Friday, April 29, 2011
Rock Review: Arcade Fire, The National
Posted by Scott Shoger on Fri, Apr 29, 2011 at 1:10 PM
Slideshow
Four stars (out of five)
Sure, it wasn't quite a sell-out, but judging by the enthusiasm of the sea of dancing fans gathered close to the Pepsi Coliseum stage, it would've been worth Arcade Fire's while to stop by Indianapolis before this tour. Win Butler, lead singer of the Montreal-based eight-piece, admitted as much from the stage Wednesday night, suggesting that it wouldn't take another ten years for the group (all of ten years old) to make its way back to Indiana.
So while Indy-rooted fans missed the chance to see Arcade Fire — winner of a 2011 best album Grammy for their third full-length, The Suburbs — during their early years, the flipside is that the band's first show in this town was an energetic, well-rehearsed, maybe flawless affair, accentuated by live video and arty loops. And it was even for a good cause — $1 from each ticket went to Partners in Health, a health care NGO focusing its efforts in Haiti; audience members also had the option of donating more to the organization by purchasing a Partners in Health T-shirt co-designed by members of Arcade Fire and The National.
It was a Suburbs-themed night: The show opened with a brief clip from Over the Edge, the 1979 youth-in-revolt-in-the-burbs film, which led into "Ready to Start," one of seven tracks the band played from the new record. The band's treatment of the suburbs is both nostalgic and critical, but it lacks the danger of the film that opened the show, with all of that anger and violence basically internalized. Not that any sort of narrative would emerge for the first-time listener at a live show, and what was most interesting about the setlist was how the band mixed and matched tracks from all three of their albums (The Suburbs, Funeral and Neon Bible), making for a synthetic whole, incorporating slow songs and rockers, supplying visuals of varying interest (including some nifty loops in the style of early silent film).
Arcade Fire has a surprisingly big sound live — drummer Jeremy Gara, who can work more subtly when need be, plays plenty forcefully at the end of bigger numbers, and there was enough oomph in the Coliseum sound system to make band's loudest rocker, "Month of May," work within the context, offering dynamic contrast from the rest of the set. The sound was, thankfully, not an issue: the last-minute venue change from The Lawn to the Coliseum proved to be a good call, because the mix was good enough for an eight-piece band working in several registers (more of a challenge to mix than a typical four-piece, for sure) - and there was that added benefit of being out of the rain, which really started to pour just after the show ended at 10 p.m.
During Arcade Fire's set, Butler joked that it's not a good idea to tour with an opener as good as The National, the Cincinnati-born rock outfit that shares literary sensibilities and songwriting instincts with Arcade Fire. And while that was a nice thing to say, it was also true — The National were quite good, with crooner Matt Berninger's expressive, often troubled voice appropriately prominent in the mix; and they may have a sound that's a little too similar to the Arcade Fire to make for a well-rounded evening, though it was nice to hear two bands at the top of their game in one night.
Both bands fill in the edges of their sound: Arcade Fire adds violin and keyboard to the traditional four-piece sound, while The National tours with an excellent horn section (trumpet and trombone) that accompanied Arcade Fire on an inspired reading of their "Ocean of Noise" later in the night. No one player ever really sticks out on a given song by either band — it's all about texture, about an organic, slow-building sound that accompanies, in the case of The National, typically morose lyrics. And while The National's arrangements are smart and subtle, I found it a little more interesting when they were also challenging, when some deft syncopation propelled a tune or their trumpeter was given a couple solo phrases. It was The National's final night on tour with Arcade Fire; the band was last here in October 2010.
Thursday, April 28, 2011
Soundcheck: Weekend edition
Posted by Scott Shoger on Thu, Apr 28, 2011 at 9:00 AM
Thursday
Aftershock: Benefit for Japan at Rock Lobster
Sure, there’s technically no cover, but figure on bringing what you can for this benefit for the people of Japan, who continue to be rattled by aftershocks — or, in some cases, are prohibited from going back to their home for something like a year. Kudos to all those involved, and we will name them all: Sphie, Scott Kline, Jascha, The Perennials, John Rambo & the Vietnam Wars and DJ B-Qwyatt on the indoor stage; the A-Squared DJs, John Nicholson, Kyle Hodges, Liar Mouth, Jackola and 25 Lighters on the turntables outside. 7 p.m., no cover (donations accepted for the American Red Cross), 21+.
