Haim -- See Wednesday
Haim -- See Wednesday
Credit: Bella Lieberberg

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

Don't forget to check our constantly-updated Los Angeles Concert Calendar

Monday, October 14

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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

Tuesday, October 15

Marky Ramone's Blitzkrieg


The Ramones were inarguably 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

Wednesday, October 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 basslines, 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

See also: Atoms For Peace - Club Fais Do-Do - 6/14/13

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

See also: The Gaslamp Killer's Near-Death Account



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

See also: Our Haim Cover Story

Thursday, October 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 with 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 first 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's collaborated with Trent Reznor and enjoyed a long-overdue critical reappraisal. Also at Amoeba Music, Wednesday, Oct. 16. --Falling James

Don't forget to check our constantly-updated Los Angeles Concert Calendar

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