Benaroya Hall. CONNIE TSANG

There is something captivating and mysterious about the timbre of a clarinet. It's like the gazelle of woodwinds, supple and graceful, its sonic quality more subdued than its brassy siblings, yet more rich and distinctive.

In the hands of Kinan Azmeh, the clarinet becomes even more hypnotic. The soloist and composer generally works within a classical, jazz, and Arabic musical framework, crossing and melding qualities, incorporating new elements and influences (like Indian rhythmic structures) as he goes.

He'd rather not be categorized, however, because he doesn't believe the lines between genres actually exist. "In all my work, I've tried to promote the idea that music is a continuum," he says. The vocabulary used to describe music varies from culture to culture, he explains, but at its heart, music is just a means of expressing ideas or emotions that are too complex to convey with words.