The Best Concerts to See in L.A. This Week

See Wednesday: Bleachers
See Wednesday: Bleachers
Courtesy of Girlie Action PR

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Monday, November 3

The Bug
THE ECHOPLEX
English electronic man The Bug (aka Kevin Martin) straddles a murky zone where dubby, acid-grime dancehall splashes against ambient chill, and we all come out feeling as if we’ve learned something. He’s just issued his first new album in six years, Angels & Devils, as well as a follow-up EP called Exit, both on Ninja Tune. On both, the meticulously ear-conscious Bug crafts a sound system for the end of time, with tracks that address the urban apocalypse in tones both bemusedly resigned and fiercely combative. The music’s rather schizoid catharsis is aided by guest vocals from Liz Harris of Grouper and ragamuffin hollerer Daddy Freddy. The Bug is joined tonight by his Roll Deep collaborator Manga; opening sets by Detroit noisepeople Wolf Eyes and Dublab’s DJ Frosty. — John Payne

Secret Chiefs 3
EL CID
The cryptic, prolific collective Secret Chiefs 3 can play many things in many disguises, but at the center of it all is Trey Spruance, the guitarist-keyboardist who first came to attention with Mr. Bungle and Faith No More. He doesn’t so much fuse together prog, free jazz, Middle Eastern exotica, klezmer, psychedelia, hard rock, classical and post-punk into one unified style; it’s more as if they all roam freely and without division in his busy brain. Tonight, in a digression from his usual digressions, Spruance uncorks the lid to his avant-garde composer-pal John Zorn’s Masada songbooks — extended, mesmerizing passages that draw upon Jewish mythology and are typified by dizzyingly dense, intricate and rhythmically propulsive playing. The lineup for this tour includes violinist Timb Harris, keyboardist Matt Lebofsky, bassist Toby Driver and drummer Ches Smith. Also at the Echoplex, Tuesday, Nov. 4. — Falling James

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Tuesday, November 4

Rebirth Brass Band
THE MINT
You hear them before you see them — a sunny, brassy and sassy expulsion of horns and clattering drums welling up in the distance, growing ever louder and more percussive as they approach in a second-line parade down a New Orleans street. The horns are too loud and leering, a boozy cacophony of pent-up exultation, while the drums are too scattershot and shuffling to be militaristically formal. Instead, the drums groove like a drunk swaggers — loopy and seemingly chaotic, jerking in every direction, pulling themselves up smartly and tightly just before falling into the gutter. This is no mere Crescent City tourist music; Rebirth Brass Band unselfconsciously pour a whole lotta funk and a little hip-hop into their jazzy, Treme-tastic gumbo. Also Wednesday, Nov. 5. — Falling James

Wednesday, November 5

Bleachers, Wild Cub
THE WILTERN
For the past few years, Jack Antonoff has been at the forefront of catchy indie-pop. While many may know him as the boyfriend of Lena Dunham, the guitarist has carved out his own niche as a fairly diverse songwriter. Between his efforts with fun. and now with his solo project, Bleachers, the New Jersey native’s songs have been inescapable on Top 40 and Modern Rock radio for some time. If you listen to those mediums, you’ve likely stumbled across “I Wanna Get Better,” one of the most popular songs of 2014. Also playing is Nashville’s Wild Cub, who had a minor hit of their own with “Thunder Clatter,” which this year culminated in an appearance on The Tonight Show. — Daniel Kohn

Thursday, November 6

GWAR
HOUSE OF BLUES
Costumed metal warlords GWAR suffered a major blow with the death of band leader Dave Brockie — aka “Oderus Urungus” — earlier this year. But they are forging forward with their leader’s mission of intergalactic domination via their metallic screeds. New characters Blothar and Vulvatron — the latter, GWAR’s first female member since the early 2000s exit of backup singer Slymenstra Hymen — are proudly continuing Brockie’s tradition of weaving the band’s ambitious folklore around tales of sex, destruction and scatology. Early performances featuring the new configuration have maintained the level of blood and gore that made the band’s live presence notorious, and the departure of Oderus has been woven into the band’s mythology. This show will be the first chance for L.A. fans to behold the next chapter of GWAR. — Jason Roche


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