The Whigs, Company of Thieves, Maravich at Radio Radio
Atlanta trio The Whigs started off life with a little bit rootsier sound, inspired by The Replacements and the whole of Southern rock. With the passage of time, they’ve cut out the twang, kicking into post-grunge, Foo Fighters-esque mode with last year’s In the Dark, produced by big-time indie dude Ben Allen (Animal Collective). With Chicago alt-rock band Company of Thieves and locals Maravich. 8 p.m., $10 advance, $12 door, 21+.
Delhi 2 Dublin, DJ Kyle Long at White Rabbit Cabaret
It was supposed to be a one-time gig. But Delhi 2 Dublin’s surprisingly seamless mix of Indian and Celtic music over biting electronic beats proved too irresistible. And it all started off in 2006, as a one-off event organized by a group of musicians from Vancouver. The first guy involved was Tarun Nayar, a cosmopolitan DJ who was asked to add Celtic music to his house mix for an Irish festival. Bhangra, a form of Indian music that has made its way west, entered the confection with the addition of Sanjay Seran, whom Nayar asked to contribute vocals. Wade Coggeshall has more. 8 p.m., $10 advance (brownpapertickets.com), $12 door, 21+.
EOTO, DJ Kodama at The Vogue
A live electronic duo featuring a couple percussionists from the now mostly-disbanded String Cheese Incident, Michael Travis and Jason Hann. Travis, who handled the set for String Cheese, works melodies for EOTO, playing keyboard, bass and guitar, while Hann sticks to the drums. It’s all performed live, with help from looping pedals and a mixing console. 8 p.m. doors, $18 (advance at eoto.eoto@gmail.com), 21+.
Friday
Jukebox the Ghost, Wakey Wakey, Pretty & Nice at Earth House Collective
A Washington, D.C.-based piano-pop trio in the realm of Ben Folds and OK Go, Jukebox the Ghost offers solid melodies, effectively arranged. Lyrics tend to be a little darker than the music itself, which takes the edge off the sweetness. 7 p.m., $11 advance, $13 door (plus applicable fees), 21+.
The Charlie Daniels Band at the Palladium at the Center for the Performing Arts
The wizened fiddler returns to town, bringing with him mirth, good cheer and conservative talking points. You may know him from "The Devil Went Down to Georgia." 8 p.m., sold out, all ages.
Saturday
Benny Golson Quartet at The Jazz Kitchen
An NEA jazz master, tenor saxophonist Benny Golson has adjusted with the times. He started his musical life in an R&B band before moving to jazz, collaborating with Dizzy Gillespie and Art Blakey in the late '50s, and with Art Farmer in the early '60s. But by the ‘60s and ‘70s, he had moved behind the scenes, taking work as an arranger. It was with a rougher tone but the same musical intelligence that he returned to active solo performance in the ‘80s. And now, at age 82, he's still working four-set weekend gigs, having recently returned to the sound of his hard-bop Jazztet on 2009's "New Time, New 'Tet." 7 and 9:30 p.m., $25, 21+.
Indianapolismusic.net 10 Year Reunion Show at Birdy’s Bar and Grill
The boards on indianapolismusic.net may not be quite as crowded as they once were. But the site is still going strong, churning out a Top Ten List and radio show each week. So it is nigh time to celebrate. A bunch of bands that were active during the early ‘00s — prime time for the site — will reunite for Saturday night’s reunion show, including Loretta, Extra Blue Kind, Citizens Band and Paging Raymond. This week, Paul Pogue looks back at the decade that was, catching up with the site’s founder and its current proprietors. 7:30 p.m., $5, 21+.
Celebrating Miles at the Palladium at the Center for the Performing Arts
Two bands play work from Davis' acoustic and electric eras. Trumpeter Wallace Roney will kick off the night, leading a band playing Davis’s post-bop work. Roney has played the role before, first on a 1992 memorial tour with Davis alumni Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams that resulted in the Grammy-winning "A Tribute to Miles." Then bassist Marcus Miller, who composed music for Davis's Tutu album, plays the Davis electric. 8 p.m., $15-$90 (plus applicable fees), all ages.
