fri 10/11

Los Tres Marks: Money Mark, Mark de Clive-Lowe, DJ Nu-Mark


For Subsuelo's Los Tres Marks event, three of the most daring and experimental musicians — all named Mark — come together to dismantle and then reassemble hip-hop, funk, soul and ferociously rare vintage keyboards and even children's toys, too. Jurassic 5 alum Nu-Mark has an entire set augmented by noisemaking toddler toys — you'll never look at Fisher-Price the same way again — while producer and polymath de Clive-Lowe will be insta-building his own live remixes. And Money Mark? Based on his history with Delicious Vinyl, Dust Brothers and The Beastie Boys, he'll probably burst out of a glowing Close Encounters UFO with a vintage Optigan strapped to his waist and proceed to deploy the funk. Plus: Anyone named Mark gets in for free! So, uh, mark your calendars. —Chris Ziegler

The Dogs


The Dogs were punk rock before the term even existed, forming in 1969 in Lansing, Mich., where they were inspired by such high-energy forebears as The Stooges and The MC5. But when The Dogs headed West, relocating to Hollywood in the mid-1970s, their songs became shorter, faster and meaner, anticipating the punk revolution that was right around the corner. The trio has been performing live off and on ever since, although lead singer/guitarist Loren Molinare still plays with hard-rockers Little Caesar, and bassist Mary Kay is a member of Kanary. The Dogs have been around long enough to appear on bills with AC/DC, Guns N' Roses and Television, but only a few punk bands can honestly claim that they've torn it up onstage with Sid Vicious, as The Dogs once did at the Whisky. —Falling James

KT Tunstall


It's hard to stand out in a sonic landscape where singer songwriters are a penny a dozen, especially when armed only with an acoustic guitar. But for the past decade, Kate Victoria Tunstall, better known as KT Tunstall, has defied the odds. Tunstall's breakout track, 2005's “Black Horse and a Cherry Tree,” still gets radio play, and her stronghold on contemporary folk rock is monumental, as exemplified by her most recent release, Invisible Empire // Crescent Moon. Taking on a more Western theme, the album has been critically acclaimed for its natural, digestible sound, which maintains Tunstall's heartfelt melodies and eloquent lyrics. Tunstall has spoken of her sharpened sense of mortality after the death of her father while she was recording the LP, saying the experience inspired the album's delicacy. —Britt Witt

sat 10/12

Pet Shop Boys


Throughout their 32 years of activity, Pet Shop Boys have sold an impressive 50 million records worldwide and collaborated with heavyweights including David Bowie, Elton John, Liza Minnelli and Madonna, among an array of talented others. After 28 years with the label Parlophone, the U.K.-based pop mega duo released its 12th studio LP, Electric, on Kobalt Records in July. Of this album, the Boys — Neil Tennant and Chris Lowe — explained: “Our latest album often evolves as a response to our previous album and, whereas Elysium had a reflective mood, Electric is pretty banging!” Tonight's show, one of the last stops on the group's current tour, will without a doubt be a banging good time. —Jacqueline Michael Whatley



Warpaint are fairly popular in England, where they often appear in music polls and on magazine covers, but the quartet got its start here in L.A. No matter. Warpaint's sparkling reveries aren't limited by geographic boundaries, although there are some commonalities with British hazy-pop bands like Cocteau Twins. The group's chansons seem to float freely over this world and move directly into the land of dreams, with guitarist Theresa Wayman and bassist Jenny Lee Lindberg spinning a silky web of luminescent riffs around lead singer Emily Kokal's ethereal cooing. It's an often-bewitching combination that has fans breathlessly awaiting the long-overdue follow-up to Warpaint's one full-length album, 2010's The Fool. Also at the Glass House Friday, Oct. 11. —Falling James

sun 10/13

Primal Scream


Primal Scream have always been most comfortable exploring the boundary between rock and rave, although that also means the group's sound is regularly stranded in the purgatory between good and weird. Ever since the game-changing 1991 album Screamadelica, the output of these groovy Scottish psychedelists has been both catchy and less than fully formed. Through 10 albums and 30 years together, the guys' sonic focus has constantly shifted, resulting in gospel crooners and sexy baby makers, drug-droppers and floor-stompers. The band's status changes as often as the songs do, which makes being a fan both frustrating and addictive. But with May's captivating More Light, Primal Scream once again are more interesting than maddening. The album contains sultry lounge melodies, dreamy glam-rock and stylish if still nonsensical lyrics, with all of these elements coming together for yet another surreal trip. —Kelsey Whipple


Guitar Wolf, The Coathangers


They've been called the world's loudest band, they've been called robots and, in fact, they've been called far worse things. Regardless, Tokyo's garage kings reign supreme. Guitar Wolf stars Seiji (Guitar Wolf) on vocals and guitar, Toru (Drum Wolf) on the drums, and U.G. (Bass Wolf) on, that's right, bass and vocals. They wear black leather and wraparounds like a buncha biker tuffs as they lay total waste to your preconceived notions about the “right” way to play this old, corn-dog thing called rock & roll. Feel the shock of this radical trio when it slams out its wicked '50s-grease/'90s punk-rock herkajerk, and consider the possibility that guitarist Seiji is either the most rock-incorrect or, more likely, the single greatest ax slinger in the history of the genre. It's possible. Also: Atlanta's nu-riot grrrls The Coathangers. —John Payne

