LA WeeklyMonday, October 29
The Monolators, et al.
In a week already oozing with Halloween events, this particular Monday oozes very competitively with four decades of alt-classics via five much-loved local bands. Most intriguing is the warhorse indie-pop band Monolators' Bee Gees set. Will they do the highly prized '60s psych songs? The '70s disco classixxx? Both at once? Really, it comes down to Travolta-style chest hair or collector credibility — and how could you even choose? Also on deck are Del Scorcho, a special set of South Bay punx doing Weezer; singer-songwriter Sara Radle (ex-Rentals) and a roaring full-band Ramones rendition; an Animal Collective set with members of Seasons and Torches; and a happily unexpected Elastica set by a combo of maximum R&Bers the Do-It To-Its and The Shirley Rolls. Discount if you come in costume … or is that penalty fee if you don't? –Chris Ziegler
Tuesday, October 30
Miike Snow
Miike Snow saved some hit songs from their time writing for Britney Spears to make a smash of their self-titled debut — and some leftover for its follow-up, Happy to You. Made up of leftovers though the latest may be, it still maintains its predecessor's inherent pop sensibility and clear lyrical intonation. A steady listen rather than a boring base spiked with singles, Happy to You embraces EDM with rave influences on the early-'90s Italian piano house of “The Devil's Work” and “Paddling Out.” Snare drums march through “The Wave” and drive militantly through “Bavarian #1 (Say Your Will),” while jabbing keys feature heavily on “God Help This Divorce.” –Lily Moayeri
Avalon Omega
Tiny yet tremendous, the youthful electro-groove thrill brat Avalon Omega is a dramatically self-possessed artist. This defiantly untamed soul works an exhilarating brand of shiny rap-crackle-pop, one that's infused with the gaudy color and atmosphere of a wildly charged creative vision unique to herself. The Omega sound skips and skitters across the cerebellum, flinging generous handfuls of break-beat glitter and techno fairy dust that burst into shimmering clouds of aural extravagance. The effect is nigh on mesmerizing. This Atwater avatar of cool's kinetic presentation, taken with her star-spangled high guttersnipe wardrobe and such original delicacies as “Outer Space Girl” and “Two Twenty Two,” collide with emphatic, refreshing results. Fine, reckless fun. –Jonny Whiteside
Wednesday, October 31
Lamb of God
It's testament to persistence and evolution when a band out-grows genre labeling to become a musical movement of one. Such is the case with veteran metallers Lamb of God, who are playing their first L.A. show since frontman Randy Blythe was imprisoned in the Czech Republic on charges of manslaughter stemming from an alleged mid-concert altercation with a fan there in 2010 (Blythe is currently awaiting trial). After 22 years and seven albums, these earnest Virginians have critics and fans alike groping for tags and comparisons. Though their extravagantly bearded members look ever-ready to defend the ramparts of Helm's Deep, LoG's music, though often instrumentally elaborate, is every bit of this earth, banishing escapism through an impatient punk-ish energy and Blythe's knowing skid row growl. Like a simple sentiment eloquently put, the buzzing riffage of guitarists Mark Morton and Willie Adler becomes convincing once bolted to Chris Adler's ludicrously detailed, cunningly savage drumming, while Blythe's organic, eye-bulging commitment prevents descent to a mere shredding clinic. –Paul Rogers
See also: Randy Blythe, Ahead of His Manslaughter Trial, Talks About Losing a Child Himself
Thursday, November 1
Gothic Tropic
L.A. trio Gothic Tropic take post-punk's dubby spaciousness and attach it to pre-punk forms, which in their case politely introduces Nigerian world-music innovator King Sunny Ade to Cleveland weird-punk originators Pere Ubu and Georgia snarlers Pylon. (You ask if there will be interesting guitar? There will be simply fascinating guitar!) Their Awesome Problems EP is four songs taking four minutes each to fully reveal their own intricate skeletal structure. It's nothing but bones, rhythm and voice, the last from singer-guitarist Cecilia Della Peruti, who goes from affectless to overwhelmed in the space of a few bristly notes when necessary. This is a precision collision of music from at least two hemispheres, born of all the records that live at the edges of the record stores. –Chris Ziegler
See also: Gothic Tropic Don't Know What the Hell They Are, but It's Clearly Compelling
For details about these shows and more live music happening in the city this week, check out our Concert Calendar.
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