Tonight's Show Suggestions
Here is Arrington de Dionyso improvising in Baltimore. But it gives you a pretty damn good idea of what his solo stuff sounds like. Whoooooa.
Aids Wolf, Arrington de Dionyso (of Old Time Relijun), Midwife at Vera Project, 7:30 p.m., $9, all ages as usual
Arrington de Dionyso just put out a bizarre album of layered sounds and other jetsam, from which he'll draw for tonight's show. But here's Michael Alan Goldberg on AIDS Wolf:
I'll wager that if you put all the "wolf" bands in a room and let them fight to the death, the last two standing over the corpses of Wolfmother, Wolf Parade, Steppenwolf, Guitar Wolf, et al. would be Montreal's AIDS Wolf and Detroit's Wolf Eyes. The most vicious, scary, and bloodthirsty of the bunch, both are noise bands extraordinaire, and while neither is particularly enjoyable to listen to on your iPod while riding the bus (unless you truly loathe yourself), they're pretty fascinating and enjoyable — in that extreme assault to your senses and sensibilities kind of way — in a live setting. There, AIDS Wolf batters your body and mind with apocalyptic guitar detonations and unholy rhythms and caterwauls until you honestly can't take it anymore, and then the quartet moves on to the second "song." Thing is, you can kinda spy some structure in AIDS Wolf compositions, so they'd probably end up getting slaughtered by Wolf Eyes and their seemingly random chaos. But that's okay. In the noise game, everybody wins. Or loses. Or something. Bring earplugs.
M83, School of Seven Bells at Neumos, 8 p.m., $20, all ages
Me on M83:
One-man French electronica band M83 sometimes receives comparisons to
shoegaze, the ambient pop sound so named because the people who play it
tend to spend sets staring at their sneakers. But "stargaze" is a much
better term, and not just because this band is named after a galaxy.
M83's operatic sound is space incarnate, the ideal soundtrack for all
your best flying dreams. This year's glorious pop opus, Saturdays = Youth,
is Anthony Gonzalez's symphonic tribute to '80s synth-pop (note the Boy
George and Molly Ringwald lookalikes on the cover), paying homage to
the decade's synth pioneers while etching its own permanent place in
electronic music's evolutionary chain.
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