VALET | Theater Critic's Choice | Chicago Reader

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Honey Owens has been part of the experimental-music scene in Portland, Oregon, for more than a decade now, but she isn't too well-known outside it for anything besides her stints in Jackie-O Motherfucker. Blood Is Clean (Kranky), her debut under the name Valet-, could easily change that. She chops quiet drones and blasts of noise into bite-size pieces that owe as much to IDM as they do to burnout blues. The title track perfectly captures Owens's subtle ferocity: she sings with a creepy sort of sangfroid, like a Stepford wife waxing mystic, as a train whistle blows in the distance and another layer of vocals rises up to ooh along. Then she lets loose with three minutes of hot-lava psych-damage guitar scuzz, a shredding SOS from the ghost world. Valet opens for Good Stuff House and Mise en Abyme. See also Sunday. a 8 PM, South Union Arts, 1352 S. Union,, $10 suggested donation. A --Jessica Hopper

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