Check out some of the Reader's Soundboard picks below:
A spin-off of electronic-industrial group Bloodyminded, the Fortieth Day doesn't get out much—meaning this is only their second local appearance this year. But as far as Monica Kendrick is concerned, that's hardly the sole reason to check 'em out tonight. She writes, "Where Bloodyminded is a force of nature, with all the depth and complexity that implies, the Fortieth Day is more like a surgical procedure, with a stripped-down and relatively chilly hypnotic-drone aesthetic." The trio of Mark Solotroff, Isidro Reyes, and James Moy will present a Day of the Dead-themed show that will also feature video artist Lisa Slodki.
With a reputation for "combining minimal techno with big, brainy experimental techniques without drifting so far out into abstraction that his songs lose their nocturnal dance-floor appeal," Hendrick Weber (aka Pantha Du Prince) isn't one to shun new techniques and instrumentation in his music. For instance, Miles Raymer writes that his upcoming collaboration with Norwegian collective Bell Laboratories "uses a carillon, a three-ton mechanism that plays a set of 50 bells."
Though Peter Margasak acknowledges that Rosie Flores has "never had the most commanding voice, and she's not an exemplary songwriter," he admires her dedication to the "fundamentals of American roots music, especially honky-tonk and rockabilly." Three decades in, Flores continues championing neglected musical elders like Wanda Jackson and Janis Martin, as well as releasing her own work, including the recent Working Girl's Guitar. Margasak writes that the album "adds a nice Merseybeat tunefulness to her tough twang—her overdubbed vocal harmonies remind me of the Bangles."
For those of you who already have tickets or can scare one up, this show ought to be a fun romp. I write in my preview, "Onstage Alexis Krauss and Derek Miller (and touring guitarist Jason Boyer) ratchet up the dazzling flash and outsize strut of their two albums, Treats and Reign of Terror, stomping through their overblown hardcore party-pop with a ferocity that borders on wink-and-a-nudge self-parody."