Jorma and Movie Bare, John Rambo & The Vietnam Wars, Vacation Club, The Kemps at White Rabbit Cabaret
It seems odd to launch a debut album with a series of reunion/farewell shows, but in the case of the band called Jorma & Movie Bare, that’s just how it worked out. The three-year story behind their new record, "Lollipop Gold," is as twisted as the spookedelic minimalist guitar pop it contains. Frontman Jorma Whittaker — best known as vocalist, bassist and chief songwriter for Marmoset — assembled Movie Bare several years ago as a vehicle for his solo songs and other non-Marmoset material. Scott Hall has the rest of the story. 9 p.m., $6 (includes download code for new Jorma and Movie Bare album, “Lollipop Gold”), 21+.
My Life with the Thrill Kill Kult, 16 Volt, Twitch the Ripper, Xiting the System, Jin-XS, Krazy Karoline at TRU Nightclub
An industrial showcase headlined by pioneering Chicago-based outfit My Life with the Thrill Kill Kult, touring behind a comp celebrating its early stuff, Sinister Whisperz: The Wax Trax! Years, released when Wax Trax was the center of the industrial universe and home to a who’s-who of bands (Meat Beat Manifesto, KMFDM, Front 242). Thrill Kill Kult was something of a latecomer to that scene — its lead singer, Groovie Mann, was a lighting tech for Ministry before he formed his band — but they’ve also survived many similar groups, incorporating psych, lounge and go-go sounds in the meantime. 9 p.m., $15 advance (wantickets.com), $20 door, 21+.
Rock / Roots Roots/Rock: Madison's Folk Festival
Posted by Rob Nichols on Thu, Apr 28, 2011 at 7:50 AM
Built on the banks of the Ohio River, Madison's a great historic town, and one that likes a good party. It was my first post-college town, and I lived there for almost three years, and still go back about once a year. Even on a regular weekend, there's always live music at two or three downtown clubs, like Joey G's or the Electric Lady.
A big arts community and annual events like the Madison Regatta, and the Ribberfest Blues and BBQ festival make it good place to grab a beer and catch some music. At the risk of sounding all chamber of commerce-y, drive down I-65 and hang for a day or two at this one...
Ohio River Valley Folk Festival - Lineup
Friday, May 20
6 pm Mickey Clark and Blue Norther
8 pm Adrienne Young
10 pm The Greencards
Video: The Greencards
Saturday, May 21
1 pm The Tillers
3 pm The Wiyos
5 pm Paul Thorn
7 pm David Bromberg Quartet
9 pm Uncle Earl
VIDEO: Uncle Earl
Sunday, May 22
1 pm BlueGrazz Junction
2:30 pm Greg Ziesemer and Kris Luckett
4 pm Hogeye Navvy
6 pm Carrie Newcomer
Monday, April 25, 2011
Rock Arcade Fire moves to Pepsi Coliseum
Posted by Scott Shoger on Mon, Apr 25, 2011 at 4:15 PM
Sunday, April 24, 2011
Rock / Roots The Acoustic LIVE Challenge - Week Six
Posted by Danielle Look on Sun, Apr 24, 2011 at 8:03 AM
I had few criticisms at The Acoustic LIVE Challenge this week, as almost every performer’s sound was all their own and remarkably alluring. The three month-long event features five new performers every Thursday at The Ugly Monkey. The rules are simple: acoustic music only (no drums or electric instruments), original music only (no cover songs), and no more than three people on-stage per performer (supporting musicians are allowed, but that number is limited).
THE PERFORMERS
Max Allen
As someone who frequents The Mousetrap and local music festivals often, it was a refreshingly pleasant change for me to hear the traditionally jam-banding Max Allen (and MAB bassist, Dace Robie, on upright bass) in an acoustic setting. The stripped down sound put equal emphasis on Max’s vocals and guitar skills. Robie was fairly reserved until the end when he awed the audience with innovative plucks, rubs, strikes, and strums on nearly every region of his instrument’s body.
Aaron Mauck
Mauck, another Evansville contestant in the Acoustic LIVE Challenge, reminisced with the audience of his dreadful trip to The Challenge last year when his car lost its transmission en route to the show. He had better luck this year, performing a set wherein the judges agreed he’s “doing nothing wrong”, but suggested he incorporate a modernized sound to help make his music more noticeable and catchy.
Emily Poe Project
The Emily Poe Project (consisting of the satirical Emily Hoffman and timid Austin Matthew Scholl) is by no means lively or energetic, two qualities I almost always demand of the music I enjoy listening to. Instead, the pair captivates their audience with swift (but delicate) guitar fingerings and dainty (but mesmerizing) harmonies. Hoffman’s sass is curiously charming, but requires refinement. With a stronger and confident stage presence, the duo will be unstoppable.
