Music Picks: Ghostface Killah and Adrian Younge, and Anthrax | Music | Los Angeles | Los Angeles News and Events | LA Weekly
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Music Picks: Ghostface Killah and Adrian Younge, and Anthrax 

Thursday, Mar 21 2013
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mon 3/25

Corima, Upsalon Acrux

PEHRSPACE

click to enlarge PHOTO BY NATHAN PRESLEY - Heartless Bastards: See Tuesday.
  • PHOTO BY NATHAN PRESLEY
  • Heartless Bastards: See Tuesday.

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There are, in fact, thriving musical styles that have blessedly little to do with the latest pop trends. Roughly intersecting prog-rock and art-jazz is a thing called Zeuhl Music, a very heavy, propulsive sonic form whose roaring rhythm sections and hypnotic, repetitive chants take inspiration from the idiosyncratic style of the legendary French band Magma. East L.A. Magma fanatics Corima have taken the Zeuhl sound to rad extremes with their recent album Quetzalcoatl, and live they are a raging hurricane. This show, which also features boundary-pushing rock/noise from Upsilon Acrux, starts at 9:30 p.m., costs just five bucks, and is all-ages, so bring the kiddies and let the band help raise 'em up right. —John Payne

tue 3/26

Heartless Bastards

THE TROUBADOUR

It's Erika Wennerstrom who brings the thunder with Heartless Bastards. Not only does she write all the Texas quartet's songs, but she also churns out waves of heavy guitar so thick, her band mates Jesse Ebaugh (bass), Dave Colvin (drums) and Mark Nathan (guitar) have to hit really hard to keep up with her. Wennerstrom's singing is boldly serene yet searing enough to cut through the haze of aptly titled past epics such as "The Mountain" and "Sway." Although the songs on Heartless Bastards' 2005 debut, Stairs & Elevators, were shorter and punchier, Wennerstrom reveals newfound melodicism and traces of country on 2012's Arrow. Don't worry, though. With tracks like "Simple Feeling," the album still holds plenty of the explosive Who-style bursts that make this band great. —Falling James

wed 3/27

Vardan Ovsepian Chamber Ensemble

BLUE WHALE

Armenian-born pianist Vardan Ovsepian is likely the musician closest to Joon Lee's Blue Whale club in Little Tokyo, appearing there so many times that some think of him as the house pianist. Ovsepian's Eurasian roots shine through his original music, evoking memories of styles first made popular by the German ECM label in the 1970s and '80s. Ovsepian's March series of Wednesday-night shows at the club ends tonight. This closing show plays double duty, as it is also a CD release event for Ovsepian's chamber ensemble, which features many of the top young jazz and new-music string performers in Los Angeles. The group includes violist Miguel Atwood-Ferguson, cellist (and fellow Armenian) Artyom Manukyan and violinist Paul Cartwright, whose major talent manages to steal the spotlight in almost every show he plays. There's a lot to look forward to with this one. —Tom Meek

Anthrax

HOUSE OF BLUES HOLLYWOOD

Anthrax doesn't get quite as much respect as their brethren in thrash metal's Big Four (a group that also includes Metallica, Slayer and Megadeth). We think that's a damn shame. There is a stronger sense of fun and levity to Anthrax's brand of thrash than the soberly serious output from those contemporaries, but blistering thrashers such as "Caught in a Mosh" and "I Am the Law" still get us in the mood to storm into the pit and lay waste to motherfuckers left and right. On this current tour, the group is performing their 1987 masterpiece, Among the Living, in its entirety, and original vocalist Joey Belladonna is firmly back in the fold. Expect this show to be heavy on both first-decade Anthrax material and Belladonna's superb 2011 return, Worship Music. —Jason Roche

inc.

THE BOOTLEG

The debut album from inc. has been a long time coming. The neo-R&B band (formerly named Teen, Inc.) was started in 2010 by brothers Daniel and Andrew Aged. As kids, the Ageds idolized the session musicians on megahit albums, a practice as esoteric and awesome as idolizing particularly obscure cinematographers. (And dreams do come true: The Ageds ended up sessioning for everyone from Cee-Lo to Elton John!) Now, almost three years after they put out their first song, the finally forthcoming LP no world demonstrates exactly the all-consuming commitment to craft you'd expect from guys who study the fine print. It's vintage Prince–style R&B as high art, the slow jam as religious ritual, the kind of endlessly detailed record you'd get if Quincy Jones, rather than Brian Wilson, were making a teenage symphony to God. —Chris Ziegler

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