Also playing Saturday:
JAPANTHER, TINYLITTLE, JEHOVAS FITNESS, JOYCE MANOR at the Smell; ALEXI MURDOCH at Bootleg Theater; VOXHAUL BROADCAST, SEA OF CORTEZ at Eagle Rock Center for the Arts; THE BLACK JESUS, WYOMING, COUNT FLEET at Lot 1.
Julieta Venegas
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sun 3/6
David J, Sleepmask, The New Room
@THE ECHO
Formerly the bassist of pioneering British gloomy goth-rock band Bauhaus and Love and Rockets, David J wrote the lyrics to several Bauhaus tracks, including the seminal Dracula dirge "Bela Lugosi's Dead," and sang backing vocals on many more. In Love and Rockets, he played bass and shared vocals and songwriting duties with guitarist Daniel Ash, also of Bauhaus. David J will perform songs spanning his career — from Bauhaus to Love and Rockets to his solo material — with a full band this evening. Joining David J are dark-wave/shoegaze romantics Sleepmask and post-punk/new-wave locals the New Room. —Lainna Fader
Also playing Sunday:
THE VELVET TEEN (REBORN!), THEMES at the Echo; GOBBLE GOBBLE, CAPTAIN AHAB, FOOT VILLAGE, HELLER KELLER at the Smell; MORCHEEBA at the Music Box; ADAM RUDOLPH'S ORGANIC ORCHESTRA at Electric Lodge; SHAMS ENSEMBLE at UCLA; YEMEN BLUES at the Troubadour.
mon 3/7
Drive-By Truckers
@THE TROUBADOUR
Longtime fans of this Athens, Ga.–based outfit will want to find a way into tonight's sold-out Troubadour gig: The Drive-By Truckers arrive in L.A. direct from two nights at San Francisco's much larger Fillmore, and though the band's buzz has diminished a bit since the heady mid-'90s days, you're still unlikely to catch them again in a room this small anytime soon. Expect to hear lots from last month's Go-Go Boots, which finds the Truckers in a folkier, more soulful mode than on 2010's harder-rocking The Big To-Do. (Despite its title, "Assholes" might be the prettiest DBT tune since 2003's "Heathens.") Whatever their focus, though, they're likely to use the Troubadour's cozy dimensions to stretch out. Wear comfy shoes. —Mikael Wood
Benoit Pioulard, Balmorhea, Frank Fairfield
@THE ECHOPLEX
Portland's Benoit Pioulard is the latest alias of one Thomas Meluch, whose new album, Lasted, brings a dark and melancholic "folk" acoustica magnified through a dusty electronic lens. Pioulard/Meluch meshes his baleful croon in field recordings and clanky percussive bits that juxtapose cleverly with strangely memorable melodies. Austin's Balmorhea offer a smart brand of chamber acoustic, where the folk and modernist classical elements compare notes in admirably spare and quite wide-screen effect. The central valley's baggy-suited and neatly coiffed Frank Fairfield plays banjo and fiddle on stylized originals and standards of the American folk book like the earnest devotee to all things old that he apparently is. His album of last year, Unheard Ofs & Forgotten Abouts, was a sweetly satisfying collection of ancient tunes he'd gathered off old 78s. —John Payne
Also playing Monday:
LACO$TE, E & E, SIMO SOO at Pehr-space; JOHN HOLLENBECK LARGE ENSEMBLE at REDCAT; BOWERY BEASTS at Silverlake Lounge; SPIRIT VINE, SILENT COMEDY, ORIGAMI DJS at Echo; ELIZA RICKMAN, ZOE BOEKBINDER at Hotel Café.
tue 3/8
Khaira Arby, The Sway Machinery
@ THE ECHOPLEX
There's something inexpressibly unique about much of the music coming from Mali these days. Chanted vocals blend in a mesmerizing fashion with the distinctively twisting, shifting guitar patterns employed by groups like Tinariwen and Amadou & Mariam. Timbuktu diva Khaira Arby adds her own impressively soaring vocals to the mix, as her guitarists unreel dazzling riffs that flip and undulate like psychedelic blues mutations. Championed by Ali Farka Touré, the Malian singer is only now being recognized for her long career and starting to tour places like the United States. As rich as her nation's musical heritage is, Arby stands apart, singing in four languages and braiding multicultural influences into a densely layered tapestry of sound. Openers The Sway Machinery may hail from Brooklyn, but their musical travelogues are heavily inspired by Afro-pop, reggae, dub and other world-beat rhythms. —Falling James
Deicide
@KEY CLUB
Death metal is a spiteful ambush of niggly guitars, battering beats and bullying, bellowed lyrics that would be best left in the journals of disturbed teens. But with the godfathers of the genre, like Florida's Deicide, grimacing their way into middle age, all this bile is clearly no adolescent phase. On their 10th album, To Hell With God, Deicide are still wired and riled (mostly at organized religion, apparently). Guitar licks like amped-up arcade-game ditties fizz around drums blurred with malevolent bluster, while main man Glen Benton — he of inverted-cross branding and occasional squirrel-shooting — utters threats to humankind from deep in the abyss. But if you're going to do something, anything, do it first and do it damn well. Kudos to Deicide on both counts. —Paul Rogers
Also playing Tuesday:
ERIC CLAPTON at Gibson Amphitheatre; CHICO TRUJILLO at Bootleg Theater; MARCUS VERY ORDINARY, JOHNOSSI, GOLD MOTEL at the Echo; BLUEPRINT at the Viper Room; ANDY CLOCKWISE at the Satellite; BOWERY BEASTS, ZIG ZAGS, INDIANS at Silverlake Lounge.
wed 3/9
Lykke Li, Johnossi
@EL REY THEATRE
The last time Lykke Li played this city, it was as a different person entirely. Though her lyrics pointed at a complex web of emotions, the then 22-year-old was bouncy, energetic and — dare we say — cutesy. Her music was a call to dance, to make out, and to dance while making out. But Li's new album, Wounded Rhymes, finds her badly damaged by love's fickle hand, and packing a battle ax in desperate need of grinding. That fantastic mix of dance thrust, rock energy and folk intimacy is still in her music, but the score is darker now and, thanks to Björn Yttling of Peter Björn and John, plays like a black echo of Phil Spector's Wall of Sound. Recommended for the masochistic among us. —Chris Martins