Chad Mills
Mills and his two accomplices, The Upright Willies (consisting of Grover Parido on cello and William Rood on upright bass), exemplified true competence with a flawless set. Mills, a previous Acoustic LIVE Challenge champion, sang with a strong, amiable voice and played with a naturally enthusiastic energy. Together, the three seasoned musicians performed one of the best and most-accessible alt-country rock sets yet.
Lacey Chaddock
The second Evansville contestant of the night, Chaddock came to life on stage with unrivalled humor and an unexpectedly charismatic presence. Her vocals were squeaky clean and idiosyncratic, laid atop changing guitar harmonies that never bored. Adding to her randomosity were frequent Lil’ John references, an analogy that compared her set time to baking cookies, and a mention of her album called “Some Shit I Do”.
THE VERDICT
The top two winners advance to the semifinals on May 19th.
1. Chad Mills
2. Max Allen
3. Lacey Chaddock
4. Emily Poe Project
5. Aaron Mauck
Danielle covers local music for NUVO.net and IndyMojo.com.
Friday, April 22, 2011
Roots Review: Lucinda Williams at The Vogue
Posted by Scott Shoger on Fri, Apr 22, 2011 at 12:00 PM
Slideshow
Lucinda Williams has a reputation as a perfectionist — and as such, her live show sounds much like her records. And that's all well and good, but it was fun to see what happened when she rolled with a mistake Thursday night at The Vogue. You see, her acoustic guitar was unplugged during the opening of "Steal Your Love," a characteristic track from 2001's Essence. And instead of joining in after the intervention of her guitar tech — or scrapping the song and starting over, as she did a couple other times — she just shucked the guitar altogether and focused on the vocals, which acquired a little more drawling authenticity in the process. Her band pushed to fill in the spaces too, giving the tune a sparse but energetic feel absent from her latest, more obviously rocking, fully-orchestrated records. Williams seemed surprised by the results herself, claiming "that's the best that song has ever sounded" before moving on to the next scheduled showpiece.
There weren't many other surprises: Williams has pretty well defined her sound, to such an extent that she might have been on auto-pilot on her latest record, Blessed, particularly with respect to that album's lyrics, which tend to be more cliched and less substantial than those in her earlier work. Of course, one benefit to a live show is that one tends to be less focused on every single line, instead taking in the (if you will) gestalt of the artist. And the gestalt is strong with Williams, who forged her take on Southern music over the years, starting with Robert Johnson covers, then writing her own stuff, eventually arriving at a distillation of Southern music that isn't historically authentic necessarily, but which has the nostalgic, nebulously-evocative feel of a B&W photograph of an old honky tonk, maybe the one which inspired the writing of "2 Cool 2 Be Forgotten," an absolutely brilliant track from her Car Wheels on a Gravel Road that she performed early in the set.
So the new stuff mixed in easily with the old, with none of the clunkers from (say) her unsatisfying elegy for Vic Chesnutt, "Seeing Black," sticking out. It was just about Williams and her band recreating that more-real-than-real Southern feel for an Indiana audience. That band, which turns over every few years, featured one brand-new member, Blake Mills, a guitarist who joined the group mid-tour; her other two collaborators — bassist David Sutton and drummer Butch Martin — have been around a bit longer, and both played on Blessed. Give credit to Williams for finding capable musicians to consistently realize her sound. Not sure if they'll "give the Rolling Stones a run for their money," as she said while introducing them at the end of the night, or what that even means given the age of the Stones, but Mills didn't miss a step and Martin, a beefy guy clad in a 10-gallon hat, looked and sounded commanding from behind the set.
Dude Fest: not quite dead
Posted by Nick Selm on Fri, Apr 22, 2011 at 8:48 AM
After watching Phoenix Bodies' fantastic set (which included flying chunks of curdled pink vomit and at least two penises) at the E.S. Jungle last July, I feared the worst. I feared that 2010 might have been the last year for the all-mighty Dude Fest.