mon 10/14

Raw Geronimo


Raw Geronimo reveal a new side of themselves on “Magnetic Love,” from their debut album, Dream Fever. In a short, 2½-year career, the local sextet has already moved back and forth from caffeinated punk and jaggedly funky new wave to dreamy art-pop and percussive, tribal incantations. In “Magnetic Love,” lead singer Laena Geronimo still finds “hope for the human race” as she wends her way through Vug Arakas' trilling space guitar and Shannon Marie Lay's chiming keyboards, her achingly sincere vocals falling into a bed of lush girl-group harmonies. It's not a shock that Geronimo, a former member of bright pop hopefuls The Like, has such an ear for melody; what is surprising is how much more assured and musically adventurous her new band is. Some of Geronimo's wide-ranging talent no doubt comes from her father, Alan Myers, the brilliant and rhythmically inventive former Devo drummer, who died in June. —Falling James

tue 10/15

Marky Ramone's Blitzkrieg


The Ramones were one of America's finest rock & roll bands, and for fans, the grim four-year period between April 15, 2001, and Sept. 15, 2004 — during which we lost Joey, DeeDee and finally Johnny Ramone — was like a slo-mo wide-awake nightmare. Nearly a full decade later, those losses still sting. Weirdly, the only survivors are all former drummers: founder Tommy, five-year fill-in pounder Richie and lion's-share-of-the-run basher Marky. Tonight Marky (who also made a significant punk-rock contribution as one of Richard Hell's Voidoids) reignites the torch with his Bliztkrieg band, a high-octane nostalgia machine fronted by, er, Andrew W.K. Sure, there are plenty of legitimate gripes to be made (cred issues, art versus commerce, blah blah blah), but in essence, this is sheer fetishistic rock & roll ritual in its purest form, and one with the greatest set list in the known universe. Sometimes exploitation can be a beautiful thing, kiddies. —Jonny Whiteside

wed 10/16

Atoms for Peace


Atoms for Peace is the super-est of supergroups. Composed of Radiohead's Thom Yorke, along with that band's uber-producer, Nigel Godrich, The Red Hot Chili Peppers' Flea, R.E.M./Beck's Joey Waronker and Mauro Refosco, the group's collective love of Fela Kuti–style Afrobeat spawned Atoms for Peace. Released four years after the group's inception, debut album Amok is a cut-and-paste laptop jam session. Tapping into their tribal side, the resultant unfettered jamming is doctored in the computer so that man and machine are seamlessly merged. Over the jumpy synths and slapping bass lines, Yorke's voice yelps like he might actually be enjoying himself — although the lyrics beg to differ. Amok is too clinical to match Kuti's earthiness, but its musical abandon, at the very least, finds Yorke sounding happy. —Lily Moayeri

Low End Theory 7th Anniversary


Remember life before Low End Theory? So quiet. So normal, even. Seven years ago, if you wanted your head to explode, you really had to work at it. But then Low End revealed itself as a new beginning, as founders Daddy Kev, Nobody, Gaslamp Killer, Nocando and edIT (later succeeded by D-Styles) brought together beatmakers, MCs, DJs, producers and heads of every level to start a new era in L.A. music — a night based, of course, on bass. The scene soon grew to worldwide renown, eventually hosting not-so-secret secret sets by luminaries including Thom Yorke, Odd Future and Erykah Badu. When Flying Lotus named his 2008 breakthrough album Los Angeles, surely he was remembering nights spent at Low End. Or, as Gaslamp Killer shouts on a sample that will live forever: “Los Angeles is in the motherfucking building!” —Chris Ziegler



The trio of sisters (and recent L.A. Weekly cover stars) known as Haim returns to L.A. for a show that probably will feel more like a grand homecoming than a typical gig. Guitarists Danielle and Alana and bassist Este Haim are on the verge of mainstream success with the late September release of their full-length major-label debut, Days Are Gone. With this LP, the days of seeing them play at small local venues, as they were doing just a year or so ago, are, in fact, long gone. After touring with Phoenix and Vampire Weekend and making key appearances at South by Southwest and Glastonbury, Haim now belong to the world. Singles like “The Wire” and “Don't Save Me” fuse '80s synth-pop with '90s R&B harmonies, a bubbly brew that overrides the sometimes-slick production on the strength of catchy hooks. —Falling James


thu 10/17

Diamond Head


New Wave of British Heavy Metal pointmen Diamond Head are among the more prominent victims of the music industry's fickle hand of fate. Formed in 1976, they were a hugely palpable influence on the fledgling Metallica, who debuted in L.A. five years later and covered numerous DH tunes (including “Am I Evil” and “Helpless”). Today, Diamond Head play off-piste suburban clubs and daylight festival slots, while Metallica headline, well, wherever the fuck they want. Classic Head material just oozes proto-'Tallica: ominous intros, battering, faux-military rhythms punctuated by stabs of unifying bombast, irreverent shifts of pace and groove and sneery verse melodies making way for fists-aloft hooks. Though only guitarist Brian Tatler remains from Diamond Head's most influential years, colossal respect is nonetheless (over)due. —Paul Rogers

Gary Numan


It's sometimes forgotten today, but when Gary Numan emerged as a solo performer from the ashes of his breakthrough band, Tubeway Army, in 1979, rock critics initially dismissed the English singer as a mere clone of David Bowie. At the time, the classic-rock establishment was seriously threatened by the rise of performers like Numan, who replaced traditional rock guitars with the futuristic, robotic sheen of synthesizers. Of course, Numan was probably just as much influenced by Kraftwerk and Bill Nelson as by Bowie, but, by the time he was done blending science-fiction imagery with the brave new world of synthesizers, he'd created something new under the sun. People sometimes forget that Numan was far more than a one-hit wonder, penning memorable tunes like “Down in the Park” and “We Are Glass” in addition to the ubiquitous “Cars.” In recent years, he has collaborated with Trent Reznor and enjoyed a long-overdue critical reappraisal. Also at Amoeba Music, Wednesday, Oct. 16. —Falling James

LA Weekly