Foxygen -- See Monday
Foxygen -- See Monday

The Five Best Concerts in L.A. This Week

Monday, July 23

The xx


These U.K. goth-soul ghouls haven't played in the United States since 2010, when The xx wrapped up support of their self-titled semi-hit debut and subsequently went into studio-hibernation mode. This summer, they're back on the road ahead of the Sept. 11 release of Coexist, the trio's highly anticipated sophomore disc. New songs they've been doing live overseas suggest that The xx's recent dalliances with Shakira and Rihanna (both of whom sampled tunes from The xx) haven't made them any less moody or whispery. With Jacques Greene, a Montreal-based DJ best known perhaps as the geeky white dude into whose left ear Azealia Banks is yelling in the video for "212." --Mikael Wood



Foxygen are full of paradoxical truths. They are tribute and reinvention. They are weird and easy to love. They are sloppy but sound. They are unknown but born to be rock heroes. Imagine Bowie reinvented by Ariel Pink, the Stones covered by Sonic Youth, or a drunk John Lennon locked in a basement with an old Casio, a trashed Fender and a glitchy four-track. The "band" comprises two rock & roll bums: Olympia, Wash.'s Sam France (vocals) and New York City's Jonathan Rado (guitar, keys), both 22 years old and both clearly obsessed with classics. Their 2011 debut EP, Take the Kids Off Broadway, is filled with impressionistic takes on past masters fleshed out using deep bass grooves, blissfully shambling strum, loosely mapped beats, all manner of effects and layers of voice that alternately growl, shout, swoon and hum. Suck up their rare air as it floats overhead. --Chris Martins

Tuesday, July 24

Scream It Like You Mean It


Bringing together multiple purveyors of multiple heavy-metal "-core" subgenres, this monthlong package tour confirms that, when it comes to super-aggressive guitar music, there are indeed myriad ways to skin the proverbial cat. Ohio's Attack Attack! add interest to their otherwise line-towing, middle-weight metalcore with techno-flavored electronic sprinkles, while The Chariot's slightly deranged, raw-throated matchcore actually (and thankfully) sounds more like a thrust for self-expression than just a plea for commercial validation. Frequently dubbed "deathcore," relative veterans The Acacia Strain create contemporary and ambitious metallic hardcore that traces a string-calloused finger through Pantera and Meshuggah all the way to Dillinger Escape Plan. With more than a dozen other core-suffixed bands on this same bill, "Corecore" can only be a matter of time. --Paul Rogers

Wednesday, July 25

Stanton Moore Trio and 
the Dirty Dozen Brass Band


Drummer Stanton Moore has been sharing a Wednesday residency at the Mint with Greyboy All-Stars leader Robert Walter and guitarist Will Bernard for the last several weeks. Moore and Walter also are known for their stints with guitarist Charlie Hunter, a frequent visitor to the Mid-City club. Moore's style has been described as "jazz meets [John] Bonham," and at least one solo from Moore's online videos can be recognized for the same opening as "Moby Dick," the late Led Zeppelin drummer's signature tune. Moore's experiences cover the musical gamut from jazz to rock to funk and many more. For this show, the evening includes the Dirty Dozen Brass Band, a group of fellow New Orleans natives who've merged elements of funk and bebop jazz with the traditional Big Easy brass band sound to create an entirely new audience for the last 30 years. --Tom Meek

Thursday, July 26

Nosaj Thing


The last we really heard of Nosaj Thing was in 2009. As the burgeoning buzz was rightly reaching a fever pitch around L.A.'s bass-bumping Low End Theory club, the man born Jason Chung dropped Drift and, alongside scene heavyweight Flying Lotus, racked up a ton of attention for his idiosyncratic electronic works. While FlyLo is famous for blending jazz and soul-inspired organic matter into his gritty sonic tapestries, Nosaj takes a very clean, multidimensional approach to sound design, weaving melodic contrails through a celestial scene of sparkling beatwork and swirling effects. He's long overdue for a new album -- word is it's in the works, and with a Blonde Redhead feature, no less -- but credit where credit's due: He's also been perfecting his live show, which employs two-tone projections that follow his every move, swelling and shrinking in time with the tunes. --Chris Martins

For details about these shows and more live music happening in the city this week, check out our Concert Calendar.

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