It started out fairly small, the Fest of Dudes, attracting devotees of metal, hardcore and noise to the Circle City. As the years passed, it grew as more and more dudes became interested. Soon, it was a weekend-long event attracting fans of heavy music from all across the country... and the globe. The Fest peaked in 2008 with a fantastic line-up that included melodic sludge rockers Torche as well as Coliseum, Hewhocorrupts and Red Chord. Local acts Demiricous and the soon-to-be defunct In The Face of War also graced the stage. Hundreds of metal heads (if not more) swarmed on Indianapolis to participate in the mayhem.
2010, however, was a head-scratcher. Despite party metal gods Municipal Waste headlining, the event failed to draw the usual crowd. It takes tons of time, energy, money and passion to be able to put together and promote a festival like Dude Fest. When mastermind (and Phoenix Bodies frontman) Derek Black first started it, it was all about bringing together his favorite bands and his best friends. He put everything he had into his offspring. With so much riding on one man, the risks involved with the event increased as the fest grew.
After the low-turn out, local apathy and loss of money of 2010, I thought that we would never see another Dude Fest again. Then, through the wonder of the internet, I began to hear rumors and whispers of Dude Fest 2011! I was skeptical of the speculation at first, but then the names started rolling in. The first big name on the roster is Torche, still touring in support of the fantastic Songs For Singles EP. Playing along with them are heavy heavers Big Business, which formed out of the ashes of The Murder City Devils. Also announced are potentially permanent farewell shows for two local legends, The Dream Is Dead and Phoenix Bodies.
With Dude Fest scheduled for the weekend of July 27, we still have plenty of time for a few more surprises to crop up on the roster. I'm still holding out for my heroes Dillinger Four but I'm not too hopeful. I'm just happy Dude Fest is happening at all! You can stay updated by checking out the Dude Fest website HERE.
Rock / Roots Roots/Rock: Rusty Bladen
Posted by Rob Nichols on Fri, Apr 22, 2011 at 7:00 AM
"Bakersfield Wine", a song co-written by Bladen with Louisville's Mickey Clark, is one of three songs in the country category (though the song is more Americana than the broader country designation) "Chris Austin Songwriting Contest". Winners will play between headlining acts on the 29th.
Bladen will play at Bloomington's Four Winds Resort on May 29, and headline the Greenwood Park Mall Concert Series on June 16.
He also hosts a weekly webcast on his website, called "Live from the Living Room" - a 30-minute show presented live on the web and archived for on-demand viewing.
Hear: "Bakersfield Wine" - audio from "Live in the Living Room"
Robert Plant will headline Merlefest festival on April 30. merlefest.org
Thursday, April 21, 2011
Soundcheck: Weekend edition
Posted by Scott Shoger on Thu, Apr 21, 2011 at 8:10 AM
Canadian indie rock tops our picks this week, including shows by The New Pornographers (at The Vogue Friday) and The Rural Alberta Advantage (at Radio Radio Saturday). Arcade Fire's does't exactly fall into our weekend edition, but will make for a trifecta when they stop at The Lawn Wednesday, April 27, with Cincinnati's The National. Other shows of note include Lucinda Williams's appearance tonight at The Vogue, Ricky Skaggs's stop by the Warren PAC Friday night and a return visit by the Indy-born Emily Wells to White Rabbit Tuesday night. Take a gander:
Thursday
Lucinda Williams at The Vogue
The old story on Williams was that she spent way too much time on records. But she picked up her pace significantly during the ‘00s, and this March saw the release of her first new album of this decade, Blessed, just three years after her last one, Little Honey. It addresses some familiar concerns — death, by illness (“Copenhagen,” about the sudden passing of her manager) or by suicide (“Seeing Black,” about singer-songwriter Vic Chesnutt’s departure on Christmas Day 2009), and fractured relationships (album opener “Buttercup”). Williams writes about current events more on Blessed than in her other work, particularly on “Soldier’s Song,” a ripped-from-the-headlines piece contrasting battlefield violence with domestic routines. 8 p.m., $32 advance (plus applicable fees), $35 door, 21+.
Friday
The History of Jazz at The Cabaret at the Columbia Club
It’s Jazz Appreciation Month, which means it’s time to crack open that thick, sometimes abstruse tome — The History of Jazz, Vols. 1-322— and pick out a few choice bits to read before an audience. Vocalist Cynthia Layne will lead take this one-night-only slot at the Cabaret, joined by the Indy Jazz Fest Band. And because the History of Jazz is a multi-media work, there’ll be video projection featuring classic jazz performers. 8 p.m., $25-$45 ($12 food or beverage minimum), all ages.
