Music Picks: Iannis Xenakis Now and Tomorrow, Ozzy Osbourne, War Tapes, Liz Pappademas

Also playing Friday: SOCIAL DISTORTION at the Palladium; THE HUMPERS, THROW RAG at Alex's Bar; NICO VEGA at Saint Rocke; THE GET UP KIDS at Glass House; THE HANDSOME FAMILY at the Bootleg.

The Handsome Family

Location Info

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Key Club

9039 Sunset Blvd.
West Hollywood, CA 90069

Category: Bars and Clubs

Region: West Hollywood

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Largo

432 N. Fairfax Ave.
Los Angeles, CA 90036

Category: Music Venues

Region: Out of Town

The Satellite

1717 Silver Lake Blvd.
Los Angeles, CA 90026

Category: Bars and Clubs

Region: Silver Lake

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REDCAT: Roy and Edna Disney/CalArts Theater

631 W. Second St.
Los Angeles, CA 90012

Category: Bars and Clubs

Region: Downtown

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The Echoplex

1154 Glendale Blvd.
Los Angeles, CA 90026

Category: Bars and Clubs

Region: Out of Town

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Roxy Theatre

9009 Sunset Blvd.
West Hollywood, CA 90069

Category: Bars and Clubs

Region: West Hollywood

Photos

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More About

• Tanya Morgan (Band)
• Paul Rogers
• John Payne
• Punk Rock
• Arts, Entertainment, and Media

SATURDAY/JANUARY/29

WEEN AT THE WILTERN

[See Page Two]

DEERHOOF, BEN BUTLER AND MOUSEPAD, NERVOUS COP AT ECHOPLEX

It makes perfect sense that Deerhoof would take on as lofty a task as defeating evil on their new album, Deerhoof vs. Evil. The San Francisco four-piece has long been a vanguard act, pushing forward the cause of experimental guitar-based music with a manic intensity and sometimes even cutesy mien. The latter is primarily due to the vocal performances of Satomi Matsuzaki, who chimes, squeals and coos in a mix of English and her native Japanese over the clanging, shambolic and often trebly art rock of her bandmates. Their latest focuses more on low-end, which imbues the songs with a winning continuity and, on occasion, bona fide groove. (Chris Martins)

IAN HUNTER AT EL REY

Ian Hunter's importance in the history of rock & roll can't be overstated. Where, for instance, would the Clash have been without the direct influence of Hunter's old band, Mott the Hoople? It's not just that the Clash echoed Mott the Hoople's version of "All the Young Dudes" in their own tune "All the Young Punks"; Hunter's blend of Dylan-ish wordplay and 1970s hard-rock glitter was a major inspiration for the late Joe Strummer's own poetic ambition and urgency. Following the late-'70s breakup of Mott the Hoople and the death of his longtime accomplice Mick Ronson in 1993, Hunter has moved in a more singer-songwriter-style direction, but recent albums like 2007's Shrunken Heads and 2009's Man Overboard show that he's still vital, whether he's examining the wreckage of Hurricane Katrina in "How's Your House?" or assessing his place in the world as a middle-aged man on "I Am What I Hated When I Was Young." The British singer is most often associated with his early solo hits, "Cleveland Rocks" and "Once Bitten, Twice Shy," but he's got a bag full of great new songs as well. (Falling James)

THE HANDSOME FAMILYAT McCABE'S

Handsome Family singer-guitarist Brett Sparks and his bassist-banjoist wife, Rennie Sparks, face the same problem as many other modern country-Americana outfits: how to create new music that's relevant without indulging in cornpone sentimentality. The Albuquerque duo has largely succeeded by crafting folksy tunes and murder ballads that come off as haunting and immediate rather than nostalgic. It helps that their sound isn't rooted in a specific time period or genre, as reflected on their new collection, Scattered: A Further Collection of Lost Demos, Orphaned Songs and Odd Covers. Although Brett's twang feels mannered and overly studied on such retro and potentially hokey tracks as "Snowball" and "A Plague of Humans," the pair branches out on surprising experiments like "Little Buddy," which is shot up with distorted punk-rock guitar. Several of the oddball covers further reveal the Handsome Family's range, especially a loping, countrified take on Bob Dylan's "Just Like Thumb's Blues," and Rennie's glowing remake of "Eleanor Rigby," which is recast as a banjo-spiked intimate folk ramble. Also at the Bootleg Theater, Fri. (Falling James)

L.A. LOTTERY LEAGUE DRAFT NIGHT AT PROJECT INFEST

The L.A. Lottery League, the local response to an endeavor created by a group of Columbus, Ohio, artists in 2008, takes the members of more than a dozen local bands and reshuffling them to create a dozen brand-new bands by the end of February. The first part, Draft Night, is presided over by a "council of chiefs": The Smell's Jim Smith, musicians Michael Nhat and Dalton Blanco, impresario Sean Carnage and booker Deseret Rodriguez. This Star Chamber of the scene chooses the combinations of musicians who will work together under a new band name to produce a dozen minutes of unpredictable, completely new music. The result might be a phenomenal blossoming of artistic potential — or it might be the musical equivalent of the Louisiana Superdome, at which occasionally some kind of barbaric sex or suicide occurs. Free; details at newmusicarchive.org. (David Cotner)

Also playing Saturday: IANNIS XENAKIS' NOW AND TOMORROW at REDCAT; KARSH KALE/MIDIVAL PUNDITZ at UCLA; FOL CHEN, DARWIN DEEZ at Spaceland; SEAN ROWE at McCabe's; CHARLOTTE MARTIN at the Bootleg; YANN TIERSEN at Luckman Fine Arts Complex.

SUNDAY/JANUARY/30

SAVAGE REPUBLIC, THE URINALS, CLIPD BEAKS AT THE ECHO

Punk rock was supposed to be a brief meteor streaking across the musical sky but, if anything, it's even bigger and has more cultural impact today than it ever did as a fringe genre in the late 1970s. Veteran punks claim that you had to be there in the beginning to truly understand what it all meant, but many of the most vital and authentic early punk bands have reunited and been more productive in recent years than they ever were in the old days. Savage Republic was never a typical punk band, and the L.A. collective employed heavy percussion and foreboding riffs to invent its own brand of awesome, often terrifying post-punk industrial music. Unfortunately, the current version of the band doesn't include all of the original members, which considerably lessens the impact of this reunion, but the nouveau Savage Republic still retains a forward-thinking artfulness and experimentation that places them in the same league as Einstürzende Neubauten and Gang of Four. With the Urinals, whose lo-fi sound is as contrastingly minimal and shrunken down as Savage Republic's is massive and expansive. (Falling James)