Ricky Skaggs and Kentucky Thunder at Warren Performing Arts Center
Quite the talented mandolinist and capable of surfing genres (from bluegrass to nu-grass to country pop and back), Ricky Skaggs burst onto the scene as young’un with Flatt and Scruggs, cut his teeth as a teen in Ralph Stanley’s band and then brought a little soul back to mainstream country in the ‘80s as a solo artist, scoring with a number of singles filed under new traditional that showcased him as both a picker and singer. He does it his way at this point, recording a variety of records for his own label, including a recent mostly rock record, Mosaic, as well as gospel records, collabs with other huge names such as Bruce Hornsby and tributes to folks like Bill Monroe (a couple of those). 8 p.m., $38-$40 (warrenpac.org), all ages.
The New Pornographers, The Walkmen at The Vogue
9 p.m., $25 (plus applicable fees), 21+.
Vancouver is known for many things: Natural beauty. Ethnic diversity. Pot availability. And for its music. The city has launched a number of name-brand artists, including Skinny Puppy, Michael Buble, Bryan Adams and indie-rock super-group The New Pornographers, whose members have stayed together over the course of five albums, despite the rise to stardom of several key creative figures: alt-country singer Neko Case, most famously, but also the band’s lead singer Carl Newman and Dan Bejar, who records under the moniker Destroyer. NUVO's Wade Coggeshall spoke with Newman this week.
Saturday
Culture Shock 2011 on Dunn Meadow in Bloomington
A free, annual showcase presented by IU student radio station WIUX, Culture Shock typically offers a lineup attuned to the pulse of what used to be called college radio and is now less satisfyingly called indie rock. Low-fi garage rocker Ty Segall is at the head of the pack, followed the echo-y, surfy Beach Fossils, Philadelphia’s sometimes shoegazey The War on Drugs, and one-man, DIY dance crew Terror Pigeon Dance Revolt (Luaka Bop). With Weakness, Waxeater and Gardendale & Berkley. 2 p.m., free, all ages.
The Rural Alberta Advantage at Radio Radio
What is the Rural Alberta Advantage? Presumably, it's having access to the kind of landscape that makes you want to write sweet, kind, will-of-the-wisp indie-folk songs. The band’s latest record, Departing (Saddle Creek Records), has a little more oomph than their debut, maintaining the group’s bittersweet, pastoral feel while adding a more guitar. 8 p.m., $8 advance (theraa.eventbrite.com), $10 door, 21+.
Indianapolis Guitar Summit at The Jazz Kitchen
Every few months, guitarist Bill Lancton (of Dog Talk and Bill Lancton fame) brings together a bumper crop of local guitarists, asking them to address the pressing issues of the day in a summit. Well, actually, they just play music; that’s good enough, right? With Chicago’s Henry Johnson (Ramsey Lewis, Joe Williams), Sandy Williams, Frank Steans on guitar, Scott Pazera on bass and Greg Artry on drums. 8 and 10 p.m., $15, 21+.
Tuesday
Emily Wells, Echomaker at White Rabbit Cabaret
The Indianapolis-raised violinist and singer-songwriter Emily Wells returns to town this week. A NUVO cover subject well before she found her current voice, Wells creates many-layered, many-genred “symphonies” (the term being used in a loose sense, like when we say something fully-loaded with strings is orchestral), bringing together folk, classical, musique concrete and, most notably, hip-hop; her cover Biggie Smalls's “Juicy” kind of lays her approach on the line, and has inspired both critical admiration and dismissal. 9 p.m., $7, 21+.
Anal Cunt, The Dockers, Slam Dunk, Daisy Cutter, Tri State Killing Spree at The Vollrath
Some publications like to style Anal Cunt’s name as AxCx, or just A.C. We have no such qualms, though we’re not sure if their anti-social approach is meant to be taken as criticism, or if it just taps, in an unexamined way, into a stupid, mean streak in metal culture. The grindcore band is famous not only for its name (perhaps taken from a G. G. Allin song), but its song titles —picking some tamer ones, we have “I Pushed Your Wife in Front of the Subway,” “I Ate Your Horse” and “Sweatshops are Cool.” Most active during the ‘90s, the band returned with new album this year (Fuckin’ A) after a rough decade that saw lead singer Seth Putnam fall into a month-long, drug abuse-induced coma. 8 p.m., 21+.
